Gene Bertoncini & Michael Moore - Two Is Time

Styles: Guitar Jazz
Year: 1989
Time: 67:13
File: MP3 @ 320K/s
Size: 153,9 MB
Art: Front

(5:07) 1. It Had To Be You
(4:23) 2. I'm Getting Sentimental Over You
(8:05) 3. The Bad And The Beautiful / Laura
(4:34) 4. Killer Joe
(2:16) 5. Chopin Prelude Variations / Django
(4:51) 6. Whisper Not
(4:18) 7. Cherokee
(5:19) 8. These Foolish Things
(5:10) 9. Wonderful Girl
(3:38) 10. You've Changed
(4:49) 11. I'm All Smiles
(4:55) 12. The Lilter
(9:42) 13. It's Might As Well Be Spring / Spring Can Really Hang You Up The Most

Recording and performing together since the late '70s, Gene Bertoncini and Michael Moore once more undertake the daunting task of making a guitar-bass duet session attractive to listeners without being boring or maudlin. Like their earlier efforts, Two in Time successfully fills the bill. The interesting play list, with a balanced mix of slow and up-tempo tunes, contributes much to making this a satisfying session. The medley of "The Bad and the Beautiful" and "Laura," with most of the players' attention given to the latter, is intriguing in the way that it segues back and forth between Moore's dark, brooding bowing on "Laura" and Bertoncini's upbeat guitar.

Moore also bows on "You've Changed" which is a highlight of his introspective but very lyrical approach to the music. Revealing their classical roots, Bertoncini and Moore pay homage to Chopin with variations on one of his preludes, cleverly linked a medley with John Lewis' "Django." Ray Noble's "Cherokee" swings, while "These Foolish Things" makes your foot tap. Although Bertoncini stays mostly with the electric guitar on this set, he gets unplugged on "Wonderful Girl" (really "I'm in Love With a Wonderful Guy"). The one original, Moore's "The Lilter," takes on a Scottish motif with the bass and guitar replacing the bagpipes. Two fine artists very contented with each other and a comfortable song list makes for pleasant jazz played in a chamber setting.
By Dave Nathan https://www.allmusic.com/album/two-in-time-mw0000675570#review

Personnel: Guitar – Gene Bertoncini; Bass – Michael Moore (2)

Two Is Time

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Paul Gant - In the Bar Round Midnight

Styles: Vocal
Year: 2024
Time: 41:57
File: MP3 @ 320K/s
Size: 96,9 MB
Art: Front

(3:06) 1. In the Morning Time
(2:33) 2. Save the Last Dance for Me
(3:08) 3. In the Bar Round Midnight
(3:03) 4. If I Were a Carpenter
(4:13) 5. Only You
(3:16) 6. Just Dynamite
(4:43) 7. One for My Baby
(3:41) 8. I Kiss You Under the Moonlight
(2:45) 9. A Kind of Hush
(3:06) 10. My Heart Beats Like Crazy
(5:13) 11. Mr. Bojangels
(3:05) 12. Ogni Mattino

Paul Gant is a symbiosis of the Berlin atmosphere of Harald Juhncke's time and the Las Vegas feeling of Frank Sinatra's time! Experience Paul's smoky and velvety voice! Lean back and let yourself be transported to a carefree, exhilarating sphere. May I? I'm Paul Gant!

I'll take you into my emotional world of romantic delights, deep pain, unbridled grief and of course love. Entertaining with small interludes, light relaxed casual as swing is: soothing and exhilarating music to dream to and reminisce to! Translate By Google https://www.paul-gant.com/

In the Bar Round Midnight

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The Cannonball Adderley Quintet - Mercy, Mercy, Mercy! Live At "The Club"

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 41:22
Size: 95,2 MB
Art: Front

( 0:07)  1. Introduction
( 8:19)  2. Fun
( 7:20)  3. Games
( 5:10)  4. Mercy, Mercy, Mercy!
( 4:03)  5. Sticks
( 5:49)  6. Hippodelphia
(10:31)  7. Sack O' Woe

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free drinks to an invitation-only audience. Naturally, the crowd is in an extremely good mood, and Adderley's quintet, feeding off the energy in the room, gives them something to shout about. By this point, Adderley had perfected a unique blend of earthy soul-jazz and modern, subtly advanced post-bop; very rarely did some of these harmonies and rhythms pop up in jazz so saturated with blues and gospel feeling. Those latter influences are the main inspiration for acoustic/electric pianist Joe Zawinul's legendary title cut, a genuine Top 40 pop hit that bears a passing resemblance to the Southern soul instrumentals of the mid-'60s, but works a looser, more laid-back groove (without much improvisation). 

