Antonio Forcione & Sabina Sciubba - Meet Me In London

Bitrate: 320K/s
Time: 47:37
Size: 109.0 MB
Styles: Guitar jazz, Vocal jazz
Year: 1998
Art: Front

[5:51] 1. Visions
[3:28] 2. Take Five
[5:22] 3. Caruso
[5:43] 4. Why Can't We Live Together
[5:04] 5. Night Train
[4:42] 6. Could You Believe
[5:37] 7. When We Two Parted
[6:32] 8. Brasilico
[5:13] 9. Estate

Sabina Sciubba has a warm voice and guitarist Antonio Forcione is a sympathetic accompanist who often challenges her. The duo, which is often joined by bassist Davide Mantovani and occasionally a few other musicians, performs atmospheric music that includes "Take Five," Al Jarreau's "Could You Believe," "Estate," some folk music and a few originals. Sciubba's versatile, mature, strong and sometimes-haunting voice makes this a disc worth searching for; she is a name that should be remembered. ~ Scott Yanow

Recording information: September Sound, Twickenham, London, England (10/1997-12/1997).

Antonio Forcione (guitar, nylon-string guitar); Sabina Sciubba (vocals); Adam Glasser (harmonica); Malcolm Creese (double bass); Davide Mantovani (electric bass, fretless bass); Bosco DeOliveira (percussion).

Meet Me In London

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Nat King Cole - Cole Espanol And More Vol 1

Bitrate: 320K/s
Time: 28:49
Size: 66.0 MB
Styles: Easy Listening, Vocal
Year: 1958
Art: Front

[2:48] 1. Cachito
[2:39] 2. Maria Elena
[2:43] 3. Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)
[2:55] 4. Las Mañanitas
[2:46] 5. Acércate Más (Come Closer To Me)
[2:21] 6. El Bodeguero
[2:43] 7. Arriverderci Roma
[2:30] 8. Noche De Ronda
[2:34] 9. Tu Mi Delirio (You Are My Obsession)
[2:38] 10. Te Quiero Dijiste
[2:07] 11. Adelita

Nat King Cole addressed his growing international following with Cole Español, on which he sang in Spanish. Although he did not speak the language, he learned the song lyrics phonetically. Nine of the 11 selections had backing tracks recorded by conductor Armando Romeu, Jr., in Havana, Cuba, in February 1958, with Cole adding his vocals in Hollywood in June. The other two, "Cachito" and "Noche de Ronda," were cut with Hispanic musicians in Hollywood under the direction of Capitol Records' Dave Cavanaugh. The tunes were a mixed bag of Latin standards including Mexican mariachi music ("Adelita") and even the Italian "Arrivederci Roma" (sung in Spanish), and Cole's vocals were augmented by the Rivero Quartet and other uncredited singers. While that no doubt was intended to shore up his tentative performances, it actually showed him up, as the native Spanish singers offered a painful contrast to his own pedestrian readings of words he did not understand and pronounced with no flair. (On one track, "Tú, Mi Delirio," he abandoned the microphone for the piano to delightful effect.) Cole's singing voice was as smooth and attractive as ever, which must have helped, though, and the album's sales -- it reached the Top 20 in the U.S. and was a big hit internationally -- indicated that Spanish-speaking audiences were flattered that an American singer would try so hard to communicate with them in their own language. ~William Ruhlmann

Cole Espanol And More Vol 1

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Patricia Kaas - Mademoiselle N'A Pas Chanté Que Le Blues

Styles: Chanson
Year: 2012
File: MP3@320K/s
Time: 59:24
Size: 136,0 MB
Art: Front

(3:29)  1. Une fille de l'est
(3:58)  2. C'est la faute à la vie
(2:13)  3. Summertime
(4:18)  4. Mon mec à moi
(3:19)  5. Mne nravitsya
(4:43)  6. Il me dit que je suis belle
(3:49)  7. Peut-être que peut-être
(4:04)  8. Entrer dans la lumière
(4:10)  9. If You Go Away (Ne quitte pas)
(3:01) 10. Et s'il fallait le faire
(3:56) 11. D'allemagne
(3:49) 12. Où sont les hommes ?
(3:52) 13. Si tu rêves
(4:20) 14. Je voudrais la connaítre
(5:24) 15. Mademoiselle chante le blues
(0:53) 16. Lili Marleen (L'ange bleu)

MONTREAL - Patricia Kaas returns with the compilation “Mademoiselle n’a pas chanté que le blues” which measures the entire journey in 25 years by the singer with unique voice. Discovered in 1985 by Gerard Depardieu it was his wife, Elizabeth, who contributed to the release of “Jalouse”, Patricia Kaas first song hummed by the French. Since then, Patricia Kaas has traveled the world singing in several languages (French, English, German, Russian) and sold 17 million albums. This compilation also reflects the cultural broth. We not only find success like “Mademoiselle chante le blues” and “Mon mec à moi”, but also other ones in the three languages that allowed her to conquer territories outside the Francophonie. Jean-Jacques Goldman gave her a new composition of his own, “C’est la faute à la vie”, he has himself taken in a studio with the French diva. (Translated using  Google Translator)  http://fr.canoe.ca/divertissement/musique/nouvelles/2011/09/29/18756746-qmi.html.

