The Ralph Sharon Sextet - Around The World In Jazz

Bitrate: 320K/s
Time: 33:34
Size: 76.9 MB
Styles: Piano jazz
Year: 1957/2010
Art: Front

[3:03] 1. Tipperary Fairy
[3:33] 2. Strictly Occidental
[3:13] 3. Ask An Alaskan
[2:58] 4. Blue In Peru
[3:05] 5. Prettily Italy
[3:05] 6. Piccadilly Panic
[2:54] 7. Sorta Spanish
[2:49] 8. Parisienne Eyeful
[2:54] 9. Stateside Static (Original)
[2:38] 10. Hassle In Havana
[3:16] 11. Gibraltar Rock

Ralph Sharon made his professional debut with Ted Heath in 1946, then moved on to Frank Weir's orchestra before leading his own sextet. He moved to the U.S. in 1953, where he initially worked as an accompanist to Chris Connor. In 1957, he became musical director and pianist for Tony Bennett. He acquired American citizenship in 1958. In 1965, he and Bennett split up, but they got back together in 1979 and have played together since. Sharon has also led various groups and made many recordings as a leader. ~William Ruhlmann

Pianist Ralph Sharon's Sextet features Lucky Thompson on tenor sax, Eddie Costa on vibes, Joe Puma on guitar, Oscar Pettiford on bass, and Osie Johnson on drums.

Recorded in NYC, 1957.

Around The World In Jazz

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Ellyn Rucker - Now

Bitrate: 320K/s
Time: 71:09
Size: 162.9 MB
Styles: Vocal jazz
Year: 2003
Art: Front

[ 5:33] 1. Now
[ 3:34] 2. Can't Get Out Of This Mood
[ 5:33] 3. Now
[ 7:02] 4. Strollin'
[ 5:06] 5. With You In Mind
[ 5:28] 6. Estate (Summer Passed)
[ 5:07] 7. Stockholm Sweetnin'
[ 5:32] 8. The Heather On The Hill
[ 6:25] 9. Last Resort
[10:52] 10. Useless Landscape Moon And Sand
[ 2:35] 11. The Best Thing For You
[ 2:09] 12. Lucky To Be Me
[ 6:07] 13. Here

Not many people can get away with putting two 5/4 bossa novas into a single program, but pianist and singer Ellyn Rucker has always done things just a bit differently. On her fifth album as a leader she steers clear of the usual repertoire of jazz standards, instead selecting a winning program of more obscure material both new and old, though a number of the songs and tunes were written by such familiar names as Horace Silver (the vocal version of "Strollin'"), Quincy Jones ("Stockholm Sweetnin'"), Ron Carter ("Last Resort"), and Irving Berlin ("Best Thing for You"). The arrangements call for a shifting complement of sidemen; her cool and lovely rendition of "Stockholm Sweetnin'" is performed by a standard quartet that includes alto saxophonist Rich Chiaraluce, while she handles Leonard Bernstein' s "Lucky to Be Me" all alone, singing and accompanying herself on piano. Rucker is an expert and charming singer, but for some reason this album's highlights tend to come on the instrumental numbers: her duo arrangement (with the exquisitely tasteful bassist Dave Young) of Lerner & Loewe's "Heather on the Hill" is simply gorgeous, as is her simple trio take on "Last Resort." And she effectively treads the fine line between excessive rhythmic looseness and effortless swing on those two 5/4 bossas, both of which could probably have done without the additional vocal contributions of their male composer. Recommended. ~ Rick Anderson

Recorded at Greywood Studios, Denver, Colorado, March 2001.

Ellyn Rucker (vocals, piano); David Mackay (vocals); Mark Rose (soprano & tenor saxophone); Rich Chiaraluce (alto & tenor saxophone); Pete Sommer (tenor saxophone); Ron Satterfield (synthesizer); Mitchell Long (guitar); Dave Young (bass, percussion); Claudio Slon, Paul Romaine (drums).

Now

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Joao Donato & Paulo Moura - Dois Panos Para Manga

Bitrate: 320K/s
Time: 48:06
Size: 110.1 MB
Styles: Brazilian jazz
Year: 2006
Art: Front

[5:16] 1. A Saudade Mata A Gente
[5:01] 2. On A Slow Boat To China
[4:31] 3. Swanee
[5:37] 4. Copacabana
[4:33] 5. Tenderly
[4:36] 6. That Old Black Magic
[7:56] 7. Minha Saudade
[4:36] 8. Pixinguinha No Arpoador
[5:56] 9. Sopapo