The deep, moaning quality and spacy texture of "Mercy, Mercy, Mercy" stand in contrast to the remainder of the record, though; Nat Adderley contributes two upbeat and challenging originals in "Fun" and "Games," while Zawinul's second piece, "Hippodelphia," is on the same level of sophistication. The leader's two selections the gospel-inflected "Sticks" and the hard-swinging, bluesy bop of "Sack O' Woe" (the latter of which became a staple of his repertoire)  are terrific as well, letting the group really dig into its roots. Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well or with such tremendous musical rewards as Mercy, Mercy, Mercy. ~ Steve Huey   http://www.allmusic.com/album/mercy-mercy-mercy!-live-at-the-club-mw0000173884

Personnel : Cannonball Adderley (alto saxophone); Nat Adderley (cornet); Joe Zawinul (acoustic & electric pianos); Victor Gaskin (bass); Roy McCurdy (drums).

Mercy, Mercy, Mercy! Live At "The Club"

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Jimmy Heath Quartet - You've Changed

Bitrate: 320K/s

Time: 62:20

Size: 142.7 MB

Styles: Saxophone jazz, Hard bop

Year: 1991

Art: Front

[8:11] 1. Soul Eyes

[9:19] 2. Sleeves

[7:12] 3. Bluesville

[8:16] 4. You've Changed

[7:27] 5. Basic Birks

[7:10] 6. Last Night When We Were Young

[6:35] 7. Sassy Samba

[8:07] 8. Prince Albert

You've Changed presents journeyman saxophonist Jimmy Heath in an unadorned setting that exhibits his talents in full splendor. Also a noted composer -- three of the pieces here are his -- this session showcases Heath's sound, which is as smoky and sweet as the best whiskey. Heath plays with fluid drive. The composer in him never takes a break as evidenced by the logical flow of his melodic ideas. The band is a pared down version of the Heath Brothers with regulars Tony Purrone and brother Tootie Heath on board joined by bassist Ben Brown. Purrone's smooth, bluesy fretwork provides just the right foil for the leader. ~David Dupont

You've Changed

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Stella Bass - Look for the Silver Lining

Styles: Vocal
Year: 2024
Time: 42:17
File: MP3 @ 320K/s
Size: 97,3 MB
Art: Front

(4:32) 1. Being Alive
(5:41) 2. Blame It on My Youth
(2:23) 3. This Could Be the Start of Something Big
(3:47) 4. All the Colours of My Love
(5:07) 5. Pure Imagination
(3:32) 6. Old Devil Moon
(5:15) 7. Still
(3:11) 8. Look for the Silver Lining
(4:23) 9. I Believe in You
(4:21) 10. Change Partners

It is an enviable trait to always look for the silver lining in troubled times. For Dublin vocalist Stella Bass, when gigs dried up during the Covid pandemic, the silver lining was the gift of time. She did not waste it, studying music production with Berklee College, Boston, and music composition & arranging with Studio Orchestrations, Belfast. The seeds planted, work duly followed, with writing, arranging and syncing music for TV, film and gaming. She also decided that it was time to record again, almost a decade after Too Darn Hot (Self Produced, 2014). For Bass, the title of her second album seemed obvious from the outset.

Bass has led her own quartet for years, playing a weekly residency at Dublin's Café en Seine. She has also sung with the long-running Dublin City Jazz Orchestra, so she can call on the cream of the city's jazz musicians. It is no less than her voice deserves. Just as pianist Phil Ware's arrangements were key to the success of Too Darn Hot, another lauded pianist, Johnny Taylor, leaves an indelible stamp on the standards-heavy Look for the Silver Lining, with arrangements which play to Bass' strengths.

Taylor is a refined pianist, one who values economy and space, qualities that also shape his arrangements. However, when the mood takes him he is also capable of lighting a fire, as he does on "Being Alive," and on the swinging "Old Devil Moon," while his silky touch chimes nicely with Bass' deft delivery on the ever-popular "Pure Imagination." Drummer Dominic Mullan and bassist Barry Donohue, both long-standing collaborators, provide equally sympathetic support.

Telling cameos from flugelhornist Ronan Dooney brighten "Blame It on My Youth" and the leader's own "All The Colours of My Love," while tenor saxophonist Michael Buckley brings his customary panache to the swinging "This Could be the Start of Something Big" and the bossa nova-tinged "Change Partners."

But Bass is the real star of the show, her pure-toned voice, lightly spiced by vibrato, bossing the swingers, and imbuing the ballads with the requisite emotional nuance. In essence an interpretive jazz singer, albeit one who also sings Kurt Weil, Marlene Dietrich, Amy Winehouse and Ella Fitzgerald, Bass contributes two original compositions.

The swaying "All the Colours of My Heart" and the pretty ballad "Still," co-penned with Yann O'Brien and Neville Lloyd respectively, nestle comfortably among the standards. So comfortably, in fact, that for one not overly familiar with the standards presented here, it would be hard to pick out Bass' originals from those by Stephen Sondheim, Jerome Kern, Irving Berlin et al. She should not wait for the next pandemic before reaching for pen and blank paper.