Mademoiselle n'a pas chanté que le blues

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Kate McGarry - Girl Talk

Styles: Jazz Vocals
Year: 2012
File: MP3@320K/s
Time: 44:46
Size: 103,6 MB
Art: Front

(5:43)  1. We Kiss In A Shadow
(5:36)  2. Girl Talk
(2:17)  3. I Just Found Out About Love
(4:50)  4. The Man I Love
(5:38)  5. O Cantador
(4:25)  6. This Heart Of Mine
(2:34)  7. I Know That You Know
(5:39)  8. Looking Back
(4:49)  9. Charade
(3:10) 10. It's A Wonderful World

There are many reasons to like vocalist Kate McGarry's Girl Talk. There's the lively set list, first of all a mix of all-too-well-known and too-little-known standards, with a fine Brazilian number thrown in. There's the uniform excellence of the band: witness Gary Versace's idiomatic organ accompaniment on "Girl Talk"; guitarist Keith Ganz sensitive throughout, but especially on the forlorn folk tune "Looking Back"; the stately Brazilian duet "O Cantador," with Kurt Elling; and bassist Reuben Rogers' nice feature on "I Just Found Out About Love." McGarry herself approaches every mood and tempo with ease and assurance. 

Her bluesy reading of the title tune, for example, with its hopelessly sexist lyric ("the weaker sex, the speaker sex"), coos and flirts, but winks at every turn in the direction of Betty Carter's feminist deconstruction from Finally (Roulette, 1969). There's all that, and there's McGarry's subtle and important contribution to the long co-evolution of jazz and rock 'n' roll. On the one hand, there are jazz players playing rock 'n' roll tunes, like pianist Herbie Hancock's The New Standard (Verve, 1996). On the other, there are players who incorporate rock 'n' roll textures, techniques, preferences and norms into jazz performance. In recent years, the best example may be bassist Todd Sickafoose, who marvelously described his musical approach in an AAJ interview as "[Duke Ellington's] 'Black and Tan Fantasy,' as played by John [Lennon] and Paul [McCartney]." The first of these tendencies is, in part, a way of dealing with the depletion of the repertoire: how many times can you squeeze meaning out of "All The Things You Are"? Why not do some Nirvana numbers instead? McGarry has played this side of the fence: she garnered notice years back with a plaintive version of The Cars' "Just What I Needed." The second tendency is more complex, and has to do with the necessary regeneration and renewal of musical materials in jazz. 

And it's here that McGarry's contribution is most vivid on this record. The repertoire and the instrumentation fit comfortably in the jazz canon. But McGarry's singing and, to a lesser degree, the acoustic guitar speak to an audience as familiar with Joni Mitchell and Rickie Lee Jones as with Betty Carter. Of course, one need only compare the singing and compositions of Mitchell and Jones to the work of a more traditional folk singer like Joan Baez to recognize that they long ago merged jazz sensibilities into their folk music. McGarry, accordingly, infuses the jazz repertoire with this same jazz-folk sensibility nowhere more evidently than on the masterful version of "The Man I Love." In some ways, McGarry follows the lead of Carter (again), whose glacially paced interpretation on Look What I Got! (Verve, 1988) is similarly bleak. At the same time, and particularly in her soaring vocal coda, McGarry plumbs the Mitchell-Jones vocal groove. In so doing, she manages to convey both whispery fragility and tremendous power; a remarkable performance.~Jeff Dayton-Johnson 

http://www.allaboutjazz.com/php/article.php?id=42024#.UiSupT-wVw8

Personnel: Kate McGarry: vocals; Keith Ganz: guitar; Gary Versace: organ; Reuben Rogers: bass; Clarence Penn: drums and percussion; Kurt Elling: vocals 

Girl Talk

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Pat Martino - Alone Together

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 55:31
Size: 127,7 MB
Art: Front

(5:29)  1. Four on Six
(7:55)  2. Alone Together
(3:15)  3. What are You Doing the Rest of Your Life
(6:48)  4. Sunny
(7:30)  5. Left...or Right
(6:14)  6. The Visit
(9:58)  7. One for My Baby
(8:19)  8.  Israfel

Pat Martino is a legend for more than his speed-demon virtuosity at high-velocity tempos or his angelic harmonies on ballads. He has also faced death several times and tells the tale of his survival and recovery with a perspective akin to a zen master. These recordings from Martino's personal collection document the easy interplay and chemistry that he had forged with rhythm guitarist Bobby Rose on their first duet tour during the summer of 1977. Both men were at the very peak of their powers during these years and we are fortunate to have these superb performances preserved for posterity. ~Editorial Review http://www.amazon.com/Alone-Together-Pat-Martino/dp/B008DL4EPK

Alone Together

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Nina Simone - Nina Simone Sings The Blues

Bitrate: 320K/s

Time: 37:31

Size: 85.9 MB

Styles: Jazz/blues vocals

Year: 1967/2006

Art: Front

[2:43] 1. Do I Move You?