During a party at TV director Carlos Manga’s home, João Donato and Paulo Moura decided to work together and to issue a record in which they, for the first time, performed as a duo. It was Manga´s birthday and, while having a few drinks, the host asked them to play some of the themes which had once delighted the members of the Sinatra-Farney Fan Club in the auditions that were performed during the decade of the 50ies. The Murray Stores, in downtown Rio were then the meeting point for samba and jazz buffs, and such meetings have been regarded by many as the origin of Bossa Nova. During hours, and inspired by so many memories, Donato and Moura presented before a distinguished group of guests some of the songs mostly requested during those anthological auditions. And that is precisely the core of the repertory of “Dois panos para Manga”, based on the sentimental remembrances of João and Paulo, with some hints from Manga. “He even sang a few tunes with his tenor voice and managed to improvise in certain passages while we were playing our favorite songs from that period”, remembers Donato. “Carlos Manga was the president of the Sinatra-Farney Fan Club and its driving force”, recalls Moura. The interaction between performers and repertory was so intense that this album was recorded in less than a week, in February last, at the AR studio, with the only presence of Paulo’s clarinet and Donato’s piano. The repertory includes seven classics and two new songs composed by them expressly for this album: "Pixinguinha no Arpoador", and "Sopapo". Among the jazz classics - favorites of the Fan Club members – are “In a slow boat to China”, (Frank Loesser); “Swanee” (George and Ira Gershwin); “That old black magic” (Harold Arlen and Johnny Mercer), as a tribute to Sinatra; and “Tenderly” (Walter Gross and Jack Lawrence), one of Nat King Cole’s greatest hits. In the Brazilian repertory, there are two re-creations of songs composed by Braguinha (João de Barro) that were great hits during the 40ies: “A saudade mata a gente”, in partnership with Antonio Almeida, and “Copacabana”, written together with Alberto Ribeiro. Also included are “Minha saudade”, by Donato and João Gilberto, and that has a special meaning to Paulo: “This was the first song in Bossa Nova format that I came across. I included it in first record. It probably was that music's first recording”, reports Paulo. The new songs, composed after the party in Manga’s home (not by chance located in Dick Farney Street, in Barra da Tijuca), reflect the influence of this repertory's earlier ones. "Pixinguinha no Arpoador", contains passages with themes recurrent in Brazilian and international songs. “My inspiration came after visiting Paulo at his home and having played a few chords. He asked what those chords were and I answered that they were nothing, but in reality they were the first notes of ‘Carinhoso’. We kept on playing until it turned out to be a samba canção (samba with lyrics) somewhat resembling also “La vie en rose”, explains Donato. On that same day, “Sopapo” was written. Paulo gave it that name. “Sopapo is the name of a drum from the Pelotas region, state of Rio Grande do Sul, one of which was given to me as a present by percussionist Giba-Giba”. Coincidently or not, Pelotas is the native town of Ivone Belém, João’s wife, who together with Halina Grymberg, Paulo’s wife, is in charge of the executive production of this record. “Sopapo is a joyful theme that appeals to any child. Besides, joy is my favorite emotion”, concludes Donato. * “Dois panos para mangas” makes a pun with the Brazilian idiomatic expression “dar panos para a manga" (which means “a lot to be said”, "a lot to occur”,” a lot f things that may happen”, and / or similar meanings) and the family name of director Carlos Manga.

Dois Panos Para Manga

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Chantale Gagné - Wisdom of the Water

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 45:45
Size: 105,7 MB
Scans: Front

(7:06)  1. Wisdom of the Water
(6:35)  2. Over the Bridge
(5:29)  3. My Wild Irish Rose
(5:25)  4. Squinky Pete
(1:45)  5. Roseline
(6:12)  6. The Light We Need
(4:52)  7. Waking Dreams
(4:27)  8. I Shall Not Be Moved
(3:50)  9. Lullaby For Winter

In many ways, water is the ultimate life force. Approximately seventy percent of the Earth's surface is covered by water and more than half of the human body is made up of water. Perhaps, it was with this in mind that nature endowed water with a certain degree of logic in motion. Water often flows ever-forward in endless streams of beauty, creating deep ripples within the very fabric of its moving form, and the same can be said for much of the music that pianist Chantale Gagné creates on Wisdom Of The Water.
On this, her sophomore effort, Gagné has crafted a program that demonstrates her ample skills behind the piano, while highlighting her compositions, which balance accessible ideas with unique harmonic hues. The can't-miss rhythm team of drummer Lewis Nash and bassist Peter Washington that appeared on her debut Silent Strength (Self Produced, 2008) return for round two, providing just the right touches in all the right places. While Gagné was clearly happy with her rhythm men, she obviously wasn't content to repeat herself, and she chose to augment this ensemble with the addition of the inimitable Joe Locke on vibraphone.

Both Locke and Gagné give off a similar sense of emotional radiance, embodied by the warm cocoon of sound they create on tracks like "Over The Bridge" co-written by Locke and Gagné and "The Light We Need." A sense of longing lives in these pieces and Gagné proves to be masterful in the molding and shaping of her own creations. While Locke's presence is most impressive in these types of setting, he also proves to be an asset on more lively fare, like the squirrelly "Squinky Pete." Gagné and Locke deftly move through single note lines together before Nash and Washington launch into a swinging groove. Locke is his ever-impressive self during his solo spot, Gagné tosses off her spunkiest solo on the record, and Nash is given some room to let loose before the head returns.

While Gagné is clearly a competent soloist and expert musical architect, her gifts aren't limited to these two areas. She proves to be a solo pianist with great range, as demonstrated by her ability to move from reflection and rumination ("Lullaby For Winter") to rubato introductions for pseudo-saloon piano playing ("Roseline"), and she takes a keen interest in providing bassist Peter Washington with a platform that he so richly deserves. It's a far-too-frequent occurrence for bassists to be buried beneath the rest of the band, but Gagné gives Washington more than his fair share of solo space, and uses his cello-like pizzicato work to provide the introductory melody on "My Wild Irish Rose." Gagné's ability to showcase her own skills, while proving to be selfless in highlighting each member of the band, is telling.

From the first note to the last, Wisdom Of The Water presents the wisdom, warmth, passion and promise inherent within the work of up-and-comer Chantale Gagné.~ Dan Bilawsky http://www.allaboutjazz.com/php/article.php?id=38707#.UlG82RDNn8p

Personnel: Chantale Gagné: piano; Joe Locke: vibraphone; Peter Washington: bass; Lewis Nash: drums.

Wisdom of the Water

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Judy Wexler - What I See

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 49:23
Size: 112,9 MB
Scans: Front

(6:30)  1. Tomorrow Is Another Day
(3:15)  2. The Moon Is Made of Gold
(4:17)  3. Convince Me
(4:46)  4. They Say It's Spring
(5:25)  5. A Certain Sadness
(5:11)  6. The Long Goodbye
(3:49)  7. Just for Now
(5:35)  8. Follow
(3:28)  9. Another Time, Another Place
(3:21) 10. A Kiss to Build a Dream On
(3:37) 11. Laughing at Life

Vocalist Judy Wexler is more than a mere singer of songs. She's an actress, mood painter, song archaeologist and vocalist par excellence, and those designations shouldn't be taken as independent virtues; they all merge in her marvelous musical pursuits.

