Abbey Lincoln - Abbey Sings Billie (2-disc set)

Finally, the two halves of Abbey Lincoln's two-day, Billie Holiday tribute recording sessions are complete in one set. Originally issued separately, the November 1987 dates features Ms. Lincoln accompanied by drummer Mark Johnson, bassist Tarik Shah, Harold Vick on tenor, and pianist James Weidman. These are two of the singer's finest recordings and, if not groundbreaking, are certainly soul-stirring and aesthetically definitive. ~Thom Jurek

Recorded at the Universal Jazz Coalition, New York, New York on November 6 & 7, 1987.

Abbey Lincoln (vocals); Harold Vick (tenor saxophone); James Weidman (piano); Tarik Shah (bass); Mark Johnson (drums).

Album: Abbey Sings Billie (Disc 1)
Bitrate: 320K/s
Time: 57:06
Size: 130.7 MB
Styles: Vocal jazz
Year: 1987/2001

[ 3:18] 1. What A Little Moonlight Can Do
[ 2:51] 2. I Only Have Eyes For You
[ 5:09] 3. Gloomy Sunday
[ 4:27] 4. Crazy He Calls Me
[ 6:16] 5. Strange Fruit
[ 5:42] 6. Lover Man
[ 4:41] 7. These Foolish Things
[ 5:20] 8. I'll Be Seeing You
[10:18] 9. Soul Eyes
[ 9:01] 10. Ill Wind

Abbey Sings Billie (Disc 1)

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Album: Abbey Sings Billie (Disc 2)
Bitrate: 320K/s
Time: 40:12
Size: 92.0 MB
Styles: Vocal jazz
Year: 1987/2001
Art: Front

[7:02] 1. Gimme A Pigfoot
[6:58] 2. No More
[5:22] 3. God Bless The Child
[6:22] 4. Don't Explain
[5:28] 5. For Heaven's Sake
[3:20] 6. Please Don't Talk About Me (When I'm Gone)
[5:36] 7. For All We Know

Abbey Sings Billie (Disc 2)

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Chad Eby - Broken Shadows

Bitrate: 320K/s
Time: 63:41
Size: 145.8 MB
Styles: Saxophone jazz
Year: 2010
Art: Front

[5:08] 1. Tip Toe
[2:32] 2. Mira
[6:01] 3. Epitaph I Doo-Wee-Inn
[6:44] 4. Orange Was The Color Of Her Dress, Then Blue Silk
[3:18] 5. Little You
[4:03] 6. Epitaph II Line For Lackritz
[7:05] 7. I'm Still Here
[5:02] 8. Sentinel
[4:19] 9. Broken Shadows
[5:22] 10. Sunset And The Mockingbird
[3:55] 11. Epitaph III J-Mac
[5:45] 12. Epitaph IV The Kid From Albany
[4:23] 13. The Single Petal Of A Rose

This trio session, with bassist Steve Haines and drummer Jason Marsalis packs Eby's music aspirations from varying musical inspirations. Opening with Thad Jones' "Tip Top," Eby sports a soprano saxophone sound acquired from John Coltrane circa 1961. That unadorned sound, seemingly simple to the ear, reveals Eby's mastery of the very difficult straight horn. He returns to the soprano on his original "Little You," altering his tone, rejuvenating the sixties sound into a modern chamber feel and then morphing once again on his tribute to Steve Lacy on "Epitaph II: Line For Lackritz" with a more acerbic tone.

The "Epitaph Suite," four commissioned compositions, allows Eby to pay homage to Dewey Redman, Ray Charles, Jackie McLean and Lacy. Each piece displays a little of the honoree, but is more telling of Eby's sound. They can dribble an enticing blues for Charles, slowly defrosting a sexy tenor sound or cleanly snap off notes in praise to McLean without sounding derivative or clichéd.

Saxophonist Branford Marsalis joins Eby's trio on two tracks. The two tenors reprise Marsalis' duel with Joe Lovano on "The Sentinel," from The Dark Keys (Columbia, 1996); the two also interlock horns on the Redman tribute, "Epitaph I: Doo-We-Inn." Like Marsalis, Eby's tenor tone can be boundless, blues-inflected, and wholly satisfying. These two players are indeed simpatico. ~Mark Corroto

Recording information: The Rubber Room, Chapel Hill, NC.

Chad Eby (saxophone, tenor saxophone); Doug Wamble (guitar); Jason Marsalis (drums).

Broken Shadows

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Karen Robinson - Karen Robinson With: Mike Cowie, Larry Bjornson, David Burton & Holly Arsenault

Size: 100,1 MB
Time: 43:27
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. Cats And Crows (5:07)
02. Play It Softly (3:43)
03. Raven's Wing (4:53)
04. When I Sing The Blues (5:06)
05. She's A Keeper (2:57)
06. Know When To Fly (3:11)
07. Pen In Hand (4:20)
08. Whispers (4:35)
09. Cold Anger On (4:28)
10. Blues Bird (5:04)

Karen's first CD of original jazz is "Karen Robinson WITH". The launch event sold out within a few days!

The CD was produced by Mike Cowie, a gifted musician, arranger and producer, and features Karen's vocals, Mike on muted trumpet, Larry Bjornson on upright bass, Dave Burton on drums, Holly Arsenault on piano, Chris Mitchell on flute and alto sax, Danny Martin on trombone, Jeff Reilly on bass clarinet, Doris Mason and Lisa MacDougall doing back-up vocals, and Kevin Breit on guitar.

Producer Mike Cowie said, “I don’t produce albums for other singers any more, but these are terrific songs! I had to do this. Everyone who came to the project agreed. It all comes down to the songs, and these are all great songs. Some are way beyond great. Like late Joni Mitchell. Great melodies, great performances. Is it jazz or folk rock? It’s somewhere in the middle. The album is very alive and musical, more dynamic than most we hear today, and with all the faults and curves. It is real, honest music. Every song is different. We used minimal compression, only what was needed to stay in the game without losing the reality, and I am thrilled. It all starts with the songs ... and Karen’s songs are brilliant. Karen delivers every song exquisitely!”