[2:32] 2. Day And Night

[2:55] 3. In The Dark

[2:19] 4. Real Real

[4:15] 5. My Man's Gone Now

[2:28] 6. Backlash Blues

[2:31] 7. I Want A Little Sugar In My Bowl

[1:50] 8. Buck

[2:49] 9. Since I Fell For You

[3:50] 10. The House Of The Rising Sun

[3:56] 11. Blues For Mama

[2:16] 12. Do I Move You (version 2)

[3:01] 13. Whatever I Am (You Made Me)

Originally released in 1967, SINGS THE BLUES marks the beginning of Nina Simone's tenure on the RCA label. True to its title, the album is steeped in the blues, with Simone's passionate vocals and nuanced piano lines evoking a beautifully bittersweet world of sultry love and inevitable heartache. Backed on many tracks by an ensemble that's intuitive enough to play it loose, Simone settles into a deep groove on songs such as the stirring "Do I Move You?" and the slowburning "In the Dark," while getting lightly funky on "Day and Night." The record's showstopper, however, is a haunting solo rendition of "My Man's Gone Now," one of the most powerful versions of the Gershwin classic ever recorded. A fascinating snapshot of the legendary performer, SINGS THE BLUES is an essential Simone album. Entertainment Weekly (p.68) - "With its blues-guitar vamps, harmonica wails and Willie Dixon remake, 1967's SINGS THE BLUES lives up to its title."

Nina Simone Sings The Blues

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Q'd Up - Q'd Up 3

Bitrate: 320K/s
Time: 72:34
Size: 166.1 MB
Styles: Cool jazz, Vocal jazz
Year: 2006
Art: Front

[5:15] 1. The Dayley Dash
[5:16] 2. In A Mellow Tone
[7:01] 3. Yoruba Land
[6:33] 4. Sole Marks
[6:57] 5. Take A Break, Jake
[4:40] 6. In Another Time And Place
[7:12] 7. Perilous Passage
[5:46] 8. Amazon Rhapsody
[7:55] 9. Your Heart's Timeless Charms
[3:16] 10. Right-Side Drive
[6:13] 11. Blue Daniel
[5:31] 12. Gee Baby, Ain't I Good To You
[0:53] 13. Farewell Fontana

Q’d Up has a unique and infectious sound that is a product of the personalities of the players, the arrangements and compositions of Steve Lindeman and Jay Lawrence and Kelly Eisenhour, the blend of a wide variety of sounds and styles stemming from the impressive versatility of each of the group members, and the energy and synergy that come with the love of the music and of each other. Q’d Up has existed in various incarnations since 1983 and has established itself as a musical force in Utah and the West. Quintessential is the fourth CD project since the group began using the Q’d Up name. The first is self-titled Q’d Up. The second is SQ’d Horizons, and the third is simplyQ’d Up 3. The second, third, and fourth albums include vocals by Kelly Eisenhour, and the third album also includes the amazing trombone wizardry of Andy Martin, top call trombonist from Los Angeles. The CD’s have received much critical acclaim and have enjoyed considerable airplay around the country.

Q'd Up 3

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Gerry Mulligan & Jane Duboc - Paraiso

Styles: Brazilian Jazz
Label: Telarc Distribution
Year: 1993
File: MP3@320K/s
Time: 59:55
Size: 137,2 MB
Art: Front + Back

(5:36)  1. Paraiso
(4:10)  2. No Rio
(5:39)  3. Sob a Estrela
(5:06)  4. O Bom Alvinho
(8:25)  5. Willow Tree
(6:15)  6. Bordado
(5:05)  7. Tarde Em Itapoan
(5:55)  8. Amor Em Paz
(4:31)  9. Wave
(4:31) 10. Tema pra Jobim
(4:35) 11. North Atlantic Run

Although baritonist Gerry Mulligan is listed as the leader of this date, vocalist Jane Duboc is really the main star. The Brazilian-oriented set consists of eight Mulligan originals (including "Tema Pra Jobim," which finds him switching to piano, and "Willow Tree") and three other numbers, with "Wave" being the only standard. Duboc sings well, although her voice never sticks in one's mind, and Mulligan has short solos and mostly sticks to the background; they are joined by a couple of Brazilian rhythm sections. Pleasant music that mostly stands out as a historical curiosity in Gerry Mulligan's discography.~Scott Yanow http://www.allmusic.com/album/paraiso-jazz-brazil-mw0000113076 .

Personnel: Jane Duboc (vocals); Emanuel Moreira (guitar); Gerry Mulligan (baritone saxophone); Clifford Korman, Charlie Ernst (piano); Duduka Da Fonseca, Peter Grant (drums); Norberto Goldberg, Valtinho Anastacio (percussion). Arranger: Gerry Mulligan. Personnel: Gerry Mulligan (baritone saxophone), Jane Duboc (vocals), Emanual Moreira (guitar), Charlie Ernst, Cliff Korman (piano), Rogerio Maio, Leo Traversa (bass), Duduka DaFonesca, Peter Grant (drums), Norberto Goldberg (percussion).

Recorded at Clinton Recording Studios, Studio A, New York from July 5-7, 1993.