Excellent production values give these strong performances the added luster they demand. Recommended for lovers of vocal jazz standards sultry, swinging, playful and tender. By Ian Patterson https://www.allaboutjazz.com/look-for-the-silver-lining-stella-bass-self-produced

Personnel: Stella Vass: Vocal; Johnny Taylor: piano; Dominic Mullan: drums; Barry Donohue: bass; Michael Buckley: tenor saxophone; Ronan Dooney: flugelhorn

Look for the Silver Lining

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Stephen Riley - El Gaucho

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 60:31
Size: 139,3 MB
Art: Front

(6:53)  1. El Gaucho - Take 2
(7:17)  2. Think of One
(9:15)  3. Never Let Me Go
(7:37)  4. Night and Day
(7:17)  5. Central Park West
(7:29)  6. Milestones
(9:15)  7. J. Mood
(5:26)  8. El Gaucho - Take 3

Stephen Riley's fourth CD as a leader for Steeplechase is a bit different, as he has added a piano to the group. With pianist Ernest Turner, bassist Neal Caine, and drummer Jason Marsalis, the tenor saxophonist explores a combination of standards and time-tested jazz compositions. His soft, breathy vibrato in the gorgeous setting of "Never Let Me Go" is an extended affair, with the rhythm section playing conservatively behind him to allow plenty of space. He adds a hip, disguised introduction to "Night and Day," teasing the listener but never outright stating its well-known theme. Riley wails in John Coltrane's "Central Park West," changing the mood completely from the ballad tracks, while his interpretation of Thelonious Monk's "Think of One" is full of humor. The two takes of Wayne Shorter's "El Gaucho" are as different as night and day, though they both merited inclusion. Not many artists have recorded songs by Wynton Marsalis, though that may be because every leader seems to concentrate primarily on his or her compositions. In any case, this early work by the trumpeter proves to be an excellent choice, showcasing Caine's bluesy touch.By Ken Dryden https://www.allmusic.com/album/el-gaucho-mw0001983521

Personnel: Stephen Riley - tenor saxophone; Ernest Turner - piano; Neal Caine - bass; Jason Marsalis - drums

El Gaucho

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Amy Roberts' Gentlemen Of Jazz - I'm Confessin'

Bitrate: MP3@320K/s
Time: 65:38
Size: 150.3 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[8:35] 1. Runnin' Wild
[7:56] 2. I'm Confessin'
[5:51] 3. Isle Of Capri
[8:16] 4. That Teasin' Rag
[4:30] 5. A Nightingale Sang In Berkeley Square
[4:37] 6. Royal Garden Blues
[6:21] 7. Singing The Blues
[6:29] 8. Collegiate
[5:40] 9. I Can't Give You Anything But Love
[7:19] 10. Panama

In today's traditional jazz world there is a handful of talented young musicians - Amy Roberts is one of this select group. She first appeared on the club scene in Cornwall (her home county) as a schoolgirl a few years ago. Now (Autumn 2009) aged 21 she is studying music at the Royal Northern College of Music in Manchester, and at the same time she is making a name for herself on the jazz club and festival scene. This, the first CD by her own band, was recorded at the 2008 Bude Jazz Festival. The band has a sound reminiscent of the American small bands of the 1930s and '40s and on this CD they work well together to play hot inventive jazz and entertain their audience. The band line-up is Steve Graham trumpet, Amy Roberts alto sax (flute on one track), Roger Heeley piano, John Baker banjo, Andy Craddock double bass, Graham Smith drums.

I'm Confessin'

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Sant Andreu Jazz Band - Jazzing 14 Vol.1

Styles: Jazz, Big Band
Year: 2024
Time: 66:20
File: MP3 @ 320K/s
Size: 151,8 MB
Art: Front

(2:16) 1. Top Hat, White Tie & Tails
(4:37) 2. Bewitched
(3:12) 3. Four Brothers
(5:40) 4. For All We Know
(4:26) 5. Sway
(6:06) 6. Ceora
(3:23) 7. I Cried For You
(4:14) 8. My One And Only Love
(6:54) 9. Quiza´s, Quiza´s, Quiza´s.mp3
(4:00) 10. The Nearness Of You
(5:32) 11. Lady Be Good
(7:12) 12. After Supper
(4:30) 13. Fantail
(5:12) 14. Curacao Doloroso
(5:53) 15. Cherokee

Sant Andreu Jazz Band is a project arising from a music class. Conducted by Joan Chamorro, the big band brings together children between 6 and 18 years old, around a classic jazz repertoire with lots of swing, which gained the public and sold-out some of the most important music auditoriums in Spain.

