Helen Rogers - Smooth Jazz meets Reggae (Remastered 2023)

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 41:14
Size: 95,3 MB
Art: Front

(4:46) 1. Summer In The City
(4:57) 2. In The Light
(4:24) 3. Let It Be
(4:05) 4. Scheherazade
(4:57) 5. In The Light (Solo Flute Version ) (Feat. Sadiki & Marvin Weatherspoon)
(3:35) 6. Be Thankful For What You Got
(3:04) 7. Woman Overboard
(3:31) 8. I'm Still In Love With You
(3:57) 9. Don't Know Whyered
(3:54) 10. Faith For Love

Singer/ Songwriter Helen Rogers, best known as the voice of the Jazzmasters and Direct Drive, encapsulates the vibe of two distinctive music movements, Lovers Rock Reggae and Smooth Jazz Funk giving a cool retro feel to her sound. Vocally she has a distinctive smooth, sweet tone that is instantly recognisable.

She began her singing career in London in the 80’s, firstly with One Stop a South London reggae label, where she met and recorded with reggae legend Ken Parker and worked with lovers rock band Natural Touch. She went on to become lead singer of the #1 Brit Funk band Direct Drive, and was signed to Polydor Records in this capacity. They had a massive hit with their song ‘Anything’ which remained #1 on the Black Echoes Soul chart for 8 weeks then crossed over to the UK National Chart. Helen then went on to co-write and record a series of Adult Contemporary Smooth Jazz albums called Jazzmasters with multi-instrumentalist and producer Paul Hardcastle of ‘19’ fame.

Throughout the 90’s the Jazzmasters series entered Billboard’s Smooth Jazz charts numerous times with several entries peaking at the #1 position. Helen also featured strongly on Paul’s eponymous album projects. In 2007 Helen recorded an album of Reggae versions of pop hits from the 70’s titled Homage with multi-instrumentalist and vocalist Black Steel. Her solo EP Eyes Like Midnight released in 2008 was a departure in style, featuring violin and cello played by Tony Qunta, and remained on the CD Baby bestseller list for many months.

Helen has been creating a lot of interest on the London Reggae specialist radio stations with her recent releases ‘Moving On’ hitting the #1 spot on the BBC Worldbeat Reggae show, and ‘Just Be Thankful’, ‘Faith For Love’ and ‘Woman Overboard’ receiving a massive amount of UK airplay.

Helen has been blessed to perform at many major events and venues in the UK, including London’s Summer Soulstice Festival, Hootananny’s, Black Grape Club, Excelsior Club, O2 Indigo, Good Ship and The Scoop.

Helen's new album “Smooth Jazz Meets Reggae” (Skinny Bwoy Records), brings together the best of both her worlds – Smooth Jazz & Reggae. It was released in November of 2015 to rave reviews.Helen is currently planning a series of shows in support of the new album.
http://www.helenrogersmusic.com/biography.html

Smooth Jazz meets Reggae
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Caesar Frazier - Live At Jazzcup

Styles: Soul Jazz
Year: 2023
File: MP3@320K/s
Time: 64:35
Size: 148,2 MB
Art: Front

(8:25) 1. Jive Samba
(7:11) 2. You Don't Know What Love Is
(5:45) 3. King Of Leonne
(7:57) 4. Thieves In The Temple
(5:48) 5. You've Changed
(7:44) 6. A Night In Tunesia
(8:17) 7. 1-2-3
(5:23) 8. I Wanna Make It With You
(8:00) 9. Willow Weep For Me

The African-American Hammond B3 specialist Frazier first earned his spurs working in bands led by Marvin Gaye and Lou Donaldson before branching out on his own. His hitherto limited discography has included a ‘name’ album (Hail Caesar, 1972) and more recent collaborations with Eric Alexander and Peter Bernstein. He also sings, but not here.

Now comes his first-ever live album, made while on a short Danish tour, and given the very specific quartet template of organ-tenor-guitar-drums, it works pleasingly well, placing Frazier’s music firmly in in the ‘funky soul-jazz category’ where I guess it always has been.

This is given initial impetus with Nat Adderley’s ‘Jive Samba’, suitably chunky and vigorous, drummer Osgood’s unrelenting back-beat dominant. Frazier says he was inspired by Jimmy Smith. and he certainly knows his way around this bluesy combo format, with tenorman Kullhammar, moving easily from gutsy drive to rather more complex improvisations;

I particularly liked what the quartet made of Prince’s ‘Thieves In The Temple’, guitarist Wamberg letting everything rip, as Frazier builds a series of tremolo-based riffs. ‘A Night in Tunesia’ (sic) was a surprise, with a prolonged drum entry and some fairly random interplay. Len Barry’s ‘1-2-3’ is more settled with Kullhammar’s best playing of the set and David Gates’ groovy ‘I Wanna Make It With You’, a true crowd-pleaser, swings insistently. ‘Willow Weep For Me’ is likeable too, sedate and relaxed. Should you hanker for the era when Smith, McGriff and McDuff were in their pomp, then this is for you. By Peter Vacher https://www.jazzwise.com/review/caesar-frazier-live-at-jazzcup

Personnel: Caesar Frazier – Hammond B 3; Jonas Kullhammar – tenor sax; Johannes Wamberg – guitar; Kresten Osgood – drums

Live At Jazzcup

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Jessy J - True Love

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 38:57
Size: 89,6 MB
Art: Front

(4:13)  1. Tropical Rain
(4:06)  2. Forever
(3:46)  3. True Love
(3:50)  4. Mr. Prince
(3:56)  5. Morning Of The Carnival From Black Orpheus)
(4:12)  6. Somewhere In a Dream
(3:36)  7. Jessy's Blues
(3:37)  8. Llegaste Tu
(3:51)  9. Brazilian Dance
(3:45) 10. Baila!

If half of life is just showing up and the other half is timing, then Jessica Spinella's timing is right on time. Smooth jazz is filled to the brim with saxophonists and while most of them are technically proficient, the sheer volume makes it difficult for a newcomer to stand out. Spinella, aka Jessy J brings more than just another pretty face to the party; her infusion of jazz with Latin rhythms gives her a foundation upon which to build. True Love, Jessy J's third album and second major label release, bears the signs of a artist standing on the verge of a breakthrough and getting a big push by the record company. Clocking in at just under an economical 40 minutes, True Love is lean and tight with no unnecessary fat or frills. It also contains no unexpected surprises, but showcases the playing of an increasingly confident Jessy J, asserting her own identity as she fuses Latin influences with jazz. There's a trade-off of spontaneity and improvisation in exchange for good groove, but the end result is rewarding enough so there's nothing about which to be disappointed.