Paraiso

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Judy Niemack - Jazz Singers' Practice Session

Styles: Jazz, Brazilian Jazz
Label: Gam
Year: 2003
File: MP3@320K/s
Time: 50:09
Size: 116,3 MB
Art: Front

(4:12)  1. Bye Bye Blackbird
(4:47)  2. Misty
(4:10)  3. Lullaby at Birdland
(3:10)  4. How High the Moon
(5:10)  5. Wave
(3:17)  6. You’d Be So Nice to Come Home to
(5:11)  7. All of Me
(3:38)  8. My Funny Valentine
(3:15)  9. Teach me Tonight
(2:59) 10. One Note Samba
(3:28) 11. Summertime
(3:44) 12. Lover Man
(3:03) 13. I Got Rhythm

A talented and adventurous jazz singer, Judy Niemack has long had an underground reputation in jazz, although she finally began to receive more recognition for her abilities. She sang regularly in school, starting at age seven in a church choir, and at 17 decided to become a professional singer. After meeting Warne Marsh the following year, Niemack became dedicated to jazz. She attended Pasadena City College, had several years of classical study, and also attended the New England Conservatory in Boston and the Cleveland Institute of Music, in addition to private lessons with Marsh. In 1977, she moved to New York and the following year made her recording debut for Sea Breeze. Since that time, Niemack has freelanced with many top advanced musicians, including Toots Thielemans, James Moody, Lee Konitz, Clark Terry, Kenny Barron, Fred Hersch, Kenny Werner, Joe Lovano, and Eddie Gomez, among others, written lyrics to other musicians' compositions (in addition to writing songs of her own), and has toured Europe regularly. In addition, she has been a top jazz educator, teaching throughout Europe. Judy Niemack, a colorful improviser, has recorded as a leader for Sea Breeze, Stash, and Freelance. ~ Scott Yanow, Rovi  http://www.artistdirect.com/artist/bio/judy-niemack/473472 .

Jazz Singers' Practice Session

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Lennie Tristano - Live In New York

Styles: Jazz
Label: Jazz Door
Year: 2004
File: MP3@320K/s
Time: 49:48
Size: 114,3 MB
Art: Front

(3:22)  1. Wow
(2:50)  2. Crosscurrent
(2:47)  3. Yesterdays
(3:06)  4. Marionette
(3:01)  5. Sax Of A Kind
(2:29)  6. Intuition
(3:04)  7. Digression
(3:01)  8. Glad Am I
(2:44)  9. This Is Called Love
(2:45) 10. Blame Me
(2:42) 11. I Found My Baby
(7:43) 12. Remember
(5:44) 13. Indiana
(4:23) 14. I'm No Good Without You

The history of jazz is written as a recounting of the lives of its most famous (and presumably, most influential) artists. Reality is not so simple, however. Certainly the most important of the music's innovators are those whose names are known by all  Armstrong, Parker, Young, Coltrane. Unfortunately, the jazz critic's tendency to inflate the major figures' status often comes at the expense of other musicians' reputations men and women who have made significant, even essential, contributions of their own, who are, for whatever reason, overlooked in the mad rush to canonize a select few. Lennie Tristano is one of those who have not yet received their critical due. In the mid-'40s, the Chicago-born pianist arrived on the scene with a concept that genuinely expanded the prevailing bop aesthetic. Tristano brought to the music of Charlie Parker and Bud Powell a harmonic language that adapted the practices of contemporary classical music; his use of polytonal effects in tunes like "Out on a Limb" was almost Stravinsky-esque, and his extensive use of counterpoint was (whether or not he was conscious of it at the time) in keeping with the trends being set in mid-century art music. Until relatively recently, it had seldom been acknowledged that Tristano had been the first to perform and record a type of music that came to be called "free jazz." In 1949 almost a decade before the making of Ornette Coleman's first records Tristano's group (which included Lee Konitz, Warne Marsh, and Billy Bauer) cut the first recorded example of freely improvised music in the history of jazz. The two cuts, "Intuition" and "Digression," were created spontaneously, without any pre-ordained reference to time, tonality, or melody. The resultant work was an outgrowth of Tristano's preoccupation with feeling and spontaneity in the creation of music. It influenced, among others, Charles Mingus, whose earliest records sound eerily similar to those of Tristano in terms of style and compositional technique. Mingus came by the influence honestly; he studied with the pianist for a period in the early '50s, as did many other well-known jazz musicians, such as Sal Mosca, Phil Woods, and the aforementioned Konitz and Marsh....More Bio https://itunes.apple.com/ca/artist/lennie-tristano/id47528618#fullText

Live In New York

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Jackie Wilson - Original Brunswick Hit Recordings

Bitrate: 320K/s
Time: 25:56
Size: 59.4 MB
Styles: Soul, R&B
Year: 2009
Art: Front

[2:39] 1. Reet Petite (The Finest Girl You Ever Want To Meet)
[2:41] 2. Lonely Teardrops
[2:02] 3. That's Why (I Love You So)
[2:01] 4. I'll Be Satisfied
[2:27] 5. To Be Loved
[2:49] 6. Doggin' Around
[2:59] 7. Baby Workout
[2:23] 8. Whispers (Gettin' Louder)
[2:58] 9. (Your Love Keeps Lifting Me) Higher And Higher
[2:53] 10. I Get The Sweetest Feeling

Jackie Wilson was the very definition of soul–a sound and style that he helped create. Along with his pals Sam Cooke, Clyde McPhatter, Ray Charles, and Little Willie John, he changed the direction of rhythm and blues during the late 1950s and persisted as a trendsetter for more than a decade. Tragically felled in 1975 by a massive coronary (he never recovered, dying January 21, 1984), Jackie packed a lot of living into his first 41 years on the planet and scored a lot of hits for Brunswick Records.

"Jackie was just such a beautiful person to work with. He was such a professional," said Carl Davis, his Chicago-based producer from 1966 on. "All my memories of him are great."