The band was founded in 2006 at Escola Municipal de Música de Sant Andreu. The band has performed at numerous concerts and festivals in Catalonia and neighbouring countries. They released their first live CD/DVD Jazzing: Live at Casa Fuster in 2009, featuring alongside established jazz musicians, the precocious 14-year-old, Andrea Motis among other young talents.

2010 was a breakthrough year for the band, with appearances on more than 20 festivals including Valls, Terrassa, Girona, Barcelona, Platja d'Aro, and legendary venues like el Jamboree, Palau de la Música Catalana, JazzSi, Hotel Casa Fuster, featuring international performers like Dick Oatts, Ken Peplowski, Bobby Gordon, Perico Sambeat, Ignasi Terraza, Matthew Simon, and Esteve Pi. The band also released their second recording Jazzing, Vol. 2

In 2012 the film director Ramón Tort made the documentary A film about kids and music based on the band's work and efforts.The film was awarded best feature film at the Lights, Camera, Help Festival in Austin, Texas, in 2013
https://www.freshsoundrecords.com/13058-sant-andreu-jazz-band-albums

Jazzing 14 Vol.1

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Ronnie Cuber - Cuber Libre

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 52:34
Size: 120,6 MB
Art: Front

(11:59)  1. Star Eyes
( 5:19)  2. Rifftide
(10:18)  3. Tin Tin Deo
( 6:13)  4. Samba D'Orfeo
( 7:07)  5. Misty
( 5:30)  6. Sudwest Funk
( 6:05)  7. Prince Albert

This quartet session was a perfect setting for baritonist Ronnie Cuber, who was 34 years old at the time. Joined by the impeccable pianist Barry Harris, bassist Sam Jones, and drummer Albert "Tootie" Heath, Cuber gets to swing hard on such standards as "Star Eyes," "Rifftide," and "Tin Tin Deo." 

Throughout this bop-oriented date, Cuber shows why he has been considered one of the top masters of the baritone during the past 20 years.~Scott Yanow http://www.allmusic.com/album/cuber-libre-mw0000869723

Personnel: Ronnie Cuber (baritone saxophone); Barry Harris (piano); Albert Heath (drums).

Cuber Libre

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Cannonball Adderley, Milt Jackson - Things Are Getting Better

Bitrate: MP3@320K/s
Time: 52:46
Size: 120.8 MB
Styles: Soul jazz, Saxophone jazz
Year: 1958/2012
Art: Front

[4:58] 1. Blues Oriental
[0:44] 2. A Few Words
[7:09] 3. Things Are Getting Better
[4:45] 4. Serves Me Right (Take 5)
[5:18] 5. Groovin' High
[6:56] 6. The Sidewalks Of New York (Take 5)
[6:23] 7. Sounds For Sid
[6:43] 8. Just One Of Those Things
[4:34] 9. Serves Me Right (Take 4, Alternate)
[5:12] 10. The Sidewalks Of New York (Take 4, Alternate)

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] ~Lindsay Planer

Things Are Getting Better

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Miriam Aida - Come On Home

Styles: Vocal
Year: 2008
Time: 48:46
File: MP3 @ 320K/s
Size: 112,2 MB
Art: Front

(3:16) 1. Come On Home
(3:53) 2. A Handful Of Soul
(4:24) 3. Two Steps From The Blues
(3:03) 4. Now That You're Gone
(3:56) 5. You'd Be So Nice To Come Home To
(2:58) 6. Make Sure You're Sure
(3:41) 7. The Man I Love
(2:50) 8. A Night In Tunisia
(4:52) 9. Skylark
(3:13) 10. Jive Samba
(6:00) 11. Ruby And The Pearl
(3:00) 12. Rainbows End
(3:33) 13. I'm Not Ashamed

Miriam Aïda, one of Sweden’s most popular singers with an international following, has performed in Japan, UK, Brazil, France, Spain, USA, Turkey, Russia, Italy, Germany and of course all around Sweden and Scandinavia, both as a solo artist as well as with the band A Bossa Elétrica. She has shared the stage with many great Brazilian musicians such as Hermeto Pascoal, Badi Assad and master guitarist Marco Pereira.

After exploring the music traditions of Brazil and her success with the albums such as Quatro Janelas, Letras ao Brasil & É de Lei! she has been spotted in several national TV shows.

Miriam ́s extensive talent travels through a number of musical landscapes and since her album-debut in 2002 she has released 8 albums as a leader. Since 2010 she is an acclaimed radio profile for Swedish National Radio as a producer and music journalist. She has hoasted the Swedish Radio live broadcast JazzAward "Jazzkatten" several times and on the PolarPrize 2017 she interviewed Wayne Shorter on PolarTalks.

Following the success of the Swedish Grammy, Manifest and World Music Awards nominated albums Letras ao Brasil (2009) and Visans Väsen (2011), mixing Swedish traditional songs with Brazilian rhythms, her album AFRO SAMBA ORCHESTRA - É de Lei!" was awarded "Rhythm of the Year" by Manifestgalan.

