Bellevue Cadillac - Once In A Blue Moon

Bitrate: 320K/s
Time: 72:52
Size: 166.8 MB
Styles: Swing, Jump blues
Year: 2010
Art: Front

[ 6:27] 1. 2 Suit Strut
[ 4:17] 2. Snake Charmer
[ 4:42] 3. 1 Girl 2 Pretty
[ 4:02] 4. Guilty
[ 3:31] 5. Cruisin'
[ 5:45] 6. Jaja Opobo
[ 3:05] 7. Perfect Crime
[ 3:07] 8. Monkey Tune
[ 8:38] 9. Ships
[ 6:27] 10. Summerset
[ 5:42] 11. Blow Wind Blow
[10:42] 12. Lay Your Money Down
[ 6:20] 13. Under Your Spell

This blues band, headed by Professor Doug Bell on guitar and vocals, recorded this 13 track disc at the Half Note Jazz Club in Athens, Greece. Boston area fans of Bellevue will not be surprised to hear the Athens audience receive the band as enthusiastically as they are back here on their home turf.The best way to describe Bellevue Cadillac’s sound is blues that flows with the fluid, free, largeness of jazz. The horn section is responsible for much this group’s swinging, swaying mounds of sound. Yet, the others also play their instruments with a mastery that allows them to stretch the frameworks of blues song structures. Throughout the disc, these players express the sheer joy of music with an inspiring sense of fun.

On this live outing Bell and his boys jump, swing, rattle, and roll with juicy instrumental portions, and winsome vocal lines. Bell applies his handsome vocal in a warm embrace of his street wise yet romantic lyrics. On “Snake Charmer” Keyboardist Tim “Miles” Long turns up the bluesy organ charm with rich, thick notes and swirls. Bell, with his mellifluous mid range croon, takes it around the block with much vocal power. ~Bill Copeland

Once In A Blue Moon

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Stacey Kent - Collection I, II & III

New York native Stacey Kent never anticipated a career in jazz music: she was a Sarah Lawrence graduate with a degree in comparative literature. But her childhood days spent listening to the traditional beauty of Frank Sinatra and Nat King Cole undoubtedly influenced her. While on holiday in Europe after graduating from college, she took up singing without much formal training and never looked back.

Kent became acquainted with several musicians at Oxford in 1991, and through them she found herself participating in a jazz course at the famed Guildhall School of Music and Drama. There she also met her future husband, tenor saxophonist Jim Tomlinson, and landed a spot in the class. Her next spot was singing with the Vile Bodies Swing Orchestra at the Ritz Hotel in London, quickly landing a role in Ian McKellen's Richard III film, playing a big-band singer. The mid-'90s were more focused on recording and in 1996, Kent inked a deal with Candid Records. A year later, the critically acclaimed Close Your Eyes was issued; Tender Trap followed in 1999. Her third LP, Let Yourself Go: Celebrating Fred Astaire, which showcased popular standards, appeared in spring 2000. The ballad-oriented Dreamsville appeared the next spring. She also recorded an album with Tomlinson titled Lyric, and appeared on Blue Note for several albums during the 2000s. In 2010 Kent released the all-French album Raconte-Moi, which went on to achieve gold status in both France and Germany. The live album, Dreamer in Concert -- recorded at the La Cigale in Paris -- appeared a year later in 2011. Two years later, Kent return with The Changing Lights; inspired by her love of Brazillian music, the album saw her working with Portuguese poet Antonio Ladeira and French lyricist Bernie Beaupère. ~bio by MacKenzie Wilson

Album: Collection
Bitrate: 320K/s
Time: 58:46
Size: 134.5 MB
Styles: Standards, Jazz vocals
Year: 2004
Art: Front

[4:00] 1. Comes Love
[4:57] 2. They Can't Take That Away From Me
[4:25] 3. They All Laughed
[4:06] 4. All Too Soon
[5:18] 5. I'm Just A Lucky So And So
[6:33] 6. East Of The Sun
[5:04] 7. In The Still Of The Night
[4:20] 8. He Loves And She Loves
[3:55] 9. Isn't This A Lovely Day
[3:21] 10. It's De-Lovely
[6:56] 11. You Go To My Head
[5:44] 12. Day In - Day Out

Collection

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Album: Collection II
Bitrate: 320K/s
Time: 54:54
Size: 125.7 MB
Styles: Standards, Jazz vocals
Year: 2007
Art: Front