When I See is Wexler's fourth album, but it only took two Easy On The Heart (Jazzopolis, 2005) and Dreams & Shadows (Jazzed Media, 2008)  to establish her as one of the most highly respected vocal artists on the West Coast. She furthered her sterling reputation with the all-encompassing Under A Painted Sky (Jazzed Media, 2011), and she's likely to do the same with this one; it's a real beaut.

What I See finds Wexler covering a lot of ground again, as she moves from Benny Carter to John Williams to King Pleasure. She's in familiar company, working with some longtime colleagues like multi-reedist Bob Sheppard, drummer Steve Hass and pianist/arranger Jeff Colella, but she continually avoids the familiar in all other aspects of her work; she doesn't radically reinterpret anything or purposely pounce on never-before-heard numbers, but she also doesn't tread over well-worn ground.

Wexler kicks off the album with a comfortably swinging take on Pleasure's "Tomorrow Is Another Day." Her reading of this better-things-are-on-the-horizon statement is neither depressed nor sunny; it's matter-of-factly honest about the topic at hand. A similar sense of clarity and truthfulness shines through on every number. Wexler's acting credentials no doubt help her in this regard, but it never sounds like she's acting. When Judy Wexler sings a song, it becomes her song and her story, period. She's more than convincing on "Convince Me," a slow jam-of-a-song if ever there was one, and her voice rises to the occasion on "The Moon Is Made Of Gold." The mere mention of spring on "They Say It's Spring" and "Just For Now" brings a blooming quality to her voice, and she carries "Follow" forward in her own inimitable fashion.

The A-list musicians that join Wexler on this journey also do their part to make this a magical listen. Sheppard is ever-impressive, delivering the goods on bass clarinet ("Tomorrow Is Another Day") and adding warmth with his alto flute ("A Certain Sadness"), and Ron Stout adds a touch of brass beauty to the proceedings ("The Moon Is Made Of Gold"). Colella and guitarist Larry Koonse match Wexler in the sensitivity department and prove to be the instrumental MVPs on the project.

What I See, much like Wexler's prior album, is a marvel of sincerity and beauty.~ Dan Bilawsky  http://www.allaboutjazz.com/php/article.php?id=45314#.UlHATRDNn8o

Personnel: Judy Wexler: vocals; Jeff Colella: piano; Larry Koonse: guitar, ukulele; Chris Colangelo; bass; Steve Hass: drums; Ron Stout: flugelhorn, trumpet; Bob Sheppard: bass clarinet, alto flute; Scott Whitfield: trombone; Billy Hulting: percussion.

What I See

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Chicago Jazz Orchestra - Burstin' Out! (feat. Cyrille Aimée)

Styles: Vocal

Year: 2013

File: MP3@320K/s

Time: 57:45

Size: 131,8 MB

Scans: Front

(2:41)  1. What a Little Moonlight Can Do

(5:33)  2. September in the Rain

(4:39)  3. A Night in Tunisia

(4:49)  4. Sometimes I'm Happy

(5:33)  5. Dindi

(3:25)  6. Yardbird Suite

(4:42)  7. Easy Living

(3:18)  8. Cheek to Cheek

(7:18)  9. Long as You're Living

(5:34) 10. Them There Eyes

(5:35) 11. I'm Through with Love

(4:20) 12. It Don't Mean a Thing (If It Ain't Got That Swing)

Covering the Great American Songbook can be tricky, thankless work for a singer. The options for handling the material just aren't as numerous (i.e., nigh infinite) as they are for instrumentalists. Severely warping a melody, chopping it up or getting rid of it altogether work perfectly well if you're blowing through a horn. But such abstractions of voice can seem forced or simply too weird within a straight-ahead format. There's scatting, of course, and other forms of nonverbal vocalization, but they rarely score on the same level as instrumental solos, and they can turn stale or quaint-sounding pretty quickly.

Enter Cyrille Aimee. Over the course of the last several years, the French singer has established herself as one of the more innovative interpreters of this music. Her sound is classic, tinged with the exotic. Her vocals thrill with technical proficiency, yet don't lack emotional nuance. Yes, she scats (quite a bit, actually), but as a natural and very instrumental extension of her verbal singing. All her skills are on display here, allowing her to mix exceedingly well with the Chicago Jazz Orchestra . It's notable that track particulars list Aimée as a soloist like any other in the band. For while she certainly has a more prominent position in these performances than singers often did in the heyday of big band music, where they might come in for a verse or two at the end after the big-gun instrumentalists had had their say, this album is by no means simply an Aimée vehicle with CJO assigned to the boiler room. Through both its orchestrated sections and plentiful solo statements (pianist Dan Trudell is a particular standout) the band plays just as prominent a role as Aimée.

As the album's title suggests, the performances tend toward big, brash swing. Many of the arrangements come from the band's artistic director, Jeff Lindberg, though other band members lend a hand as well. Still other arrangements are adapted from the likes of Duke Ellington and Count Basie. Fans of Frank Sinatra's work with Antonio Carlos Jobim will be intrigued or distracted perhaps both by Lindberg's faithful use of Claus Ogerman's arrangement of "Dindi."

Aimée has recorded a handful of these songs before, albeit in smaller settings. And her approach certainly changes to adapt to the grander backing, her style a bit less free, more refined, with even some of her scatting dialed back to play as but another instrument in orchestrated section pieces. Again, group sound is emphasized over the individual. And all in all, CJO and Aimée have produced a compelling, highly enjoyable record a testament, of sorts, to the continuing power of straight-ahead big band jazz in the contemporary music world.~ Matt Marshall