The album honors the Brazilian legend and founder of Afro Samba, Baden Powell. And was recorded in Sweden and Rio de Janeiro in collaboration with the Brazilian arranger Jayme Vignoli. É de Lei! features one of Rio’s greatest singers, Marcos Sacramento.

Artist of the year at Swedish World Music Awards 2012

"A versatile artist, colorful, headstrong, audacious and personal. A performer who twists and turns on the familiar and who creates new perspectives for all of us.” This was the jury’s statement when Miriam Aïda received the price for Artist of the year at the Swedish World Music Awards in 2012.
https://info4993393.wixsite.com/miriamaida/about

Come On Home

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Ronnie Cuber - Four

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(4:50)  1. Battery Blues
(7:24)  2. Sidewinder
(5:28)  3. Motivation
(9:17)  4. Tenderly
(6:56)  5. Just Friends
(6:14)  6. Bluesette
(5:24)  7. Coming Home Baby
(6:02)  8. How High the Moon
(8:49)  9. Sugar
(6:15) 10. Four

Ronnie Cuber's always a hell of a swinger, but he sounds especially nice here  really letting his baritone hit some bold, soulful sounds in the company of Hammond organist Brian Charette, guitarist Ed Cherry, and drummer Adam Nussbaum! The record's got this soul jazz vibe that's a bit different than some of Cuber's other records and features a number of tunes penned by older heroes of the genre – like Horace Silver, Lee Morgan, Stanley Turrentine, and others – which makes for a set of songs that has Ronnie sounding completely wonderful all the way through. There's few cats who could ever make a baritone sax sound this wonderful – and we think you'll agree after hearing tracks that include "Four", "Battery Blues", "Bluesette", "Coming Home Baby", "Sugar", and "Motivation". https://www.dustygroove.com/item/936387/Ronnie-Cuber:Four

Personnel: Ronnie Cuber – baritone saxophone; Ed Cherry – guitar; Brian Charette – Hammond B3.; Adam Nussbaum – drums

Four

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Cannonball Adderley - Quintet In Chicago

Styles: Saxophone Jazz

Year: 1959
File: MP3@320K/s
Time: 34:03
Size: 78,2 MB
Art: Front

(4:40)  1. Limehouse Blues
(6:14)  2. Stars Fell on Alabama
(5:46)  3. Wabash
(4:33)  4. Grand  Central
(5:34)  5. You' re A Weaver Of Dreams
(7:13)  6. The Sleeper

This exciting session consists of the 1959 edition of The Miles Davis Sextet minus its leader, though it was later reissued as Cannonball & Coltrane, as there was evidence that both men had considerable input into the date. A brisk "Limehouse Blues" features great exchanges between the saxophonists, while Adderley's soulful "Wabash" is more easygoing. This newly remastered CD is a distinct improvement over the earlier retitled reissue. ~ Ken Dryden  http://www.allmusic.com/album/cannonball-adderley-quintet-in-chicago-mw0000088595

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Quintet In Chicago

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Bobby Hutcherson - Stick Up!

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 40:26
Size: 93,1 MB
Art: Front

(6:26)  1. Una Muy Bonita
(6:58)  2. 8/4 Beat
(6:59)  3. Summer Nights
(6:57)  4. Black Circle
(9:32)  5. Verse
(3:32)  6. Blues Mind Matter

One of Bobby Hutcherson's best albums, Stick-Up! was also his first official release not to feature drummer Joe Chambers, who was a major part of Hutcherson's outside leanings. Instead, Stick-Up! stakes out the middle ground between hard bop and the avant-garde, offering a set of structured yet advanced modal pieces indebted particularly to Coltrane. Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson. Tyner in particular is a standout, charging relentlessly forward on the intricate "8/4 Beat" and "Black Circle" and lending a Coltrane-ish flavor to the spiritually searching "Verse." The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that coupled with the energetic performances ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.
~ Steve Huey https://www.allmusic.com/album/stick-up%21-mw0000028035

Personnel: Joe Henderson - tenor saxophone;  Bobby Hutcherson - vibraphone, composer; McCoy Tyner - piano; Herbie Lewis - bass; Billy Higgins - drums

Stick Up!

