Jack McDuff - Hallelujah Time!

Styles: Soul Jazz
Year: 1967
Time: 30:24
File: MP3 @ 320K/s
Size: 61,4 MB
Art: Front

(5:44) 1. Almost Like Being In Love
(5:14) 2. East of the Sun
(3:18) 3. Au Privave
(8:03) 4. Undecided
(3:49) 5. Hallelujah Time
(4:14) 6. The Live People

A killer 60s album from Brother Jack McDuff cut at a time when he was one of the most hard-hitting players on the Hammond! The set has a great lineup Red Holloway plays tenor on all cuts, except for "The Live People", which features him and Harold Ousley playing back to back and Joe Dukes is on drums throughout, and the guitar parts are handled by Pat Martino and George Benson all players who really take off under the leadership of McDuff! Cuts include "Au Private", "East of the Sun", "The Live People", and "Hallelujah Time"
© 1996-2024, Dusty Groove, Inc.https://www.dustygroove.com/item/7978/Jack-McDuff:Hallelujah-Time

Personnel: Jack McDuff - organ; Red Holloway (tracks 1-5), Harold Ousley (track 6) - tenor saxophone; George Benson (tracks 2-5), Pat Martino (tracks 1 & 6) - guitar; Joe Dukes - drums

Hallelujah Time!

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Blossom Dearie - Blossom Time at Ronnie Scott's

Styles: Vocal And Piano Jazz
Year: 1966
Time: 41:24
File: MP3 @ 320K/s
Size: 94,8 MB
Art: Front

(3:55) 1. On Broadway
(4:20) 2. When the World Was Young
(4:45) 3. When in Rome
(4:13) 4. The Shadow of Your Smile
(4:28) 5. Everything I've Got Belongs to You
(3:51) 6. Once Upon a Summertime
(2:48) 7. I'm Hip
(5:05) 8. Mad About the Boy
(2:42) 9. The Shape of Things
(5:13) 10. Satin Doll

Several years ago Blossom Dearie said that of all her recordings, this on-location session from 1966 was her personal favorite. Although artists are notoriously unreliable critics of their own work, it's hard to quarrel with the singer/pianist's preference given the evidence on this reissue. Anyone who has yet to discover the inimitable, Lolita-like voice of this worldly-wise, genuinely hip, surprisingly versatile performer can be assured of making her acquaintance under optimal musical circumstances.

Even devoted fans seem unaware of the girlish-sounding singer's past travels. After performing with Woody Herman as a member of a vocal group, the Blue Flames, she appeared on King Pleasure's quasi-classic recording of "Moody's Mood for Love," made an album limited to piano solos, went to Paris to form a new vocal group, the Blue Stars, and produced a hit recording (in French) of "Lullaby of Birdland." Next, Norman Granz contracted her for Verve records, and she married the highly-regarded Belgian tenor saxophonist/flutist Bobby Jaspar. But her run at Ronnie Scott's in London in 1966 was what cemented her place as a premier cabaret-supper club attraction.

The set gets underway with a rhythmically complex yet feathery-light, smooth-as-glass treatment of "On Broadway," where Dearie and bassist Jeff Clyne half-time the challenging vocal line before catching up with drummer Johnny Butts' crisp brush work on the instrumental chorus. An exquisite ballad, "When the World Was Young," follows immediately half elegiac recitative and half warm, nostalgic reverie with an interpretation by the vocalist that's a trifle sadder but no less wiser than Peggy Lee's memorable version on Black Coffee (Decca, 1953).

Listeners who think they know Cy Coleman's "When in Rome" because of the first Tony Bennett/Bill Evans meeting will discover there are many sides to the Eternal City which, as Dearie's reading of the song suggests, is equal parts humor, sadness and undeniable drama. The range of emotions in the pianist's understated singing stems from two primary sources: first, scaled-down textures that permit the tiniest sliver of light to illuminate an entire scene; and second, the ironies set in play by a guileless, innocent little voice that can afford to ignore adult inhibitions and conventions. There's rarely a hint of torchiness, sultriness or even seductiveness here: she's all candor and refreshing clarity, leaving it to the listener to supply any ironical subtexts.

The singer can take on "I'm Hip," a Frishberg/Dorough parody of countercultural self-congratulation, without regendering lines like "I even read Playboy magazine," "I even call my girlfriend 'Man'" and "I don't wear a beard." Whatever you choose to call it hipness, honesty, objectivity that's Blossom Dearie, too faithful to her material to be an "act, too detached from its emotions to be merely sincere, too unselfconscious, really, to be one of the cultural elite's pop "sophisticates.

Among musicians it's become debatable over the years whether Ellington/Strayhorn's "Satin Doll" is a song or a cliché. When Blossom Dearie closes the set with this tune, it's a composition reborn, but played and sung with such disarming innocence and unflinching directness that even the most jaded listener couldn't be blamed for pronouncing it the best new song of the present millennium.By Samuel Chell
https://www.allaboutjazz.com/blossom-time-at-ronnie-scotts-blossom-dearie-verve-music-group-review-by-samuel-chell

Blossom Time at Ronnie Scott's

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Joe La Barbera - World Travelers

Styles: Jazz, Bop
Year: 2024
Time: 74:20
File: MP3 @ 320K/s
Size: 170,8 MB
Art: Front

( 9:50) 1. Blue Notes
( 5:24) 2. Landmarks Along The Way
(10:09) 3. Lake Erie
( 7:24) 4. Barcelona
( 6:43) 5. You Know I Care
( 5:15) 6. It's a Big Wide Wonderful Word
(10:43) 7. Simone
( 9:12) 8. Soultrane
( 9:35) 9. Grand Central

Drummer Joe La Barbera has an extensive and impressive resume. At the age of 20, he played in the second drum chair for the Buddy Rich Big Band before driving the 1972 stellar lineup of Woody Herman's Thundering Herd. In 1978, he was offered the prestigious opportunity to be part of the acclaimed (and what turned out to be the final) line-up of the Bill Evans Trio, where he stayed until the pianist's tragic death in 1980. Later, gigs with Chuck Mangione, Tony Bennett, Art Pepper and Art Farmer, to name but a few, showcased La Barbera's versatility and ability to play in any style, and to steer and complement whatever the leader's vision called for.

Afterwards he settled in Los Angeles and became an in-demand freelancer. In the '90s he formed his own quintet with local friends, trumpeter Clay Jenkins, saxophonist Bob Sheppard and pianist Bill Cunliffe, all of whom have extensive and impressive resumes as well.. Each had stints in big band settings, offering a great understanding of the subtle importance of a song's arrangement. Bassist Jonathan Richards (who replaced founding member Tom Warrington), by far the youngster in the band, is a great find and fits perfectly. This tight-knit group has been (in between occasional side gigs) mainly active ever since. Their debut release was The Joe La Barbera Quintet Live (Jazz Compass, 1999). World Travelers is the group's fifth release.and their first since Silver Streams (Jazz Compass, 2012).