Karen Robinson With

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Jessica Riippa - Calm My Nerves

Size: 70,0 MB
Time: 30:27
File: MP3 @ 320K/s
Released: 2013
Styles: Jazzy Blues
Art: Front

01. I Can't Remember (4:18)
02. The Lake (3:11)
03. Just Alone (3:27)
04. I Said Yes (3:54)
05. Dreamer (5:04)
06. Ja Veit (3:51)
07. Calm My Nerves (2:42)
08. Complicated (3:57)

The album "Calm my nerves" is singer/songwriter Jessica Riippas debut album. Being her first album, it is filled with music both old and new, and varying in musical style. Jessica moves from bluesy jazz to songs she originally composed for theatre, but later finding their way into her own musical interpretation, to her own story.

Calm My Nerves

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The Canadian Brass - Swingtime!

Bitrate: 320K/s
Time: 58:20
Size: 133.5 MB
Styles: Big band
Year: 1996
Art: Front

[5:03] 1. Artistry In Rhythm
[4:28] 2. Blue Rondo A La Turk
[3:11] 3. (Back Home Again In) Indiana
[2:59] 4. Night And Day
[5:02] 5. 'round About Midnight
[3:19] 6. At The Woodchopper's Ball
[3:43] 7. The Lady Is A Tramp
[2:46] 8. Sugar Blues
[3:32] 9. The Man I Love
[2:46] 10. Whatever Happened To The Dream
[9:10] 11. Concierto De Aranjez
[3:33] 12. I Found Love
[4:02] 13. Ellington Medley
[4:39] 14. One O'clock Jump

This is an odd if mostly intriguing set by the Canadian Brass, which is comprised of two trumpets, trombone, French horn, and tuba. On most of the selections, they are joined by a full band that includes keyboardist Warren Bernhardt, guitarist Gene Bertoncini, up to 11 additional horns (arranged by Don Sebesky), and even occasionally six-strings. The inventive arrangements make such songs as "Blue Rondo a la Turk," "Indiana," "At the Woodchopper's Ball," and "One O'Clock Jump" quite colorful and full of surprises. It is particularly odd that there are three selections that have the Canadian Brass adding their parts to historic recordings: Zoot Sims in 1950 playing "Night and Day," the 1954 Gerry Mulligan Quartet on "The Lady Is a Tramp," and Roy Eldridge The Zoot Sims Quartet, Gerry Mulligan Quartet and Roy Eldridge recordings used on SWINGTIME! date from the 1950s. Canadian Brass created new arrangements by overdubbing parts onto existing recordings of "Night And Day" by Zoot Sims (recorded in 1950), "The Lady Is A Tramp" by Gerry Mulligan (June 3, 1954) and "The Man I Love" by Roy Eldridge (June 9, 1950).

Recording information: Clinton Studio A, New York, NY (04/10/1995-04/26/1995); Soundtrack Studio A, New York, NY (04/10/1995-04/26/1995).

Frederic Mills, Ronald Romm (trumpet); David Ohanian (French horn); Eugene Watts (trombone); Charles Daellenbach (tuba). Zoot Sims Quartet: Zoot Sims (tenor saxophone); Gerry Wiggins (piano); Pierre Michelot (bass); Kenny Clarke (drums). Gerry Mulligan Quartet: Gerry Mulligan (baritone saxophone); Bob Brookmeyer (valve trombone); Red Mitchell (bass); Frank Isola (drums). Additional personnel: Gene Bertoncini, Joe Taylor (guitar); Belinda Whitney-Barratt, Natalie Cenovia Cummins, Karen Karlsrud, Evan Johnson (violin); Crystal Garner (viola); Maria Kitsopoulos (cello); Lawrence Feldman (flute, piccolo, clarinet, alto saxophone); Chuck Wilson (flute, clarinet, alto saxophone); Dave Tofani (flute, clarinet, tenor saxophone); Roger Rosenberg (flute, bass clarinet, baritone saxophone); Richard Stoltzman (clarinet); Ken Hitchcock (clarinet, bass clarinet, tenor saxophone); Zoot Sims (tenor saxophone); Rick Baptiste, Tony Kadleck, Neal Balm, Roy Eldridge (trumpet); Jeff Lang, Peter Gordon, Bob Carlise (French horn); Keith O'Quinn, Larry Farrell (trombone); Paul Faulise (bass trombone); Dick Hyman (piano); Warren Bernhardt (piano, keyboards); John Miller, Pierre Michelot (bass); Ronnie Zito, Ed Shaughnessy (drums); Gordon Gottlieb, Joe Passaro (percussion).

Swingtime!

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Carla Helmbrecht & Akio Sasajima - Quiet Intentions

Bitrate: 320K/s
Time: 57:26
Size: 131.5 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[5:16] 1. Skylark
[3:54] 2. You Don't Know What Love Is
[4:42] 3. Girl Crazy: Embraceable You
[5:54] 4. How Insensitive
[4:30] 5. Bewitched Bothered And Bewildered
[5:14] 6. Angel Eyes
[3:45] 7. Stardust
[5:19] 8. Cry Me A River
[4:12] 9. A Nightingale Sang In Berkeley Square
[4:57] 10. That's All
[3:46] 11. My One And Only Love
[5:51] 12. Two For The Road

Grammy-nominated vocalist and song-writer, Carla Helmbrecht, began her love affair with music at the age of eight. A native of Wisconsin, Carla was raised in a large music-loving family and had an inherent desire for music. It was her father who introduced her to jazz, and it was not uncommon for the entire family to spend endless evenings making music. By age 13, she was singing professionally and continued her musical studies through high school and college. Her earliest jazz influences included Ella Fitzgerald, Sarah Vaughan, Julie London, Count Basie, and Dave Brubeck. Later influences included Shirley Horn, Nancy Wilson, and Miles Davis.