[4:21] 1. The Gentle Rain
[2:58] 2. Shall We Dance
[5:31] 3. Little Girl Blue
[2:33] 4. I Guess I'll Have To Change My Plan
[5:31] 5. Dreamsville
[6:30] 6. I Concentrate on You
[2:23] 7. You Are There
[3:43] 8. Let Yourself Go
[4:39] 9. I've Got a Crush on You
[4:08] 10. Zing! Went the Strings of My Heart
[5:50] 11. One For My Baby (and One More For the Road)
[4:10] 12. Little White Lies
[2:32] 13. Hushabye Mountain

Collection II

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Album: Collection III
Bitrate: 320K/s
Time: 51:31
Size: 117.9 MB
Styles: Standards, Jazz vocals
Year: 2009
Art: Front

[4:17] 1. You've Got a Friend
[4:09] 2. What the World Needs Now Is Love
[3:44] 3. Nobody's Heart
[4:02] 4. The Trolley Song
[4:35] 5. It Never Entered My Mind
[4:52] 6. I Got It Bad (And That Ain't Good)
[3:03] 7. This Can't Be Love
[3:44] 8. People Will Say We're In Love
[3:38] 9. Shall We Dance
[4:59] 10. Bewitched, Bothered and Bewildered
[4:01] 11. I Wish I Were in Love Again
[3:24] 12. The Best Is Yet to Come
[2:58] 13. Bali Ha'i

Collection III

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Stan Getz - O Pato

Bitrate: 320K/s
Time: 32:57
Size: 75.5 MB
Styles: Bossa Nova
Year: 1961/2012
Art: Front

[6:38] 1. Baia
[2:28] 2. O Pato
[3:31] 3. Samba Dees Days
[5:48] 4. Desafinado
[6:08] 5. Samba De Uma Nota So
[3:38] 6. E Luxo So
[4:42] 7. Samba Triste

Combine the words "jazz" and "samba" together and what you get is bossa nova. This 1961 watershed album introduced bossa nova to America and was a sensation, becoming the rare pure jazz album to hit No. 1 on the album charts ("Desafinado," one of three Jobim tunes on the set, was also a hit single). Guitarist Charlie Byrd hand-picked Stan Getz to collaborate with him on the album, and its success revived both their careers and helped kick-off the Mod-era bossa nova craze. ~ Nick Dedina

new link O Pato

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Ilse Huizinga - Beyond Broadway

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 44:29
Size: 102,0 MB
Art: Front

(3:59)  1. I Loves You, Porgy
(3:31)  2. Wouldn't It Be Loverly
(3:21)  3. Someone To Watch Over Me
(4:33)  4. I Got Plenty Of Nuttin'
(2:51)  5. Goodbye
(4:19)  6. Mad About The Boy
(3:32)  7. On The Street Where You Live
(3:51)  8. I Could Have Danced All Night
(3:01)  9. I'll Close My Eyes
(3:59) 10. You And The Night And The Music
(3:27) 11. Ev'rytime We Say Goodbye
(3:59) 12. Manhattan

A talented jazz singer from the Netherlands, Ilse Huizinga has recorded consistently excellent recordings throughout her career, mostly emphasizing standards. She took piano lessons starting when she was at six and at 17 took lessons in classical singing, but jazz interested her much more. She remembers taking tapes of such favorite singers as Ella Fitzgerald, Sarah Vaughan, Abbey Lincoln, and Billie Holiday wherever she went. Huizinga spent a year living in Australia and earned a degree in public administration at the University of Amsterdam. But after graduating, she switched permanently to music and attended the Conservatory of Amsterdam during 1993-1996. Ilse Huizinga performs regularly all over Europe, usually with a group that includes her husband, pianist/arranger Erik Van Der Luijt. Her first two CDs, Out of a Dream and Voices Within (the latter has her voice overdubbed five times), were self-produced releases. Her next two CDs, The Sweetest Sounds and Easy to Idolize, were released by the Daybreak label; Beyond Broadway is on Maxanter; there is a Japanese-only CD (The Club Sessions); and a set of duets with Erik Van Der Luijt, Intimate Jazz Sessions, was issued on the Foreign Media label. ~ Scott Yanow  http://www.allmusic.com/artist/ilse-huizinga-mn0002072839