 http://www.allaboutjazz.com/php/article.php?id=45453#.UlHFShDNn8o

Personnel: Jeff Lindberg: artistic director, conductor; Charley Harrison: associate artistic director; Cyrille Aimée: vocals; John Wojciechowski: alto sax, flute; Bill Overton: alto sax; Scott Burns: tenor sax; Eric Schneider: tenor sax; Jerry DiMuzio: baritone sax, flute, alto flute; Danny Barber, Doug Scharf, Marquis Hill, Art Davis, Victor Garcia: trumpet, flugelhorn; Scott Bentall, Tom Garling, Kendall Moore, Andy Baker: trombone; Michael Young: bass trombone; Dan Trudell: piano, Fender Rhodes; Dennis Carroll: bass; George Fludas: drums; Charley Harrison: guitar; Lisha McDuff: flute, alto flute; Darlene Drew: flute, alto flute; Janice MacDonald: flute; Lyon Leifer: flute; Daniel Won: clarinet, bass clarinet; Jennifer Cappelli, Eugene Pazin: violin, co- concertmasters; Bernardo Arias, Karl Davies, Pauli Ewing, Roberta Freier, Katherine Hughes, Whun Kim, Betty Lewis, Carmen Llop Kassinger, James Sanders, Paul Zafer: violin; Patrick Brennan, Matthew Mantell, Cheryl Wilson: viola; Barbara Haffner, William Cernota, Jocelyn Davis-Beck, Edward Moore: violoncello; Robert Kassinger: double bass; Marcia Labella: harp; Steve Ramsdell: acoustic guitar; Rubén Alvarez: bongos, shaker.

Burstin' Out!

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The Jive Aces - Planet Jive

Styles: Jive, Swing

Label: Right Records

Released: 1999

File: mp3 @320K/s

Size: 106,7 MB

Time: 46:35

Art: full

1. Planet Jive - 3:52

2. Ride Ride Ride - 3:29

3. Spectator - 3:26

4. What Do I Tell My Heart? - 3:08

5. Aces Swing - 2:57

6. Think For Yourself - 4:05

7. When You Wish Upon a Star - 2:59

8. Blue Skies - 3:25

9. Anything You Wanna Be - 3:39

10. Imagination (or Something Else?) - 2:55

11. Ac-cent-tchu-ate The Positive - 3:59

12. Apprehend That Feline - 3:08

13. Junky Joe - 3:34

14. Return To Planet Jive - 1:52

The Jive Aces are:
Ian Clarkson – Vocals & Trumpet
Ken Smith – Double Bass
Vince Hurley – Piano
Peter Howell – Drums
John Fordham – Saxophone
Alex Douglas – Trombone

Notes: Having become the first ever band to reach the semi finals of Britain's Got Talent in 2012 following up with a performance for Her Majesty The Queen as part of the Diamond Jubilee celebrations and performances for both the Olympic and Paralympic celebrations, The Jive Aces have truly established themselves as the UK's top Jive & Swing band.
Together for over a decade, this extremely popular six piece group have performed at thousands of festivals, theatres and events throughout the UK, Europe and USA, as well as Japan, Israel, South Africa, Morrocco and the Caribbean, 30 countries in all. The Jive Aces are renowned for their high energy Jump Jive music (the exciting sound where Swing meets Rock ‘n Roll) and spectacular stage show.
Click here to see what people are saying about the Jive Aces.

Planet Jive

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Joe Turner - Big Joe Is Here

Bitrate: 320K/s
Time: 32:26
Size: 76.0 MB
Styles: R&B, Blues vocals
Year: 1959/2005
Art: Front

[2:19] 1. Wee Baby Blues
[2:03] 2. Rock A While
[2:48] 3. Baby I Still Want You
[2:46] 4. The Chill Is On
[2:41] 5. Poor Lover's Blues
[2:29] 6. Don't You Cry
[2:55] 7. Ti-Ri-Lee
[2:49] 8. Married Woman
[2:30] 9. Midnight Cannonball
[3:18] 10. I'll Never Stop Loving You
[3:17] 11. After My Laughter Came Tears
[2:24] 12. Bump Miss Susie

he premier blues shouter of the postwar era, Big Joe Turner's roar could rattle the very foundation of any gin joint he sang within -- and that's without a microphone. Turner was a resilient figure in the history of blues -- he effortlessly spanned boogie-woogie, jump blues, even the first wave of rock & roll, enjoying great success in each genre.

Turner, whose powerful physique certainly matched his vocal might, was a product of the swinging, wide-open Kansas City scene. Even in his teens, the big-boned Turner looked entirely mature enough to gain entry to various K.C. niteries. He ended up simultaneously tending bar and singing the blues before hooking up with boogie piano master Pete Johnson during the early '30s. Theirs was a partnership that would endure for 13 years. ~excerpt from bio by Bill Dahl.

Big Joe Is Here

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Lisa Ono - Soul & Bossa

Bitrate: 320K/s
Time: 31:52
Size: 73.0 MB
Styles: Bossa Nova
Year: 2007/2013
Art: Front

[2:59] 1. For Once In My Life
[3:59] 2. (Sittin' On) The Dock Of The Bay
[4:29] 3. You've Got A Friend
[2:40] 4. Family
[3:29] 5. Georgia On My Mind
[3:55] 6. I Got You (I Feel Good)
[3:58] 7. I Can't Stop Loving You
[2:55] 8. Unchain My Heart
[3:24] 9. What's Going On

The latest album from one of the hippest Bossa Nova performers in the world, Lisa Ono's "SOUL & BOSSA" is out and what a wonderful and pleasant album.For those not familiar with Lisa Ono, Lisa's roots on bossa nova music came at an early age with her father having a club in Rio de Janeiro, Brazil. When the family moved to Japan, her father opened up a restaurant which featured bossa nova and samba music.

Having released many albums since 1989 in English, French and Portguese, her 2007 album "SOUL & BOSSA" features the artist singing covers of popular songs such as Carol King's "You've Got A Friend", Otis Redding's classic"(Sittin' on) The Dock of the Bay", Marvin Gaye's "What's Going on", Stevie Wonder's "Overjoyed", James Brown's "I Got You (I Feel Good)" and much more and giving them a bossa nova spin.