While studying Speech-Language Pathology at Texas Tech University, Carla sang with the TTU Jazz Ensemble I under direction of Alan Shinn. There, she had the opportunity to perform with and open for jazz notables, such as Tuck and Patti, the Yellowjackets, Louie Bellson, and Tony Campizi. In 1993 she was awarded "best vocal performance" by IAGE.

Carla’s experience in Speech-Language Pathologist specializing in the area of voice has given her a unique understanding of the A&P of vocal use. She has frequently worked with professional singers in helping them to rehabilitate their voice, to achieve balance between vocal efficiency and expression, and to have longevity with this beautiful but fragile instrument – the voice.

Carla recently completed a new duo project with guitarist Akio Sasajima. The project, QUIET INTENTIONS, is a guitar + vocal duo.

Quiet Intentions

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Oliver Nelson - Booze Blues Baby

Bitrate: 320K/s
Time: 36:20
Size: 83.2 MB
Styles: Hard bop, Saxophone jazz
Year: 2013
Art: Front

[6:31] 1. Booze Blues Baby
[6:50] 2. What's New
[5:28] 3. Ostinato
[3:41] 4. Don't Stand Up
[6:48] 5. Passion Flower
[7:00] 6. Jams And Jellies

Oliver Nelson was a distinctive soloist on alto, tenor, and even soprano, but his writing eventually overshadowed his playing skills. He became a professional early on in 1947, playing with the Jeter-Pillars Orchestra and with St. Louis big bands headed by George Hudson and Nat Towles. In 1951, he arranged and played second alto for Louis Jordan's big band, and followed with a period in the Navy and four years at a university. After moving to New York, Nelson worked briefly with Erskine Hawkins, Wild Bill Davis, and Louie Bellson (the latter on the West Coast). In addition to playing with Quincy Jones' orchestra (1960-1961), between 1959-1961 Nelson recorded six small-group albums and a big band date; those gave him a lot of recognition and respect in the jazz world. Blues and the Abstract Truth (from 1961) is considered a classic and helped to popularize a song that Nelson had included on a slightly earlier Eddie "Lockjaw" Davis session, "Stolen Moments." He also fearlessly matched wits effectively with the explosive Eric Dolphy on a pair of quintet sessions. But good as his playing was, Nelson was in greater demand as an arranger, writing for big band dates of Jimmy Smith, Wes Montgomery, and Billy Taylor, among others. By 1967, when he moved to Los Angeles, Nelson was working hard in the studios, writing for television and movies. He occasionally appeared with a big band, wrote a few ambitious works, and recorded jazz on an infrequent basis, but Oliver Nelson was largely lost to jazz a few years before his unexpected death at age 43 from a heart attack. ~bio by Scott Yanow

Booze Blues Baby

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Erin Boheme - What A Life

Styles: Jazz Contemporary
Year: 2013
File: MP3@320K/s
Time: 36:50
Size: 84,4 MB
Art: Front

(3:21)  1. Everyone But Me
(3:27)  2. I Missed You Today
(3:09)  3. In My Place
(3:34)  4. In My Shoes
(4:09)  5. The Last Time
(4:33)  6. I Do I Do
(3:18)  7. He Isn't You
(3:44)  8. One More Try
(3:54)  9. What A Life
(3:39) 10. I'd Love To Be Your Last

When teenaged Wisconsinite Erin Boheme made her recording debut in 2006, she opted for a too-mature style that suggested Marilyn Monroe by way of Billie Holiday. Now, at age 25, Boheme has settled into a far more age-appropriate groove that seems composed of equal parts Sophie Milman and Taylor Swift. Last time out, Boheme also favored several tunes geared toward an older, more seasoned performer. Here, Boheme’s largely original material (among the 10 tracks there are only two covers, one from David Foster and another from Miranda Lambert) is better suited to her age and demeanor.

The album’s producer is Michael Bublé, marking the crooner’s first venture on the opposite side of the mic. Bublé was, as is widely documented, a protégé of Foster’s. So it’s hardly surprising that he favors Foster-esque arrangements throughout. Every track is, it seems, another opportunity to transform a simple, pretty love song into a slice of steamrolling pop. Bublé also lent Boheme his touring band—pianist Alan Chang, guitarist Dino Meheghin, bassist Craig Polasko and drummer Robb Perkins—an able foursome, surely well versed in the nuts and bolts of Foster-esque overproduction, complete with waves of syrupy strings.

There are some solid tunes buried in the excess, particularly the forthright “In My Shoes,” the gently swinging “He Isn’t You” and the tender, Henry Mancini-inspired title track. Boheme also duets with her producer on Lambert’s “I’d Love to Be Your Last.” Surprisingly, though, given that Bublé’s pulling the strings, he sounds oddly detached throughout.~ Christopher Loudon(http://jazztimes.com/articles/58997-what-a-life-erin-boheme).

Personnel: Erin Boheme (vocals); Dino Meheghin (guitar); Nancy Dinovo, Mary Sokol Brown (violin); Hal Foxton Beckett (viola); Ari Barnes (cello); Alan Chang (piano); Robert Perkins (drums).

