Jo Harrop & Paul Edis - When Winter Turns to Spring

Styles: Vocal And Piano Jazz
Year: 2022
Time: 41:40
File: MP3 @ 320K/s
Size: 95,5 MB
Art: Front

(2:48) 1. Short Story
(3:46) 2. When Winter Turns to Spring
(3:40) 3. Spring Put the Swing in My Step
(3:44) 4. Umbrellas in the Rain
(3:29) 5. A Perfect Winter's Day
(5:04) 6. Winter Love Affair (One Day Soon)
(3:05) 7. A Child is Born
(3:09) 8. New Year, New You
(4:38) 9. Breathing
(5:13) 10. In the Bleak Midwinter
(3:00) 11. Only Spring Will Decide

Although Jo Harrop had previously released albums such as Songs for the Late Hours (Lateralize, 2019) and Weathering the Storm (Lateralize, 2020), the release of The Heart Waits (Lateralize, 2021) was a quantum leap forward for the Durham-born vocalist, not least because the album included fewer covers and far more original material than before. Harrop has said of that breakthrough album, "I sent my first lyrics to [pianist] Paul Edis and we wrote "If I Knew," which became the key that unlocked the door to creating this album." In fact, of the album's twelve tracks Harrop was credited with eight of them, and Edis with three, two jointly with Harrop. So, it is no surprise that Harrop and Edis are jointly credited on When Winter Turns to Spring and that all but two of its eleven tracks are credited to one or both of them.

As with her past albums, When Winter Turns to Spring is not a haphazard collection of songs, but has a theme running through it. Just as Weathering the Storm dealt with pathos and pain, while The Heart Wants focussed on love and life, losing and then finding oneself, so When Winter Turns to Spring is a reflective journey through the seasons; on this theme, the album's only two tracks not penned by Harrop or Edis are "When a Child is Born" by Thad Jones & Alex Wilder, and an Edis arrangement of Gustav Mahler's "In the Bleak Midwinter" played on piano and guitar with no vocals.

Whatever the subject matter, Harrop's voice is always versatile enough to eloquently convey a range of moods and emotions; she always makes this sound effortless and natural. Throughout the album, in addition to his roles as composer and arranger, Edis is ever present as accompanist or soloist, fully justifying his joint billing with Harrop. Where The Heart Waits featured a plethora of guest musicians, including the likes of Christian McBride, Jason Rebello and Troy Miller, this album needs no visitors as the accompaniment perfectly complements and showcases Harrop's voice throughout. Altogether, this album is another step on Harrop's route to superstardom. By John Eyles https://www.allaboutjazz.com/when-winter-turns-to-spring-jo-harrop-and-paul-edis-lateralize

Personnel: Jo Harrop: vocals (1-7 9-11); Adam King: bass (1-2, 4, 6, 9-11); Peter Adam Hill: drums (1-2, 4, 6, 9- 11); Emma Rawicz: soprano saxophone (1), flute (4, 9) , clarinet(4, 9), bass clarinet (4) tenor saxophone (10-11); Jamie McCredie: guitar (1, 8, 11); Debs White: violin& fixer (3-4, 7, 10); Reiad Chubah: viola (3-4, 7, 10); Will Hillman: viola (3-4, 7, 10); Julia Graham: cello (4, 10); Freddie Gavita: flugel horn (4, 9) trumpet (10-11); Rory Ingham: trombone (4, 11); Bryony James: cello (4, 7); Paul Edis: piano.

When Winter Turns to Spring

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Polly Gibbons - Midnight Prayer: The Best of Polly Gibbons on Resonance

Styles: Vocal Jazz
Year: 2020
Time: 83:51
File: MP3 @ 320K/s
Size: 192,8 MB
Art: Front

(5:08) 1. Permit Me to Introduce You to Yourself
(4:15) 2. Miss Celie's Blues
(5:45) 3. Ability to Swing
(5:39) 4. Pure Imagination
(3:42) 5. Midnight Prayer
(4:51) 6. Company
(7:10) 7. So Good
(7:23) 8. Everything Must Change
(4:26) 9. Don't Be on the Outside
(5:56) 10. Wild Is the Wind
(5:06) 11. Dr. Feelgood
(6:28) 12. Good Hands Tonight
(6:11) 13. Love Me Like A Song
(6:04) 14. After Hours
(5:39) 15. This Is Always

Polly Gibbons is a growing presence in the UK Jazz scene. She has already been nominated twice as "Best Jazz Vocalist" by JAZZ FM and the BBC. Fully embracing the inspiring expansiveness of American Jazz, Blues, Soul and R&B, her career as a vocalist, composer and live performer is influenced by these genres. But Polly is hesitant to define her music as strictly Jazz; her eclectic repertoire and the ease and style with which she performs it, have led her to appear at a variety of music festivals and venues: from the prestigious Royal Albert Hall in London opening for George Benson and Gladys Knight, or for Bozz Scaggs at the famous Montreal Jazz Festival. Equally, her fans might find her performing a weekly residency with her band at the legendary Birdland Jazz Club in NYC, Ronnie Scott’s in London or at the funky new venue Rudy's down in Nashville. Her music and her voice have a broad appeal to music lovers - and her ongoing touring over the last few years in the USA has garnered her many new fans.

One might ask how a farmer's daughter (one of seven siblings), who grew up in a small market town in Suffolk, England, came to sing in some of the greatest venues in the world? Polly grew up in a family that loved various types of music and although acting was her first love, she first began to experiment with vocals at 13; and the well-known British vocalist, Ian Shaw, helped her secure her first gig in London at 17. Then she was off! She released her first album, My Own Company in 2014, and soon afterward she was contacted by the American producer, George Klabin, President of the established USA label, Resonance Records, a division of the non-profit RISING JAZZ STARS, INC.

It was at Resonance Records Beverly Hills studio where Polly recorded Many Faces of Love, released in 2015. Touring the country from Oklahoma City to Minneapolis to New York City in support of that CD began a new career phase for Polly. She soon returned to the States in the Autumn of 2016 to begin work on her second album for Resonance: Is It Me…? The album was released in April of 2017 and several new touring periods (in the USA, EUROPE and ASIA) began, attracting critical acclaim from many music critics and periodicals; for example, the American music magazine, DOWNBEAT, compared Polly to a female version of the highly acclaimed vocalist, Gregory Porter.

In the Summer of 2018 the dynamic young vocalist spent three months in NYC exploring both the eclectic music scene in the city and some of its best musicians, as well as taking on the challenge of her first live recording - her third for Resonance. It took place over two days in June at the famed Powerstation/Berklee NYC, and was staged in front of a live audience.

It was an exciting event, made even more special by the presence of several All-Star Band members who have worked with Polly on both the East Coast and West Coast, as well as in London: the keyboards were represented by the remarkable musicians Tamir Hendelman and James Pearson on the acoustic piano, and Shedrick Mitchell held court on the Hammond B3. The rhythm section featured Polly’s long time guitarist, Paul Bollenback, along with the versatile drummer Mark McClean and Richie Goods who performed on both electric and acoustic basses. The repertoire chosen for the new 12-track CD represents the vocalist as both a singer and a songwriter, and features her original title track, “All I Can Do”, as well as another track co-written with the pianist and Polly’s long-time collaborator, James Pearson, entitled “If You Had The Chance”. The remainder of the album features tunes as diverse as Prince’s “Nothing Compares to You”; a very unusual and delightful version of the great Cole Porter standard, ”Anything Goes”; and the Duke Ellington classic, “I’m Just a Lucky So and So”.