Her takes on songs such as the James Brown and Marvin Gaye classic turns out remarkably well. I just found the bossa nova interpretations of the classics on this album done to be remarkably done and gives a fresh dulcet interpretation at the songs that many of us enjoyed for so long. ~Dennis A. Amith/amazon

Soul & Bossa  

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Jim Rotondi & The Loop - Hard Hittin' At The Bird's Eye

Bitrate: 320K/s

Time: 79:05

Size: 181.0 MB

Styles: Trumpet jazz

Year: 2013

Art: Front

[10:34] 1. Summit Meeting

[10:07] 2. Higher Calling

[13:51] 3. Amsterdam After Dark

[13:58] 4. Cry Me A River

[ 8:13] 5. Blue Moon

[11:06] 6. The Loop

[11:15] 7. Love Walked In

Trumpeter Jim Rotondi's 2013 effort, Hard Hittin' at the Bird's Eye, features the jazz musician performing live in 2012 at the Bird's Eye Jazz Club in Basel, Switzerland. Joining Rotondi here are saxophonist Eric Alexander, organist Renato Chicco, and drummer Bernd Reiter. Anyone who is familiar with Rotondi and Alexander's solo albums or their work with the all-star band One for All will know just what kind of top-notch straight-ahead jazz to expect here. With a bent toward '60s hard bop, this swinging, bluesy, and often soulful acoustic jazz features adventurous soloing throughout. ~ Matt Collar

Recording information: The Bird's Eye Jazz Club, Basel, Switzerland (03/30/2012-03/31/2012).

Bernd Reiter (drums); Eric Alexander (tenor saxophone); Jim Rotondi (trumpet, flugelhorn); Renato Chicco (organ).

Hard Hittin' at the Bird's Eye

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Dinah Washington - Dinah Jams

Bitrate: 320K/s
Time: 61:17
Size: 140.3 MB
Styles: Blues-jazz vocals
Year: 1954/1990
Art: Front

[ 9:54] 1. Lover, Come Back To Me
[ 2:25] 2. Alone Together
[ 2:27] 3. Summertime
[ 2:29] 4. Come Rain Or Come Shine
[ 3:22] 5. No More
[ 5:26] 6. I've Got You Under My Skin
[ 2:15] 7. There Is No Greater Love
[11:08] 8. You Go To My Head
[ 5:14] 9. Darn That Dream
[ 4:47] 10. Crazy He Calls Me
[11:46] 11. I'll Remember April

DINAH JAMS is a specially imported, limited-edition reissue. All tracks have been digitally remastered (24-bit). Recorded in Los Angeles, California on August 14, 1954. All tracks have been digitally remastered. Recorded at the start of Dinah Washington's climb to fame, 1954's Dinah Jams was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time -- tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow -- trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session. Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" -- all including a round of solos -- there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown. Other solo highlights include Land's fine tenor solo on "Darn That Dream" and Geller's alto statement on the disc's standout Washington vocal, "Crazy." And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like The Swingin' Miss D or The Fats Waller Songbook, both of which feature top arrangements by Quincy Jones. ~ Stephen Cook

Dinah Washington (vocals); Herb Geller (alto saxophone); Harold Land (tenor saxophone); Clark Terry, Clifford Brown , Maynard Ferguson (trumpet); Junior Mance, Richie Powell (piano); Max Roach (drums).

Recording information: Los Angeles, CA (08/15/1954). Unknown Contributor Roles: Paul Ramey; Richard Seidel.

Dinah Jams

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Stephanie Nakasian - Dedicated To Lee Wiley

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 52:48
Size: 123,0 MB
Art: Front

(3:30)  1. Sweet & Lowdown
(3:51)  2. Stars Fell On Alabama
(2:44)  3. Oh, Look At Me Now
(3:38)  4. A Woman's Intuition
(2:43)  5. Down With Love
(4:01)  6. East Of The Sun
(3:41)  7. Don't Blame Me
(2:39)  8. Sugar
(3:22)  9. Ghost Of A Chance
(2:42) 10. Manhattan
(4:08) 11. A Hundred Years From Today
(2:44) 12. Down With Love
(2:19) 13. I've Got The World On A String
(2:42) 14. Stormy Weather
(3:14) 15. Come Rain Or Come Shine
(2:11) 16. My Shining Hour
(2:32) 17. I've Got A Right To Sing The Blues

Stephanie Nakasian is listed in the Biographical Encyclopedia of Jazz as one of the world's leading jazz singers. She first came to international attention in the mid-80s when she sang and toured with the vocal jazz master Jon Hendricks and Company - her 'vocal jazz apprenticeship.

Since then, she has toured and recorded as a leader and with her partner and internationally acclaimed jazz pianist Hod O'Brien. Together with their daughter Veronica they make their home in Charlottesville, Virginia. Since 1980 Ms. Nakasian has been actively recording. Her debut album featured legendary saxophonist Phil Woods and received four stars from critic Leonard Feather. There are many jazz singers on the scene now. Hendricks chose her because of her hip, swinging rhythm. The Jim Cullum Jazz Band features her frequently on their internationally syndicated show "Riverwalk" portraying Lee Wiley, Peggy Lee, Helen Ward, Helen Humes, '20s singers and blues singers. Their reason - swing and authenticity. She portrayed herself on the show with Dick Hyman on tributes to composers Hoagy Carmichael and Walter Donaldson. The Richmond Times-Dispatch "compared her to Ella! and she deserves is." In Europe they have heard similarities to Sarah Vaughn. In New York, they heard early Margaret Whiting. Her clean, clear lovely tone is another reason for her popularity.