What A Life

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Nancy Kelly - Born To Swing

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 56:57
Size: 131,1 MB
Scans: Front

(5:01)  1. I've Got the World on a String
(3:44)  2. Like Someone In Love
(5:15)  3. You'd Be So Nice To Come Home To
(5:37)  4. More Than You Know
(3:14)  5. Falling In Love With Love
(4:38)  6. Let Me Off Uptown
(6:15)  7. Didn't We
(3:18)  8. Come Rain or Come Shine
(5:12)  9. I'll Be Seeing You
(3:54) 10. Watch What Happens
(6:10) 11. New York State of Mind
(4:33) 12. Let's Talk Business

Nancy Kelly is a jazz vocalist who has recorded three albums since 1988 on the Amherst label. Born in Rochester, Kelly lives on Lake Ontario between Syracuse and Rochester in upstate New York. Her new album has the decided advantage of presenting her with a fine quartet: Houston Person (tenor sax), Dino Losito (keyboards), Neal Miner (bass) and Mark Taylor (drums). Their music, and especially the obbligatos and solo work by Person, lift this album up a notch. The presence of Nancy Kelly suggests the sympatico relationship that the tenor saxophonist shared with signer Etta Jones for so long. I'm not saying that Nancy Kelly's recording persona is anything like that of Etta Jones, but this disc hints at enough of a suggestion of the shared musical moments between Person and Kelly.

The songs are all serviceable and Kelly does breathe some life into such familiar jazz vehicles as "I've Got The World On A String," "Come Rain Or Come Shine" and "Like Someone in Love." After providing several soulful moments on the opening, Houston Person steps out "for a cup of coffee" and only reappears on the midway mark of the album. Thank goodness, for the very solid playing of pianist Dino Losito, another regular from New York's Southern Tier, who provides some two-fisted support for Kelly, as well as efforts by Miner and Taylor. When Person returns on "Come Rain Or Come Shine," the listener can settle back into a full comfort mode.

Coincidentally, Nancy Kelly opened for a jazz act in suburban Long Island that I had planned to attend and I did get a bonus opportunity to hear and meet the singer under working conditions. Her backing trio of Sarah Jane Cion (piano), Jerry Bruno (bass) and Joe Cocuzzo (drums) cooked, and Kelly showed her skills at both scatting and singing, taking a lot more freedom with the melodies. In addition, Kelly shared showed great ease with her musicians and exuded a hipness with both the audience and her trio.

Personnel: Nancy Kelly: vocals: Houston Person: tenor saxophone; Dino Losito: piano, Fender Rhodes; Neal Miner: bass; Mark Taylor: drums. (By Michael P. Gladstone) http://www.allaboutjazz.com/php/article.php?id=22270#.Unfme-IufKc

Born To Swing

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Hugues Aufray - Aufray Chante Dylan

Styles: Pop
Year: 1965
File: MP3@192K/s
Time: 82:18
Size: 114,4 MB
Scans: Front

(3:40)  1. Au coeur de mon pays
(4:32)  2. Ballade de Hollis Brown
(4:48)  3. Cauchemar psychomoteur
(3:36)  4. Ce n'était pas moi
(3:29)  5. Ce que je veux surtout
(6:38)  6. Comme ces pierres qui roulent
(4:24)  7. Dans le souffle du vent
(5:29)  8. Dieu est à notre côté
(4:35)  9. Knock knock ouvre toi porte d'or
(4:36) 10. l'Homme dota d'un nom chaque animal
(4:09) 11. La fille du nord
(4:17) 12. La mort de Hattiee Caroll
(3:17) 13. Le jour ou le bateau viendra
(4:11) 14. Les temps changent
(3:53) 15. N'y penses plus tout est bien
(4:53) 16. Nous serons libres
(3:00) 17. Si tu dois partir
(4:32) 18. Tambourine man
(4:11) 19. Tout le monde s'est plante

Hugues Aufray merits an interesting footnote in Bob Dylan history for translating Dylan's compositions into French in the mid-'60s. His 1965 LP, Aufray Chante Dylan, could be one of the first times an all-Dylan cover album was done by a non-English-singing performer. Though an overall respectable interpretation (entirely in French) of 11 early Dylan songs, it's stylistically uneven, almost as if it's taken from several different eras (or at least gaining its inspiration from several different phases of Dylan's development). Some tracks, like "Dieu Est a Nos Cotes" ("With God on Our Side"), are plaintive acoustic guitar strum-and-voice-only arrangements much like those heard on Dylan's early records. 

Others add somewhat hokey, dated background voices ("Le Jour Ou le Bateau Viendra," aka "When the Ship Comes In") and strings ("La Fille du Nord," aka "Girl from the North Country") in an uneasy pop-folk fusion that sounds like attempts to put the songs in more commercial dressing. Still others sound like they're trying to hop the mid-'60s folk-rock bandwagon ("Ce Que Je Veux Surtout," aka "All I Really Want to Do") or imitate the tense blues-rock-oriented sound of Dylan's own 1965 folk-rock records ("Cauchemar Psychomoteur," aka "Motorpsycho Nightmare"). Aufray sings the material with earnest, slightly gritty dignity, though without particularly distinctive personal imagination. By no means among the better batches of Dylan covers of the period, it's nonetheless by no means among the worst, and historically interesting at the least. ~ Richie Unterberger    http://www.allmusic.com/album/aufray-chante-dylan-mw0001157445

Aufray chante Dylan

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Jim Alfredson's Dirty Fingers - A Tribute To Big John Patton

Bitrate: 320K/s
Time: 62:06
Size: 142.2 MB
Styles: Organ jazz
Year: 2013
Art: Front

[8:32] 1. Good Juice
[6:12] 2. Daddy James
[6:52] 3. Dirty Fingers
[7:49] 4. Gentle John
[7:23] 5. Let 'em Roll
[7:38] 6. Early A.M.
[5:49] 7. String Bean
[4:34] 8. My Valentine
[7:13] 9. Along Came John

Big John Patton (July 12, 1935 in Kansas City, Missouri – March 19, 2002 in Montclair, New Jersey) was a staple of the Blue Note label's roster during the heyday of soul jazz in the 1960s. As well as a respected and in-demand sideman, Patton also made a name for himself as a band leader and composer, defining the sound of acid jazz for decades to come.