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Gene Bertoncini - Jobim: Someone To Light Up My Life

Styles: Bossa Nova
Year: 1996
Time: 62:46
File: MP3 @ 320K/s
Size: 143,7 MB
Art: Front

(5:41) 1. Chopin Prelude/How Insensitive
(5:37) 2. Dindi
(3:21) 3. Quiet Night Of Quiet Stars (Corcovado)
(3:19) 4. Someone To Light Up My Life
(4:45) 5. Triste
(4:45) 6. Double Rainbow (Chovendo Na Roseiro)
(3:55) 7. Crossroads (Caminhos Cruzados)
(5:38) 8. No More Blues (Chega De Saudade)
(5:31) 9. Rome Montage (From The Adventurers)
(6:16) 10. Song Of The Jet (Samba Do Avião).mp3
(4:48) 11. Portrait In Black And White (Zingaro)
(5:04) 12. Once I Loved (O Amor Em Paz)
(5:56) 13. If You Never Come To Me
(4:18) 14. Felicidade

The veteran guitarist's collection of bossa novas by the late Antonio Carlos Jobim demonstrate his gift for counterpoint and improvisation in this all-acoustic masterpiece. Accompanied only by the Latin percussion of John Arruci and Jon Bates, Bertoncini plays an astonishingly uptempo "Corcavado" that seems to have overdubbed guitar lines but doesn't.

Also remarkable is his soft, understated version of "Double Rainbow." Any guitar student or jazz fan will be mesmerized by Bertoncini's crisp playing on "Zingaro.By Ken Dryden
https://www.allmusic.com/album/jobim-someone-to-light-up-my-life-mw0000087917#review

Jobim: Someone To Light Up My Life

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Nancy Wilson, Cannonball Adderley - S/T

Bitrate: MP3@320K/s

Time: 43:57

Size: 100.6 MB

Styles: Standards, Vocal jazz

Year: 1962/1993

Art: Front

[2:42] 1. Save Your Love For Me

[2:17] 2. Never Will I Marry

[2:58] 3. The Old Country

[2:23] 4. Happy Talk

[4:15] 5. The Masquerade Is Over

[2:32] 6. A Sleepin' Bee

[2:13] 7. Little Unhappy Boy

[4:29] 8. Teaneck

[4:55] 9. I Can't Get Started

[5:09] 10. One Man's Dream

[3:56] 11. Never Say Yes

[6:03] 12. Unit 7

An excellent collaboration of the Nancy Wilson voice with the Cannonball Adderley alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, OH. (It was there that Adderley encouraged her to go to N.Y.C. to do some recording, eventually leading to this session.) Not entirely a vocal album, five of the 12 cuts are instrumentals. A highlight of the album is the gentle cornet playing of Nat Adderley behind Wilson, especially on "Save Your Love for Me" and on "The Old Country." Cannonball Adderley's swinging, boppish sax is heard to excellent effect throughout. Joe Zawinul's work behind Wilson on "The Masquerade Is Over" demonstrates that he is a talented, sensitive accompanist. On the instrumental side, "Teaneck" and "One Man's Dream" are especially good group blowing sessions. On the other end of the spectrum, Adderley's alto offers a lovely slow-tempo treatment of the Vernon Duke-Ira Gershwin masterpiece, "I Can't Get Started. the listeners on their musical toes, the first couple of bars of "Save Your Love for Me" are quotes from "So What" from the Miles Davis Sextet seminal Kind of Blue session. Given the play list and the outstanding artists performing it, why any serious jazz collection would be without this classic album is difficult to comprehend. ~Dave Nathan

Nancy Wilson, Cannonball Adderley

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Christian Sands - Foot Prints

Bitrate: MP3@320K/s
Time: 65:24
Size: 149.7 MB
Styles: Traditional jazz combo
Year: 2002
Art: Front

[4:05] 1. Four
[4:07] 2. Canteloupe Island
[6:19] 3. Wave
[5:26] 4. All Blues
[6:11] 5. Sands Of Eqypt
[4:38] 6. Footprints
[4:49] 7. Ryan's Groove
[4:38] 8. I'll Remember April
[6:08] 9. A Night Intunisia
[5:41] 10. Wind Chimes
[7:35] 11. Maiden Voyage
[5:42] 12. Ain't No Sunshine

Christian Sands has been described as "a dynamic pianist with extraordinary musical maturity beyond his years". He is indeed an accomplished musician with great poise and sophistication. He possesses a warm, unpretentious personality together with an honest, heartfelt approach to playing which keeps him in demand. He has been playing the piano since 4 years old. Age 5 is when he wrote his first musical composition. On this debut recording, he wrote and arranged several of the songs.

Foot Prints

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Marilyn Monroe - I Wanna Be Loved By You

Styles: Vocal
Year: 2008
Time: 48:22
File: MP3 @ 320K/s
Size: 117,2 MB
Art: Front

(3:00) 1. I Wanna Be Loved By You
(3:33) 2. Diamonds Are A Girls Best Friend
(2:39) 3. I'm Gonna File My Claim
(3:03) 4. You'd Be Surprised
(2:21) 5. A Fine Romance
(2:58) 6. Kiss
(3:26) 7. Bye Bye Baby
(3:38) 8. After You Get What You Want You Don't Have It
(3:24) 9. When Loves Go Wrong Nothing Goes Right
(1:21) 10. Some Like It Hot
(5:09) 11. My Heart Belongs To Daddy
(2:46) 12. She Act Like A Woman Should
(2:59) 13. When I Fall In Love
(3:13) 14. Do It Again
(2:31) 15. I'm Through With Love
(2:14) 16. The River Of No Return

Who really was Marilyn Monroe? I Wanna Be Loved By You tries to answer this question. Charting her life journey, from Norma Jean’s rise to fame up to her controversial death, this play centres around the private persona of America's most infamous sex symbol.