Some of Ms. Nakasian's concert appearances as a features performer include performances with Urbie Green, Pat Metheny, Bobby McFerrin, Milt Hinton, Clary Terry, J.R. Monterose, Joe Temperly, Scott Hamilton, Harry Allen, Sheila Jordan, Bob Dorough, Valery Ponomarev and (with Hendricks) Red Mitchell, Hank Jones, Philly Joe Jones, Roy Haynes, and Annie Ross to name a few. The final element which makes all this so exciting is her electric and personal stage persona - she does a world class vocal trombone imitation and she's fun to watch. It's exciting to be part of the experiment and spontaneous creativity of her art. This album is a sensational tribute to the great Lee Wiley, one of the mainstays of American vocal jazz. Nakasian is joined by an excellent combo including Hod O'Brien on piano, Dan Barrett on trombone, Spanky Davis on trumpet, Harry Allen on tenor sax, Allan Vache on clarinet, Michael Moore on bass, James Chirillo on guitar, and Jackie Williams on drums. http://www.cduniverse.com/productinfo.asp?pid=7968957&style=music&fulldesc=T

Personnel: Stephanie Nakasian (vocals); James Chirillo (guitar); Allan Vaché (clarinet); Harry Allen (tenor saxophone); Spanky Davis (trumpet); Dan Barrett (trombone); Hod O'Brien (piano); Jackie Williams (drums).

Dedicated To Lee Wiley

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The Everly Brothers - Born Yesterday

Styles: Pop/Rock
Year: 1986
File: MP3@320K/s
Time: 44:26
Size: 101,7 MB
Art: Front

(3:20)  1. Amanda Ruth
(2:37)  2. I Know Love
(4:03)  3. Born Yesterday
(3:44)  4. These Shoes
(2:26)  5. Arms Of Mary
(3:11)  6. That Uncertain Feeling
(2:47)  7. Thinkin' 'Bout You
(4:46)  8. Why Worry
(4:00)  9. Abandoned Love
(4:40) 10. Don't Say Goodnight
(5:01) 11. Always Drive A Cadillac
(3:44) 12. You Send Me

The Everly Brothers (Isaac Donald "Don" Everly, born February 1, 1937, and Phillip "Phil" Everly, born January 19, 1939) are American country-influenced rock and roll singers, known for steel-string guitar playing and close harmony singing. The duo was elected to the Rock and Roll Hall of Fame in 1986.

Don and Phil Everly are both guitarists and use vocal harmony mostly based on parallel thirds. With this, each line can often stand on its own as a melody line. This is in contrast to classic harmony lines which, while working well alongside the melody, are not as melodic by themselves.

For most of their recordings, Don sings the baritone part and Phil the tenor part. One exception is on "Devoted To You." Although Don is still low and Phil is high, they switch lead and harmony back and forth. (Also listen to "That's Old Fashioned", a 1962 #9 hit.) Don almost always sings any lines that are sung solo (for example, the verses of "Bye Bye Love"). Among the exceptions to this rule is the Everlys' 1965 single "It's All Over," where Phil sings the song's solo lines.

In the late 1950s, the Everly Brothers were the rock 'n' roll youth movement's addition to close harmony vocal groups of which many were family bands. Among the Everly's famous counterparts in country music were The Delmore Brothers, The Louvin Brothers, Jim & Jesse (McReynolds) and The Osborne Brothers.

The duo's harmony singing had a strong influence on rock groups of the 1960s. The Beatles, The Beach Boys and Simon & Garfunkel developed their early singing styles by performing Everly covers.  http://en.wikipedia.org/wiki/The_Everly_Brothers

 

Born Yesterday

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Bud Freeman - Howlin' For You

Bitrate: 320K/s
Time: 76:50
Size: 175.9 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[5:15] 1. I Let A Song Go Out Of My Heart
[2:30] 2. China Boy
[2:35] 3. Sugar
[5:38] 4. S'posin'
[2:58] 5. Liza
[4:49] 6. Jack Hits The Road
[3:18] 7. Nobody's Sweetheart
[4:22] 8. But Not For Me
[4:38] 9. Something To Remember You By
[5:55] 10. Chicago
[4:42] 11. At Sundown
[4:42] 12. Shorty's Blues
[3:24] 13. Hector's Dance
[2:36] 14. Prince Of Wails
[4:45] 15. March On, March On
[3:16] 16. There'll Be Some Changes Made 2
[5:15] 17. Love Me Or Leave Me
[6:02] 18. Forty Seventh And State

When Bud Freeman first matured, his was the only strong alternative approach on the tenor to the harder-toned style of Coleman Hawkins and he was an inspiration for Lester Young. Freeman, one of the top tenors of the 1930s, was also one of the few saxophonists (along with the slightly later Eddie Miller) to be accepted in the Dixieland world, and his oddly angular but consistently swinging solos were an asset to a countless number of hot sessions. Freeman, excited (as were the other members of the Austin High School Gang in Chicago) by the music of the New Orleans Rhythm Kings, took up the C-melody sax in 1923, switching to tenor two years later. It took him time to develop his playing, which was still pretty primitive in 1927 when he made his recording debut with the McKenzie-Condon Chicagoans. Freeman moved to New York later that year and worked with Red Nichols' Five Pennies, Roger Wolfe Kahn, Ben Pollack, Joe Venuti, Gene Kardos, and others. He starred on Eddie Condon's memorable 1933 recording "The Eel." After stints with Joe Haymes and Ray Noble, Freeman was a star with Tommy Dorsey's Orchestra and Clambake Seven (1936-1938) before having a short unhappy stint with Benny Goodman (1938). He led his short-lived but legendary Summe Cum Laude Orchestra (1939-1940) which was actually an octet, spent two years in the military, and then from 1945 on, alternated between being a bandleader and working with Eddie Condon's freewheeling Chicago jazz groups. Freeman traveled the world, made scores of fine recordings, and stuck to the same basic style that he had developed by the mid-'30s (untouched by a brief period spent studying with Lennie Tristano). Bud Freeman was with the World's Greatest Jazz Band (1968-1971), lived in London in the late '70s, and ended up back where he started, in Chicago. He was active into his eighties, and a strong sampling of his recordings are currently available on CD. ~ Scott Yanow

Howlin' For You

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Janet Seidel - Charade: Henry Mancini Songbook

Album: Charade: Henry Mancini Songbook)
Bitrate: 320K/s
Time: 53:58
Size: 123.5 MB
Styles: Easy Listening
Year: 2008
Art: Front