Original Brunswick Hit Recordings

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Anna Wilson - Time Changes Everything

Bitrate: 320K/s
Time: 65:11
Size: 149.3 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[3:50] 1. That's What Lovers Do
[3:05] 2. Back In The Day
[4:41] 3. Time Changes Everything
[5:03] 4. Fedora
[3:19] 5. Sad Matters
[3:41] 6. One Little Reason
[4:06] 7. Minestrone Soup
[4:39] 8. For Just A Day
[4:35] 9. Sentimental Sundays
[4:10] 10. Savin' My Love
[4:14] 11. In Disguise
[4:15] 12. Gonna Dance
[3:33] 13. Wedding Bell Blues
[3:57] 14. When I Do
[3:43] 15. Drink It Up
[4:14] 16. A House, A Home

Time Changes Everything brings Wilson’s contemporary voice and message to a timeless jazz project. This critically-acclaimed studio album, with two new bonus tracks, brings classic melodies, lyrics and arrangements, reminiscent of the golden age of the Great American Songbook into the modern era with original jazz and big band music that sets standards all their own. It features 14 original songs, including the bossa nova wine inspired single “Drink It Up,” that showcase her dexterity as both a singer and songwriter. She delivers a sonically masterful collection of modern-day life and love-lessons that pull from diverse influences, ranging from Cole
orter to Laura Nyro.

Time Changes Everything

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Gary Burton, Jay Leonhart, Terry Clarke & Joe Beck - Play The Music Of Duke Ellington

Bitrate: 320K/s
Time: 47:46
Size: 109.4 MB
Styles: Vibraphone jazz
Year: 2003
Art: Front

[4:15] 1. In A Mellow Tone
[5:45] 2. C Jam Blues
[5:21] 3. Love You Madly
[4:50] 4. Azure
[5:10] 5. Creole Love Song
[4:52] 6. Take The A Train
[5:18] 7. Squeeze Me
[6:26] 8. Caravan
[5:44] 9. Ishfahan

This swinging session focuses on a dozen standards from the vast Duke Ellington songbook. Bassist Jay Leonhart sings along with his bass a la Slam Stewart to open "In a Mellotone" and "C Jam Blues." A loping "Azure" features Joe Beck's brash guitar contrasting with Gary Burton's bluesy vibes. Burton and Leonhart's smoking duo version of "Take the 'A' Train" and a soft pretty take of "Isfahan" (omitting Beck) are the top tracks of the date. A pleasant, if not essential CD. ~ Ken Dryden Recorded at Clinton Recording Studios, New York, New York on November 8, 1994. Includes liner notes by Duke Ellington.

Jay Leonhart (bass); Joe Beck (guitar); Gary Burton (vibraphone); Terry Clark (drums).

Play The Music Of Duke Ellington

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Lorraine Feather - Attachments

Styles: Vocal
Label: Jazzed Media
Year: 2013
File: MP3@320K/s
Time: 64:16
Size: 147,1 MB
Art: Front

(6:07)  1. A Little Like This
(6:58)  2. Attachments
(3:35)  3. I Thought You Did
(6:17)  4. Anna Lee
(3:46)  5. 159
(5:07)  6. We Have the Stars
(3:28)  7. I Love You Guys
(4:53)  8. I Hope I Never Leave This Place
(5:55)  9. Hearing Things
(8:25) 10. The Veil
(4:02) 11. Smitten with You
(5:38) 12. True

As expertly-crafted and enjoyable as all of her other recordings, Lorraine Feather's Attachments is her most raw and intimate CD to date. Here, she applies her famously incisive perception, sweet voice, and stunning lyrical gifts to a frank exploration of life's major emotional ties, describing how they can soothe, stretch, and break as they wind through our days on earth. Naturally these include romantic connections whether missed, fulfilled, or simply imagined but as usual, Feather vaults over the tired moon/June/spoon territory to offer her unique and thought-provoking view of ordinary things. For instance, in the sinuous title track, Feather evokes the "silver string of your attachments," a cord which wanders through a familiar series of crushes and lovers, but also embraces the weird guy in the building that everyone looks after. There are songs about love's mysterious glories ("A Little Like This," "We Have the Stars") as well as its gleeful discovery "I Thought You Did" rocks on Dave Grusin's exuberant "Memphis Stomp," first heard in the 1993 movie, The Firm. A lesser talent and one content to splash around in shallower waters would probably restrict the attachment consideration to romance. But Feather ranges much wider, providing a splendid appreciation of jazz musicians in general ("I Love You Guys") with sympathy for such indignities as "being made to wear matching vests/being told, 'the nuts are for the guests.'" There's a haunting song about a dear old friend who ended badly ("Anna Lee"), a gorgeous ode to Feather's home ("I Hope I Never Leave This Place"), and a tribute to a tempo ("159") as well as a rascally dog ("Smitten with You"). The most poignant and personal songs come at the end, where Feather shares the lasting heartbreak around the parent you love but can't reach ("The Veil"), and the endless,"ragged" pain over the one you most adored ("True"), which is fittingly set to one of the most soulful and beloved melodies of Bach. All of Feather's projects are witty. But humor is less central here than it was on songs like "Traffic and Weather," "Where Are My Keys?" and "I Forgot to Have Children," or in her lyrics to the songs of Fats Waller and other famous stridemeisters. For delightful examples of the latter, see New York City Drag (Rhombus Records, 2000) and Fourteen (Relarion, Ink., 2012), where Feather is half of Nouveau Stride with the astonishing young pianist Stephanie Trick. What links all of Feather's disparate projects is her signature honesty, insight, grace, and intelligence. This is all found in abundance on "Attachments," where the booklet adds to the enjoyment by providing every lyric. But this is more to appreciate Feather's poetry than to decipher her words as others have noted, her diction is perfect,as is her pitch. And, as always, her brilliant lyrics are delivered on wonderful melodies, with superb playing all around.~Dr Judith Schlesinger http://www.allaboutjazz.com/php/article.php?id=45043#.UipF_D-wVw8