"Tropical Rain," "Forever," and "True Love" are likable if not overly original slices of smoothed out goodness. "Morning of the Carnival" ("Manha De Carnaval") is targeted for the dance floor with its bounce-to-the-beat drum programming from Paul Brown and Gregg Karukas's synth bass and strings. Jessy J adds some breezy, sparse vocals that are sweetly affable if not as accomplished as her saxophone skills. She fares better when accompanied by backing harmonies on "Llegaste Tu" and "Baila!" Jessy J's route to crafting an enduring career may not lie in following the beaten path of other smooth jazz saxophonists, but in continuing to consolidate Latin influences of "Llegaste Tu" and "Brazilian Dance." Pablo Aguirre's production seems to better serve Jessy J's vocal on "Llegaste Tu," the only song on which she doesn't play, and the graceful "Brazilian Dance," a sensuous duet between her soprano sax and Sergio Aranda's piano and vocals. True Love ends up evenly divided between the skillful studio wizardry of half its songs and its impassioned, sultry Latin soul. It's a little too soon to chart the trajectory of Jessy J's career arc, but it might eventually fall somewhere between the efficient proficiency as the "hot chick" playing smooth sax and the expressive innovator busy setting trends instead of following them. ~ Jeff Winbush  http://www.allaboutjazz.com/true-love-jessy-j-peak-records-review-by-jeff-winbush.php

Personnel: Jessy J.: tenor and soprano saxophone, flute, vocals; Gregg Karukas: keyboards, bass, strings; Roberto Vally: bass; Sergio Gonzalez: drums; Richie Gajate Garcia: percussion; Paul Brown: guitar, drum programming; Tom Strahle: guitars (8); Danilo Arroyo: percussion (8); Pablo Aguirre: programming (8); Paulina Aguirre: chorus vocals (8); Kenny O' Brien: chorus vocals (8); Sergio Aranda: vocals and piano (9); Paul Brown: chorus vocals (10); Richie Gajate Garcia: chorus vocals (10); Cameron Smith: chorus vocals (10); Roberto Vally: chorus vocals (10).

True Love

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David Hazeltine/Peter Washington\Joe Farnsworth - Blues for Gerry

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 62:09
Size: 142,9 MB
Art: Front

(6:31) 1. Here Again
(5:50) 2. Tangerine
(7:36) 3. Blues for Gerry
(6:43) 4. Firm Roots
(7:12) 5. Body and Soul
(6:01) 6. It Could Happen to You
(4:46) 7. Skylark
(5:29) 8. Minor Disturbance
(5:40) 9. You Know I Care
(6:16) 10. Here We Go

A longtime member of the Criss Cross family, pianist David Hazeltine began recording for the label in the mid 1990s. Since then he has released around 30 Criss Cross albums, including eight as leader. During this time, bassist Peter Washington and drummer Joe Farnsworth, who complete the trio on Blues For Gerry, have been frequent comrades in arms.

Sadly, Criss Cross founder Gerry Teekens passed in 2019. The good news is that his son Jerry has taken over the reins and the label is once again recording new albums, as well as reissuing back-catalogue gems (see here).

Blues For Gerry is Hazeltine's first recording for the label since 2010 and it confirms why Teekens Snr. held him in such high regard. The pianist is not in the business of frightening the horses, but within the framework provided by jazz standards and the Great American Songbook, he digs deep and comes up with the goods. As he says about "Body And Soul" in the liner notes here, "I'm not shying away from overplayed music."

This is, rather surprisingly, the first time Hazeltine has recorded the Johnny Green standard, and its 7:13 exposition is among the best tracks on the album. Others include Hoagy Carmichael's "Skylark" and Buddy Montgomery's "Here Again." Of the three Hazeltine originals, the title tune, at 7:37 the longest track, is also more than solid.
Other source composers are Victor Schertziner ("Tangerine"), Cedar Walton ("Firm Roots"), Jimmy Van Heusen ("It Could Happen To You") and Duke Pearson ("You Know I Care.")

At no point does Hazeltine feel the need to adorn familiar material with mere complexity. What you hear is what you get, and what you get is what it is.
By Chris May https://www.allaboutjazz.com/blues-for-gerry-david-hazeltine-criss-cross

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Blues for Gerry

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Doris Day - The Complete Columbia Singles, Volume 1 (1947-48)

Style: Vocal Jazz
Year: 2023
File: MP3@320K/s
Time: 127:42
Size: 295,0 MB
Art: Front

(2:58) 1. It Takes Time
(3:18) 2. Pete
(2:57) 3. My Young And Foolish Heart
(2:54) 4. Tell Me, Dream Face (What Am I To You?)
(3:01) 5. I'm Still Sitting Under The Apple Tree
(3:18) 6. Just An Old Love Of Mine
(3:00) 7. A Chocolate Sundae On A Saturday Night
(2:57) 8. When Tonight Is Just A Memory
(3:00) 9. That's The Way He Does It
(2:54) 10. Why Should We Both Be Lonely?
(2:30) 11. Papa, Won't You Dance With Me?
(3:03) 12. Say Something Nice About Me Baby (Version 1 - Take 2)
(3:02) 13. Say Something Nice About Me Baby (Version 2 -take 3)
(3:27) 14. It's Magic (With George Sirava And His Orchestra) (Version 1 - Take 6)
(3:27) 15. It's Magic (With George Sirava And His Orchestra) (Version 2 - Take 7)
(3:03) 16. Just Imagine (With George Sirava And His Orchestra)
(3:04) 17. Pretty Baby (With George Sirava And His Orchestra) (Version 1 - 78-rpm Issue)
(3:02) 18. Pretty Baby (With George Sirava And His Orchestra) (Version 2 - 45-rpm Issue)
(3:00) 19. Confess
(3:04) 20. Love Somebody
(2:52) 21. Tacos, Enchiladas And Beans (With George Sirava And His Orchestra)
(3:11) 22. No Moon At All (With George Sirava And His Orchestra)
(3:06) 23. Put 'Em In A Box, Tie 'Em With A Ribbon (And Throw 'Em In The Deep Blue Sea) (With George Sirava And His Orchestra)
(3:19) 24. Imagination (With George Sirava And His Orchestra)
(3:19) 25. It's The Sentimental Thing To Do (With George Sirava And His Orchestra)
(3:24) 26. I've Only Myself To Blame (With George Sirava And His Orchestra)
(3:13) 27. Thoughtless (Version 1 - Take 3)
(3:10) 28. Thoughtless (Version 2 - Take 4)
(2:21) 29. It's A Quiet Town (In Crossbone County)
(2:50) 30. Someone Like You (With George Sirava And His Orchestra) (From The Film, "My Dream Is Yours")
(3:10) 31. My Dream Is Yours (With George Sirava And His Orchestra)
(2:14) 32. I'm In Love
(3:18) 33. It's You Or No One (With George Sirava And His Orchestra) (Version 1 - Take 3)
(3:18) 34. It's You Or No One (With George Sirava And His Orchestra) (Version 2 - Take 5)
(2:29) 35. My Darling, My Darling (Version 1 - With Piano)
(2:34) 36. My Darling, My Darling (Version 2 - With Orchestra)
(2:10) 37. That Certain Party (Version 1 - Take 1)
(2:10) 38. That Certain Party (Version 2 - Take 6)
(2:09) 39. That Certain Party (Version 3 - Take 9)
(2:53) 40. His Fraternity Pin (Version 1 - Take 3)
(3:10) 41. His Fraternity Pin (Version 2 - Take 4)
(3:18) 42. If You Will Marry Me
(2:46) 43. You Was

Doris Day (born Doris Mary Anne Kappelhoff; April 3, 1922 – May 13, 2019) was an American actress and singer. She began her career as a big band singer in 1939, achieving commercial success in 1945 with two No. 1 recordings, "Sentimental Journey" and "My Dreams Are Getting Better All the Time" with Les Brown and His Band of Renown. She left Brown to embark on a solo career and recorded more than 650 songs from 1947 to 1967.