Patton is the link between the bluesy hardbop of Jimmy Smith and the modal free-jazz explorations of Larry Young. His style is funky and raw, emotional and honest, and thrillingly visceral.

Jim Alfredson's playing and writing for organissimo is heavily influenced by Patton. This project is his way of honoring the man and his music. Featuring an all-star lineup, including the inimitable Randy Gelispie on drums (Professor of Jazz at Michigan State University, who has performed and/or recorded with Jack McDuff, Wes Montgomery, Larry Young, Gene Ludwig, Bill Heid, Nancy Wilson, Tommy Flanagan, Barry Harris, and many more), the band romps through seven classic Patton songs as well as a contemporary ballad and an original by Alfredson.

A Tribute To Big John Patton

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Arvell Shaw & The Swing Legacy Allstars - S/T

Bitrate: 320K/s
Time: 51:51
Size: 118.7 MB
Styles: Big band, Swing
Year: 2013
Art: Front

[6:20] 1. Moten Swing
[4:02] 2. If It Weren't For You
[3:17] 3. Taft's Blues
[2:50] 4. What Have You Done With The Keys To Your Heart
[4:34] 5. Arvell's Tune
[2:47] 6. Every Day Blues
[2:53] 7. Lush Life
[4:45] 8. Blue Lou
[5:35] 9. Concerto Du Blues
[4:33] 10. Did I Remember
[2:57] 11. Budd's Idea
[2:32] 12. The Man With A Horn
[4:38] 13. Skin Tight And Cymbal Wise

Shaw is best known for his association with Louis Armstrong, whose last big band he joined in 1945; here he plays upright bass & sings on this swinging session recorded in New York in 1956, featuring Budd Johnson, Taft Jordan, Vic Dickenson, George Berg, Andre Persiany and Gus Johnson.

Bio by Scott Yanow: Featured with the Louis Armstrong All-Stars during several periods, Arvell Shaw was arguably Armstrong's finest bassist and the only musician in his band that was influenced to an extent by bebop. Shaw played tuba in high school before switching to bass. He played with Fate Marable on riverboats in 1942, was in the Navy during 1942-45 and then was in Louis Armstrong's final big band (1945-47). Along with drummer Sid Catlett, Shaw was retained after the orchestra broke up and became an original member of the Louis Armstrong AllStars, easily the youngest member at age 24. Although he spent 1950-52 off the road, completing his musical studies, Shaw rejoined Armstrong during 1952-56, traveling the world and appearing on many recordings with Satch until he left in 1956. Shaw worked with Russ Case at CBS, was with the Teddy Wilson Trio, played at the Brussels World Fair with Benny Goodman in 1958, stayed in Europe for a few years and rejoined Goodman for his Latin American tour of 1962. Shaw spent a third period back with Louis Armstrong (1962-64) and rejoined him briefly a few times later in the decade. Otherwise, Arvell Shaw (who has never led his own record date) has been a freelancer in the New York area ever since, playing with a variety of all-star mainstream groups and in the 1980's touring with a show titled "The Wonderful World Of Louis Armstrong."

Arvell Shaw & The Swing Legacy Allstars

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Hilde Hefte - Short Stories

Size: 98,7 MB
Time: 42:47
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz, Crossover Jazz
Art: Front

01. Mercy Street (4:50)
02. O Tysta Ensamhet - Visan Fran Utanmyra (4:01)
03. My Bells (2:41)
04. O Pato (1:55)
05. But Beautiful (2:50)
06. My Romance (5:11)
07. In Germany Before the War (3:23)
08. Danny's All-Star Joint (2:36)
09. White Night (3:38)
10. You Leave Me Breathless (4:50)
11. Jag Vet En Dejlig Rosa (2:25)
12. Flotervise (4:20)

«The jazz-singer who manage to get the whole jazz-country to stop and listen.»

These words came from one of the most respected jazz journalists in Norway when he wrote his review about Hilde Hefte's new album 'Short Stories' (released 2013) and he is referring to her first solo-recording 'Round Chet's Midnight'. And he continued - and said about her latest album: «Hilde Hefte's most important decision. The jazz singer Hilde Hefte said she had to do something new, and she has done so with bravour.»

«She's making waves on the Norwegian scene.»
These words are taken from the leading jazz magazine Down Beat when Hilde released her album 'Round Chet's Midnight.

Hilde studied music at the highly respected Barratt-Dues Music Institute with piano as her main instrument. She has also been playing guitar, alto saxophone and Bb clarinet, and she has studied acting at Nordic Institute for Scene and Studio. For one periode she was teacher at Vest-Agder Music Conservatorium. She's been giving parts in different plays; for example the leading part as Edith Piaf to mention one. She has written lyrics, composed music for her own productions as well as for other musicians and singers and she's composed and arranged music for theatre productions. She's also been invited as a guest singer on various CD productions.

She's released 6 solo albums to fantastic reviews. For her work Hilde Hefte has received various grants and prizes.

2003 she established the sheet music company Norsk Jazzforlag and the year after the record company Ponca Jazz Records.

Short Stories

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Pearl Django - Swing 48

Bitrate: 320K/s
Time: 50:31
Size: 115.7 MB
Styles: Gypsy jazz
Year: 2003
Art: Front

[3:51] 1. Swing 48
[2:33] 2. La Mer
[4:31] 3. I Can't Believe That You're In Love With Me
[2:59] 4. Dragonfly
[3:00] 5. Swing 24
[4:16] 6. Holiday For Guitars
[3:39] 7. Sweet Sue, Just You
[3:51] 8. Melodie Au Crepuscule
[3:17] 9. Samois Swing
[5:00] 10. Palo Verde
[2:28] 11. Freeway
[2:55] 12. Cb's Waltz
[3:47] 13. Sweet Chorus
[4:17] 14. Double Scratch

This is the seventh release by one of America's premiere "Hot Club" influenced groups, Pearl Django. "Swing 48," the title cut on this CD, is a Django Reinhardt minor blues, and it's used here as a vehicle to showcase the hard swing and improvisation of the five members of Pearl Django. The thirteen other compositions are a mix of band member originals, Django tunes and standards. So much of Pearl Django's music shows their appreciation for music that is upbeat, that swings, and that generally displays their love for "Hot Club" style jazz. Features guitarists Neil Andersson and Dudley Hill, as well as violinist Michael Gray.