Personnel: Lorraine Feather: vocals; Russell Ferrante: piano (1, 2, 4, 5, 8, 9, 11); Shelly Berg: piano (6, 7, 10); Dave Grusin: piano (3, 12); Michael Valerio: bass (1, 2, 4, 5, 7-9, 11), vocals: (5); Grant Geissman: guitar (1, 5, 9); Eddie Arkin: guitar (2, 5); Michael Shapiro: drums and percussion (1, 2, 5, 9, 11); Tony Morales: percussion (1) Gregg Field: drums (7); Charles Bisharat: violin (1, 2, 4, 8, 9, 11, 12); Bob Mintzer: bass clarinet (11).

Attachments

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Mishka Adams - Willow Weep For Me

Styles: Jazz Vocals
Label: Candid
Year: 2010
File: MP3@320K/s
Time: 46:56
Size: 109,2 MB
Art: Front

(6:11)  1. Willow Weep For Me
(5:14)  2. Body And Soul
(5:06)  3. Les Feuilles Mortes (Autumn Leaves)
(2:56)  4. On Green Dolphin Street
(4:54)  5. Love Came On Stealthy Fingers
(5:23)  6. God Bless The Child
(4:04)  7. Change Partners
(4:03)  8. The Peacocks (A Timeless Place)
(4:29)  9. I've Never Been In Love Before
(4:32) 10. Somewhere Over The Rainbow

Refreshingly unpretentious and just plain talented, Filipino-English songwriter Mishka Adams makes light work of creating listenable, jazz influenced originals and tasteful standards. ~Time Out, London

'Mint for the mind - balmy and calming...' said the Manila Times on reviewing Mishka's first album. Indeed! This captivating young Anglo-Filipina blessed with that kind of delicate husky voice so pleasing to the ear. As she sings, she blends this roundness and pureness with her impeccable clarity of enunciation and innate ability to interpret songs to wonderful effect. These qualities are abundant in this album which has Miss Adams singing with top musicians both from both continents. Mishka puts her 'gentle subversion' to terrific use in this collection of standards all delivered with a style and panache for which she is becoming more and more renowned.~Editorial Reviews http://www.amazon.com/Willow-Weep-For-Mishka-Adams/dp/B0037FFAWI .

Willow Weep For Me

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Keith Urban - Get Closer

Styles: Country
Label:  Liberty
Year: 2011
File: MP3@320K/s
Time: 70:40
Size: 163,5 MB
Art: Front

(3:40)  1. Put You In a Song
(3:36)  2. You Gonna Fly
(3:38)  3. All for You
(4:33)  4. Long Hot Summer
(3:56)  5. Without You
(5:17)  6. Georgia Woods
(4:48)  7. Right On Back to You
(4:18)  8. Shut Out the Lights
(3:47)  9. Big Promises
(4:15) 10. The Luxury of Knowing
(3:40) 11. Winning
(7:10) 12. Once In a Lifetime (Live In Gwinnett, Ga)
(5:18) 13. You Look Good In My Shirt (Live In Gwinnett, Ga)
(5:42) 14. Better Life (Live In Gwinnett, Ga)
(6:55) 15. Everybody (Live In Gwinnett, Ga)

Pop and country have become increasingly interchangeable in the 21st century, and few artists have benefited more than Keith Urban. On paper, he’s a wealth of contradictions a country boy with an exotic accent, a balladeer with rock & roll chops, a stubbled face framed by flat-ironed hair. On his albums, though, Urban molds those would-be incompatibilities into some of the slickest country songs this side of Taylor Swift, appealing to his longtime Nashville supporters while still targeting fans who wouldn’t be caught dead inside a honky tonk. Released one year after 2009’s Defying Gravity, Get Closer is another country-pop hybrid, executed with swagger and professionalism by the man who helped bring drum machines to Music City. The bad news is that the album is short. Super short. Unless fans want to drive to Target, which has exclusive rights to the full version of Get Closer, they’ll have to settle for a shorter album that clocks in at eight tracks. This so-called “standard” edition feels more like an EP, and the fact that Target’s version only adds two more originals coupled with a remake of Santana’s “Winning” and four live tracks from the Love, Pain & the Whole Crazy Thing tour provides little relief. The good news is that Get Closer, in all its abridged glory, contains some of Urban’s best work to date. He co-writes most of the material and chooses his songwriting partners wisely, working with Sarah Buxton (who wrote the Grammy-winning “Stupid Boy”) on “Put You in a Song” and collaborating with longtime partner Darrell Brown on the country-rocker “Georgia Woods,” which may be the best tune here. Those two songs along with “You Gonna Fly,” “Long Hot Summer,” and “Shut Out the Lights”  round out the rock section, and Urban decorates them with an arsenal of stringed instruments, from bazouki to banjo to E-bow guitar. 