Day was one of the greatest Hollywood film stars of the 1950s and 1960s. Her film career began with Romance on the High Seas (1948). She starred in films of many genres, including musicals, comedies, dramas and thrillers. She played the title role in Calamity Jane (1953) and starred in Alfred Hitchcock's The Man Who Knew Too Much (1956) with James Stewart. Some of her best-known films are those in which she costarred with Rock Hudson, including Pillow Talk (1959), for which she was nominated for the Academy Award for Best Actress. She also worked with James Garner on both Move Over, Darling (1963) and The Thrill of It All (1963) and starred alongside Clark Gable, Cary Grant, James Cagney, David Niven, Ginger Rogers, Jack Lemmon, Frank Sinatra, Kirk Douglas, Lauren Bacall, James Garner and Rod Taylor in various films. After ending her film career in 1968, only briefly removed from the height of her popularity, she starred in her own television sitcom The Doris Day Show (1968–1973).
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In 1989, Day was awarded the Golden Globe and the Cecil B. DeMille Award for Lifetime Achievement in Motion Pictures. In 2004, she was awarded the Presidential Medal of Freedom. In 2008, she received the Grammy Lifetime Achievement Award as well as a Legend Award from the Society of Singers. In 2011, she was awarded the Los Angeles Film Critics Association's Career Achievement Award. In 2011, Day released her 29th studio album, My Heart, which contained new material and became a UK Top 10 album. As of 2020, she was one of eight recording artists to have been the top box-office earner in the United States four times. times..https://musicboard.app/artist/5860

The Complete Columbia Singles, Volume 1 (1947-48)

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Vince Guaraldi Trio - A Boy Named Charlie Brown

Styles: Piano Jazz, Soundtrack
Year: 1964
File: MP3@320K/s
Time: 42:49
Size: 98,3 MB
Art: Front

(2:24)  1. Oh, Good Grief
(2:51)  2. Pebble Beach
(3:43)  3. Happiness Is
(1:54)  4. Schroeder
(4:24)  5. Charlie Brown Theme
(3:07)  6. Linus and Lucy
(7:29)  7. Blue Charlie Brown
(3:17)  8. Baseball Theme
(4:38)  9. Freda (With the Naturally Curly Hair)
(8:57) 10. Fly Me to the Moon

Originally titled Jazz Impressions of a Boy Named Charlie Brown, this is an important album not only because it is Guaraldi's first Peanuts soundtrack, but also because the music heard here probably introduced millions of kids (and their parents) to jazz from the mid-'60s onward. Actually, this music is the score for a documentary on the Peanuts phenomenon called A Boy Named Charlie Brown, which ran before the first Peanuts specials per se appeared on the CBS network. The most remarkable thing, besides the high quality of Guaraldi's whimsically swinging tunes, is that he did not compromise his art one iota for the cartoon world; indeed, he sounds even more engaged, inventive, and lighthearted in his piano work here than ever. It must have been quite a delightful shock back then to hear a straight-ahead jazz trio (Guaraldi, Monty Budwig, bass; Colin Bailey, drums) backing all those cartoon figures and genuine children's voices, a mordant running musical commentary that made its own philosophical points. The music on this album laid the groundwork for much that was to come; here is the first appearance of the well-known bossa nova-influenced "Linus and Lucy," and fans of the series will recognize such themes from future episodes as "Baseball Theme" and "Oh, Good Grief" (which is a rewrite of the Dixie Belles' hit "Down at Papa Joe's"). The LP came with 12 bonus lithographs of Charles Schulz's celebrated Peanuts drawings. ~ Richard S.Ginell http://www.allmusic.com/album/a-boy-named-charlie-brown-original-soundtrack-mw0000188138

Personnel: Vince Guaraldi (piano); Monty Budwig (bass); Colin Bailey (drums).

A Boy Named Charlie Brown

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Rock4 - Don't Break The Rhythm

Styles: Vocal Pop
Year: 2014
File: MP3@128K/s
Time: 46:25
Size: 43,7 MB
Art: Front

(5:44) 1. Don't Break This Rhythm
(4:33) 2. Vienna
(2:50) 3. One (Your Name)
(4:19) 4. Chasing Cars
(3:19) 5. When Doves Cry
(4:00) 6. Crazy In Love
(4:42) 7. Insomnia
(3:17) 8. Somewhere Only We Know
(6:14) 9. Adagio For Strings
(7:23) 10. Comfortably Numb

Rock4 is best when the group rocks out. Lucky for all of us, this happens a lot. Don't break the rhythm is decidedly new wave, keeping the beat through ballads, uptunes, and everything in between. Even the subdued reptitions of Chasing Cars sound like the lull between one dance track and the next, not like any major change of pace.
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Crazy In Love sounds like it fell onto a Yes record, the poppy percussion and downtempo stylings keeping momentum against the odds. Rock4 isn't a group of wailers; this is more of a classic rock tribute album, a more refined version of The Exboyfriends. The voices are strong, the sound is tight. The album loses a little focus during the choral bits, like the ones that flutter through Vienna, but I hear that as the siren song of the '70s pulling back against the four-on-the-floor of the '80s.
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The rock and roll lines blur completely on Comfortably Numb, when a real guitar floats into the mix. It's a little jarring, but not as much as you'd expect. After nine preceding tracks of late-night dance rock, you just sort of go with it. Speaking for myself, I was still reeling from the Samuel Barber club remix, which is not something I might have picked out but it's got a good beat, and you can totally dance to it. That said, I would have skipped the tambourine on Somewhere Only We Know.
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Rock4 should sell better to an English-speaking audience than some of the other continental groups making similar music. For one thing, the English is better. Dutch transitions a bit better than Deutsch, all other things equal. Also, the uniform sound serves as a strength. Don't break the rhythm is consistent, professional, and stays in character. If you like these songs, you'll like these songs. If you only know some of them, the rest will slot right in. It's time to rock all night long.
By Rebecca Christie https://www.rarb.org/reviews/albums/1452-dont-break-the-rhythm/
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Don't Break The Rhythm

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Dara Tucker - Dara Starr Tucker