Beyond Broadway

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Heather Lauren - Mosaic

Styles: Vocal Jazz

Year: 2007

File: MP3@320K/s

Time: 36:42

Size: 85,4 MB

Art: Front

(3:05)  1. Summertime

(2:21)  2. Sabor A Mi

(4:22)  3. Why Should I Cry For You

(3:06)  4. What Is This Thing Called Love

(2:31)  5. For All We Know

(4:23)  6. Sense Of Me

(4:54)  7. The Look Of Love

(4:52)  8. Besame Mucho

(3:45)  9. Jezebel

(3:17) 10. Al Otro Lado Del Rio

"Heather's voice has the delicacy of an angel, thepower of a soul diva, the swing of a jazzer and theplayfulness of a popstress." - Panos Panay, Founder,Sonicbids
Hailing from Atlanta, Georgia, Heather was raised inDallas, Texas by her New York City native mother andOhio native father. Heather left her Southern roots tohead west toward California in the summer of 2000,after a year long post-graduation European backpackingadventure. Heather worked for a San Francisco based Advertisingfirm during the Dot-com boom and fall. At which time,she chose to leave her cushy salary, cubicle, and401K, to roll the sparkling dice toward her teenagedream of becoming a legendary singer and performer. Since then, she has never looked back.  Heather has been performing consistently in the SanFrancisco Bay Area for the last five years withspecial appearances in New York, Los Angeles,Washington DC, Austin, TX and Milan, Italy.

*Performance Highlights*
Heather was awarded "2006 Song of The Year" for theWest Coast Songwriter's International SongCompetition. Her original composition entitled "Senseof Me", won first place and was produced andco-written with legendary songwriter Bonnie Hayes(Bonnie Raitt) and cellist and songwriter, MatthewSchoening. In the summer of 2006, Heather had the incredibleopportunity of opening up for Fiona Apple at TheChronicle Pavilion Side Stage in Concord, California. In addition, Heather was accepted to perform atAustin's world-renowned South By Southwest MusicFestival for the 2006 Go Girls Music Showcase.  In December 2005, Heather was showcased as one of SanFrancisco's up and coming new artists at the SanFrancisco Recording Academy Grammy Event. In the fall of 2005, The Heather Lauren Band had thehonor of opening for Tori Amos at The ChroniclePavilion Side Stage in Concord, California. Heather has co-written with Bonnie Hayes (BonnieRaitt) and Narada Michael Walden (Jeff Beck, MariahCarey, Whitney Houston). She has opened for TheSalvador Santana Band, Ledisi, Maria Muldaur, DanHicks and performed alongside Jorge Santana. Heather had the extreme privilege of performing one ofher original songs, "Live on Through Me", for the NewYork Fire Department at Ground Zero in New York onSeptember 11, 2004. For two years, Heather performed with theWorld-Renowned, San Francisco Glide Ensemble GospelChoir, home to Cecil William's Glide Church. Heather holds a Bachelor of Arts degree inCommunications with an emphasis in Business andSpanish from The University of Texas at Austin. 
http://www.cduniverse.com/productinfo.asp?pid=7458931&style=music&fulldesc=T

Personnel:  Heather Lauren: Vocals Guitar: Matthew Charles HeulittPiano: Gianluca Di IennoBass: Sam Bevan and Dan Feiszli

Mosaic

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Oscar Peterson & Nelson Riddle - St

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 41:00
Size: 94,2 MB
Art: Front

(4:57)  1. My Foolish Heart
(3:37)  2. Judy
(4:07)  3. 'Round Midnight
(2:51)  4. Someday My Prince Will Come
(3:21)  5. Come Sunday
(4:12)  6. Nightingale
(5:40)  7. My Ship
(3:41)  8. A Sleepin' Bee
(4:25)  9. Portrait of Jenny
(4:05) 10. Goodbye

The Nelson Riddle Orchestra was always great enough to play music for film and television soundtracks, and accompany the greatest of stars, including Louis Jordan, Frank Sinatra, Ella Fitzgerald, Peggy Lee, and Antonio Carlos Jobim, among many others. For the band to back up the 1963 version of the Oscar Peterson trio with bassist Ray Brown and drummer Ed Thigpen might have created some tension, with Peterson always wanting to cut loose and go over the top as opposed to the silky smooth sound Riddle favored. Fortunately, Peterson strikes a balance between playing it cool and lettin' 'er rip on this collection of standards with the dinner hour in mind. Though not exclusively subtle and romantic, Riddle and Peterson strike a golden bipartisan compromise in rendering these well-known American popular songs into quietly burning embers of pure delight. It's a predictable mix, but so warm and heartfelt that one has to commend the participants for allowing each other their own personal ideas without selling out. 

Riddle's contribution was to form a unique group, unfortunately all unattributed, of ten cellos (no violins or violas), five horns, three flutes, a harp, and a percussion section. No one section dominates, which is the beauty of the famed arranger/composer/bandleader's concept. Summarily, Peterson chooses to not clash with the instruments as he trades phrases while generally not playing along with them. This non-interruptive dialogue makes for communication that creates the best chemistry from a dynamic standpoint. In the case of "Come Sunday," Riddle's unadulterated chart of Duke Ellington's immortal composition finds Peterson in perfect sway, while separate and equal bluesy proportions of Count Basie-like melody earmark the easy swinging "Judy." There's more Basie included in the concise, three-minute "Someday My Prince Will Come" with good new lines from Peterson, while a great rendition of "A Sleeping Bee" recalls the Frank Foster years with Basie with lots of counterpoint as the cello tentet adds considerable depth to the proceedings. 