Recorded at David Lange Studios, Edgewood, Washington.

Michael Gray (violin); Neil Andersson, Dudley Hill, Greg Ruby (guitar); Rick Leppanen (double bass). Additional personnel: David Lange (accordion); Mark Ivester (drums).

Swing 48

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Keissy Costa - Lemanja

Bitrate: 320K/s
Time: 44:30
Size: 101.9 MB
Styles: Brazilian jazz vocals (some Japanese too)
Year: 2013
Art: Front

[3:28] 1. Agua De Beber
[4:16] 2. Chovendo Na Roseira
[3:48] 3. Ainda Bem
[3:05] 4. Garota De Ipanema
[3:51] 5. Wave
[4:01] 6. Nos E Mar
[3:31] 7. Aguas De Marco
[3:08] 8. Corcovado
[3:49] 9. Lemanja
[3:59] 10. As No Kakera
[3:36] 11. Minami No Kini
[3:51] 12. Nada Sousou

Daughter of Betty Max sings and enchants Japan.

Born in Belém do Pará, Brazil, on May 13, 1986 (abolition of slavery, as she does highlight), Keissy Costa came with her parents to Japan in 1993 at the age of 7. Her father, Te Max, was a famous singer in Belém do Pará, and her mother, Betty Max, was known as the Japanese girl from “Calypso”. She was influenced by the family since childhood and started singing professionally since age 9 in restaurants, churches and concert halls. She loved listening to her father play and the meetings with Brazilian friends, and she ended up learning to play guitar and tambourine so she could join them. She also eventually developed the ability to compose, as a natural step.

The music helped her to keep up the language and the Brazilian influence in her life, since she was brought up in the Japanese archipelago, where she attended the Japanese normal school. Determined to live through her music, and through the assistance from a Japanese music agency, the opportunity to return to Brazil happened in 2006, where she attended the Universidade Livre de Música-Tom Jobim, in São Paulo, to develop her musical base. She returned to Japan in 2012, and has maintained a full schedule of performances throughout the country.

Her work has been increasingly developed inspired primarily in names like Tom Jobim, Chico Buarque, Elis Regina, Monica Salmaso, Joyce, Filó Machado, Marisa Monte, Renato Braz, Sergio Santos, Mario Gio, among others. As part of her future plans she is seeking support to record heir first CD, and her biggest dream is to travel the world spreading the Brazilian music, because as she says, her restless soul belongs to the world!

She sends a message to young people who live and study in Japan: "I try to think that life is always a beginning. I think that it is important to open a new door as soon as possible than never. I feel that we carry on the chest the difference, the “saudade” (the longing for) and desire to have a better day. And if the pain decided to follow you, just believe that everything is for the greater good. ~ thank you yara for the review and translation.

Lemanja

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Leah Kline - Playground

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 63:36
Size: 145,6 MB
Art: Front

(5:05)  1. Doodlin'
(4:23)  2. Love for Sale
(6:11)  3. Wives And Lovers
(2:13)  4. Give Me The Simple Life
(3:27)  5. Girls Of Summer
(4:50)  6. In The Dark
(4:57)  7. Alone Together
(4:00)  8. Prelude To A Kiss
(3:31)  9. Hernando's Hideaway
(2:45) 10. Oh! Look At Me Now!
(3:43) 11. Call Of The Muse
(2:50) 12. I've Got Rhythm
(2:15) 13. Diamonds Are A Girl's Best Friend
(3:41) 14. Peel Me A Grape
(5:20) 15. Tenderly/ Midnight Sun
(4:17) 16. Pure Imagination

Leah Kline's debut CD certainly is a Playground of fresh and creative new ideas that just simply add up to a lot of fun for the listener. Someone would have to be hard pressed to not like this recording by the Amsterdam-based Kline and her supporting group of Los Angeles-based jazz musicians. What they have assembled is a collection of new and unique arrangements that provide a fresh take on jazz standards such as "Doodlin,'" "Prelude to a Kiss," "Peel Me a Grape" and pop songs like "Wives and Lovers," "Hernando's Hideaway," "Diamonds are a Girls Best Friend," and "Tenderly." Kline also adds one original to the mix with her lyrics on "Call of the Muse," set to music composed by Joost van de Knaap.

One of the fun elements of this recording is Kline's voice. Her presentation possesses a certain bluesy swagger with a Mae West "Why don't you come up and see me some time" attitude. These qualities are most evident on the opening track, an arrangement of Horace Silver's "Doodlin'" with vocalese by Jon Hendricks. Kline negotiates large mouthfuls of lyrics with insouciant aplomb and hipness. The "come hither" part of Kline's musical personality shines most brightly in the arrangement of Cole Porter's "Love For Sale." Pianist John Rangel's Latin-styled arrangement and the somewhat melodramatic introduction show off what must be an exciting stage presence for Kline when she performs live.

Her performance on the Johnny Hodges/Duke Ellington classic "Prelude to a Kiss" turns this romantic ballad on a tangent from Hodges' familiar excruciating ecstasy to more of a lover's sweet and gentle caress, presented lovingly and simply with only Rangel's piano accompanying. Another unique approach is Kline's rendition of "I've Got Rhythm," accompanied only by the rhythm of drummer Lorca Hart. There are also some passages where Kline demonstrates her ability to scat sing when trading fours with drummer Hart.