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 55:17
Size: 127,2 MB
Art: Front

(5:33) 1. Scars
(3:26) 2. Annie's Song
(3:32) 3. Falling
(4:41) 4. Everything I Wanted
(4:21) 5. If You Asked Me To
(4:48) 6. Letters
(5:33) 7. September Song
(4:14) 8. Standing On The Moon
(3:48) 9. Can We Pretend?
(4:10) 10. Try To Remember
(3:55) 11. Just A Closer Walk With Thee
(7:11) 12. Scars ~ Freedom

“Tucker’s lovely voice goes from quietly empathetic, urging patience as the arc of justice slowly bends, to a steelier instrument that more forcefully argues for pride and determination in the face of hardship.” By Brian Zimmerman, Jazziz
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“Tucker has become adept at channeling her experiences into song, commenting on complex social structures along the way.” By Joe Vitagliano, American Songwriter
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Green Hill Music is proud to announce the June 3, 2023 release of Dara Starr Tucker’s eponymously titled sixth album, Dara Starr Tucker. Referred to as “a fighter for social justice wielding music as a balm,” (Morgan Enos – Grammy.com) the acclaimed vocalist and songwriter melds her presence as a jazz and roots singer-songwriter with her growing notoriety as a social media commentator on race, cultural equity, music, and film on her hotly-anticipated new release. Over the past 18 months, Tucker has amassed an astounding combined audience of one million followers with the largest delegation arriving via the TikTok platform. Her video commentary and original songs have been featured with HBO, FX, OWN Network, Revolt! TV and Ebony/Jet.
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On Dara Starr Tucker, the versatile artist showcases six lively original compositions alongside inspired arrangements of modern and classic songs by writers such as Billie Eilish, Bill Withers, John Denver and Kurt Weill. Tucker’s sonority and lyricism arrives with a “penetrating yet comforting, lullaby quality that is awake and assuring.” (Marc Myers Jazzwax) Her sound is supported by the dynamic musicianship of pianists Aaron Parks, Mike King and James Hurt, bassists Vicente Archer and Greg Bryant and drummer Marcus Finnie.
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Tucker’s evocative new project provides needed catharsis in a post-pandemic world with emphasis on self-reflection, mental wellness and, ultimately, healing. “It’s my hope that the songs would speak to others who are experiencing similar things,” Tucker said. “The TikTok platform is unique in that it has given me the opportunity to reach hundreds of thousands of people numbers that are almost unheard of in the jazz world.” Tucker also acknowledged that her expansive and comprehensive social media reach has the power to reach a much broader audience, including young listeners. “I feel uniquely positioned to connect with people who rarely listen to jazz. When they’ve experienced my social commentary or my satirical videos, and suddenly find out I’m a singer, it sparks their curiosity, and oftentimes, they want to hear more.”
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Tucker’s striking compositions are equal parts contemplation and commentary – an approach that has been integral to her artistry well before her social media stardom. One of the highlights of her previous album Dreams of Waking: Music For a Better World (2021, Green Hill) was “Do We Sleep?”, a thought-provoking, musical response to the killings of George Floyd and Breonna Taylor, which received praise by American Songwriter. On her self-titled, Tucker ups the ante by presenting six finely-wrought original compositions that undoubtedly elevates her standing as a premier contemporary songwriter in the jazz space.
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Of the original compositions, highlights include the album opener “Scars” (and the closing reprise), which is a reminder that past hurts can be instructive and “Falling”, a floaty reflection on the passing of time from the point of view of a loved one who has moved on. The groovy “If You Ask Me To” is a fun, upbeat tune that Tucker wrote on a dare and features the punchy horns of trumpeter Giveton Gelin and saxophonists John Ellis and Stacy Dillard.
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A truly multifaceted artist, Tucker displays her mastery at reconfiguring works by others as well. She takes on the emotional Billie Eilish hit “Everything I Wanted” with the empathetic accompaniment of Parks, Archer and Finnie, making it her own with every note. Often used as a concert closer during her live shows, Tucker soars on the traditional roots-gospel hymn “Just A Closer Walk With Thee”, recase here in a buoyant, New Orleans second-line feel.
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As evidenced on Dara Starr Tucker, the Philadelphia-based musician is making her mark in the world of organic, heartfelt music by blending the melodic and lyrical richness of the central plains with the soulful strains of the Black American experience. Her eclecticism is guided by the diversity of her narrative. Born in Tulsa, Oklahoma to a family of singers and ministers, Tucker and her siblings traveled across the U.S. singing with their parents.
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From there, Tucker has experienced a diverse array of locales that she has called home including Interlaken, Switzerland; Nashville, Tennessee, New York City and now Philadelphia, Pennsylvania. Tucker is an alumna of The Woodshed Network, sponsored by 651 Arts and founded by NEA Jazz Master Dee Dee Bridgewater. Tucker has toured with her own bands and also with renowned hybrid guitarist Charlie Hunter. In 2020, she teamed up with blues & Americana artist Keb Mo’ to co-write the title track to his GRAMMY-winning Best Americana Album, Oklahoma. She has appeared on NPR’s Jazz Night in America and made her national television debut on The Tavis Smiley Show on PBS. Tucker’s 2021 album, Dreams of Waking: Music For A Better World reached #7 on the JazzWeek National Radio Charts. Her newest album is recorded by GRAMMY-winning engineer Mike Marciano and produced by Greg Bryant.
https://lydialiebman.com/index.php/2023/04/04/new-release-dara-starr-tucker-to-release-self-titled-sixth-album-on-june-3-2023-green-hill-music/

“My desire is that people would sense a unity between the content I share online, and the music I make it all comes from the same place,” Tucker shared.

Dara Starr Tucker

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Bobby Sanabria Multiverse Big Band - Vox Humana

Styles: Jazz, Big Band
Year: 2023
File: MP3@320K/s
Time: 84:12
Size: 194,8 MB
Art: Front

( 7:09) 1. Caravan
( 7:18) 2. Capullito De Aleli
( 8:26) 3. Puerto Rico
( 7:24) 4. Partido Alto
( 3:46) 5. Let The Good Times Roll
( 5:56) 6. Who Taught You That
( 5:26) 7. I Love You Porgy
( 4:42) 8. Genie In A Bottle
( 5:44) 9. Amazonas
( 5:40) 10. Spooky
( 4:22) 11. To Be With You
( 5:46) 12. Do It Again
(12:27) 13. Mi Congo

The opening track on Vox Humana could easily have been the encore of this live performance recorded at Dizzy's Club Coca Cola, part of Jazz At Lincoln Center in New York City. It is a rousing version of the Duke Ellington crowd pleaser "Caravan" and a boisterous Latin tinged big band version it is, with Matthew Gonzalez 's barril de bomba and requinto pandereta, bandleader and drummer Sanabria and others on congas, bongos and bells prominently leading the percussionists and portending the unfettered upbeat joy to come.