This live record is the perfect vehicle to showcase the band's abilities, strengths and empathy with each other. Four newer originals open the record. Cunliffe's "Blue Notes" sets the table with the bass and drums setting a groove one can drive a truck (and sometimes a high performance sports car) through. It is a sultry bop piece which has twists and turns leading to some captivating duo leads and solos by the horns. The Joe Lovano-penned barn-burner "Landmarks Along the Way" also has an unconventional form, hinting at John Coltrane's "Giant Steps." The crowd's response at the song's end says it all.

La Barbera's original "Lake Erie" begins appropriately with a drum solo. Here, he shows in less than two minutes his prodigious ability and impeccable taste. The song then segues into an old-school Blue Note, Art Blakey-type performance. Pianist Alan Pasqua's composition "Barcelona" is a lovely bossa nova. The interplay and harmonies between Sheppard and Jenkins are simpatico. Sheppard shines on a lilting soprano saxophone (he plays tenor saxophone on all other tracks), while Jenkins' solo is beautifully thought out. It is simple, eloquent and lyrical. Richards shows he belongs with these masters during his break. Here and throughout the record, Cunliffe is the glue that holds everything together, while also showing off his impressive soloing skills.

The remaining cuts are five carefully selected songs which are familiar, but not quite standards. Pianist Duke Pearson's lovely ballad, "You Know I Care" features a sensitive Sheppard, while the other ballad, Tadd Dameron's "Soultrane," showcases Jenkins' expressive vocabulary. "Simone" by Frank Foster is perhaps the album's best-known piece. It is a minor-key blues waltz which includes a lovely bowed bass solo by Richards and a wonderful solo by Cunliffe reminiscent of McCoy Tyner.

The remaining two tracks are up-tempo jam fests. "It's a Big, Wide, Wonderful World" was written for a 1940 Broadway musical, while the classic John Coltrane tune, "Grand Central" is the set's closer. The former has a Latin-tinged intro before the familiar melody appears, while the latter stays true to the original. Both tracks allow all the players a chance to blow. Once again, the groove created by La Barbera and Richards is deep and foundational, allowing plenty of room for everyone to explore the compositions, utilizing their unique sensibilities.

The album was recorded live at the Los Angeles club, Sam First. Recently, the owners decided to start their own label and release albums recorded at their venue. Initially, all releases are digital only, followed later by a very Limited Edition (only 200) vinyl option. For example, the digital files for this album were released in February 2023, but the vinyl LP was released in August.

The Joe La Barbera Quintet comprises extraordinary players, but more than that, they are an experienced, well-oiled group where the whole is even greater than the sum of its talented parts. Put them in a live, intimate setting, with a wonderful mix of great originals and covers and the result is the front-runner for live jazz album of the year.By Dave Linn https://www.allaboutjazz.com/world-travelers-joe-la-barbera-sam-first-records

Line-up/Musicians: Joe La Barbera: drums; Bob Sheppard: saxophone, tenor; Clay Jenkins: trumpet; Bill Cunliffe: piano; Jonathan Richards: bass

World Travelers

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Ella Fitzgerald & Louis Armstrong - The Best Of Ella Fitzgerald & Louis Armstrong On Verve

Styles: Vocal
Year: 1997
Time: 68:04
File: MP3 @ 320K/s
Size: 155,8 MB
Art: Front

(4:14) 1.Let's Call The Whole Thing Off
(4:00) 2.Love Is Here To Stay
(5:42) 3.The Nearness Of You
(3:35) 4.Stars Fell On Alabama
(4:13) 5.Gee, Baby, Ain't I Good To You
(4:40) 6.They Can't Take That Away From Me
(5:59) 7.Autumn In New York
(5:01) 8.Summertime
(5:09) 9.Tenderly
(5:14) 10.Stompin' At The Savoy
(4:18) 11.Under A Blanket Of Blue
(4:38) 12 I Wants To Stay Here
(3:11) 13.I've Got My Love To Keep Me Warm
(4:54) 14.There's A Boat Dat's Leavin' Soon For New York
(3:09) 15.You Won't Be Satisfied (Until You Break My Heart)

The Best of Ella Fitzgerald & Louis Armstrong from Verve contains a selection of 15 duets the two jazz legends recorded for the label over the years.

Clearly, this set isn't of particular interest to hardcore collectors, since they'll already own much of the material, but as a sampler targeted at casual fans, this is quite nice indeed, since it contains such timeless classics as "Let's Call the Whole Thing Off," "Stars Fell on Alabama, " "Autumn in New York, " "Summertime," and "They Can't Take That Away from Me." By Stephen Thomas Erlewine
https://www.allmusic.com/album/the-best-of-ella-fitzgerald-and-louis-armstrong-on-verve-mw0000025726#review

Personnel: Bass – Dale Jones, Ray Brown; Clarinet – Edmond Hall; Drums – Barrett Deems, Buddy Rich, Louis Bellson; Guitar – Herb Ellis ; Piano – Billy Kyle, Oscar Peterson; Trombone – Trummy Young; Trumpet – Louis Armstrong; Vocals – Ella Fitzgerald, Louis Armstrong

The Best Of Ella Fitzgerald & Louis Armstrong On Verve

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Lee Wiley - The Dawn of Jazz - the Early Years of Lee Wiley (Remastered)

Styles: Vocal
Year: 2023
Time: 37:51
File: MP3 @ 320K/s
Size: 87,6 MB
Art: Front

(3:05) 1. A Hundred Years From Today
(2:05) 2. A Tree Was A Tree
(2:56) 3. You're An Old Smoothie
(2:50) 4. I Got A Right To Sing The Blues
(2:58) 5. Hands Across The Table
(3:16) 6. Time On My Hands
(3:12) 7. Got The South In My Soul
(3:06) 8. Let's Call It A Day
(3:11) 9. Careless Love
(3:06) 10. Easy Come, Easy Go
(3:46) 11. Take It From Me
(4:14) 12. I've Got You Under My Skin

The Dawn of Jazz - the Early Years of Lee Wiley

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Randy Brecker - Live in Amazonas

Styles: Trumpet Jazz
Year: 2023
Time: 38:19
File: MP3 @ 320K/s
Size: 88,0 MB
Art: Front

( 5:35) 1. Some Skunk Funk (Live)
( 5:32) 2. Shanghigh (Live)
(10:21) 3. First Tune Of The Set (Live)
( 6:55) 4. Tijuca (Live)
( 9:53) 5. Straphangin’ (Live)

The American trumpeter has been nominated 12 times for a Grammy and won 10 times. He will perform on the last day of the event, on Sunday (30).

The Amazonas Green Jazz Festival 2023 holds its last two nights of shows this weekend, on the stage of Teatro Amazonas. On Saturday (29), the stars will be pianists Amilton Godoy and Eliane Elias, followed by the North American female collective Momentum Octet. On Sunday (30), the CD “Randy Brecker Live in Amazonas” will be released and a solo performance by Eliane Elias will take place, which together mark the end of the Festival.

This Saturday, at 8pm, Brazilian pianists Amilton Godoy and Eliane Elias start the night. Former leader of the legendary Zimbo Trio, Amilton has been active on the artistic circuit since the 60s and has gained international respect throughout his decades-long career. In 2023, he continues to reinvent himself and promises unforgettable moments for the public.