All I Can Do will be released in February of 2019, and will be supported initially by a tour of the West Coast, followed in the early Spring by performances in both the Midwest, the East Coast and the UK.

As Polly reflects on her career so far, she says, "it's a fascinating journey that's constantly in flux, there are always exciting new goals to work towards." The vocalist and songwriter is definitely on that road, and with All I Can Do out soon, she is on the way to new and extraordinary musical destinations. Stay tuned!! https://www.allaboutjazz.com/musicians/polly-gibbons/

Midnight Prayer: The Best of Polly Gibbons on Resonance

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Noah Preminger - Ballads

Styles: Saxophone Jazz
Year: 2025
Time: 37:38
File: MP3 @ 320K/s
Size: 86,5 MB
Art: Front

(4:42) 1. Stan's Mood
(3:53) 2. Carry Me Ohio
(5:23) 3. Unfair World
(6:17) 4. In Our 20s
(5:30) 5. Democracy
(6:35) 6. Pneu
(5:16) 7. Someone To Watch Over Me

An album of pure elegance, which can be seen as a tribute to John Coltrane. Without imitating him, it achieves the remarkable feat of presenting inspiring works with a dazzling aesthetic. My personal tastes being exceptionally broad, I find as much joy in writing these lines about this album as I would for one by Médéric Collignon, Céline Bonacina, or Wadada Leo Smith. We are not dealing with just any musician: of the Brooklyn-based saxophonist Noah Preminger, The New York Times declares: “Mr. Preminger designs a different kind of sound for each note, an individual destiny and story.”

At just 36 years old and a two-time recipient of Downbeat magazine’s Rising Star Best Tenor Saxophonist award, Preminger has recorded nearly two dozen critically acclaimed albums as a leader. These few lines from his biography encapsulate not only his style as a performer but also his philosophy of music, as it is clear that Noah Preminger possesses a singular vision, allowing us to grasp and appreciate his inner universe.

Born in 1986, Preminger grew up in Canton, Connecticut. He released his debut album, Dry Bridge Road, shortly after his 21st birthday, earning the title of Debut of the Year in the Village Voice Critics Poll. His second and third albums as a leader were released in 2011 and 2013 under Palmetto Records. The Boston Globe describes him as “a master of standards and ballads, as well as an adventurous composer.” The saxophonist has performed on prestigious stages across the United States, Europe, Asia, and Australia, and he has played or recorded alongside artists such as Jason Moran, Dave Holland, John Patitucci, Fred Hersch, Dave Douglas, Billy Hart, Rob Garcia, Joe Lovano, Victor Lewis, John and Bucky Pizzarelli, Cecil McBee, George Cables, and Roscoe Mitchell. Preminger currently teaches at the Longy School of Music of Bard College and The New School.

Ballads, an album steeped in bebop, romance, and lyricism, is an exceptional work that prioritizes both substance and the aesthetics of form. This form of beauty, found as much in Pachelbel as in Coltrane, takes a modern, warm direction here, balanced by the extraordinary musicians accompanying Preminger in this venture: pianist Julian Shore, bassist Kim Cass, and drummer Allan Mednard. The exceptional cohesion of this quartet offers a dynamic stage presence that would be a delight to experience live.

2025 promises jazz in all its forms, with a January that has already exceeded expectations and a February poised to do the same. The press, much like myself, deeply appreciates this artist: “Noah Preminger’s sound is beholden to no one. That makes him continually unpredictable and continually satisfying.” By The Boston Phoenix

“Mr. Preminger designs a different kind of sound for each note, an individual destiny and story.” By The New York Times

Ballads is intelligent music meant to inspire dreams, with arrangements that are both understated and stylish an album destined to find its place among our “Essential” collection. By Thierry De Clemensat https://www.paris-move.com/reviews/noah-preminger-ballads-eng-review/

Personnel: Noah Preminger – Tenor Saxophone; Julian Shore – Piano; Kim Cass – Bass; Allan Mednard – Drums

Ballads

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Sergio Mendes - In The Key of Joy Disc 1, Disc 2

Album: In The Key of Joy Disc 1
Styles: Bossa Nova
Year: 2019
File: MP3@320K/s
Time: 43:37
Size: 102,1 MB
Art: Front

(4:11) 1. Sabor Do Rio
(3:20) 2. Bora Lá
(2:54) 3. La Noche Entera
(3:56) 4. Samba In Heaven
(4:13) 5. Muganga
(3:13) 6. In The Key Of Joy
(4:15) 7. Love Came Between Us
(3:11) 8. Catch The Wave
(2:57) 9. Romance In Copacabana
(2:56) 10. This Is It (É Isso)
(4:26) 11. Times Goes By
(3:58) 12. Tangara

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Album: In The Key of Joy Disc 2
Year: 2020
File: MP3@320K/s
Time: 58:00
Size: 134,6 MB

(2:39) 1. Mas Que Nada
(4:03) 2. Agua De Beber
(3:57) 3. Primitivo
(3:24) 4. Lamento (No Morro)
(3:14) 5. Pais Tropical
(4:52) 6. Reza
(3:19) 7. Consolacao
(3:05) 8. Going Out Of My Head
(2:43) 9. The Frog
(4:29) 10. Morro Velho
(2:43) 11. The Look Of Love
(3:18) 12. Constant Rain
(4:16) 15. Never Gonna Let You Go
(4:01) 16. Fanfarra – Cabua-Le-Le

With exuberant Brazilian beats variously smoldering and at full flame, In the Key of Joy (Concord Records, 2019) archives the sound and the ambiance that defines Sergio Mendes. In 2020, the composer, keyboardist and vocalist celebrates more than sixty years in the music industry with this release. No matter how many beautiful songs and engaging records Mendes has provided over the years, many of a certain age will always first conjure up Sergio Mendes and Brazil '66. The 1960s produced a musical tapestry that was near limitless in its emotional depth and diversification. Mendes firmly yet delicately grabbed hold of that joy with both hands and has never let go. He has expressed it in pop, jazz, Brazilian and beyond. In 1968 we were treated to his spicy take on Burt Bacharach's "The Look of Love" and the heartbeat of Latin romance was within us. That sound and mood has playfully filled the air ever since.

In the Key of Joy kicks off with a visit from Common on the feisty "Sabor Do Rio." This, along with the title track, with rapper Buddy, illustrate Mendes' ability to stay current and explore new territory, while never sacrificing any of his core sound. Chico Brown's catchy acoustic guitar work is augmented by vocalist Shelea on "Catch the Wave." Mendes shuns the collaborative with his own jaunty piano skills on "Romance in Copacabana." His days with bossa nova legend Antonio Carlos Jobim are remembered with pianist and co-writer Joao Donato playing a duet on the upbeat "Muganga." It's also a family affair as Mendes' wife, singer and muse Gracinha Leporace joins in the fun and Joe Pizzulo's daughter, Sugar Jones, sings "Samba in Heaven." Pizzulo himself adds a reconnect with Mendes on "Love Came Between Us." Long time collaborators Hernan Pascal and Guinga join the party as well. A true celebration of family, friends and music. On the final track, Guinga's snappy guitar grooves signify that the celebration continues.