In I Wanna Be Loved By You, Monroe’s character is played by all three of the female cast members at different points in the play. This strategy works well to emphasise Monroe’s conflicting personalities, the pre-celebrity young girl, the iconic actress and pin-up, and the private Marilyn, known to nobody but herself. This production also cleverly depicts Monroe’s love/hate relationship with the press. Each scene is broken up by a frantic media scrum, intruding into the play in the same interfering fashion they had in Monroe’s short life. At one point, Joe DiMaggio, Monroe’s second husband, states that “the press are either at your feet or your throat,” a line reminiscent of today’s treatment of celebrity.

I Wanna be Loved By You is excellent at detailing the events of Monroe’s life, from her marriages - including those to DiMaggio and Arthur Miller - to her relationship with her mum and her drug addiction. Yet this production doesn’t unravel any of the secrets it promises to and this is a problem. I Wanna Be Loved By You tries to do too much. Fifty minutes is not enough time to accurately comment on every aspect of Monroe’s life. Focusing on one would have been difficult enough. As a result, this production provides an interesting account of a complex character, but barely scratches the surface.By Liz Rawlings https://www.festmag.com/edinburgh/archive/i-wanna-be-loved-by-you

I Wanna Be Loved By You

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Stella Bass - Too Darn Hot

Styles: Vocal
Year: 2014
Time: 53:42
File: MP3 @ 320K/s
Size: 123,8 MB
Art: Front

(4:02) 1. All The Things You Are
(4:40) 2. I Keep Going Back To Joe's
(2:10) 3. Too Darn Hot
(5:29) 4. Aeroplane
(6:03) 5. A Nightingale Sang In Berkeley Square
(5:03) 6. Back To Black
(3:12) 7. The Frim Fram Sauce
(5:22) 8. The Nearness Of You
(3:47) 9. Why Don't You Do Right
(4:42) 10. Estate
(3:37) 11. A Wink And A Smile
(5:28) 12. Black Coffee

Singer Stella Bass is a stalwart of Dublin's live music scene, leading small jazz ensembles and collaborating with the HotHouse Big Band and the Dublin City Jazz Orchestra. Bass's debut jazz recording follows Smoke and Sound (Self Produced 2010), her cabaret tribute to Kurt Weil, Bertold Brech, Marlene Dietrich et al. In the main, Too Darn Hot sees Bass mine the jazz standards of the 1930s and 1940s, repertoire she's polished every Sunday for years in Dublin's chic Cafe en Seine. To stand out in a market awash with standards recordings requires something special and Bass, with her beguiling voice, comes fairly close. Whilst this set is unlikely to generate excitement amongst fans of more contemporary jazz there's no denying Bass's qualities as a singer and interpreter.

Classically trained, Bass's technical chops are evident from the first notes of Jerome Kern/Oscar Hammerstein's "All The Things You Are"; more importantly, her voice possesses soul, swing and pizzazz. Noteworthy too, are the arrangements of pianist Phil Ware, whose deft use of space and dynamics frame Bass's performances beautifully while enabling the excellent supporting cast to shine.

Bass has assembled some of Dublin's finest jazz musicians and they do her proud; guitarist Hugh Buckley impresses at slow tempos as on the Kern/Hammerstein tune and equally, when the band is swinging, as on Cole Porter's "Too Darn Hot." Trumpeter Danny Healy uncorks a gem of a solo on Jack Segal/Marvin Fischer's "I Keep Going Back to Joe's," providing sympathetic support to Bass's gently bluesy delivery. On Manning Sherwin/Eric Mascwitz's ballad "A Nightingale Sang in Berkeley Square," tenor saxophonist Robert Geraghty and Buckley's understated lyricism underscores Bass's nuanced delivery.

The leader injects a little fun with "Frim Fram Sauce," Redd Evans/Joe Ricardel novelty song popularized by the Nat King Cole Trio. Despite the frivolous lyrics, this old-fashioned swinger has endured, from Ella Fitzgerald/Louis Armstrong to Diana Krall half a century later. Ware's arrangement for trumpet, saxophones and Karl Ronan's trombone adds little-big band luster to Joseph 'Kansas Joe' McCoy's blues tune "Why Don't You Do Right?" Bass would probably settle for a fraction of the million copies that Peggy Lee and Benny Goodman's version shifted in 1942.