By his side will be one of his most notable pupils. Passionate about music since she was seven years old, Eliane plays bossa nova with her incomparable vocal timbre, gaining respect around the world. Currently, she has 28 albums, more than 2 million records sold and two Grammys under her belt.

At 9:30 pm, the night continues with the North American female group Momentum Octet. Led by pianist, composer and University of Michigan professor Ellen Rowe, the group was born from the work “Portraits of Women in Motion”. Recognized as an inspiration for new generations of artists, Ellen promises a sensational show.

On Sunday, the last night of the festival begins at 7pm, with the launch of the CD “Randy Brecker Live in Amazonas”, which marks the end of the 2023 edition of the Festival.

With more than 50 years of career at the top of jazz culture, the American trumpeter has been nominated 12 times for a Grammy and won 10 times. The show will also have the Amazonas Jazz Band on stage and the special participation of Brazilian saxophonists Felipe Salles and Rodrigo Ursaia.
Soon after, at 8:30 pm, there will be a show with Eliane Elias and her quartet., at Amazonas Jazz Band, played with Randy Brecker in the last edition, in 2022.

Initially, we didn't think about turning those moments into an album, but Brecker saw a very great quality. We are very honored by the honor”, highlights Rui Carvalho, conductor of the Amazonas Jazz Band and artistic director of the Festival.
https://g1.globo.com/am/amazonas/noticia/2023/07/29/lancamento-do-cd-randy-brecker-live-in-amazonas-marca-encerramento-do-amazonas-green-jazz-festival.ghtml

Live in Amazonas

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Greg Abate / Alan Barnes / John Donaldson - Birds of a Feather

Styles: Saxophone And Piano Jazz
Year: 2008
Time: 69:50
File: MP3 @ 320K/s
Size: 160,6 MB
Art: Front

( 9:58) 1. Hot House
(10:00) 2. Wong's Way
( 9:44) 3. In The Stratosphere
( 6:59) 4. The Love Of Life
( 6:22) 5. Mr. T.C.
(10:27) 6. The Birdfeeder
(10:45) 7. The 'y' Blues
( 5:33) 8. Be-Bop

Anybody who grew up in a place called Woonsocket probably has to have cultivated a phlegmatic outlook on life, and saxophonist Greg Abate like his fellow Rhode Islander Scott Hamilton clearly believes the long familiar practices of classic bebop and mainstream swing have plenty of musical possibilities and ticket sales left in them.

Like Hamilton, Abate is a regular visitor to the UK and, again like Hamilton, he's the perfect partner for the British straightahead virtuoso Alan Barnes, engaging in a lively dialogue with him throughout this live recording from Leicester's Y theatre in November 2007.

Pianist John Donaldson, bassist Andy Cleyndert and drummer Spike Wells make up the rhythm section. Half of the tunes are Abate's, one is Barnes's and the others are standards including Tadd Dameron's Hot House and Dizzy Gillespie's Be-bop.

Abate's themes are dead right for the idiom, though not particularly memorable, but both saxophonists ingeniously improvise on them, with the amiable mainstream two-sax sound often driving the proceedings.

Donaldson's ebullient trills and churning mid-tempo rhythms glimmer through the music, and grooving blues like Mr TC and The Y Blues revel in the snappily punctuated melodies this style depends on. It's unpretentious swing, played with effortless relaxation.
https://www.theguardian.com/music/2009/jan/09/greg-abate-alan-barnes

Personnel: Greg Abate - alto / tenor; Alan Barnes - alto / baritone; John Donaldson - piano; Andrew Cleyndert - acoustic bass; Spike Wells - drums

Birds of a Feather

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Milt Hinton - East Coast Jazz Series/5

Styles: Post Bop
Year: 1955
Time: 41:24
File: MP3 @ 320K/s
Size: 94,8 MB
Art: Front

(4:16) 1. Mean To Me
(4:45) 2. Pick 'N Pat
(3:40) 3. Over The Rainbow
(3:38) 4. Milt To The Hilt
(2:30) 5. Don't Blame Me
(5:20) 6. Katz' Meow (A Canon For Cats)
(2:17) 7. Upstairs With Milt
(2:44) 8. Ebony Silhouette
(4:29) 9. Cantus Firmus
(3:50) 10. These Foolish Things
(3:51) 11. Milt To The Hilt (Alt Take) (bonus track)

This 1955 date finds the venerable jazz bassist in the choice company of clarinetist Tony Scott (listed as A.J. Sciacca), pianist Dick Katz, and drummer Ossie Johnson. Having already established himself as a veteran sideman after getting his start in the late '20s, Hinton marked the mid-'50s with some solo dates for Bethlehem label. This collection features several remastered tracks from this association, including the Hinton originals "Pik 'N' Pat" and "Upstairs with Milton."

And while Scott and Katz avail themselves nicely on a smattering of solos, Hinton is the focus, displaying his deft bass work on every track with some extended soloing -- he even indulges in a bit of bowing on his own "Ebony Silhouette." Topped off with some fetching numbers by Katz and Scott, and handful of tasty covers, this Hinton disc makes for a perfect showcase of the master bassist's considerable talents.By Stephen Cook.
https://www.allmusic.com/album/east-coast-jazz-5-mw0000009728#review

Personnel: Bass – Milt Hinton; Clarinet – A. J. Sciacca; Drums – Osie Johnson; Piano – Dick Katz

East Coast Jazz Series No.5

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Buddy Rich - Live at Ronnie Scott's

Styles: Post Bop
Year: 1980
Time: 44:37
File: MP3 @ 320K/s
Size: 102,1 MB
Art: Front

( 4:37) 1. Beulah Witch
( 6:54) 2. Grand Concourse
( 6:18) 3. Blues a la 88 (Ernie's Blues)
( 5:28) 4. Saturday Night
( 5:43) 5. Slow Funk
(15:34) 6. Good News

Arguably the greatest jazz drummer of all time, the legendary Buddy Rich exhibited his love for music through the dedication of his life to the art. His was a career that spanned seven decades, beginning when Rich was 18 months old and continuing until his death in 1987. Immensely gifted, Rich could play with remarkable speed and dexterity despite the fact that he never received a formal lesson and refused to practice outside of his performances.

Born Bernard Rich to vaudevillians Robert and Bess Rich on September 30, 1917, the famed drummer was introduced to audiences at a very young age. By 1921, he was a seasoned solo performer with his vaudeville act, "Traps the Drum Wonder." With his natural sense of rhythm, Rich performed regularly on Broadway at the age of four. At the peak of Rich's early career, he was the second-highest paid child entertainer in the world. Rich's jazz career began in 1937 when he began playing with Joe Marsala at New York's Hickory House.