Released in conjunction with a bright documentary of his career, In the Key of Joy is at once a homage to the past and a step forward. This is a concept record. Breezy, bright, and infectious tunes are generally not the making of a concept record. But again, Sergio Mendes does what he does best. The concept is simple. Relax, get comfortable and breathe in the joy.~Jim Worsley https://www.allaboutjazz.com/in-the-key-of-joy-sergio-mendes-concord-music-group

Personnel: Sergio Mendes: piano; Leo Costa: drums; Andre de Santana: bass; Paul Jackson Jr.: guitar; Mika Mutti: acoustic guitar, synths & rhythm design, percussion.

In The Key of Joy Disc 1, Disc 2

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Ivan Lins, Chucho Valdes E Irakere - Ao Vivo Em Cuba

Bitrate: MP3@320K/s
Time: 59:58
Size: 137.3 MB
Styles: Latin jazz
Year: 2014
Art: Front

[9:48] 1. Lua Soberana
[4:11] 2. Somos Todos Iguais Nesta Noite
[5:59] 3. Comecar De Novo
[3:16] 4. Dinorah, Dinorah
[8:33] 5. La Explosion
[4:03] 6. Lembra De Mim
[2:52] 7. Iluminados
[7:10] 8. Garota De Ipanema
[4:18] 9. Vitoriosa
[9:44] 10. Al, Al, Al, Al, Al

The combination of Chucho Valdés’ Afro-Cuban fusion jazz with Ivan Lins’ elaborate songwriting has produced a truly world-class recording. For Ivan Lins music lovers, Ao Vivo em Cuba is more than a collection of greatest hits. The new arrangements and totally new Caribbean flavor in Lins’ songs are unforgettable and just sound well together.

Ivan Lins is not new to the world market. Since Quincy Jones’s Grammy winner arrangement of “Velas” hit the air waves in 1981, Ivan Lins’s music is being recorded by artists such as George Benson, Manhattan Transfer, Mark Murphy, Diane Schuur, Sting, Nancy Wilson and a fantastic array of renowned names. Also, the encounter of Brazil and Cuba is not new. This Brazilian-Cuban romance has survived governments and geographical distances. Pablo Milanés, for example, has sung some of his songs with Chico Buarque and Simone. This new flame with Ivan Lins is the result of the work of Julio Ballester Guzmán and Vítor Martins (Ivan Lins’s most regular songwriting partner).

As indicated in the liner notes, Ao Vivo em Cuba was recorded in La Casa de la Música (Havana, Cuba) before a live audience exclusively comprised of Cuban artists and musicians. Irakere’s Latin percussion and, especially, Chucho Valdés’s piano accompaniment carry most of the songs in this release. To give the audience a breathing moment, Ivan Lins sings a few songs only with piano accompaniment. It is during this segment of the show that we hear a medley of “Garota de Ipanema” and “Aos Nossos Filhos.” Though a rather unusual medley, the ending result is quite pleasing. However, from the opening track of “Lua Soberana/Confins,” the listener has no alternative but agree with Franklin Valverde’s statement that this CD is a “cocktail to be enjoyed slowly.” “Somos Todos Iguais Nesta Noite,” “Dinorah” or the closing track “Ai, Ai, Ai, Ai, Ai” will be anything and everything that encompass Cuban and Brazilian flavors. ~Egídio Leitão

Ao Vivo Em Cuba

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Patricia Sosa, Chucho Valdés - ONCE: Concierto para Dos

Styles: Vocal, Piano
Year: 2017
File: MP3@320K/s
Time: 49:53
Size: 114,8 MB
Art: Front

(3:47) 1. Alli
(3:53) 2. Envidia
(3:39) 3. Distancia
(3:24) 4. Ningún Amor Es Perfecto
(6:22) 5. Vela Encendida
(6:44) 6. Dias de Otoño
(3:44) 7. Me Has Echado al Olvido
(5:14) 8. Marcada a Fuego
(5:02) 9. Ya No Me Dueles
(3:32) 10. De Aqui a la Eternidad
(4:28) 11. Concierto para Dos

The Argentine singer-songwriter, Patricia Sosa, gives a turn in her career with the presentation of "Once (Concierto para dos)", an album of boleros and ballads that features the participation of the emblematic Cuban pianist, Chucho Valdés. This record was recorded at Chucho's studio in Málaga, with the participation of artists Dany Leis, Daniel Casares, Esperanza García de Soria and Miguel Poveda. https://www.amazon.com/Once-Concierto-PATRICIA-VALD%C3%89S-CHUCHO/dp/B0784W1HC7

ONCE: Concierto para Dos

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Lorez Alexandria - Alexandria The Great

Bitrate: 320K/s

Time: 35:53

Size: 82.1 MB

Styles: Vocal jazz

Year: 1964/2004

Art: Front

[3:59] 1. Show Me

[2:17] 2. I've Never Been In Love Before

[2:43] 3. Satin Doll

[4:27] 4. My One And Only Love

[3:56] 5. Over The Rainbow

[3:58] 6. Get Me To The Church On Time

[2:43] 7. The Best Is Yet To Come

[4:03] 8. I've Grown Accustomed To His Face

[2:20] 9. Give Me The Simple Life

[5:23] 10. I'm Through With Love

Lorez Alexandria has not received her due as a jazz singer, probably due in part to her long layoff from recording (11 years) for nationally distributed labels following these 1964 studio sessions for Impulse! But the vocalist is in top form throughout each of these three sessions, each with a different group of musicians. Her soulful singing also hints at her gospel background in places, though her clear enunciation, ability to swing, and touch of charm make her a delight to hear. Most of the arrangements are fairly concise, so the longer tracks shine just a bit brighter. Her swinging take of "Get Me to the Church On Time" is playful, while her soulfulness comes across in the snappy take of "I'm Through With Love," the latter featuring guitarist Ray Crawford. This is an excellent introduction to a fine vocalist worthy of much wider recognition.By Ken Dryden

Alexandria The Great

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Paul Desmond, Gerry Mulligan - Two of A Mind

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 40:48
Size: 93,6 MB
Art: Front

(5:52)  1. All The Things You Are
(8:24)  2. Stardust
(5:47)  3. Two Of A Mind
(6:36)  4. Blight Of The Fumble Bee
(7:23)  5. The Way You Look Tonight
(6:43)  6. Out Of Nowhere

Paul Desmond and Gerry Mulligan helped to define the cool school with their light, almost vibratoless tones--Desmond's alto luminous and airy, Mulligan's baritone woolly and quietly gruff. They also shared a fondness for improvised counterpoint, and that's the defining characteristic of these 1962 sessions, from the theme statement of "All the Things You Are" with Mulligan echoing Desmond's lead. Like Mulligan's famous group with trumpeter Chet Baker, this is a pianoless quartet, and the open harmonic atmosphere casts the saxophonists' interplay in high relief. Desmond's title tune and Mulligan's "Blight of the Fumble Bee" lead to extended passages of collective improvisation, while Mulligan often supplies Desmond with restrained counterlines. On "The Way You Look Tonight," the theme gradually emerges out of Desmond's part in an almost fuguelike improvisation. The LP-length recording took a surprising three sessions to produce, and there's a revolving door for rhythm sections. Drummer Connie Kay from the Modern Jazz Quartet appears on two tracks with bassist Wendell Marshall and one with John Beal. Drummer Mel Lewis teams with bassist Joe Benjamin on the other three. Despite that, there's nothing lacking in the quality of the support: the two saxophonists sound consistently if quietly inspired. By Stuart Broomer https://www.amazon.com/Two-Mind-Paul-Desmond/dp/B000003G3J

Personnel: Paul Desmond (alto saxophone); Gerry Mulligan (baritone saxophone); John Beal, Wendell Marshall, Joe Benjamin (bass); Connie Kay, Mel Lewis (drums).