It might help with the lyrics, but you don't have to speak Spanish to understand this music because melody, rhythm and music are universally understood forms of communication and the top notch performances by vocalists and instrumental soloists express it so wonderfully in these songs. The second track, "Capullito De Aleli," is another stand out cut, and features vocals by Jennifer Jade Ledesna as well as great solos by pianist Darwin Noguera and Andrew Gould on alto sax.

The good-time music continues on track five with Antoinette Montague singing the 1946 Louis Jordan hit "Let The Good Times Roll" featuring Armando Vergara on the trombone with plunger mute. Then a couple of tracks later the tempo slows a bit with Montague again singing the Gershwins' "I Love You Porgy."

On the tenth track vocalist Janis Siegel of the The Manhattan Transfer steps up front with a great version of "Spooky" featuring some fine scat vocals. A couple of cuts later she sings the Steely Dan hit "Do It Again" along with Ledesna and Montague joining in, and Noah Bless on trombone and Gabrielle Garo on flute.

While the intention of this album seems to be to feature vocalists, the instrumental soloists and the big band as a whole all shine with tight arrangements and inspired solos. The final track, "Mi Congo," shows us this with violinist Benjamin Sutin starting an array of solos including trumpets and saxophones and percussionists.

In 2023 it may be hard to imagine a time when jazz music was a mainstream popular music, where people would go to clubs, concert venues and dance halls to dance and party. This album recalls those times with updated arrangements and perfect execution.By Cary Tenenbaum https://www.allaboutjazz.com/vox-humana-bobby-sanabria-jazzheads

Vox Humana

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Stanley Jordan - Relaxing Music For Difficult Situations, I

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 63:51
Size: 146,2 MB
Art: Front

(63:51) 1. Relaxing Music For Difficult Situations, I

Stanley Jordan's discovery in the early '80s rightfully earned a lot of headlines in the jazz world as he came up with a new way of playing guitar. Although he was not the first to use tapping, Jordan's extensive expertise gave him the ability to play two completely independent lines on the guitar (as if it were a keyboard) or, when he wanted, two guitars at a time. He had originally studied piano, although he switched to guitar when he was 11.

After graduating from Princeton in 1981, Jordan played for a time on the streets of New York. Soon he was discovered, had the opportunity to play with Benny Carter and Dizzy Gillespie, and, after recording a solo album for his own Tangent label, signed with Blue Note. Since then, his career has been surprisingly aimless. Stanley Jordan can play amazing jazz, but he often wastes his talent on lesser material, so one has to be picky in deciding which of his recordings to acquire.

Among his many albums are 1985's Magic Touch, 1986's Standards, Vol. 1, 1990's Stolen Moments, 1994's Bolero, 2003's Dreams of Peace, and 2008's State of Nature. In 2011, Jordan was joined by an all-star lineup featuring saxophonist Kenny Garrett, trumpeter Nicholas Payton, bassist Christian McBride, and drummer Kenwood Dennard for the album Friends. In 2015, Jordan paired up with fellow guitarist Kevin Eubanks for the eclectic, laid-back covers album Duets, which also showcased his piano skills.
By Scott Yanow https://www.allmusic.com/artist/stanley-jordan-mn0000011910#biography

"Music is neurologically processed on different levels," explains Karen Goodman, director of the nearly 40-year-old music therapy program at Montclair State University.

Because music can be processed by several parts of the brain, it can be used as a therapeutic tool, reaching areas of the brain that speech cannot. ("Music begins where words end," as Goethe also noted, long before brain imaging proved him right.)

But what about everyday applications? If music is effective in clinical settings, might it also help you figure out your next step in a crisis or coax your body into action in the midst of despair?

Guitarist Stanley Jordan is among those who believes it can. Several years ago, Jordan sat down with his guitar and played for more than an hour to deal with his anxiety before undergoing extensive dental work.

The result was "Relaxing Music for Difficult Situations," a CD he produced independently while taking a break from the commercial music scene.

"I did this one recording for myself because I had to relax before going to the dentist," Jordan said during a recent telephone interview from his home in Sedona, Ariz. "I had to go for three days of dental work, so I needed something really powerful."

But rather than hearing nervous anxiety in his music, Jordan heard melancholy. "I realized that I was sad because I was disappointed in myself," he said. "The fact that I was having problems with my teeth made it evident that I wasn't really loving myself and taking care of myself."

His music, he said, helped him see the problem in a different light.

https://www.nj.com/homegarden/entertaining/2008/09/guitarist_stanley_jordan_offer.html

Relaxing Music For Difficult Situations, I

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Anna Margolina - One Endless Night

Styles: Vocal Jazz
Year: 2023
File: MP3@320K/s
Time: 44:05
Size: 101,6 MB
Art: Front

(5:45) 1. One Endless Night
(5:04) 2. Mirror Of Me
(5:03) 3. Motherless Child (Feat. Lisa Buchholz)
(5:57) 4. Shadows And Light (Feat. Lisa Buchholz)
(5:52) 5. Cold Waters
(4:32) 6. Life As A Lie
(5:56) 7. Hiding
(5:53) 8. Chaos And I

Anna Margolina’s debut album, One Endless Night, was released under the XJAZZ!Music label in June 2023 is an auditory journey that encapsulates the emotions and experiences of her immigration from Minsk to Berlin. As a work of exquisite musical storytelling, it portrays Margolina’s unique life trajectory through a mélange of captivating jazz compositions

Margolina, already an accomplished performer in her own right with the “Andrej Hermlin Swing Dance Orchestra” and the ensemble “Kaminer & Die Antikörper,” channels her remarkable singing into this heartfelt musical narrative. Known for her versatile range and emotive delivery, her performance on this album is no less impressive. Her voice warm, ethereal, and pulsating with a phenomenal sense of rhythm forms the cornerstone of this musical odyssey.

Balancing traditional Western jazz elements with her European sensibilities, Margolina’s album is an unlikely piece of cross-cultural fusion. “Hiding” has a modern jazz aesthetic that would be enjoyed by any Western modern jazz fan. While “Shadows and Light” is accentuated by an uncanny suggestiveness and flows with an evident European sensibility. The album embraces the improvisational freedom characteristic of both jazz hemispheres while still maintaining a contemporary sound that firmly situates it in the present.

The album’s narrative journey is further underscored by the innovative compositions and arrangements by Conor Cantrell, a fellow world wanderer. Margolina’s powerful vocals are supported by an ensemble of talented musicians, including Kenneth Berkel on piano, Lisa Buchholz on the flugelhorn, Hendrik Nehls on bass, and David Guy on drums. Their synergy breathes life into Cantrell’s compositions, effectively carrying the listener through the highs and lows of Margolina’s life story.

From the melancholic introspection of “Motherless Child” to the climactic resolution of “Chaos and I,” each of the eight tracks in One Endless Night is a chapter in Margolina’s immigration story. While the compositions explore various themes like loneliness, identity search, and personal confrontations, they also depict the liberating kindness of strangers and the hopeful resolution of arrival.