Bass also convinces on contemporary fare. On Robert Palmer's "Aeroplane" her poignant delivery and Buckley's emotive intervention combine to eclipse the original. Amy Winehouse's perfect retro-pop tune "Back to Black" is slowed down and artfully rearranged for horns; the rhythm section of Ware, bassist Nev Lloyd and drummer Dominic Mullan bring a subtle jazz sensibility to both tracks. Bass provides another highlight with Bruno Martino/Bruno Brighetti's "Estate," typically sung as a bossa nova since Joao Gilberto popularized the song; Bass instead sticks convincingly to the original Italian version in a compelling duet with Ware.

Hoagy Carmichael/Ned Washington's 'The Nearness of You," Ramsey McLean/Marc Shaiman's breezy "A Wink and a Smile" and Sonny Burke/Paul Francis Webster's sultry, late-night blues "Black Coffee" round out an enjoyable set. Too Darn Hot just confirms what jazz aficionados in Dublin already know Bass is a class act.By Ian Patterson https://www.allaboutjazz.com/too-darn-hot-stella-bass-self-produced-review-by-ian-patterson

Personnel: Stella Bass: vocals; Phil Ware: piano, Rhodes piano, arrangements; Hugh Buckley: guitar; Dominic Mullan: drums; Nev Lloyd: double bass; Danny Healy: trumpet, flugelhorn; Michael Buckley: alto saxophone; Robert Geraghty: tenor saxophone; Karl Ronan: trombone.

Too Darn Hot

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Renee Olstead - Renee Olstead

Styles: Jazz, Vocal

Year: 2004
File: MP3@320K/s
Time: 44:24
Size: 106,0 MB
Art: Front

(4:12)  1. Summertime
(3:31)  2. Taking A Chance On Love
(3:20)  3. Is You Or Is You Ain't My Baby?
(4:26)  4. Someone To Watch Over Me
(4:11)  5. Breaking Up Is Hard To Do
(3:32)  6. A Love That Will Last
(2:56)  7. Meet Me, Midnight
(4:34)  8. Sunday Kind Of Love
(3:16)  9. On A Slow Boat To China
(3:27) 10. What A Difference A Day Makes
(3:21) 11. Midnight At The Oasis
(3:32) 12. Sentimental Journey

With a seriously bluesy jazz voice, Olstead wows everyone who hears her, including the renowned David Foster who co-produced this album of classics. Unless someone told you, you might never suspect that Olstead is only in high school! Renee Olstead...hear her...you won't believe your ears. 

No less an expert on pop affairs than Neil Sedaka likens the impossibly mature voice of 14-year-old vocalist/TV star (CBS' Still Standing) Renee Olstead to "Patsy Cline, Ella Fitzgerald and Billie Holiday all wrapped in one." There's no disputing the sultry vocal talents showcased on this debut that balances familiar chestnuts from the great American songbook ("Summertime," "Someone to Watch Over Me," "Sentimental Journey") with more recent fare that veers from R 'n' B sass ("Is You Is Or Is You Ain't My Baby") to 70s chart hits like Sedaka's own "Breaking Up Is Hard to Do" and Maria Muldaur's "Midnight at the Oasis." 

A cynical ear might question how much of Olmstead's own life informs these bluesy performances: how trying can eigth grade be for an attractive redhead with a major label contract? Indeed, the tagline for at least one latter-day Ella Fitzgerald project comes frequently to mind here: "Is it real, or it Memorex?" Olmstead is yet another teen protege of hugely successful producer David Foster (who's midwifed the careers of Josh Groban and Michael Buble in recent years), and he provides her with some sturdy jazz arrangements to riff emotively on here even if his production is as slick and bloodless as ever. Still, Foster's penchant for overwrought melodrama is kept mercifully in check on his own composition "I Want a Love to Last," while his shrewd teaming of the young chanteuse with fellow teen pop phenom Peter Cincotti on Sedaka's "Breaking Up.." deftly underscores the promising talents of both. ~ Jerry McCulley - Editorial Reviews  http://www.amazon.com/Renee-Olstead-RENEE-OLSTEAD/dp/B00020HEL6

Personnel: Reneé Olstead (vocals); Carol Weisman (vocals); Dean Parks (guitar, acoustic guitar); Don Shelton (clarinet, alto saxophone, tenor saxophone);  Warren Luening (trumpet); Alan Broadbent, Billy Childs, Billy Childs Trio, Gerald Clayton (piano); Brian Bromberg (bass instrument); Jeff Hamilton , David Tull (drums); Neil Devor (programming); Peter Cincotti (vocals, piano); Dennis Budimir (guitar); Chris Botti, Rick Baptist (trumpet); Chris Dawson (piano); Joe La Barbera, Vinnie Colaiuta (drums).

Renee Olstead

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