Two of A Mind

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Salena Jones - Salena Jones Meets Kenny Burrell & Richie Cole

Styles: Vocal, Guitar And Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 64:40
Size: 148,3 MB
Art: Front

(2:31)  1. It Dont Mean A Thing
(4:39)  2. Mr Bojangles
(3:30)  3. I ll Never Be Free
(4:01)  4. Wave
(3:24)  5. In A Sentimental Mood
(4:27)  6. Without You
(3:28)  7. You Fascinate Me So
(4:27)  8. We re All Alone
(5:08)  9. Stormy Weather
(5:18) 10. Georgia On My Mind
(5:43) 11. When I Fall In Love
(4:05) 12. Bridges
(5:20) 13. If I Should Lose You Now
(4:18) 14. Love Letters
(4:12) 15. For All We Know

Born in Newport News, VA, in 1944, Salena Jones (real name: Joan Elizabeth Shaw) would over the course of a 60-plus-year career become one of the leading vocalists of swing music, performing in a number of countries in Europe and Asia and recording a number of albums. Jones got her first break at the famed Apollo Theater in New York, winning a talent contest that resulted in a record deal. She spent the early part of her career touring and performing with such leading lights as Louis Armstrong, Cab Calloway, and Duke Ellington.

Her first forays overseas, to Spain and the U.K., were in the mid-'60s and were to begin a life spent mostly outside the rather fickle confines of the United States. In 1978, she made her first appearance in Japan and performed there on an annual basis. By the first decade of the 21st century, she had performed on most continents, recorded more than 40 albums, and sang at the 2006 Shanghai International Jazz Festival.By Chris True http://www.allmusic.com/artist/salena-jones-mn0000290681

Personnel: Salena Jones – Vocal;  Kenny Burrell – Guitar;  Richie Cole – Saxophone.

Salena Jones Meets Kenny Burrell; Richie Cole

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Dinah Washington - The Fabulous Miss 'D': The Keynote, Decca and Mercury Singles 1943-1953 (4-Disc Set)

A four-CD box set containing 107 tracks, The Fabulous Miss D! The Keynote, Decca and Mercury Singles 1943-1953 traces the first decade of Dinah Washington's recording career on 78s and 45s with a song on either side, starting with her stint with Lionel Hampton and continuing through the early years of her solo career. The album title implies an equivalence among the three labels for which Washington recorded in this period, but that is just a way of assuring the potential customer that those early Hampton sides -- the Keynote singles "Evil Gal Blues"/"Homeward Bound" and "Salty Papa Blues"/"I Know How to Do It" featuring a Hampton sextet, and Hampton's Decca single "Blow Top Blues" are included.

In fact, most of this material comes from Mercury, and that means her string of solo R&B hits starting with 1948's "Ain't Misbehavin'" and running through 1953's double-sided "TV Is the Thing (This Year)"/"Fat Daddy," with the chart toppers "Am I Asking Too Much" and "Baby Get Lost" in between, along with all the B-sides (some of which also charted) and plenty of non-chart items, all in chronological order. That sequencing allows an appreciation of Washington's development from the bluesy jazz and big-band efforts of the early recordings through jump blues to a mixture of ‘50s R&B and lush pop efforts. It's clear that Mercury hoped to cross Washington over to the pop charts, and every now and then, strings and a hearty backup chorus signal an attempt to push her toward the sound of Patti Page. But only "I Wanna Be Loved" made an impression on the pop chart in this period, and the poppier efforts tended to miss the R&B charts, where Washington otherwise scored consistently in the Top Ten. Sometimes, she did so by going gutbucket and gritty, such as on "Long John Blues," perhaps the most salacious song ever written about dentistry ("You thrill me when you drill me") and a number three hit in 1949. But Washington got to the same chart peak with her version of Hank Williams' "Cold Cold Heart," which suggests both her versatility and the range of Mercury's demands on her. Indeed, she was frequently called upon to cover pop hits for the R&B market during this period, and succeeded with such reverse crossover hits as "Harbor Lights," "My Heart Cries for You," "Wheel of Fortune," and "Tell Me Why," which, just earlier, had been pop chart entries for Sammy Kaye, Guy Mitchell, Kay Starr, and the Four Aces, respectively. And she occasionally undertook pop standards, such as "Embraceable You" and "How Deep Is the Ocean," or dipped into the Bing Crosby ("Just One More Chance") or Frank Sinatra ("I'm a Fool to Want You") catalogs, always with satisfying results. ~William Ruhlmann

Album: The Fabulous Miss 'D' (Disc 1)
Bitrate: MP3@320K/s
Time: 75:16
Size: 172.3 MB
Styles: Jazz vocals, R&B
Year: 2010

[2:51] 1. Evil Gal Blues
[2:46] 2. Homeward Bound
[3:01] 3. Salty Papa Blues
[3:09] 4. I Know How To Do It
[3:17] 5. Blow Top Blues
[2:43] 6. I Can't Get Started
[2:45] 7. Joy Juice
[2:52] 8. Embraceable You
[2:53] 9. When A Woman Loves A Man
[2:39] 10. Oo Wee Walkie Talkie
[2:38] 11. A Slick Chick (On The Mellow Side)
[2:51] 12. Postman Blues
[2:50] 13. That's Why A Woman Loves A Heel
[2:50] 14. I Wanna Be Loved
[2:58] 15. Stairway To The Stars
[2:46] 16. Mean And Evil Blues
[2:30] 17. Fool That I Am
[2:37] 18. Since I Fell For You
[2:40] 19. You Can Depend On Me
[2:32] 20. There's Got To Be A Change
[2:32] 21. Early In The Morning
[2:35] 22. I Love You, Yes I Do
[2:51] 23. Don't Come Knocking At My Door
[2:46] 24. Ain't Misbehavin'
[2:45] 25. No More Lonely Gal Blues
[2:55] 26. West Side Baby
[2:31] 27. Walkin' And Talkin'

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Album: The Fabulous Miss 'D' (Disc 2)
Bitrate: MP3@320K/s
Time: 72:26
Size: 165.8 MB
Styles: Jazz vocals, R&B
Year: 2010

[3:08] 1. I Want to Cry
[3:14] 2. Resolution Blues
[2:36] 3. Tell Me So
[2:52] 4. In the Rain
[2:47] 5. Am I Asking Too Much
[3:05] 6. I Sold My Heart to the Junkman
[2:40] 7. It's Too Soon to Know
[3:01] 8. I'll Wait
[2:47] 9. Why Can't You Behave
[2:34] 10. It's Funny
[2:46] 11. You Satisfy
[2:29] 12. Laughing Boy
[2:35] 13. (What Can I Say) After I Say I'm Sorry
[2:20] 14. Pete
[2:48] 15. Baby Get Lost
[3:07] 16. Long John Blues
[2:53] 17. Am I Really Sorry
[3:11] 18. I Challenge Your Kiss
[2:22] 19. Good Daddy Blues
[2:50] 20. Richest Guy in the Graveyard
[2:24] 21. I Only Know
[1:55] 22. New York, Chicago, and Los Angeles
[3:01] 23. It Isn't Fair
[3:07] 24. Journey's End
[2:47] 25. I Wanna Be Loved
[2:52] 26. Love (Me) With Misery