With all of the jazz singers out and about today, Leah Kline is certainly one worthy of notice. Her debut CD is certainly a playground of great creativity, musicianship, and fun. I look forward to her next recording project. ~ Craig W.Hurst   

http://www.allaboutjazz.com/php/article.php?id=14685#.Um1SYRAueZc

Personnel: Leah Kline (vocals), John Rangel (piano), Mike Valerio (bass), Lorca Hart (drums), Derf Reklaw (percussion, Dan Weinstein (trombone and violin), Larry Williams (trumpet)

Playground

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Viktoria Tolstoy - A Moment of Now

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 55:39
Size: 128,1 MB
Art: Front

(4:13)  1. A Moment of Now
(3:36)  2. Hand in My Pocket
(5:29)  3. Shadow and Light
(4:34)  4. Send One Your Love
(4:44)  5. I Can Let Go Now
(4:58)  6. Deep River
(5:05)  7. Red Rain
(4:26)  8. Against All Odds
(4:43)  9. Satisfied
(5:37) 10. I Concentrate On You
(4:24) 11. Scent of Snow
(3:44) 12. Northern Star

Though there are many beautiful singing voices in jazz today, Viktoria Tolstoy is one of a kind. A great melodramatist of jazz who is also bipolar, she makes happiness sound fragile and threatened, and bitterness sweet and enchanting. She has framed and perfected this art on a conceptual level since becoming an ACT artist in 2003, whether concentrating on material from Esbjörn Svensson – whose e.s.t. began to some extent as her accompanying trio – or, most recently, on Herbie Hancock, classical originals, Swedish standards or repertoire from Russia, the home of her ancestors.
Her latest album "A Moment Of Now" is her most frank recording yet – for one simple reason: "Jacob [Karlzon] and I are the concept this time," says Viktoria. Indeed it is an intimate album by the duo that focuses on their musical partnership. Karlzon has been Tolstoy's trusted companion on her band projects for almost 15 years now, his playing thrives on nuances, transitions, ambiguities – be they inspired by classics such as Grieg or hard rockers the likes of KoRn. It is a partnership that shows no signs of abating, despite Karlzon’s own highly successful trio that bears his name. "We each generally know in advance what the other is thinking and is going to do, without either of us having to say anything. It's almost a bit spooky," says Tolstoy of the intuitive understanding between the two.

Their style depends on melodies like a fish depends on water, and 14 of the best are brought together on "A Moment Of Now". As Tolstoy explains, they are "songs we've heard a lot in recent years, and that imposed themselves on us, but also some that were entirely new to us and were really a challenge”. This has resulted in a selection that sounds entirely coherent and as if created especially for these two musicians, even though its component parts come from the most diverse, stylistic, and often surprising backgrounds. From the classical "Apres Un Reve" by the Frenchman Gabriel Faurè, to Stevie Wonder's soul-pop "Send One Your Love" – on which Tolstoy invited Jocke Bergström, a new face in these climes, to share in a vocal duet that simply takes your breath away – to the jazzy "Shadow And Light" by Joe Zawinul. Thanks to Tolstoy's father, who suggested Phil Collins' "Against All Odds", the entire history of Genesis is represented, so to speak, with "Taking It All Too Hard" and Peter Gabriel's "Red Rain" also rebooted on the album.

Beyond global hits like these or Alanis Morissette's biggest success "Hand In My Pocket", the album also includes new discoveries like "Satisfied" from the almost-forgotten funk virtuoso Lewis Taylor and "Deep River" from Norwegian jazz saxophonist Benedik Hofseth. Among the pieces, three were originally instrumentals; namely "Apres Un Reve" (based on Faurè's "Apres Un Reve"), the Pat Metheny revamp "A Moment Of Now", and Karlzon's own composition "Scent Of Snow”. For these, Anna Alerstedt, the fantastic songwriter who Tolstoy discovered in 2008 for "My Russian Soul", once again pens profound and memorable lyrics.

The ease with which Viktoria Tolstoy and Jacob Karlzon can change the fundamental character of songs that otherwise seem to be set in stone is quite spectacular. The best example of this is their interpretation of Mark King's "Lessons In Love", transformed from a loud up-tempo song by the funk band Level 42 into a melancholy ballad. There’s also Cole Porter's classic "I Concentrate On You", which rings out as a Nordic anthem, and which in the middle section is even reminiscent of Esbjörn Svensson's "Love Is Real". But above all, what the songs all have in common is an overwhelming quietude and power. The weighty and complex sounds light and easy  just note the jumps and key changes on "Satisfied", where the subtle nuances and vocals change and shape the music.

There is a calmness and strength in the music that comes from experience and draws from the tried and trusted. For example, Nils Landgren returns as the producer, while the album was recorded with the familial team at Nilento Studios in Goteborg. "I felt safe and well looked after at every moment,” Tolstoy recalls, “Never change a winning team!". This is how a fascinating and completely unique moment in her and Karlzon's oeuvre was born and it is one that will remain.  http://www.actmusic.com/en/Artists/Viktoria-Tolstoy/A-Moment-Of-Now/A-Moment-Of-Now-CD/Produktinformation/%28release_id%29/20842

A Moment of Now

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Scott Hamilton - Remembering Billie

Styles:  Jazz
Year: 2013
File: MP3@320K/s
Time: 58:27
Size: 134,9 MB
Art: Front

(7:05)  1. When You're Smiling
(4:57)  2. Foolin Myself
(5:17)  3. Good Morning Heartache
(4:55)  4. Them There Eyes
(5:51)  5. Laughing At Life
(5:28)  6. You're My Thrill
(6:36)  7. This Year's Kisses
(6:34)  8. God Bless The Child
(6:32)  9. I'll Never Be The Same
(5:07) 10. If Dreams Come True

SCOTT HAMILTON..."Remembering Billie" JUST IN!...Stunning Reviews are coming in daily..check out what the critics are saying here.