By 1939, he had joined Tommy Dorsey's band, and he later went on to play with such jazz greats as Dizzy Gillespie, Charlie Ventura, Louis Armstrong and Gene Krupa. Rich was regularly featured in Jazz at the Philharmonic during the late 1940s. He also appeared in such Hollywood films as Symphony of Swing (1939), Ship Ahoy (1942) and How's About It (1943). Throughout the 1960s and 1970s, Rich toured with his own bands and opened two nightclubs, Buddy's Place and Buddy's Place II. Both clubs were regularly filled to capacity by fans of the great master drummer. After opening Buddy's Place II, Rich introduced new tunes with elements of rock into his repertoire, demonstrating his ability to adapt to his audience's changing tastes and establishing himself as a great rock drummer.

Known for his caustic humor, Rich was a favorite on several television talk shows including the Tonight Show with Johnny Carson, the Mike Douglas Show, the Dick Cavett Show and the Merv Griffin Show. During these appearances, audiences were entertained by Rich's constant sparring with the hosts and his slights of various pop singers. This famed musician received outstanding recognition throughout his career. The Downbeat Magazine Hall of Fame Award, the Modern Drummer Magazine Hall of Fame Award and the Jazz Unlimited Immortals of Jazz Award are just a few of his numerous honors. Rich gained international attention for such master compositions as his 10-minute West Side Story medley.

During his lengthy career, Rich toured around the globe, performing for millions of fans and several world leaders including the King of Thailand, King Hussein of Jordan the Queen of England, and U.S. presidents Franklin Roosevelt, John F. Kennedy and Ronald Reagan. On April 2, 1987, Rich died of heart failure following surgery for a malignant brain tumor. Longtime friend, Frank Sinatra, spoke a touching eulogy at Rich's funeral. Today, Buddy Rich is remembered as one of history's greatest musicians. According to jazz legend Gene Krupa, Rich was "The greatest drummer ever to have drawn breath."
https://www.allaboutjazz.com/musicians/buddy-rich/

Live at Ronnie Scott's

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Harry Allen & Luigi Grasso - Live at the Duc des Lombards Vol.1, Vol.2

Harry Allen & Luigi Grasso - Live at the Duc des Lombards Vol.1

Styles: Saxophone Jazz
Year: 2018
Time: 75:27
File: MP3 @ 320K/s
Size: 172,7 MB
Art: Front

( 9:02) 1. Step Right Up
(13:06) 2. Lady Be Good
( 9:13) 3. You ’n’ Me
( 8:22) 4. Harry Allen Ballad Composition
(11:21) 5. In the Still of the Night
( 7:00) 6. Wes’ Tune
(11:09) 7. The Blues up and Down
( 6:10) 8. One for Duke

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Harry Allen & Luigi Grasso - Live at the Duc des Lombards Vol.2

File: MP3 @ 320K/s
Size: 180,6 MB
Art: Front

( 9:32) 1. Step right up
( 4:47) 2. Wes' Tune
( 9:35) 3. Stuffy
( 7:08) 4. One for the Duke
( 8:03) 5. You 'n' Me
( 5:36) 6. Prelude to a kiss
( 8:52) 7. The Birth of the Blues
( 9:32) 8. In the still of the night
( 5:28) 9. Old Joe
(10:16) 10. Blues up and down

Gene Lees writes, "Stan Getz was once asked his idea of the perfect tenor saxophone soloist. His answer was, 'My technique, Al Cohn's ideas, and Zoot's time.' The fulfillment of that ideal may well be embodied in thirty-year-old Harry Allen."

BMG recording artist Harry Allen has over twenty recordings to his name. Three of Harry's CDs have won Gold Disc Awards from Japan's Swing Journal Magazine, and his CD Tenors Anyone? won both the Gold Disc Award and the New Star Award. His recordings have made the top ten list for favorite new releases in Swing Journal Magazine's reader's poll and Jazz Journal International's critic's poll for 1997, and Eu Nao Quero Dancar (I Won't Dance), the third Gold Disc Award winner, was voted second for album of the year for 1998 by Swing Journal Magazine‚s reader‚s poll.

Harry has performed at jazz festivals and clubs worldwide, frequently touring the United States, Europe, and the Far East. He has performed with Rosemary Clooney, Ray Brown, Hank Jones, Frank Wess, Flip Phillips, Scott Hamilton, Harry 'Sweets' Edison, Kenny Burrell, Herb Ellis, John Pizzarelli, Bucky Pizzarelli, Gus Johnson, Jeff Hamilton, Terry Gibbs, Warren Vache, and has recorded with Tony Bennett, Johnny Mandel, Ray Brown, Tommy Flanagan, James Taylor, Sheryl Crow, Kenny Barron, Dave McKenna, Dori Caymmi, Larry Goldings, George Mraz, Jake Hanna, and Al Foster, among others.

Harry is featured on many of John Pizzarelli's recordings including the soundtrack and an on-screen cameo in the feature film The Out of Towners starring Steve Martin and Goldie Hawn. He has also done a series of commercials for ESPN starring Robert Goulet.

Harry was born in Washington D.C. in 1966, and was raised in Los Angeles, CA and Burrillville, RI. He received a Bachelor of Arts degree in music in 1988 from Rutgers University in New Jersey, and currently resides in New York City.https://www.allaboutjazz.com/musicians/harry-allen/

Personnel: Harry Allen - Tenor Sax, Luigi Grasso - Alto Sax, Dave Blenkhorn - Guitar, Sebastien Girardot - Bass, Guillaume Nouaux - Drums

Live at the Duc des Lombards Vol. 1, Vol.2

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Daniel Humair - Humair Louiss Pont Disc 1, Disc 2

Daniel Humair - Humair Louiss Pont Disc 1
Styles: Jazz
Year: 1968
Time: 45:53
File: MP3 @ 320K/s
Size: 105,0 MB
Art: Front

( 8:43) 1. You've Changed
( 9:33) 2. Summertime
( 6:56) 3. 'Round Midnight
(14:33) 4. So What?
( 6:05) 5. Nostalgia in Times Square

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Daniel Humair - Humair Louiss Ponty Vol 2
Styles: Jazz
Year: 1968
Time: 49:33
File: MP3 @ 320K/s
Size: 113,4 MB
Art: Front

(13:42) 1. Carole's Garden
(11:54) 2. That's All
( 9:47) 3. Bag's Groove
( 9:13) 4. Sonny Moon for Two
( 4:55) 5. Ole O

Drummer Daniel Humair's name might be listed first on this double CD, and organist Eddy Louiss may be the dominant voice, but it is the inclusion of violinist Jean-Luc Ponty as part of the trio that really makes it quite historic.

Recorded in Paris in 1968, the live set features Ponty at the beginning of his career, before he came to the U.S., teamed up with the George Duke Trio, joined forces with Frank Zappa, became part of the second Mahavishnu Orchestra and had his long string of fusion albums for Atlantic.

Not quite 26 at the time, Ponty is featured on the date mostly playing standards including "You've Changed," "Summertime" (which is taken double time), "So What," "Bag's Groove" and "Oleo." Sometimes his violin sounds a little like a saxophone and it is clear, even at this early stage, that Ponty had a great deal of potential in jazz.

Louiss' organ is fairly original, breaking away from Jimmy Smith to hint at the avant-garde and modal music in spots while always swinging. Humair is excellent in support. The program, never before available in the U.S., is quite intriguing and enjoyable.