The Fabulous Miss 'D'(Disc 1) (Disc 2)

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Album: The Fabulous Miss 'D' (Disc 3)
Bitrate: MP3@320K/s
Time: 74:54
Size: 171.5 MB
Styles: Jazz vocals, R&B
Year: 2010

[2:42] 1. I'll Never Be Free
[2:39] 2. Big Deal
[2:59] 3. How Deep Is the Ocean
[2:28] 4. Why Don't You Think Things Over
[3:00] 5. Harbor Lights
[2:57] 6. I Cross My Fingers
[3:17] 7. Time Out for Tears
[2:54] 8. Only a Moment Ago
[3:21] 9. My Kind of Man
[2:24] 10. If I Loved You
[2:11] 11. Fast Movin' Mama
[2:40] 12. Juice Head Man of Mine
[2:43] 13. My Heart Cries for You
[3:19] 14. I Apologize
[3:20] 15. I Won't Cry Anymore
[3:13] 16. Don't Say You're Sorry Again
[3:01] 17. Please Send Me Someone to Love
[3:04] 18. Ain't Nobody's Business If I Do
[2:29] 19. Fine Fine Daddy
[3:08] 20. I'm So Lonely I Could Cry
[2:40] 21. If You Don't Believe I'm Leaving (Count the Days I'm Gone)
[2:37] 22. I'm a Fool to Want You
[3:18] 23. Cold, Cold Heart
[2:56] 24. Mixed Emotions
[2:54] 25. Be Fair to Me
[2:25] 26. Saturday Night

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Album: The Fabulous Miss 'D' (Disc 4)
Bitrate: MP3@320K/s
Time: 75:25
Size: 172.7 MB
Styles: Jazz vocals, R&B
Year: 2010
Art: Front

[3:09] 1. Out in the Cold Again
[2:41] 2. Hey, Good Looking
[2:50] 3. Just One More Chance
[3:02] 4. Baby Did You Hear
[2:15] 5. Wheel of Fortune
[2:56] 6. Tell Me Why
[2:48] 7. Trouble in Mind
[2:37] 8. New Blowtop Blues
[2:57] 9. Mad About the Boy
[2:45] 10. I Can't Face the Music (Without Singing the Blues)
[2:54] 11. Pillow Blues
[2:44] 12. Double Dealing Daddy
[2:54] 13. My Song
[2:31] 14. Half as Much
[3:00] 15. Stormy Weather
[2:56] 16. Make Believe Dreams
[2:25] 17. I Cried for You
[3:13] 18. Gambler's Blues
[2:54] 19. You Let My Love Grow Cold
[2:53] 20. Ain't Nothin' Good
[2:15] 21. Lean Baby
[2:13] 22. Never, Never
[2:24] 23. TV Is the Thing This Year
[2:25] 24. Fat Daddy
[2:20] 25. Silent Night
[2:40] 26. The Lord's Prayer
[2:30] 27. My Man's an Undertaker
[2:02] 28. Since My Man Has Gone and Went

The Fabulous Miss 'D'(Disc 3) (Disc 4)

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Carmen Lundy - Fade To Black

Styles: Vocal
Time: 56:42
File: MP3 @ 320K/s
Size: 130,8 MB
Art: Front

(8:06) 1. Shine a Light
(3:31) 2. So Amazing
(5:39) 3. Daughter of the Universe
(3:19) 4. Ain't I Human
(5:19) 5. Lonesome Blue Butterfly
(4:41) 6. Spell of Romance
(7:15) 7. Say Her Name
(5:21) 8. Transition (To A Promised Land)
(3:49) 9. Privacy
(5:51) 10. Reverence
(3:45) 11. Rest In Peace

Fade To Black is Carmen Lundy’s 16th album and one of her most personal to date. Grammy® Nominated for her previous album Modern Ancestors, these 11 original songs, written and arranged by Carmen Lundy, were conceived during the challenging months of the pandemic and reflect this time of great loss, sorrow, healing, and hope for a brighter, more inclusive future for us all. Tackling the difficult social issues of our time while also musing on the joys of love and relationships, this stunning set of songs takes us on an emotional journey that culminates in the extraordinary hymn-like ballad titled “Rest In Peace”.

Carmen Lundy explains, “I approached the writing of this work from being in this moment in time not necessarily looking back, but observant of the times we live in NOW. Traditional Jazz composition involves understanding its evolution and the spirit of improvisation. In this complete oeuvre, I wanted to explore different approaches to harmonic progressions, extended forms, and subtle rhythmic concepts while providing plenty of space for the lyrics and melodies to sing and tell stories without necessarily feeling the need to represent preconceived ideas about vocal jazz, harmonies and rhythms.” This project was funded in part by a New Jazz Works grant from Chamber Music America (CMA). All songs written and arranged by Carmen Lundy (Carmen Lundy Publishing/BMI).
https://carmenlundy.com/product/fade-to-black/

Personnel: Carmen Lundy: vocals, keyboards, guitar, percussion, horn arrangements, backing vocals. Julius Rodriguez: piano. Matthew Whitaker: organ, keyboards, string arrangements, programming. Kenny Davis: acoustic bass, electric bass. Curtis Lundy: acoustic bass. Terreon Gully: drums. Andrew Renfroe: guitar. Wallace Roney Jr.: trumpet. Giveton Gelin: trumpet. Camille Thurman: tenor saxophone. Morgan Guerin: tenor saxophone.

Fade To Black

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Larry Coryell - Sketches Of Coryell

Styles: Smooth/Jazz
Year: 1996
Time: 48:32
File: MP3 @ 320K/s
Size: 114,1 MB
Art: Front

(4:33) 1. A Sketch Of Spain (Concierto De Aranjuez)
(5:16) 2. Feel Like Makin’ Love
(4:45) 3. Big Fun
(4:40) 4. I Am Singing
(4:46) 5. The Awakening
(4:14) 6. Molly
(4:53) 7. Ring Around The Moon
(5:31) 8. Soulin’
(5:41) 9. My Brother
(4:09) 10. Ray Of Hope

Parts of 1996's Sketches of Coryell make the casual listener want to reach through the speaker cables and slap some sense into the guitarist. Larry Coryell is one of the great jazz guitarists of his generation, but like too many of his albums, Sketches of Coryell is musically lazy and, one suspects, slightly cynical.

Coryell plays beautifully throughout, but the song choices (including only two originals out of ten tracks, the poppy ballad "Molly" and the more successful reflective closer "Ray of Hope") are thoroughly uninspired; one gets the idea that the perfunctory run though a theme from the Miles Davis and Gil Evans classic Sketches of Spain was recorded only so the album could have an instantly recognizable title, and the dentist-office rendition of Roberta Flack's "Feel Like Makin' Love" is just abominable.