Though not without its somber moments, One Endless Night presents a balanced, primarily positive exploration of Margolina’s immigration experience. Its thematic strength, combined with Margolina’s compelling vocal performance and the accompanying musicians’ skilled improvisation, make it an album worth experiencing.

One Endless Night is an engaging confluence of Western and European jazz elements, delivering a contemporary sound that pushes the boundaries of the genre. Its melodies, deeply rooted in the narrative of Margolina’s journey, add an extra layer of depth to the album, making it a compelling listen for fans of both jazz and storytelling.

One Endless Night is an emotive, rhythmically charged debut album that bridges the divide between Western and European jazz with unerring grace and musical aplomb. Margolina’s versatile talent is a shining beacon throughout the project. This album is not solely a source of entertainment—it aspires to enlighten, stir, and reverberate within its audience, drawing them into Margolina’s exquisitely depicted voyage of emigration. The music also presents a narrative that elegantly pushes exploration, providing a profoundly moving sonic experience that traverses new terrains and skillfully weaves together the distinct attributes of European and Western jazz.https://thejazzword.com/2023/06/anna-margolina-one-endless-night-review/

One Endless Night

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Chet Baker - 'Round Midnight (Live In Cologne)

Styles: Vocal And Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 46:21
Size: 106,4 MB
Art: Front

( 7:00) 1. Prayer For The Newborn
( 8:09) 2. My Ideal
( 7:07) 3. Lady Bird
( 9:30) 4. 'Round Midnight
(14:33) 5. Beatrice

On May 21 and 23 of 1981, trumpeter Chet Baker performed at the Salt Peanuts Club in Cologne, Germany. Backing him were Jon Eardley (fhrn), Bob Mover (as), Dennis Luxion (p), Rocky Knauer (b) and Burkhart Ruckert (d, only on the first three tracks). Now Germany's Circle Records has released a streaming remaster of the performance on 'Round Midnight: Chet Baker Live in Cologne, culled from the gigs. Mark Wingfield did an incredible job on the remastering.

Rudolf Kreis, who founded Circle in 1976, recorded the performances in Cologne, where the label was located at the time. He knew the club's owner, Christoph Höver. The recording was first released in 1982 on vinyl.

The album openswith Prayer for the Newborn, a gorgeous composition by Luxion that features Baker, Eardley and Mover playing off each other. The standard My Ideal follows, with a reedy vocal by Baker. Tadd Dameron's Lady Bird is next. The next two songs Thelonious Monk's 'Round Midnight and Sam Rivers's Beatrice were recorded without drums.

What's notable about this album is its gentle, hammock-like quality. Baker and Eardley are gorgeous together and richly laid back, whether playing in unison or when one is playing lead and the other is on harmony. Add Mover on alto saxophone and you can hear the Pacific Coast.

I can't remember the last time I heard an album this beautiful that moved so cat-like. Quite remarkable. The microphones caught the horns clearly, the piano is a bit less pronounced, the bass even less so and the drums could have been across the street. Nonetheless, it's one of the best Baker albums I've heard in some time. The poetic playing is touching and enveloping. Chet Baker died in 1988; Jon Eardley died in 1991. By Marc Myers
https://www.allaboutjazz.com/news/chet-baker-and-jon-eardley-in-cologne/

Personnel: Trumpet, Vocals – Chet Baker; Alto Saxophone – Bob Mover; Double Bass – Rocky Knauer; Drums – Burkhart Ruckert ; Flugelhorn – Jon Eardley; Piano – Dennis Luxion

'Round Midnight (Live In Cologne)

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Barney Kessel - Hard to Hide

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 91:18
Size: 213,0 MB
Art: Front

(2:51)  1. Body and Soul
(2:57)  2. Cheeta's for Two
(4:19)  3. Some Like It Hot
(3:15)  4. Lullaby of Birdland
(7:08)  5. New Rhumba
(3:23)  6. Tea for Two
(2:32)  7. East of the Sun (And West of the Moon)
(4:21)  8. Brasilia
(3:43)  9. All for You
(3:42) 10. I've Grown Accustomed to Her Face
(3:59) 11. Happy Feeling
(4:35) 12. Forward Blues
(2:16) 13. El Tigre
(5:50) 14. Summertime
(3:51) 15. Time Will Tell
(4:35) 16. Passeone Blues
(3:22) 17. The Cobra
(3:55) 18. The Blues
(3:57) 19. Moten Swing
(2:33) 20. Perdido
(2:47) 21. String of Pearls
(2:58) 22. Backward Blues
(3:50) 23. A Woman of Stature
(4:27) 24. The Twister

One of the finest guitarists to emerge after the death of Charlie Christian, Barney Kessel was a reliable bop soloist throughout his career. He played with a big band fronted by Chico Marx (1943), was fortunate enough to appear in the classic jazz short Jammin' the Blues (1944), and then worked with the big bands of Charlie Barnet (1944-1945) and Artie Shaw (1945); he also recorded with Shaw's Gramercy Five. Kessel became a busy studio musician in Los Angeles, but was always in demand for jazz records. He toured with the Oscar Peterson Trio for one year (1952-1953) and then, starting in 1953, led an impressive series of records for Contemporary that lasted until 1961 (including several with Ray Brown and Shelly Manne in a trio accurately called the Poll Winners).

After touring Europe with George Wein's Newport All-Stars (1968), Kessel lived in London for a time (1969-1970). In 1973, he began touring and recording with the Great Guitars, a group also including Herb Ellis and Charlie Byrd. A serious stroke in 1992 put Barney Kessel permanently out of action, but many of his records (which include dates for Onyx, Black Lion, Sonet, and Concord, in addition to many of the Contemporaries) are available, along with several video collections put out by Vestapol. Kessel was diagnosed with inoperable cancer in 2001, which eventually took his life in May of 2004. He was 80 years old. ~ Scott Yanow https://www.allmusic.com/artist/barney-kessel-mn0000784527/biography

Hard to Hide

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Amanda Ginsburg, Andy Fite - Everybody Loves You

Styles: Vocal And Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 52:00
Size: 120,3 MB
Art: Front

(4:29) 1. Polite
(3:09) 2. You Were Mine
(2:41) 3. Everybody Loves You
(3:47) 4. When I Tell You You’re Beautiful
(5:07) 5. Stupid Bastard
(4:48) 6. Hey, Listen Everybody!
(4:47) 7. Darn That Dream And Lover Come Back To Me
(3:05) 8. Isn’t It A Lovely Night?
(3:19) 9. Have You Met Camilla?
(2:41) 10. Maybe Once You’ll Let Me Win
(5:03) 11. What’s On Your Mind?
(3:25) 12. Romans På Distans
(5:33) 13. I Don’t Mind About The Blues

A young Swedish star and a veteran New York jazzman team up on a collection of new songs expressing hope, longing, sympathy, sensuality, impatience, fighting, bitter regret, secrecy and sweet romance. Singer Amanda Ginsburg, born and raised in Stockholm, has captured a wide audience since her album debut in 2018. That album won a Swedish Grammy the following year in the category Best Jazz Album. In 2020 she released her second album which again won for Best Jazz in 2021.