A former session player who performed on Garth Brooks' Double Live, he sometimes lets his own professionalism get the best of him, downplaying his guitar skills on record to make each song as commercial as possible. The rockers on Get Closer are an exception to the rule, though, filled with the sort of two-minute guitar workouts that are only rivaled by contemporaries like Brad Paisley and John Mayer. If the fast songs are an excuse for Urban to flex his chops, then the slower numbers give him a chance to sing directly to his wife, Nicole Kidman, whose influence helps replace the weepy ballads of past albums with measured, midtempo highlights like “Without You.” Get Closer may be 34 minutes long, but it uses its time wisely, featuring a virtually filler-free track list that contains some of Urban’s sharpest open-highway tunes and bedroom ballads.~Andrew Leahey http://www.allmusic.com/album/get-closer-mw0002057219 .

Get Closer (Deluxe Version)

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Chuck Loeb - Silhouette

Styles: Jazz

Label: Shanachie

Year: 2013

File: MP3@320K/s

Time: 59:23

Size: 136,2 MB

Art: Front

(6:33)  1. Silhouette

(5:11)  2. Silver Lining (feat. David Mann)

(5:58)  3. Present Sense

(7:47)  4. Appreciation (feat. Mitchel Forman)

(7:19)  5. JT (feat. Eric Marienthal)

(5:22)  6. Lockdown

(8:11)  7. Stompin' (feat. Andy Snitzer)

(4:18)  8. Esta Tarde Vi Llover (feat. Carmen Cuesta)

(5:22)  9. My One and Only Love (feat. Lizzy Loeb)

(3:19) 10. Las Eras (feat. Christina Loeb)

Throughout what seems like the entire evolution of contemporary jazz, guitarist Chuck Loeb has provided a soothing presence that continues to resonate with true connoisseurs of the genre.  In fact, for Loeb, 2013 has been a very good year. In addition to building his growing reputation as an integral part of super group Fourplay he has not only contributed to a wonderful new album from Keiko Matsui but also has released his twentieth solo recording.  Titled ‘Silhouette’ it finds him orchestrating four unique ensembles that allow Loeb to give listeners an insight into some of the music and musicians to have touched him throughout his career. The first of these collectives is called The Appreciation Band and comprises three artists from three different bands with which Chuck has collaborated in the past, former Steps Ahead band member Peter Erskine, Loeb’s Fouplay colleague Nathan East and Metro band-mate, keyboard player Mitch Forman.  In addition this dream team are added to by guest performances from saxophonists David Mann and Eric Marienthal. The collective kicks off ‘Silhouette’ in suitably sophisticated style with the Fourplay like title cut where Mann’s understated horn arrangements are really something and The Appreciation Band’s next offering is the highly rhythmic ‘Silver Lining’.  Two tracks in and both total gems yet the beautifully deconstructed ‘Present Sense’ quickly makes it three for three.  

Continuing in the same magical vein ‘Appreciation’ is a delightfully jazzy piece for which Mitch Forman on keys really gets the job done.  The final contribution from this fabulous four-some is Loeb’s homage to one of his all-time favorite musical heroes, James Taylor.  Shimmering with a mellifluous melody, ‘JT’ is also notable for fine playing from Marienthal and is, in every respect, an absolute joy. ?The second ensemble to grace ‘Silhouette’ has been inspired by a project that Will Lee (bass player on the Late Show With David Letterman for 30 years) assembled last year, The Will Lee Family Band.  It features legendary drummer Steve Gadd, newest addition to Pat Metheny’s Group, trumpeter Giulio Carmassi and pianist and melodica player Oli Rockberger. 

They stay around for only one tune, the gritty, R & B flavored ‘Lockdown’, a number that proves to be as pleasing as it is different. Next up comes The December 7th Trio that is a group based on Loeb’s Organ Trio CD ‘Plain 'n' Simple’ and who have extensively toured together.  The synergy of a lineup that is anchored by Hammond B3 player Pat Bianchi and drummer Wolfgang Haffner clearly shows and completing the band is sax-man Andy Snitzer.  Together they deliver the swinging ‘Stompin’ that courtesy of Bianchi and Snitzer ultimately takes on a decidedly straight ahead disposition. From that point on ‘Silhouette’ becomes something of a family affair as the Madrid based ensemble The Musigrama All-Stars are joined by Chuck’s wife, Carmen Cuesta and their two daughters Lizzy and Christina.  The result is the wistful ballad ‘Esta Tarde Vi Llover’, the haunting ‘Las Eras’ and, most notably, ‘My One And Only Love’ that is played out as a duo between Chuck and Lizzy.  Quite simply it’s beauty personified. http://smoothjazztherapy.typepad.com/my_weblog/2013/08/chuck-loeb-silhouette.html

Silhouette

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Celso Fonseca & Ronaldo Bastos - Polaroides

Bitrate: 320K/s
Time: 53:00
Size: 121.4 MB
Styles: Bossa Nova, Samba, Brazilian jazz
Year: 2006
Art: Front

[4:01] 1. Satellite Bar
[2:55] 2. Denise Bandeira
[3:16] 3. Ela Vai Pro Mar
[4:09] 4. Meu Tudo Pra Mim
[4:35] 5. La Piu Pella Del Mondo A Voz Do Morro
[3:30] 6. Polaroides
[4:52] 7. Samba E Tudo
[4:40] 8. Valeu
[3:52] 9. Out Of The Blues
[3:45] 10. A Noite E Meu Opio
[4:35] 11. Ledusha Com Diamantes
[4:46] 12. Slow Motion Bossa Nova
[3:58] 13. Sorte