Other tracks aren't quite so obviously geared toward heavy Muzak rotation, but the album overall sounds like Coryell was simply punching the clock at the studio and he could be doing so much more. By Stewart Mason https://www.allmusic.com/album/sketches-of-coryell-mw0000079913#review

Personnel: Guitar, Keyboards – Larry Coryell; Drum Programming, Keyboards – Kennan Keating (tracks: 7); Drums – Kenwood Dennard (tracks: 6, 10); Drums, Percussion – Kennan Keating; Keyboards – Julian Coryell (tracks: 4), Mark Sherman, Mark Sherman (tracks: 3, 5), Peter Moffitt; Keyboards, Rhythm Guitar – Rodney Jones (tracks: 3, 5, 8); Percussion – Emedin Rivera (tracks: 4, 6, 10), Jonathan Abrams (tracks: 7); Soprano Saxophone – Dave Mann (2) (tracks: 3, 5, 7, 8), Mark Johnson (25) (tracks: 2, 9); Trumpet – Alex Sipiagin

Sketches Of Coryell

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Salena Jones - Over The Rainbow

Styles: Vocal Jazz
Year: 1995
File: MP3@320K/s
Time: 58:56
Size: 145,3 MB
Art: Front

(2:42)  1. Perdido
(2:36)  2. And The Angels Sing
(4:51)  3. Over The Rainbow
(2:20)  4. Cherokee
(3:45)  5. Canadian Sunset
(4:19)  6. It Amazes Me
(2:40)  7. Sermonette
(3:32)  8. Until I Met You
(3:25)  9. Silk Shiny Stockings
(4:31) 10. You Go To My Head
(3:41) 11. In A Mellow Tone
(4:40) 12. Soul Shadows
(3:54) 13. I'll Know
(3:24) 14. The Touch Of Your Lips
(4:19) 15. Imagine My Frustration
(4:08) 16. After You

Born in Newport News, VA, in 1944, Salena Jones (real name: Joan Elizabeth Shaw) would over the course of a 60-plus-year career become one of the leading vocalists of swing music, performing in a number of countries in Europe and Asia and recording a number of albums. Jones got her first break at the famed Apollo Theater in New York, winning a talent contest that resulted in a record deal. She spent the early part of her career touring and performing with such leading lights as Louis Armstrong, Cab Calloway, and Duke Ellington. Her first forays overseas, to Spain and the U.K., were in the mid-'60s and were to begin a life spent mostly outside the rather fickle confines of the United States. In 1978, she made her first appearance in Japan and performed there on an annual basis. By the first decade of the 21st century, she had performed on most continents, recorded more than 40 albums, and sang at the 2006 Shanghai International Jazz Festival.~Chris True http://www.allmusic.com/artist/salena-jones-mn0000290681

Over The Rainbow

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Amina Claudine Myers - Sama Rou

Size: 142,2 MB
Time: 61:18
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Gospel
Art: Front

01. Steal Away/Athan (Call To Prayer)/Fatiha (Sura Prayer) ( 7:55)
02. Down On Me ( 3:51)
03. Intro (Crossings, Pt. I, II & III) (19:33)
04. Ain't Nobody Ever Gonna Hear Us ( 5:48)
05. Nobody Knows 'de Trouble I See ( 5:19)
06. My Soul's Been Anchored By The Lord ( 3:53)
07. Sometimes I Feel Like A Motherless Child ( 5:05)
08. Go Down Moses ( 5:56)
09. Thank You ( 3:55)

Personnel: Amina Claudine Myers: piano and voice; Rene McLean: recitation.

Sama Rou

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Larry Coryell - I'll Be Over You

Styles: Jazz Fusion
Year: 1994
File: MP3@320K/s
Time: 52:04
Size: 120,7 MB
Art: Front

(4:57) 1. I'll Be Over You
(4:22) 2. Redwing
(4:43) 3. Tonight Is the Night
(3:06) 4. Try a Little Tenderness
(5:17) 5. St. Louis Blues
(5:14) 6. For the Love of You
(4:50) 7. Nightshade
(4:34) 8. This Love of Ours
(4:49) 9. Before Dawn
(4:28) 10. Cumulus
(5:39) 11. Better Get Hit in Yo' Soul

As one of the pioneers of jazz-rock perhaps the pioneer in the ears of some Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, and phrasing and note-bending that owed as much to blues, rock, and even country as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he remained comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar. Unfortunately, a lot of his most crucial electric work from the '60s and '70s went missing in the digital age, tied up by the erratic reissue schemes of Vanguard, RCA, and other labels, and by jazz-rock's myopically low level of status in certain quarters.

According to Coryell, his interest in jazz took hold at the age of four, and after his family moved from Galveston to the state of Washington three years later, he began to learn the guitar, studying records by Tal Farlow, Barney Kessel, and Johnny Smith. As a teenager, he played in a band led by pianist Mike Mandel, and by 1965 he gave up his journalism studies at the University of Washington in order to try his luck in New York as a musician. Before the year was out, he attracted much attention jamming in Greenwich Village and replaced Gabor Szabo in Chico Hamilton's band. In 1966, he made a startling recorded debut on Hamilton's The Dealer album, where his blues and rock ideas came to the fore, and that year he also played with a proto-jazz-rock band, the Free Spirits. Coryell's name spread even further in 1967-1968 when he played with Gary Burton's combo, and he was one of the most prominent solo voices on Herbie Mann's popular Memphis Underground album (recorded in 1968). He, Mandel, and Steve Marcus formed a group called Foreplay in 1969 (no relation to the later Fourplay), and by 1973 this became the core of the jazz-rock band Eleventh House, which after a promising start ran aground with a string of albums of variable quality.

In 1975, Coryell pulled the plug, concentrating on acoustic guitar and turning in a prolific series of duo and trio sessions with the likes of Philip Catherine, Emily Remler, John Scofield, Joe Beck, Steve Khan, and John McLaughlin. In the mid-'80s, Coryell toured with McLaughlin and Paco de Lucía, and in 1986 participated in a five-way guitar session with his old idol Farlow, Scofield, Larry Carlton, and John Abercrombie for the Jazzvisions series. Coryell also recorded with Stéphane Grappelli, Charles Mingus, Sonny Rollins, and Kenny Barron, and taped Brazilian music with Dori Caymmi for CTI, mainstream jazz for Muse, solo guitar for Shanachie and Acoustic Music, and (for Nippon Phonogram in Japan) an album of classical transcriptions of music by Stravinsky and Rimsky-Korsakov.