She sings like an angel, with the tantalizing combination of innocence and wisdom that the word implies. Andy Fite came to Sweden from New York City in 1994. He is a highly regarded jazz guitarist, singer and songwriter with over 900 songs written and 56 albums released. The duo features sweet harmony, interplay, some wild improvising and a lot of humor. By Editorial Reviews https://www.amazon.com/Fite-Ginsburg-Everybody-Loves-You/dp/B0C54KF4JS

Everybody Loves You

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Bob Dorough & Bill Takas - Beginning to See the Light

Styles: Vocal And Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 45:58
Size: 105,9 MB
Art: Front

(2:39) 1. Simon Smith and the Dancing Bear
(5:48) 2. Better Than Anything
(6:58) 3. I'm Beginning to See the Light
(5:25) 4. A Hundred Years from Today
(2:53) 5. I'm Hip
(4:44) 6. Nothing Like You
(3:41) 7. Small Day Tomorrow
(4:52) 8. Norwegian Wood
(3:51) 9. Because We're Kids
(5:01) 10. I've Got Just About Everything

This CD reissue from Bob Dorough's label Laissez-Faire reissues a 1976 appearance at Concerts by the Sea. The pianist-vocalist performs duets with bassist Bill Takas that range from a couple of children's songs ("Simon Smith and the Dancing Bear" and Dr. Seuss' "Because We're Kids") to remakes of such "hits" as "Better than anything," "I'm Hip" and "I've Got Just About Everything." In general this concert gives one a good all-round picture of Dorough's singing and piano talents; an acquired taste that is worth developing. By Scott Yanow
https://www.allmusic.com/album/beginning-to-see-the-light-mw0000964246


Personnel: Bass – Bill Takas; Piano, Vocals – Bob Dorough

Beginning to See the Light

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Stacey Kent - Summer Me, Winter Me

Styles: Vocal Jazz
Year: 2023
File: MP3@320K/s
Time: 51:50
Size: 119,5 MB
Art: Front

(5:05) 1. Summer Me, Winter Me
(4:25) 2. La valse des lilas
(5:09) 3. Thinking About the Rain
(4:21) 4. Under Paris Skies
(4:55) 5. If You Go Away
(3:52) 6. Happy Talk
(3:19) 7. Show Me
(5:02) 8. Postcard Lovers
(5:50) 9. Corcovado
(5:12) 10. A Song That Isn't Finished Yet
(4:35) 11. Ne me quitte pas

With her album sales measured in millions, Stacey Kent is one of the great success stories in modern jazz. Her multi-lingual abilities allow her to record in various languages and she has appeared in over fifty countries. Her appeal is global and it is her vocal ability which has taken her to these heights. Her voice is light but commands attention with her ability to engage and communicate the narratives of love and regret, often in a simple and minimalist manner.

This album came about as a result of the material used in her live sets. Often that material had not been formally recorded. In response to audience requests, those songs have been arranged and recorded on Summer Me, Winter Me.

The album includes two original songs written by Cliff Goldmacher and Kent's husband, Jim Tomlinson. Tomlinson also arranged all the tracks as well as playing tenor saxophone, flutes, clarinet, percussion and keyboards. The rest of the tracks are jazz standards with the exception of one track which has lyrics by Nobel Prize-winning author, Kazuo Ishiguro. The album was recorded over three sessions with different piano, bass and drum trios. There is also a string quartet on one track.

Of the original songs, the stand-out is "Thinking About the Rain." Kent's phrasing and vocal clarity all suit the narrative perfectly. There is consummate support from Tomlinson's flute with neat prompting from drummer Anthony Pinciotti. Another high point comes with the bittersweet ballad "Postcard Lovers" which has lyrics by Ishiguro and previously appeared on the live album, Dreamer In Concert (Blue Note, 2012). Tomlinson effectively revises his original music to enhance the song.

Surprisingly, there are two versions of the same song by Jacques Brel, but with different arrangements and in different languages. The original French version of "Ne me quitte pas" is stark and sad, the English version, "If You Go Away," a little lighter with the string quartet in the background. In contrast and regardless of whether it is familiar from the version by Ella Fitzgerald, Captain Sensible or Bloody Mary, "Happy Talk" is light-hearted, upbeat and fun with a sax solo from Tomlinson. Elsewhere there are songs composed by Michel Legrand, Lerner & Loewe, Rodgers & Hammerstein and others.

There is no unnecessary adornment to these songs yet they create the perfect ambience for Kent to deliver her delicate interpretations. Her voice has effortless swing and finds warmth and compassion in every track. The musicians show restraint and perform to highlight Kent's vocal. The album offers a great deal to enjoy and her success story goes from strength to strength.By Neil Duggan https://www.allaboutjazz.com/summer-me-winter-me-stacey-kent-naive

Summer Me, Winter Me

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Chris Botti - Vol. 1

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 47:03
Size: 108,4 MB
Art: Front

(2:50) 1. Danny Boy
(5:16) 2. Bewitched, Bothered and Bewildered
(3:52) 3. Two For The Road
(4:17) 4. Paris
(3:25) 5. Blue In Green
(4:42) 6. Someday My Prince Will Come
(6:23) 7. Time On My Hands
(6:11) 8. My Funny Valentine
(4:13) 9. Fix You
(5:50) 10. Old Folks

Chris Botti has a beautiful tone. His trumpet is clear, warm and caring, particularly on slow tunes. He has been recording since 1979, and his first album as a leader, First Wish, was recorded in 1995. Along the way, he has performed and recorded with jazz stars as well as Lady Gaga, Sting, Paul Simon and Joni Mitchell, among others. His new album Vol. 1 (Blue Note) is a cozy collection of ballads.

Produced by David Foster, Vol. 1 features performances by violinist Joshua Bell, pianist Taylor Eigsti, guitarist Gilad Hekselman, drummer Vinnie Colaiuta, and others. The tracks are Danny Boy; Bewitched, Bothered and Bewildered; Two for the Road, Paris (with John Splithoff on vocal), Blue in Green, Time on My Hands, My Funny Valentine, Coldplay's Fix You and Old Folks.

A few weeks ago, I had a 50-minute Zoom with Chris for my WSJ “House Call" column. Chris lives in Thermal, Calif., at the Thermal Club, a private residential community that sits on a motorsport track. Chris own three sport cars a Porsche GT4 RS, a Porsche GT4 with a DeMan 4.5-liter engine, and a McLaren 720S.

He loves driving fast, without the fear of traffic or police stops. For Chris, though, the cars and track aren't really about speed. As he confessed to me, he simply loves the sound of the engines running hard, which he likened to “an exhilarating symphony."