Since it is very doubtful that Jean-Luc Ponty can be persuaded to play straight-ahead jazz again (his musical tastes have long been elsewhere although his musicianship is still in prime form), this two-fer is a must for jazz violin collectors.
By Scott Yanow https://www.allmusic.com/album/humair-louiss-and-ponty-vol-1-mw0000899823

Humair Louiss Ponty Vol 1, Vol 2

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Joyce Breach - Reel Songs

Bitrate: MP3@320K/s
Time: 68:09
Size: 156.0 MB
Styles: Vocal jazz
Year: 1999
Art: Front

[3:04] 1. I'm A Dreamer, Aren't We All
[3:44] 2. Love Is A Many Splendored Thing/Tender Is The Night
[2:36] 3. Zing A Little Zong
[5:17] 4. That Old Feeling
[3:39] 5. Mind If I Make Love To You
[2:21] 6. That's For Me
[4:44] 7. All That Love Went To Waste
[5:16] 8. The Bad And The Beautiful/Laura
[3:06] 9. You Wonderful You
[4:46] 10. A Very Precious Love/A Certain Smile
[3:24] 11. The Tender Trap
[4:05] 12. Love Can Change The Stars
[3:06] 13. The Boy Next Door
[3:28] 14. Oh, But I Do
[3:46] 15. The Best Of Everything
[4:33] 16. Wild Is The Wind
[3:38] 17. Did I Remember
[3:26] 18. There Will Never Be Another You

For her sixth album for George Buck's Audiophile label, consummate cabaret songstress Joyce Breach has selected a program of torch songs, a novelty tune or two, and some up-tempo material. The common thread running through the musical agenda is that all the tunes are from movies made during the years 1929 to 1973. Thus, the album's title Reel Songs. To their credit, the producers did not fall back on familiar warhorses from movie musical scores, but instead they rescued songs that have been relegated to the oblivion bin. The arrangements tend to favor Breach being backed by piano, rhythm, and a sole instrument like sax or trumpet. This works because the instrumentalists brought in to support this singer are first class. Experienced accompanist Keith Ingham is on most cuts with his sympathetic piano. But nowhere does his ability as a singer's friend come through more than on the poignant medley "A Very Precious Love"/"A Certain Smile." His understanding keyboard work can be a model for the way a pianist should work with a vocalist. Randy Reinhard shows he is equally adept on trumpet and trombone. His soft, mellow slide horn is featured on "All That Love Went to Waste." Reinhardt favors the muted horn, à la Harry Sweets Edison, on the haunting "Laura," one the highlights of the album. Scott Robinson's Stan Getz-influenced honeyed tenor provides the support for Breach on several cuts and is especially telling on "Love Can Change the Stars" while his clarinet takes the lead on "That's for Me." Robinson is a favorite among singers, having shared a recording studio with Rebecca Kilgore. Not only is the individual work outstanding, but the ensemble playing is equally adroit. On "The Tender Trap," the group is pushed along by Ingham's blusey piano for a swinging version of this tune from the 1955 movie of the same name becoming a staple in the Frank Sinatra repertoire. With her cool, but not emotionless, understated manner of delivery, Joyce Breach, along with her talented confreres, provides a very entertaining hour's plus worth of movie tunes with arrangements shaped to show off Breach's voice and delivery at their very best. This album is recommended. ~Dave Nathan

Reel Songs

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Wild Bill Davis, Johnny Hodges - Con-Soul and Sax

Styles: Post Bop, Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 36:59
Size: 85,3 MB
Art: Front

(3:47)  1. On the Sunny Side of the Street
(3:15)  2. On Green Dolphin Street
(4:10)  3. Lil' Darlin'
(4:52)  4. Con-Soul and Sax
(2:30)  5. The Jeep Is Jumpin'
(3:25)  6. I'm Beginning to See the Light
(4:01)  7. Sophisticated Lady
(4:25)  8. Drop Me Off In Harlem
(3:21)  9. No One
(3:09) 10. Johnny Come Lately

Con-Soul & Sax is an album by American jazz saxophonist Johnny Hodges and organist Wild Bill Davis featuring performances recorded in 1965 and released on the RCA Victor label. The title is a play on words based on the term "console organ", a term used by the Hammond organ company to describe the type of organs favored by Davis. https://en.wikipedia.org/wiki/Con-Soul_%26_Sax

Personnel:  Wild Bill Davis - organ; Johnny Hodges - alto saxophone; Dickie Thompson, Mundell Lowe - guitar; Milt Hinton, George Duvivier - double bass; Osie Johnson - drums

Con-Soul and Sax

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Susie Arioli - Embraceable

Styles: Vocal Jazz
Year: 2024
Time: 40:04
File: MP3 @ 320K/s
Size: 91,7 MB
Art: Front

(2:49) 1. Pendulum
(3:12) 2. It's Alright With Me
(2:57) 3. My Plan
(4:48) 4. Embraceable You
(4:07) 5. On The Street Where You Live
(3:22) 6. Indifférente
(2:37) 7. Unrequited
(2:52) 8. Calling
(2:58) 9. 500 Cigarettes
(3:35) 10. I Gotta Right To Sing The Blue
(3:09) 11. Easy
(3:31) 12. Worried Mind

Clearly, Susie Arioli is on top form! This brand new album from the sunny Montreal singer follows in the footsteps of the other great offerings in the genre that she’s delivered since her debut (that’s a long time ago, but I’ll stop there. It would be impolite to suggest more). Embraceable is a happy mix of standards (Porter, Gershwin, Arlen are all invited to the table) and original compositions that have absolutely nothing to envy the classics of the Great American Songbook, both melodically and lyrically (Pendulum, My Plan, bluffing with stylistic perfection).

There are also some lovely, well-balanced blues and some frank country incursions that betray the ever-essential presence of Jordan Officer, alongside Susie, in concocting these delights. I’d like to highlight the originality of the arrangement of On the Street where you live, which enhances this standard without distorting it.

A Susie album is like returning to the roots of a happiness that is never forgotten or fades away. Every time you hear a new album by her, it’s as happy and authentic as ever. Susie is a faithful friend who you only see occasionally, which makes each return so precious. It has to be said that the last few years have seen the singer sail blindly after the divorce with her previous record label and agency. The Blü Dog label has taken over the reins, and we can’t thank them enough. All the more reason not to miss out on this.By Frédéric Cardin https://panm360.com/en/records/suzie-arioli-embraceable-jordan-officer-blu-dog-media/

Embraceable

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Nat King Cole - From The Capitol Vaults (Vol. 1), (Vol.2), (Vol.3)

Nat King Cole - From The Capitol Vaults (Vol. 1)
Styles: Vocal Jazz
Year: 2022
Time: 42:30
File: MP3 @ 320K/s
Size: 97,3 MB
Art: Front