Popular guitarist, singer, songwriter Celso Fonseca teams up with noted lyricist Ronaldo Bastos, who contributed to Milton Nascimento's many recordings, to provide a wonderful, as well as irritating, series of exceedingly mellow tunes. Fonseca has lately moved into hip and modern music, including rap and electronic elements, but here he is in traditional mode of bossa nova and samba. Varied from sparse to lush arrangements with the inclusion of sax, trumpet, trombone, flute, and strings, and of consistant moderate tempo, this CD will alternately lower your blood pressure and smooth your jangled nerves, taking you to a tropical beach, a warm sun, and a cool breeze; and then being dragged along the sand. Beautiful and romantic songs flip/flop with trite, awkward, and imitative pieces. Please note that this album is a "Best of...", being selections from three earlier recordings: Paradiso, Sorte, and Juventude. An especially interesting track is a Brazilian blues, "Out of Blues"; my favorite, because of its percussion, is "La Piu Bella del Monde". Why do I still give 5 stars? Because the music is so varied that it keeps our interest, and because the changing effects on our emotions supports the sonic fun. You may hear the complete songs on Fonseca's web site. While an import, I still do not know why it, and so many Brazilian CDs, are so expensive, here for an anthology. ~By Dr. Debra Jan Bibel/Amazon

Polaroides

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Chris Barber Jazz & Blues Band - Down On The Bayou

Bitrate: 320K/s
Time: 72:29
Size: 165.9 MB
Styles: New Orleans jazz
Year: 1999
Art: Front

[0:18] 1. Dedication
[3:52] 2. Down On The Bayou
[5:19] 3. They Took My Money
[3:41] 4. Music From The Land Of Dreams
[6:20] 5. Going Up The River
[3:13] 6. Baby O'mine
[2:29] 7. Waiting For A Train
[5:24] 8. Corrine Across The Sea
[3:08] 9. Beg, Steal Or Borrow
[6:07] 10. Whose Blues
[3:00] 11. Battersea Raindance Crocker's Eleven
[3:23] 12. Nobody Knows When You're Down And Out
[5:01] 13. Black Widow
[4:56] 14. New York Town
[4:02] 15. Big Bass Drum (On A Mardi Gras Day)
[4:15] 16. Skippin' And Jumpin'
[2:43] 17. Pick And Shovel
[5:09] 18. Oh! Didn't He Ramble

Chris Barber Jazz & Blues Band: Chris Barber (vocals, trombone); John Crocker (alto & tenor saxophones, clarinet, background vocals); Ian Wheeler (alto saxophone, clarinet, harmonica, background vocals); Pat Halcox (trumpet, background vocals); Vic Pitt (tuba, acoustic bass); Nick Coler (piano); Tony Atkins (acoustic guitar, background vocals); Johnny McCallum (guitar, banjo, snare drums, cabbassa); John Slaughter (guitar); Ian Richardson (drums, drum programming); Noran Emberson (drums, background vocals); Alan "Sticky" Wicket (drums). Recorded betweem October 1985 and March 1989. Includes liner notes by Chris Barber. Trombonist Chris Barber's British trad band has long been open to the influence of blues and R&B. On this CD, they are joined on more than half of the selections by singer/pianist Dr. John, who plays New Orleans funk/R&B rather than New Orleans jazz. The music, therefore, is quite a mixed bag, with most of the songs being originals by either Dr. John or Barber, plus Woody Guthrie's "New York Town," "Nobody Knows You When You're Down and Out," and "Oh, Didn't He Ramble." Barber and trumpeter Pat Halcox play well as usual, but the band is very much in a subsidiary role on may of the selections and Dr. John has had more significant sessions on record. A historical curiosity. ~ Scott Yanow

Down On The Bayou

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Susie Arioli Band - Learn To Smile Again

Bitrate: 320K/s
Time: 41:31
Size: 95.0 MB
Styles: Easy Listening
Year: 2005
Art: Front

[3:36] 1. By The Time I Get To Phoenix
[4:37] 2. Less And Less
[3:46] 3. Husbands And Wives
[3:09] 4. By Myself
[6:21] 5. Night Flight
[3:53] 6. Half A Mind
[2:50] 7. A Million Years Or So
[3:22] 8. A World I Can't Live In
[3:19] 9. Ruler Of My Heart
[2:16] 10. Don't We All Have The Right
[4:16] 11. Leo's Blues

While singer Susie Arioli and guitarist Jordan Officer usually team up for renditions of Django Reinhardt-flavored swing classics, Learn to Smile Again is a change of pace. Most of the repertoire is taken from the book of Roger Miller (although "King of the Road" is bypassed), and this is a surprisingly natural fit since both Arioli (who has a quietly beautiful voice) and Officer have a real feel for vintage country/pop/folk music. Assisted by rhythm guitar, bass, quiet percussion, and the background vocals of Jason and Sheldon Valleau, this lyrical and heartfelt effort (which also includes two originals and the vintage "By Myself") is an offbeat success, logical in hindsight if not inevitable. ~ Scott Yanow

Susie Arioli (vocals, snare drum); Jordan Officer (vocals, guitar); Jason Valleau, Sheldon Valleau (vocals); John McColgan (percussion).

Recording information: Studio Victor, Montreal, Quebec, Canada (02/2005-03/2005).

Learn To Smile Again

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