[4:08] 1. Dreamsland
[3:25] 2. Slow hot wind
[3:30] 3. Straight to baby
[3:30] 4. Whistling away the dark
[4:14] 5. Days of wine and roses
[3:27] 6. Charade
[3:25] 7. Dear heart
[2:32] 8. Loss of love (sunflower)
[4:47] 9. Mr. Lucky
[6:27] 10. Moment to moment
[5:55] 11. Crazy world
[2:23] 12. (I love you) Don't you forget it
[6:08] 13. Two for the road

This Australian CD, ---"Charade"--- is a songbook of 14 Henry Mancini works exquisitely performed by Janet Seidel (vocals), featuring Joe Chindamo on piano, along with David Seidel (double bass), Chuck Morgan (guitar), and Fabian Hevia (drums/percussion). The Mancini songs are pretty well known and are nicely discussed in the liner notes which list the musicians involved with each number, the lyrics of each, and a brief historical discussion for each.

Janet Seidel's singing and interpretation of each number is, of course, crystal clear and (my opinion) very nice, while the piano and the other instruments are very impressive, making the entire CD a very good listen. ~Al/amazon

Charade: Henry Mancini Songbook

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Laura Fygi - Turn Out The Lamplight

Bitrate: 320K/s

Time: 46:15

Size: 105.9 MB

Styles: Easy Listening

Year: 1999

Art: Front

[1:58] 1. Take A Bow

[2:54] 2. I Just Had To Hear Your Voice

[3:51] 3. Still Crazy

[2:46] 4. She's No Lady

[3:29] 5. Still

[0:21] 6. Turn Out The Lamplight

[3:50] 7. Eternal Flame

[5:10] 8. How Am I Supposed To Live Without You

[4:29] 9. Baby Come To Me

[3:40] 10. Lately

[0:42] 11. Tell It Like It Is

[4:58] 12. Have I Told You Lately That I Love You

[3:37] 13. For Once In My Life

[4:22] 14. How You Gonna See Me Now

When you listen to Laura Fygi singing, you are struck by her fine intonation, her excellent phrasing, her relaxed sense of swing, her clear diction, mellow voice and her sophisticated choice of repertoire. But what impresses most of all is the abundant joy she clearly derives from performing - a joy which she unfailingly communicates to her audience.

In 1995, Laura recorded Turn Out The Lamplight, a collection of fine standards, some familiar and others not so familiar, but worthy of wider appreciation, such as "Still Crazy," "She's No Lady" and "For Once In My Life."

Laura Fyji has drawn her musical inspiration from a wide variety of sources, with Julie London one of her great heroines. She also cites, among the singers for whom she has a high regard, Ella Fitzgerald, Peggy Lee and Barbra Streisand and. perhaps more improbably, Gilbert Bécaud, Charles Aznavour and Al Jarreau. When it comes to instrumental Jazz, she is a big fan of Scott Hamilton.

Says Laura: "I like soft Jazz - and I like melodic music. If there is no melody in the music, then forget it. Life is hectic, so I like my music to be relaxing." ~Mike Hennessey

Turn Out The Lamplight

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Kim Hoorweg - Why Don't You Do Right? - Remember Peggy Lee

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 52:54
Size: 121,1 MB
Art: Front

(4:37)  1. Shady Lady Bird
(5:09)  2. He's a Tramp
(5:00)  3. It's All Right With Me
(4:58)  4. Fever
(4:42)  5. Lover
(4:45)  6. I'm A Woman
(4:20)  7. Johnny Guitar
(2:40)  8. Where Or When
(4:05)  9. I Don't Care Who Knows
(4:55) 10. You Oughta Be Mine
(3:07) 11. Why Don't You Do Right?
(4:31) 12. Black Coffee

Kim Hoorweg, who was 19 at the time of this 2011 recording, is a powerful singer. Born in the Netherlands, she made her recording debut as a leader when she was just 15. Why Don’t You Do Right is her third recording. Teamed with the sextet that calls itself the Houdini’s, Kim Hoorweg toured theaters before recording Why Don’t You Do Right, which is subtitled Remember Peggy Lee. On this CD, Ms. Hoorweg performs a dozen songs associated with Peggy Lee including “He’s A Tramp,” “Fever,” “Lover” “Johnny Guitar,” “Black Coffee” and the title track. She makes no attempt to sound like Peggy Lee, instead displaying a passionate and impressive extroverted style of her own.  While she is a powerhouse, she does not overwhelm the material, instead bringing out new meanings to some of the lyrics.

The Houdini’s (comprised of trumpeter Angelo Verploegen, altoist Rolf Delfos, trombonist Ila Reijngoud, pianist Erwin Hoorweg, bassist Marius Beets and drummer Bram Wijland) contribute supportive ensembles and many concise solos with the pianist writing all of the arrangements. The standards are modernized without losing the essence of the original versions. Why Don’t You Do Right acts as both a fine introduction to the singing of Kim Hoorweg and a way for today’s listeners to get acquainted with some of the songs made famous by Peggy Lee. ~Scott Yanow  http://www.challengerecords.com/news/1373364063

Why Don't You Do Right? - Remember Peggy Lee

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Tisza Bea És A Jazzmin - Autumn Leaves

Styles: Vocal Jazz, Bossa Nova
Year: 1998
File: MP3@320K/s
Time: 48:18
Size: 110,6 MB
Art: Front

(5:08)  1. Night In Tunisia
(5:15)  2. Peel Me A Grape
(3:03)  3. Orange Coloured Sky
(6:09)  4. Autumn Leaves
(3:56)  5. One Note Samba
(4:29)  6. Fever
(3:46)  7. Les Moulins De Mon Ceur
(2:26)  8. Almost Like Being In Love
(6:24)  9. The Shadow Of Your Smile
(2:51) 10. They Cant Take That Away
(4:45) 11. Reestimating Love