(3:16) 1. Roses And Wine
(3:06) 2. Tunnel Of Love
(2:49) 3. Get Out And Get Under The Moon (feat. Maria Cole)
(2:44) 4. The Way I'm Loving You
(2:51) 5. My Brother
(3:03) 6. Hey, Not Now! (I'll Tell You When) (feat. Maria Cole)
(3:05) 7. The Magic Tree
(3:12) 8. Home (When Shadows Fall)
(2:56) 9. It's A Man Every Time (feat. Maria Cole)
(3:04) 10. Early American
(3:09) 11. I'll Always Remember You
(2:51) 12. The Day Isn't Long Enough
(3:18) 13. My First And My Last Love
(2:59) 14. Easter Sunday Morning

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Nat King Cole - From The Capitol Vaults (Vol. 2)
Time: 34:03
File: MP3 @ 320K/s
Size: 78,0 MB
Art: Front

(3:05) 1. Why Can't We Try Again? (Final Take / Remastered 1992)
(3:15) 2. For A Moment Of Your Love (Remastered 1992)
(1:33) 3. I'm Shooting High
(2:49) 4. Maybe It's Because I Love You Too Much
(1:58) 5. One Sun
(2:32) 6. You Are My First Love
(1:45) 7. It's None Of My Affair
(2:42) 8. How Did I Change?
(2:20) 9. When Rock And Roll Come To Trinidad
(2:32) 10. Laughable
(2:39) 11. Something Happens To Me
(2:09) 12. Do I Like It?
(2:28) 13. When You Belong To Me
(2:10) 14. Give Me Your Love

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Nat King Cole - From The Capitol Vaults (Vol. 3)
Time: 39:47
File: MP3 @ 128K/s
Size: 38,4 MB
Art: Front

(3:10) 1. Make Believe Land
(3:04) 2. I Still See Elisa
(2:25) 3. O.K. For TV
(2:38) 4. I Envy
(2:42) 5. Marilyn
(3:03) 6. I'll Never Settle For Less
(2:30) 7. Up Pops Love
(3:23) 8. My Dream Sonata
(3:46) 9. How Little We Know
(2:43) 10. Like Someone In Love
(2:04) 11. Should I
(2:38) 12. Lorelei
(2:52) 13. I Heard You Cried Last Night
(2:41) 14. Misery Loves Company

Nat King Cole was one of the most popular singers ever to hit the American charts. A brilliant recording and concert artist during the 40's, 50's and 60's, he attracted millions of fans around the world with a sensitive and caressing singing voice that was unmistakable.

Cole has a rare blend of technical musical knowledge and sheer performing artistry topped off with an abundance of showmanship. In the 23 years that he recorded with Capitol Records, he turned out hit after amazing hit - nearly 700 songs - all the while managing to remain a gentle, tolerant and gracious human being.

Nathaniel Adams Coles was born in Montgomery, Alabama on March 17, 1919. He was the son of Baptist minister, Edward James Coles, and mother, Perlina Adams, who sang soprano and directed the choir in her husband's church. Cole grew up in Chicago, met and married a girl in New York; they had five children and lived in Hancock Park in Los Angeles.

He had a distinctive voice, which has been compared to the quality of velvet, a pussy willow, a calm evening breeze, a still summer morning and a soft snow fall. In the case of Nat King Cole, who dropped an "s" off his last name and put a nickname in the middle, the lyricism is merited.

The first sign that Cole was destined for a musical life was at age four, when he was able to pick out a fairly good two-handed rendition of "Yes, We Have No Bananas." He later played the organ in his father's church. In high school he organized a 14-piece band, with himself as pianist and leader.

In 1937, after finishing high school, Cole joined a road company of the revue, "Shuffle Along." The show broke up a few months later in Long Beach, California, when a sticky-fingered member of the troop made off with the show's $800 treasury. He also wrote a song called "Straighten Up and Fly Right," which he sold for $50.

Cole spent the next period looking for work and not having much luck. Finally a night club manager offered him $75 per week for an instrumental quartet. He hired a guitarist, bass fiddle player and a drummer. On opening night the drummer didn't show up but the manager took trio and didn't cut the price.

Even though instrumental trios were not highly popular in those days, the King Cole Trio developed a large and faithful following. With Cole on the piano and later, vocals, Oscar Moore on guitar and Johnny Miller on bass, the trio eventually played the best clubs in the country and had their own radio show. They eventually won awards from every music publication in the U.S., and their jazz records are now treasured collectors' items.

A new career was inadvertently created for Cole when a tipsy customer at a small Hollywood bistro insisted on hearing him sing "Sweet Lorraine." To quiet the drunk, he sang the tune and thus launched his legendary singing career. In 1942, Cole became one of the first artists to join Capitol Records, then a fledgling company. With his King Cole Trio, he recorded such popular songs as "Straighten Up and Fly Right," "Sweet Lorraine" and "Embraceable You." For the remainder of this life, Cole always sang with the trio even when he began to sing with an orchestra.br />
"Capitol and I felt that a big band behind me would sell more records," said Cole. 'Nature Boy' was the first of these and it proved we were right. "He never regretted the decision."

Cole became one of the world's leading record-sellers. It is not correct to say that every Nat King Cole recording was a hit. There was one, in 1953, that was a decided bust. But, as far as anyone at Capitol can recall, that was the only one to reach flop status. From the time he recorded one of his very first discs, "Straighten Up and Fly Right," through "Mona Lisa," "Too Young," "Route 66," "Non Dimenticar," "Rambling Rose," and countless others, Cole probably had more hit records than any other artist of his day, including the number- one-selling holiday recording of all time, The Christmas Song. Cole's consistent ability to make best-selling records prompted one record columnist to remark that Nat's recordings were "practically legal tender."

In 1956, Cole had his own network television show on NBC- TV. The "Nat King Cole Show" attracted a wide audience and celebrity guests like Ella Fitzgerald, Tony Bennett and Mel Torme. It could not, however, attract national advertisers willing to back a show hosted by a black. Rather than submit to an airtime change, Cole abandoned the show after 64 weeks. In December 1957, Cole telecast his last show. It was a bitter disappointment. He put it best when he explained his TV demise, "Madison Avenue," he said, "is afraid of the dark."

Throughout Cole's career there was a woman who supported him with love and enthusiasm. His wife, the former Maria Ellington, was a vocalist in Duke Ellington's (no relation) band. She met Cole in 1947 when they were both performing at the Club Zanzibar in New York, and then ten months later they were married. They had five children - Carole, Natalie, Kelly and twins, Timolin and Casey.

When Nat King Cole died of lung cancer on February 15, 1965, he was only 45. It was a loss felt all over the world."Nat was a very humble man." Maria said after the death of her husband. "I don't think he ever realized what a great international talent he had become."