Coryell's career in the early 21st century was just as active. The year 2004 saw the release of Tricycles, an excellent trio date with drummer Paul Wertico and bassist Mark Egan. Electric from 2005 found Coryell playing jazz standards and rock anthems with Lenny White on drums and Victor Bailey on electric bass. In 2006 he released the performance album Laid Back & Blues: Live at the Sky Church in Seattle, followed two years later by Impressions: The New York Sessions on Chesky. In 2011 the guitarist joined a group of musicians closely associated with the Bay Area's Wide Hive label for Larry Coryell with the Wide Hive Players. He then returned in 2013 with The Lift, featuring organist Chester Thompson. Two years later, he delivered his third album for Wide Hive, Heavy Feel. In January 2017, Coryell announced he had reunited members of his '70s fusion group Eleventh House, including trumpeter Randy Brecker, for the album Seven Secrets. The album was slated to arrive in early June of that year, with a number of U.S. summer tour dates confirmed in support of the release. However, following a pair of weekend shows at New York City's Iridium club, Coryell died of heart failure in his hotel room on February 19, 2017. He was 73 years old. https://www.allmusic.com/artist/larry-coryell-mn0000124784/biography

Personnel: Larry Coryell - acoustic, electric, 12-string electric & Flamenco guitars; Sharon Bryant - background vocals; David Charles - percussion; Chris Parks - keyboards, programming; Carmen Cuesta - background vocals; Zach Danziger - drums; Mark Herman - keyboards, programming; Mark Sherman - vibraphone, keyboards, percussion, programming; Dan Heymann - piano; Rick Bottari - keyboards; Tracy Wormwood - bass; Steve Ferrone - drums; Chuck Loeb - guitar, electric guitar; Will Lee - bass; Grover Washington, Jr.- soprano saxophone, tenor saxophone; Peabo Bryson - vocals; Donald Harrison - vocals, soprano & tenor saxophones; Lani Groves - background vocals; Vaneese Thomas - background vocals

I'll Be Over You

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Carmen Bradford - With Respect

Styles: Jazz, Vocal
Year: 1995
File: MP3@320K/s
Time: 53:15
Size: 122,3 MB
Art: Front

(4:52)  1. Even Steven
(4:08)  2. You'll Have To Swing It (Mr. Paganini)
(4:58)  3. Look Who's Mine
(5:10)  4. High Wire
(4:47)  5. Finally
(3:52)  6. Maybe Now
(4:12)  7. Little Esther
(4:43)  8. Ain't No Use
(4:43)  9. Was I In Love Alone
(5:53) 10. He comes to Me for Comfort
(5:53) 11. Nature Boy

Carmen Bradford is a belter, a singer not afraid to show off her emotions or to occasionally go over the top. She toured with Count Basie's Orchestra for nine years but somehow never achieved much fame, only recording on a very irregular basis as a singer despite her strong musicality and powerful pipes. This set is a fine all-around showcase, featuring her with a variety of small groups including ensembles with either Cedar Walton or Donald Brown on piano. Among the other prominent players are vibraphonist Steve Nelson, guitarist Dori Caymmi, saxophonist Charles Owens, and (on a closing duet version of "Nature Boy") guitarist Michael O'Neill. Although it probably was not the best idea to perform "You'll Have to Swing It (Mr. Paganini)" (since Ella owns it), Bradford sounds particularly strong on the more recent and obscure material, including Chick Corea's "High Wire," Cedar Walton's "Even Steven," and Red Mitchell's "Finally." Since she has not recorded all that often since this period, With Respect is still Carmen Bradford's definitive recording. By Scott Yanow http://www.allmusic.com/album/with-respect-mw0000174309

Personnel:  Vocals – Carmen Bradford;  Bass – James Leary, Robert Hurst;  Drums – Ralph Penland;  Flute, Saxophone – Charles Owens;  Guitar – Dori Caymmi , Michael O'Neill, Wali Ali;  Percussion – Bill Summers;  Piano – Cedar Walton, Donald Brown;  Vibraphone – Steve Nelson

With Respect

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Erroll Garner - Columbia Jazz (1950-1957)

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 53:07
Size: 124,0 MB
Art: Front

(3:10)  1. Lover
(3:16)  2. It's The Talk Of The Town
(3:43)  3. When You're Smiling (The Whole World Smiles With You)
(2:43)  4. Laura
(3:15)  5. Dancing In the Dark
(3:23)  6. How High the Moon
(2:50)  7. Easy to Love
(5:25)  8. Moonglow
(3:13)  9. Lullaby of Birdland
(3:06) 10. Poor Butterfly
(4:26) 11. If I Had You
(4:14) 12. My Heart Stood Still
(3:51) 13. Love for Sale
(3:03) 14. Dreamy
(3:22) 15. St. Louis Blues

One of the most distinctive of all pianists, Erroll Garner proved that it was possible to be a sophisticated player without knowing how to read music, that a creative jazz musician can be very popular without watering down his music, and that it is possible to remain an enthusiastic player without changing one's style once it is formed. A brilliant virtuoso who sounded unlike anyone else, on medium tempo pieces, Erroll Garner often stated the beat with his left hand like a rhythm guitar while his right played chords slightly behind the beat, creating a memorable effect. His playful free-form introductions (which forced his sidemen to really listen), his ability to play stunning runs without once glancing at the keyboard, his grunting, and the pure joy that he displayed while performing were also part of the Erroll Garner magic. 

Garner, whose older brother Linton was also a fine pianist, appeared on the radio with the Kan-D-Kids at the age of ten. After working locally in Pittsburgh, he moved to New York in 1944 and worked with Slam Stewart's trio during 1944-1945 before going out on his own. By 1946, Garner had his sound together, and when he backed Charlie Parker on his famous Cool Blues session of 1947, the pianist was already an obvious giant. His unclassifiable style had an orchestral approach straight from the swing era but was open to the innovations of bop. From the early '50s on, Garner's accessible style became very popular and he never seemed to have an off day up until his forced retirement (due to illness) in early 1975. His composition "Misty" became a standard. Garner, who had the ability to sit at the piano without prior planning and record three albums in one day (all colorful first takes), made many records throughout his career for such companies as Savoy, Mercury, RCA, Dial, Columbia, EmArcy, ABC-Paramount, MGM, Reprise, and his own Octave label.By Scott Yanow https://www.allmusic.com/artist/erroll-garner-mn0000206967/biography

Columbia Jazz (1950-1057)

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Greta Matassa - Got A Song That I Sing

Styles: Vocal
Year: 1991
Time: 46:43
File: MP3 @ 320K/s
Size: 107,2 MB
Art: Front

(5:14) 1. Fascinating Rhythm
(5:10) 2. Azure Blue
(5:50) 3. A Sinner Kissed A Polkadot
(3:14) 4. Broadway Rhythm
(3:57) 5. Zing Went the Strings of My Heart
(6:01) 6. The Lady is a Tramp
(3:22) 7. Optimistic Voices
(5:27) 8. A Woman Alone With the Blues
(4:10) 9. Fix His Wagon Blues
(4:13) 10. Fine and Dandy

In the Pacific Northwest, where she built her career, Greta Matassa wins wide acclaim; 7 times, the readers of Earshot, the Seattle jazz magazine, have voted her the best jazz vocalist in the Northwest. She was inducted into the Seattle Jazz Hall of Fame in 2014. Jim Wilke, the Seattle jazz maven and host of the syndicated "Jazz After Hours" radio program, praises her versatility. "She has a fearlessness in approaching material,” Wilke says, "that makes her like an instrumentalist in a jam session.” Bassist and producer John Clayton says “One of the best jazz singers we have to boast about these days.”

Her 40 year career has been a whirlwind of exciting opportunities and experiences. Over the last 20 years she became established as one of the greatest jazz singers of her time. Working with top jazz musicians in Los Angeles, Chicago and New York. In 2016 She was featured with bassist John Clayton’s group in a centennial tribute to Ella Fitzgerald. She has recorded 11 CD’S and travels extensively teaching and performing.

Her decision to start teaching was probably her greatest contribution to the future of the genre she loves so much. For the last 20 years Greta has become one of the most unique and respected educators in the field today. Offering individual lessons and mentorships as well as establishing loyal student bases from Seattle to Japan, From Alaska to Kauai, from Chicago to New York.