What you'll love about his new album is the far off, ruminating sound of his horn. It's of the season, when we prepare to spend more time indoors and think back in time, remembering events, friends and family. Growing up, Chris enjoyed being solitary and worked hard at young ago to play the cornet and then the trumpet. Hanging out just wasn't of interest to him.

His early inspirations were Doc Severinsen and then Miles Davis, during the trumpeter's pre-fusion years. As Chris siad, “Unlike other trumpeters, Miles’s sound was tender, dark and nocturnal. There was a human quality about it."

The recording that first hooked Chris on the trumpet was the theme from Brian's Song, a 1971 TV movie, as played by Severinsen on Henry Mancini and Doc Severinsen: Brass on Ivory. Here it is...

Here's two hour of Chris with Ben Butler on guitar, Caroline Campbell on violin, Sy Smith and Jo Lawry on vocals, Abdelrhani Krija on percussion, Richard Goods on bass, Ben Stivers on keyboards, Lee Pearson II on drums, Geoffrey Keezer on piano and Sting on vocals and bass...By Marc Myers https://www.allaboutjazz.com/news/chris-bottis-new-album-vol-1/

Vol. 1

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The Ruby Braff, George Barney Quartet - To Fred Astaire, With Love

Styles: Trumpet And Guitar Jazz

Year: 1975

File: MP3@320K/s

Time: 24:59

Size: 60,1 MB

Art: Front

(2:22)  1. Cheek To Cheek

(3:46)  2. They Can't Take That Away From Me

(2:16)  3. Easter Parade

(2:04)  4. A Shine On Your Shoes

(2:25)  5. I'm Putting All My Eggs In One Basket

(2:26)  6. They All Laughed

(2:25)  7. Be Careful, It's My Heart

(2:22)  8. I'm Old Fashioned

(2:37)  9. Isn't It A Lovely Day To Be Caught In The Rain?

(2:12) 10. Top Hat, White Tie And Tails

The final recorded collaboration between cornetist Ruby Braff and guitarist George Barnes (in a quartet with rhythm guitarist Wayne Wright and bassist Michael Moore) features concise versions of ten songs (all but one is under three minutes) introduced in the 1930s by Fred Astaire. Although this LP is not essential, the arrangements make the veteran standards (which include "Cheek to Cheek," "They Can't Take That Away from Me," "A Shine on Your Shoes" and "They All Laughed") sound fresh and lively. Astaire himself approved of the project. ~ Scott Yanow  http://www.allmusic.com/album/to-fred-astaire-with-love-mw0000873193

Personnel: George Barnes (guitar); Ruby Braff (trumpet); Wayne Wright (guitar).

To Fred Astaire, With Love

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Rock4 - Abbey Road

Styles: Vocal Pop
Year: 2017
Time: 48:03
File: MP3 @ 320K/s
Size: 112,0 MB
Art: Front

(5:46) 1. Come Together
(3:10) 2. Something
(3:01) 3. Maxwell's Silver Hammer
(3:32) 4. Oh! Darling
(2:59) 5. Octopus's Garden
(7:06) 6. I Want You (She's so Heavy)
(2:55) 7. Here Comes the Sun
(2:54) 8. Because
(4:07) 9. You Never Give Me Your Money
(2:28) 10. Sun King
(1:04) 11. Mean Mr. Mustard
(1:20) 12. Polythene Pam
(1:53) 13. She Came in Through the Bathroom Window
(1:31) 14. Golden Slumbers
(1:37) 15. Carry That Weight
(2:11) 16. The End
(0:21) 17. Her Majesty

Are you excited about a new, high quality Beatles tribute album? You will probably like Rock4's Abbey Road. Are you indifferent to The Beatles yet open to a covers album if it's done well? You also will probably like this Abbey Road. But if you don't like songs by The Beatles, I'm not sure this release is compelling enough to change your mind.

For this review to make sense, you should know that I am mostly a category two person with a splash of category three, enough so that I didn't immediately realize this is a track-for-track cover of The Beatles' last four-man studio album. And I didn't really have time to catch up to the rest of the classic rock world by learning the original record inside and out, so you'll have to take my face value impressions at face value.

The opening track, Come Together, is a contender for world's best rock song, is definitely my favorite Beatles song, and is also the one track that gets an obviously less-than-conventional cover. Rock4 chose to transform it into an Enigma-style mashup with techno Gregorian chant. This was a mistake. I, personally, am exactly the target audience for a cappella techno-fied Gregorian chant. I do not want it mixed in with The Beatles. Nor do I want one of the few Beatles songs I actively like to be anything other than the rocker it is.

Further down the road (heh) things seem to straighten out, at least as much as The Beatles intended. Something is straight up and very nice for what it is. Because, an a cappella staple going back to The Nylons, does what it says on the tin and the two Sun songs are arranged with pleasing echos. Octopus's Garden, in addition to being a terrible song, is also the weirdest listen because of the way Rock4 sings the word "garden". It's just a smidge too Germanic (sorry, I know you're Dutch but there it is) to get past my ears. Otherwise, the English is just as good as the singing, which is to say really quite nice overall.

Moving on, I really like the unisons on Carry That Weight. Probably my favorite song on this disc, and one of the most charismatic. I also enjoy the duo of Mean Mr. Mustard and Polythene Pam Rock4 keeps it light and gives the latter a heavy dose of Sympathy For the Devil-style "whoo-whoo"s. I am not going to wade into The Beatles vs. Stones abyss, but a few things stand out too much to avoid.

All this is to say that Abbey Road is an ambitious project that makes good on its promise. If that appeals to you, you'll have a good time.https://www.rarb.org/reviews/albums/1682-abbey-road/

Abbey Road

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Olivia Van Goor - Don't Be Mad At Me

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 30:23
Size: 70,0 MB
Art: Front

(4:57) 1. Over The Rainbow
(3:25) 2. Shulie A Bop
(3:57) 3. Sweetness
(4:33) 4. I Can Tell (Feat. Josie Ala)
(4:11) 5. Nature Boy
(5:54) 6. God Bless The Child (Feat. James Hughes)
(3:24) 7. Almost Like Being In Love (Feat. Sam Corey)

Olivia is a young performer with an old soul influenced by swing and bebop jazz from the mid-20th century. Music is undeniably a part of her identity, her voice being the instrument she communicates with. She draws from the Great American Songbook and other jazz standards in a way that is beyond replicating what has already been done before. Each and every performance and recording exemplifies a rich understanding and musicality that is uniquely her own while still paying tribute to jazz tradition and the ones who created it.
https://www.last.fm/music/Olivia+Van+Goor/+wiki

Personnel: Olivia Van Goor - Voice; Adam Mosley - Piano; Samuel Chase Harris - Bass; David Zwolinski - Drums; Josie Ala - Trumpet (Track 4); James Hughes - Saxophone (Track 6); Sam Corey - Saxophone (Track 7)

Don't Be Mad At Me

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