He made us music millionaires while he lived, and he left a musical legacy to generations to come. All over the world today, his songs are played and as long as those sounds continue, Nat King Cole will live.
https://www.allaboutjazz.com/musicians/nat-king-cole/

From The Capitol Vaults (Vol.1) (Vol.2) (Vol.3)

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Michael Buble - Higher

Styles: Vocal
Year: 2022
Time: 50:01
File: MP3 @ 320K/s
Size: 115,1 MB
Art: Front

(3:38) 1. I'll Never Not Love You
(3:28) 2. My Valentine
(3:05) 3. A Nightingale Sang In Berkeley Square
(3:17) 4. Make You Feel My Love
(2:23) 5. Baby, I'll Wait
(3:05) 6. Higher
(4:54) 7. Crazy (with Willie Nelson)
(4:35) 8. Bring It On Home To Me
(3:23) 9. Don't Get Around Much Anymore
(3:57) 10. Mother
(3:56) 11. Don't Take Your Love From Me
(3:45) 12. You're The First, The Last, My Everything
(3:47) 13. Smile
(2:41) 14. Pennies From Heaven

With his velvety voice and urbane charm, Michael Bublé is the epitome of the modern crooner, ably interpreting American Songbook standards alongside modern pop covers, as well as his own ebullient originals. He further conjures this vibe on his 11th studio album, 2022's appealing Higher. One the most notable aspects of Higher is the presence of Paul McCartney, whose song "My Valentine" (culled from 2012's Kisses on the Bottom) Bublé covers to fine effect here, with McCartney producing.

A moody, minor-key ballad, the song evokes the work of iconic French singer Jacques Brel and recalls how McCartney (a long-avowed jazz and standards aficionado) would often bring such influences to the Beatles, further broadening that group's cross-generational appeal. It's one of the standout moments on Higher and nicely illuminates the stylistic balance between jazz, traditional pop, and contemporary pop that Bublé is going for.

On Higher, Bublé is often at his best when taking on jazz standards, represented here in tracks like the big-band swing of "Don't Get Around Much Anymore" or the orchestral romance of "A Nightingale Sang in Barclay Square." His relaxed, kitten-soft voice is a perfect match for the nuanced and sophisticated style of these songs. There's also a knowing quality about Bublé, as if he's well aware of the bygone aesthetic he's playing with by being an old-school crooner in the post-modern age it's a persona that's wry, a little campy, and helps sell his more over-the-top choices like taking on the '70s show biz disco of Barry White's "You're My First, My Last, My Everything."

His ironic schmooze achieves technicolor brilliance on the flamboyant 1930s movie soundtrack arrangement of Charlie Chaplin's "Smile." Replete with shimmering strings and what sounds like a backing chorus of winged angels, it ends the album but might have worked even better as an opening track. There's also an amiable duet with Willie Nelson on the country icon's classic "Crazy" that has the relaxed, in-the-moment energy of a Muppet Show performance.

Of his original songs, the standout is the title track. Co-written by Greg Wells, OneRepublic's Ryan Tedder, and even Bublé's eight-year-old son, Noah (who recovered from his battle with liver cancer in 2017), "Higher" is a fun, tango-influenced banger that sticks in your head. There's also the romantic "I'll Never Not Love You" and the heartfelt tribute to his mom, "Mother," all songs that (like his 2005 hit "Home") add a bit of earnest warmth to the album's overall buoyant, swinging feeling one that Bublé has made his own.By Matt Collar https://www.allmusic.com/album/higher-mw0003659328#review

Higher

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Ruby Braff & Dave McKenna - Complete Original Quartet/Quintet Recordings

Styles: Trumpet And Pianno Jazz
Year: 2007
Time: 64:54
File: MP3 @ 320K/s
Size: 149,7 MB
Art: Front

(2:08) 1. Dancing in the Dark
(3:52) 2. Blue Prelude
(2:50) 3. Why Was I Born?
(2:58) 4. Blue (And Broken-Hearted)
(3:01) 5. If I Could Be with You
(3:13) 6. I'm Crazy About My Baby
(2:27) 7. Louisiana
(4:00) 8. It's Wonderful
(2:21) 9. Almost Like Being in Love
(3:21) 10. Lover Come Back to Me
(4:07) 11. I Must Have That Man
(3:07) 12. As Long as I Live
(2:56) 13. Blue, Turning Gray over You
(3:07) 14. If I Had You
(3:13) 15. It's Been So Long
(1:57) 16. I'm Shooting High
(3:09) 17. Stardust
(3:34) 18. How Long Has This Been Going On?
(3:59) 19. Soft Lights and Sweet Music
(5:26) 20. The Song Is Ended But the Melody Lingers On

Although Ruby Braff and Dave McKenna played together on several occasions during their long careers, these two sessions best represent their collective legacy for a number of reasons. It must be said that their recorded collaborations were not as abundant as one might expect.

Their two initial sessions together were as sidemen for other musicians: A 1955 date as part of the Benny Goodman septet, and a February 1956 session backing singer Milli Vernon's recording debut. These dates were followed by the two incredible sessions included here. After that, the only known recordings of the Hackett-McKenna partnership are a 1961 live recording at Eddie Condon's with Bobby Hackett and Peanuts Hucko, and two 1991-93 double albums with a band including tenor saxophonist Scott Hamilton.

The sessions featured on this edition are, thus, their only true small group quartet/quintet) recordings and the only instrumental sessions they made at the peak of their careers, in which both musicians can be considered, in a way, session leaders. Gambit.By Editorial Reviews
https://www.amazon.com/Complete-Original-Quartet-Quintet-Sessions/dp/B000JVSWLY

Original Quartet/Quintet Recordings

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Stan Getz - The Girl From Ipanema

Styles: Saxophone Jazz
Year: 2023
Time: 122:13
File: MP3 @ 320K/s
Size: 283,6 MB
Art: Front

(2:47) 1. The Girl From Ipanema (Single Version) (Feat. Astrud Gilberto & Antonio Carlos Jobim)
(2:20) 2. Corcovado (Quiet Nights Of Quiet Stars) (Single Version) (Feat. Astrud Gilberto & Antonio Carlos Jobim)
(6:10) 3. Samba De Uma Nota So
(3:36) 4. Só Danço Samba
(4:48) 5. Samba Triste
(5:05) 6. Para Machuchar Meu Coracao
(4:13) 7. Desafinado
(2:29) 8. O Pato
(3:39) 9. Saudade Vem Correndo (Feat. Maria Toledo)
(2:32) 10. Eu E Voco (Live At Café Au Go-go,1964) (Feat. Astrud Gilberto)
(2:56) 11. Vivo Sohando (Stereo Version)
(2:08) 12. Sambalero (Feat. Maria Toledo)
(5:25) 13. O Grande Amor (Feat. Antonio Carlos Jobim)
(3:08) 14. Samba Da Minha Terra (Live At Carnegie Hall/1964)
(5:50) 15. Desafinado
(2:46) 16. Doralice (Stereo Version) (Feat. Antonio Carlos Jobim)
(4:11) 17. Menina Flor (Feat. Maria Toledo)
(3:07) 18. One Note Samba (Live At Café Au Go-go,1964) (Feat. Astrud Gilberto)
(6:42) 19. Bahia
(3:23) 20. Insensatez
(5:21) 21. Winter Moon (Feat. Laurindo Almeida)
(4:00) 22. Meditacao (Live At Carnegie Hall/1964)
(6:55) 23. O Morro Nao Tem Vez
(3:32) 24. Samba Dees Days
(5:42) 25. Menina Moca
(2:43) 26. Mania De Maria (Feat. Maria Toledo)
(3:40) 27. E Luxo So
(2:09) 28. Bim Bom (Live At Carnegie Hall/1964)
(4:13) 29. Corcovado (Quiet Nights Of Quiet Stars) (Feat. Astrud Gilberto & Antonio Carlos Jobim)
(6:31) 30. The Girl From Ipanema

Bop saxophonist Stan Getz was almost single-handedly responsible for breaking bossa nova big in the United States. Classically trained jazz guitarist Charlie Byrd had toured in Brazil and fell under the sway of the burgeoning bossa nova an amalgam of samba and jazz influences movement there. He brought some recordings of the music back to Getz, who quickly went to work making arrangements with Verve Records for the landmark album that the two musicians eventually recorded in 1962, Jazz Samba.