Matassa's fascination with songs began early. Her family moved frequently when she was small, but by the time she entered middle school, they had settled on Bainbridge Island in Puget Sound, opposite Seattle. This is what she said about her childhood:
"Growing up, my parents were big jazz fans and we had a lot of jazz music around the house. They were happy to encourage my interest in music. My father is a visual artist, and we used to spend hours talking about abstract expressionism and how that related to jazz.”

Although she took only a few voice lessons, she found more to be gained from directly working with the recordings of classic jazz singers from Ella to Ray Charles. “My method for learning to sing was quite simple and straight-forward, I sang along with the great jazz singers I loved so much and let them teach me everything I could learn ! I still do this every day.”

Greta began singing professionally while still in high school and as more opportunities developed, she quit school to go on the road. All through the 1980’s Greta sang in a wide variety of musical groups. From top-40 dance bands to an all original heavy metal group, she continued to explore her instrument. She was soon a featured guest artist on a cavalcade of Seattle area jazz musicians groups. At the same time she became, through her extreme versatility, a wildly successful session singer, doing voice-over for many of the areas most recognizable radio and television jingles.

She became even more diverse when in 1989 the Pacific Northwest Ballet asked Matassa to step in for Ernestine Anderson in a program based on the music of Kurt Weill. The show, in the Seattle Opera House, gave her wider exposure.

"The Weill show ran every two years for about ten years. It put me into the legit field and, eventually, led to Spectrum Dance Theater, which then got a grant and asked me to do a program with them. We debuted it in 1998. It was called ‘Voices of Jazz Danced,' a tribute to fifteen classic jazz singers.

Greta married and had two daughters in the early 90’s. She also released the first of her 11 records to date. Throughout the next decade Greta experimented with assembling a permanent group. After various combinations of some the northwests greatest jazz musicians she finally established her Quartet featuring Darin Clendenin piano, Clipper Anderson (whom she later married after divorce) and Mark Ivester drums. Later adding the amazing Saxophonist Alexey Nikolaev.

Now began a relationship with one of the top jazz clubs in the country. Tula’s restaurant and jazz club in the Belltown area of Seattle became a mainstay in the jazz scene. Greta was, and continues to be featured monthly.

For the next 20 years she began touring the US and abroad, establishing teaching bases and performing at jazz clubs, concerts and festivals.

Although it has been asked why she is not more internationally famous, She responds that she as made conscious musical choices that do not always guarantee fame and has always been more interested in the integrity of her music.

To that end she has become, over recent years, a member of a group of national and international jazz singers that actively share their resources with each other. Mostly women, these strategically placed singers (NYC, LA, Bay Area, Chicago, Kauai, Japan, Vancouver BC, Portland) help each other to travel, by sharing gigs, students and fan- bases on an entirely new organic level.

With the release of her newest CD “Portrait” on Origin Records, Greta is getting the kind of attention internationally that re-establishes her as one of the greatest living jazz singers. Source: Doug Ramsey https://www.allaboutjazz.com/musicians/greta-matassa/

Got A Song That I Sing

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Anthony Braxton And The Fred Simmons Trio - 9 Standards Quartet Disc 1, Disc 2

Disc 1
Styles: Jazz
Year: 1993
Time: 65:49
File: MP3 @ 320K/s
Size: 152,8 MB
Art: Front

(14:00) 1. In Motion
(16:21) 2. Cherokee
(14:18) 3. You Go to My Head
(11:40) 4. On Green Dolphin Street
( 9:29) 5. All the Things You Are

Disc 2
Time: 51:16
File: MP3 @ 320K/s
Size: 119,0 MB
Art: Front

(13:34) 1. Mr. P. C.
(13:05) 2. I Remember You
(14:26) 3. What's New
(10:10) 4. Impressions

Anthony Braxton opens this one with a blues on alto. And does he play the blues. Not the neat, buttoned-down, arrogantly self-possessed kind of blues that epitomized jazz in the '90s, but the dirty, lowdown, heavily expressionistic blues that hearkens back to the music's beginning a blues that communicates something more than just an attitude.

It's not slick, it's not pretty, but it's eminently real. This double-disc set, recorded live at Wesleyan University with the quite capable straightahead pianist Fred Simmons' trio, is full of such moments. Braxton shows one and all that he's a jazz musician, first and last if there's any doubt, listen to his incredible work on "Cherokee." Taken at an extremely burning tempo, Braxton tears the heart out of the tune and serves it up on a platter to his doubters. Amazingly, he's managed to find a fresh approach to the old warhorse, one that doesn't ignore its basics.

He makes the changes, he plays time, but not as anyone else ever has. There's not a derivative bone in the body of his improvisation, a solo characterized by great linear invention, and some of the most unusual articulations ever played by a saxophonist a tour de force that has to be heard to be believed. Braxton plays this entire live set as if he's got something to prove, and the result is very possibly the most inspired mainstream playing he's ever put on record.By Chris Kelsey
https://www.allmusic.com/album/9-standards-quartet-1993-mw0000004657#review

Personnel: Alto Saxophone [Alto Sax], Sopranino Saxophone [Sopranino Sax], Flute – Anthony Braxton; Bass – Paul Brown ; Drums – Leroy Williams; Piano – Fred Simmons

9 Standards: Quartet, 1993 Disc 1, Disc 2

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Dick Katz - Piano & Pen

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 38:06
Size: 88,0 MB
Art: Front

(5:14)  1. Timonium
(4:30)  2. Aurora
(4:34)  3. Duologue No. 1
(4:46)  4. Glad To Be Unhappy
(3:22)  5. Round Trip
(6:56)  6. Afternoon In Paris
(4:07)  7. Ain't Misbehavin'
(4:34)  8. Scrapple From The Apple

A versatile pianist and arranger, Dick Katz was responsible for many stimulating and memorable recordings through the years, often as an important sideman and/or producer. He studied at the Peabody Institute, the Manhattan School of Music, and Juilliard, in addition to taking piano lessons from Teddy Wilson. In the 1950s, he picked up important experience as a member of the house rhythm section of the Café Bohemia, with the groups of Ben Webster and Kenny Dorham, the Oscar Pettiford big band, and later with Carmen McRae. Katz was part of the popular J.J. Johnson/Kai Winding Quintet (1954-1955) and Orchestra USA, and participated on Benny Carter's classic Further Definitions album. He freelanced throughout much of his career and was a guiding force behind some of Helen Merrill's finest recordings. Katz, who played with Roy Eldridge and Lee Konitz starting in the late '60s, co-founded Milestone Records in 1966 with Orrin Keepnews. In the 1990s, Dick Katz worked both as a pianist and an arranger with the American Jazz Orchestra and Loren Schoenberg's big band. Unfortunately, he did not recorded all that frequently as a leader, cutting fairly obscure dates for Atlantic (1957 and 1959), Bee Hive (1984), and Reservoir (1992), but the jazz world was well aware of his talents. Dick Katz died in Manhattan in November 2009 at the age of 85.By Scott Yanow https://www.allmusic.com/artist/dick-katz-mn0000821321/biography

Personnel: Piano – Dick Katz; Bass – Joe Benjamin; Drums – Connie Kay; Guitar – Chuck Wayne, Jimmy Raney

Piano Pen

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