Bea Tisza is one of the leading female jazz vocalists in Hungary. She was born in Miskolc, Hungary. She studied classical piano for six years as a child, then she realized her devotion to singing, so after a short period of not knowing for sure what career to choose, she decided to apply to the Jazz Faculty of the Liszt Ferenc Music Academy, Budapest . For her parents' great satisfaction she also finished a course in Financing at the Miskolc University. She has performed with a lot of established Hungarian jazz stars, such as Gyula Babos, Rudolf Tomsits, and László Dés, and has recorded with Kornél Horváth, Klári Katona, Sándor Zsemlye, Charlie, Andrea Malek, Zsuzsa Cserháti and Gergo Borlai. She has contributed to several pop / jazz recordings and concerts as a soloist, backing vocalist, and composer. In 1994 she took part in Leslie Mandoki's "People" project. In 1995 she had a minor part in the Hugarian film hit "Sztracsatella". She won the Stella Artois Music Award in 1998 with the Kálmán Oláh Sextet. The same year she produced her first album of standards (Autumn Leaves), and three years later her second album came out titled Island. She took part in the shot of a Hungarian movie titled The Wayfarer (A Vándor). She is A regular Performer at Jazz Clubs in Budapest, and Also A Singing Teacher at the Faculty of Jazz Academy of Music.

Personnel Tisza Bea – vocals;  Gyárfás István – Guitar;  Gábor Cseke – piano;  Makovics Dénes - saxophone, Flute; Oláh Zoltán, Hárs Viktor - Bass Ferenc Csomós - drums

Autumn Leaves

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Celia Baron - Saxcess

Styles: Jazz Funk
Year: 2009
File: MP3@320K/s
Time: 55:09
Size: 126,3 MB
Art: Front

(3:52)  1. In The House
(3:45)  2. September
(4:01)  3. Freaky Phon
(3:36)  4. Funky Or What ?
(3:48)  5. Numa
(4:05)  6. Glasshouse
(3:55)  7. Tomorrow
(3:34)  8. Funky Shoes
(4:47)  9. Christmas Ballad
(3:19) 10. Funkytastic
(4:52) 11. Don't You Know
(4:07) 12. That's The Plan
(3:45) 13. May The Funk Be With You
(3:36) 14. Music

Celia Baron was the only daughter of multi-instrumentalists Carl Baron and bassist  Barbara Baron born, and has discovered the love for the saxophone as early as fourteen. Her passion she developed over the years a unique style that has her performances with international stars like Maceo Parker and James Brown's Funky Divas Martha High and Lyn Collins earned and others. Even with the unique Fred Wesley and George Clinton Celia was seen already live. After training as a music dealer, she studied jazz at the Conservatoire de musique Luxembourg and has since worked as a saxophone teacher in Saarbrücken.Meanwhile, she has her 3 CD published. Celia Baron is often booked by bands to enhance their performance through a highlight.Often bands that happen to be on tour in Europe. However, the focus of their musical activity is in their solo program. Here you can find sophisticated original compositions and works from the fields of jazz, funk, reggae and pop. The artist stands out for its musical flexibility, whether subtly in the background of an opening, as background of a celebratory banquets or as the main act of a private or public event. With plenty of charm and professionalism the musician makes every event an unforgettable experience.

~Translate by google...http://celiabaron.de/bio/

Saxcess

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Eliane Elias - The Best Of Eliane Elias On Denon

Bitrate: 320K/s
Time: 71:55
Size: 164.6 MB
Styles: Piano jazz
Year: 1995
Art: Front

[4:37] 1. Choro
[5:33] 2. Cross Current
[6:04] 3. Through The Fire
[7:08] 4. Illusions
[5:51] 5. Moments
[6:54] 6. Beautiful Love
[6:17] 7. One Side Of You
[6:21] 8. Falling In Love With Love
[5:39] 9. Loco Motif
[7:23] 10. When You Wish Upon Star
[3:44] 11. Comin' And Goin'
[6:17] 12. Chan's Song

Because it is a 1995 release, this "Best of" CD should not be confused with something of broader scope. Its 12 songs are culled from a mere two CDs, "Illusions" (1986) and "Cross Currents" (1987), released on the Denon label. There is no material from the six CDs Eliane put out on Blue Note subsequent to "Cross Currents" and before this CD. She has, of course, released a tremendous amount of material since 1995.

Eliane's early best here is basically straight jazz, including bebop and slow, pretty stuff. Big-name credits include Haven Gillespie and Rodgers & Hart. But some of Eliane's other musical inclinations are also present. For example, "Choro," composed by her Brazilian piano teacher Amilton Godoy, is jazzy with a samba feel. Eliane immediately betrays her great dexterity on the piano with fast, hard-driving, and up and down piano work. "Chan's Song," a movie theme from Stevie Wonder and Herbie Hancock, is infused with some samba as well (and Toots Thielemans' harmonica appears here, more Wonderesque). The pop hit "Through the Fire" is richer and jazzier in her hands, but retains its pretty texture. "When You Wish Upon a Star" is what you think it is, but it is overlaid with a jazz interpretation. An oddball inclusion is the loud Brazilian samba song "Comin' and Goin'," written by Eliane's grandmother in 1927. Its entourage of vocalists represents the only singing.

In those early days, Eliane was playing acoustic piano, supported by a rhythm section, with no vocals. Her piano playing is great, with crisp phrasing and forceful soloing. Also, even this early in her career Eliane was demonstrating she had strong songwriting abilities: "Cross Currents," "Illusions," "Loco Motif," and the very pretty "Moments" (in which Toots' ponderous harmonica marks his other appearance) are originals. The first three have a bright beat; they are spirited and interesting, perhaps best encapsulated by "Loco Motif": She indeed does seem to be conjuring up visual images of a locomotive with her chugging piano. Later in her career, Eliane would have more instrumental support and sophisticated production techniques in her orbit as she became an international star. But this CD shows early Eliane stands up well too. ~Jinkyu/amazon

The Best Of Eliane Elias On Denon

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