Included on the sessions for the album was Antonio Carlos Jobim, the legendary bossa nova guitarist, pianist, and composer of many of the album's songs. Getz and Byrd each went on to record more records in the bossa nova oeuvre, but none were as commercially successful as the 1963 hit Getz/Gilberto, with Brazilian guitarist and singer Joao Gilberto. That album included the Jobim-penned, worldwide crossover smash "The Girl From Ipanema." Long since a standard, it is amusing to note that "The Girl From Ipanema" did not include the famous sultry vocals of Gilberto's wife, Astrud, until the last minute. Indeed, she was not even credited on the original release of the record.

Over the lilting samba rhythms and around Getz's cool sax lines, Joao Gilberto had laid down his Portuguese lyrics on the track in his trademark soft and simple voice, but producer Creed Taylor, sensing the commercial possibilities of the song, requested an English adaptation of some of the lines. Astrud, who was just along for the visit to New York, was the only Brazilian who understood English enough to sing the adaptation by famed lyricist Norman Gimbel. With no musical background, she stepped to the microphone and sang the words Gimbel had adapted (they are not a literal translation) with an authentic sense of innocence and austerity, the perfect mood for the lyrics: "Tall and tan and young and lovely/The girl from Ipanema goes walking/And when she passes each one she passes goes 'ahhh'/When she walks she's like a samba/That swings so cool and sways so gently/That when she passes each one she passes goes 'ahhh'/Oh, but he watches so sadly/How can he tell her he loves her/Yes, he would give his heart gladly/But each day when she walks to the sea/She looks straight ahead not at he."

Like all of Jobim's compositions, "The Girl From Ipanema" aims directly at the heart and soul with lyrics that celebrate the essence of life, the Zen beauty of nature and love. One of the other composers of the song is Vinicius de Moraes, another legendary figure in Brazilian music. de Moraes had been writing poetry, music, and lyrics since he was 14 and was established by the '30s. He had collaborated with Jobim on a number of projects already by the time they teamed up on this song. The Gilberto-Getz collaboration is the definitive version of the song, with intimate, soft-spoken, and ultra-present vocals and a subdued rhythm section, but "The Girl From Ipanema" has been recorded hundreds of times. Notable among the covers is Nat King Cole's, from L-O-V-E (1965), which swings the rhythm, all but ignoring the bossa nova origins of the song
.
It is effective in its mellow sophistication, Cole retaining the intention of the song with his Americanized arrangement. Included is a great trumpet solo over a key modulation. Count Basie, on Our Shining Hour (1965) with Sammy Davis, keeps a Latin feel to the song, but adds a swinging, American big band style on the choruses. Ella Fitzgerald recorded a more up-tempo reading, with guitarist Joe Pass soloing throughout. But this recording from Ella Abraca Jobim comes off as light jazz. Oddly, it is the master stylist himself, Frank Sinatra, who stays closest to the original, keeping his improvisations to a minimum and singing it in an understated style. He even features Jobim himself, singing a verse in Portuguese off in the background, hauntingly. It was released in 1967 on Francis Albert Sinatra and Antonio Carlos Jobim. By Bill Janovitz
https://www.allmusic.com/song/the-girl-from-ipanema-mt0003013967

The Girl From Ipanema

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Ella Fitzgerald - Ella Sings the Blues

Styles: Vocal
Year: 2023
Time: 95:27
File: MP3 @ 320K/s
Size: 220,0 MB
Art: Front

(3:07) 1. Smooth Sailing (Feat. Ray Charles Singers)
(2:41) 2. See, See Rider
(4:00) 3. How Long, How Long Blues
(3:42) 4. Blues In The Night
(4:40) 5. I Ain't Got Nothin' But The Blues (Feat. Duke Ellington & His Orchestra)
(3:07) 6. Basin Street Blues
(2:25) 7. Pete Kelly's Blues
(2:41) 8. In The Evening (When The Sun Goes Down)
(5:13) 9. Ella Hums The Blues
(5:41) 10. Wee Baby Blues (Live)
(3:15) 11. Good Morning Blues
(4:12) 12. Cherry Red
(5:12) 13. I Gotta Right To Sing The Blues
(6:31) 14. St. Louis Blues (Live From Rome/1958)
(2:50) 15. Swingin' Shepherd Blues (Alternate Take)
(2:26) 16. Beale Street Blues
(2:32) 17. Later
(3:15) 18. Too Young For The Blues (Alternate Single Version)
(5:27) 19. Joe Williams Blues (Live In Berlin, 1961)
(2:33) 20. I'll Chase The Blues Away (Single Version / Matrix 39614) (Feat. Chick Webb And His Orchestra)
(3:01) 21. A New Shade Of Blues
(3:33) 22. Trouble In Mind
(4:02) 23. St. Louis Blues
(5:11) 24. Every Day I Have The Blues
(3:58) 25. Party Blues

Part of a Fantasy sampler series that features musicians (and in this case a notable vocalist) performing the blues, this CD features Ella Fitzgerald on 11 performances taken from a variety of sessions. Although she never specialized in the blues, Ella had no difficulty swinging over blues changes and sometimes putting strong emotion into the lowdown variety.

There is one song apiece from the 1950s and '60s, while the remainder of the program dates from 1971-1979. Ella's rendition of "C-Jam Blues" at the Santa Monica Civic in 1972 is a true classic, and other highlights include "Duke's Place" (with the Duke Ellington Orchestra in 1966), "I'm Walkin'," and the lengthy "Basella," with Count Basie's big band. But the material is easily available in more complete form elsewhere, making this reissue more of a sampler for casual fans. By Scott Yanow
https://www.allmusic.com/album/bluella-ella-fitzgerald-sings-the-blues mw0000615825#review

Ella Sings the Blues

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Idun Carling - IDUN

Styles: Vocal
Year: 2023
Time: 14:02
File: MP3 @ 320K/s
Size: 32,3 MB
Art: Front

(3:49) 1. No Moon At All
(3:10) 2. Girl From Ipanema
(3:09) 3. Att Angöra En Brygga
(3:53) 4. Out Of Nowhere

I grew up playing jazz and touring all over the world with our family band. I have been making a career of my own in both music and acting for a few years, I was cast as the main character in two Swedish national television programs and I have performed on famous stages such as Birdland in New York and for the king of Sweden. I write music and recently recorded an album in New York where I am featured on vocals and trombone. I was born and raised on the stage!https://www.backstage.com/u/idun-carling-blome/

IDUN

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