“Scott Hamilton ..He swings, he’s always in the pocket and he doesn’t need/have to prove anything. If you want to listen to some sweet jazz that’s played for the sheer joy of it, you and this set are going to get along just fine. Killer stuff that gives mainstream jazz a good name no matter how much dirt hipsters try to kick at it.” By Chris Spector Midwest Record

“Remembering Billie, is something of a magnum opus, from an artist who is at a place in his illustrious career where a magnum opus is just what is needed to top so many previous glorious albums. This one — a tribute to the early, more freely swinging recordings of the inimitable Billie Holiday, is played with equally matchless style by saxophonist Scott Hamilton. The album, produced by Duke Robillard, displays the versatility and impeccable taste that Hamilton has been sharing for decades.” By Greg Victor Parcbench.com

“Give a listen to Remembering Billie and you will hear one of the best of the players in this tradition, the aforementioned Mr. Hamilton… Producer Duke Robillard contributes his guitar mastery… Hamilton can caress a ballad and swing his forever off with the best of them…Put it all together and the result is pure listening pleasure” by Joseph Lang New Jersey Jazz

“It's his first effort for Duke Robillard's Blue Duchess Records…it's a splendid effort that captures the 58-year-old Hamilton in prime, relaxed form, reminding those who need to be reminded that few tenor players swing with his consummate ease, or cut to the emotional heart of a song as consistently” by Lloyd Sachs WDCB Chicago

“Scott Hamilton is swinging on this dedication to the music sung by Billie Holiday. His warm tone on sax is mesmerizing.” By D. Oscar Groomes O’s Place Jazz Magazine

“With Hamilton blowing it hot, cool and sweet, the listener is in for a rare musical Holiday that expertly recalls Lady Day’s way with a song.?” Eric Feber, THE VIRGINIAN-PILOT......  http://www.cdbaby.com/cd/scotthamilton3

Remembering Billie

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Mighty Blue Kings - Meet Me In Uptown

Styles: Jump Blues, Swing
Label: R-Jay
Released: 1996
File: mp3 @320K/s
Size: 96,6 MB
Time: 42:01
Art: front

1. Jumpin' At The Green Mill - 4:06
2. Baby Drives Me Wild - 2:18
3. Grinnin' Like A Chessy Cat - 3:27
4. Loose Lips - 2:02
5. Cadillac Boogie - 3:13
6. Buzz Buzz Buzz - 3:07
7. Big Mamou - 3:32
8. Honey Chile Jump - 3:03
9. Spark Of My Life - 4:19
10. In The Night - 3:36
11. Meet Me In Uptown - 2:59
12. Rag Mop - 3:18
13. Pink Cadillac - 2:24
14. Tenor Madness - 0:30

Personnel:
Gareth Best - Guitar
Ross Bon - Vocals
Bob Carter - Drums
Donny Nichilo - Piano
Jimmy Sutton - Bass
Jonathan Doyle - Sax (Baritone), Sax (Tenor)

Notes: One of the ealy classic albums from The Mighty Blue Kings ... Drawing from jazz, soul and early R&B rhythms; creating exciting and vital energy. Your feet just can't stop tapping. Talk about rich vocals backed by a superb rhythm section.
Yet another band to emerge out of the '90s swing revival scene, but these guys came out before Brian Setzer hit it big, before the movie Swingers was ever scripted and before those Gap ads taught us how to "Jump, Jive an' Wail." It's safe to say that Chicago's Mighty Blue Kings were ahead of their time before any trend bandwagon hit. And with their debut Meet Me in Uptown, these guys are playing smooth without any big-budget production or high energy. Instead, this record has more of a laid-back, bluesy feel with production that sounds as if it was recorded in the 1940s. But it's not like this album is undanceable -- it still swings hard. And with that, the Mighty Blue Kings prove that a modern-day swing band can capture the authenticity of how the music was meant to sound.

Meet Me In Uptown

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Barbara Levy Daniels - Love Lost And Found

Size: 118,2 MB
Time: 51:11
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. It Could Happen To You (3:31)
02. Say It Isn't So (3:49)
03. My Heart Stood Still (3:42)
04. I Got Lost In His Arms (4:10)
05. Mean To Me (3:34)
06. It's The Talk Of The Town (4:06)
07. Moonglow (3:15)
08. Willow Weep For Me (5:13)
09. Comes Love (3:44)
10. Where Or When (3:51)
11. The Nearness Of You (4:52)
12. There Will Never Be Another You (2:40)
13. For All We Know (4:37)

Ray Charles heard Barbara Levy Daniels sing when she was only 12 years old. when he was asked by the president of ABC Paramount Records to listen in as she auditioned for a label deal. Charles said, "Sign her right away", and they did.

Over the next few years, Barbara Lyons (as she was called then) traveled from her home in Buffalo to NYC where she performed and recorded singles written by Carole King and arranged by Dick Wess ("Mack the Knife"), among other Brill Building luminaries. She also recorded a children's album for Chubby Jackson, Woody Herman's bass player.

After taking a break from performing, Barbara celebrated her return with the release of her CD titled "They're Writing Songs Of Love". That was followed by her second album, "Peel Me a Grape". Both records received rave reviews.

She performs regularly, having graced stages as nearby as NY State and as distant as Cuba and Vietnam.
Barbara has studied with music giants Sweet Honey in the Rock, Sheila Jordan, Mark Murphy, Janet Planet, and presently with Nancy Kelly.
"It's been a pure joy to have Nancy Kelly as my mentor and producer, along with the great John DiMartino, as arranger and musical director. I look forward to working on future projects with them", says Barbara.

Love Lost And Found

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