A pastoral mood hovers over "My Foolish Heart" with the your turn-my turn piano-orchestra's respectful trading of melody in full regalia, while the flute section takes the serene beauty image further during the Peterson-Gene Lees composition "Nightingale" and the always lovely "Portrait of Jenny." The version of "'Round Midnight" is an example of Peterson going off a bit on the arpeggiated side amongst a fairly stock horn chart, but utterly lovely, and not too creamy. Again this is not a soft and fuzzy overstrung effort dominated by cheese or cotton candy, but instead a quietly strong, rich, fully evocative set of great tracks that emphasize the undercurrent rather than the overflow of emotions. It is unusual in a starkly emotional sense of being, but the way all projects of this size and nature should be approached with taste, class, and a healthy portion of restraint. ~ Michael G.Nastos  http://www.allmusic.com/album/the-oscar-peterson-nelson-riddle-mw0000809157

Oscar Peterson & Nelson Riddle

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Judy Blair - Colors Of Black And White

Styles:  Vocal, Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 44:46
Size: 102,9 MB
Art: Front

(3:58)  1. Fine and Mellow
(5:33)  2. Gentle Night
(3:13)  3. Les Couleurs du Noir et Blanc
(3:37)  4. Good Morning Heartache
(5:04)  5. Caravan
(4:41)  6. You've Changed
(4:42)  7. Les Grelots
(4:14)  8. Laneville Blues
(3:51)  9. All of Me
(5:49) 10. Amazing Grace

Judy Blair at her finest, on this CD she offers beautiful interpretations of such classics as "Fine and Mellow", "All of Me" and "Amazing Grace". Her piano virtuosity on the original blues tune "Laneville Blues" is, quite simply, breath-taking.   http://www.cdbaby.com/cd/blairjudy

Colors Of Black And White

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Ben Webster & 'Sweets' Edison - Ben and 'Sweets' (Digital Remaster)

Recorded: 1962
Released: 1987,2012 (2 LP set)
Source: Lossless
Size: 91,5 MB
Time: 39:59
File: MP3 @ 320K/s
Styles: Swing Jazz,Saxophone,Trumpet
Art: Full

01. Better Go [9:01]
02. How Long Has This Been Going On [5:33]
03. Kitty [8:02]
04. My Romance [4:17]
05. Did You Call her Today [8:57]
06. Embraceable You [4:07]

The two jazz giants Ben Webster and Harry "Sweets" Edison had long wanted to record an album together, and in 1962, they did. Although associated with two different orchestras (Edison was with Basie and Webster was with Ellington), these two swing kings found that they had a lot in common.
This album features both horn men on three medium tempo blues, "Better Go," "Kitty," and "Did You Call Her Today." Other than this, Webster gets two tenor features, contributing absolutely luscious solos on both "How Long Has This Been Going On," and "My Romance." After listening to these songs, there can be no doubt that Webster is one of the best balladeers jazz has ever produced. Edison gets his moment in the sun too. On the album closer, Sweets plays a wonderful, even fairly modern sounding, rendition of "Embraceable You" using a Harmon mute. The ballads, enhanced by the wonderful harmonic sense of pianist Hank Jones, are the highlight of this release, and show both Webster and Sweets' unbeatable melodic sense.
Ben Webster was considered to be on of the three most important 'swing tenors' along with Coleman Hawkins and Lester Young. Known by some as "The Brute", he had a tough, raspy and brutal tone on stomps but could deliver warmth and sentiment on softer ballads. Trumpeter Harry "Sweets" Edison spent his early childhood in Kentucky where he was introduced to music by his uncle. After moving back to his hometown of Columbus, Ohio at the age of 12, he began playing the trumpet with local bands, eventually landing a spot with the Count Basie Orchestra.

"Tenor-saxophonist Ben Webster and trumpeter Harry "Sweets" Edison, both veterans of the swing era (although associated with different orchestras), had long wanted to record a full album together. The results, a swinging quintet set with pianist Hank Jones, bassist George Duvivier and drummer Clarence Johnston, are quite rewarding. There are two ballad features for the tenor ("How Long Has This Been Going on" and a beautiful version of "My Romance") and one for Edison ("Embraceable You") along with three medium-tempo collaborations. Nothing unexpected occurs but the melodic music is quite enjoyable." (~~Scott Yanow,AMG)

NOTE: A 2 LP set was brought out by Original label in 2012.Luscious Sound, High Quality Audiophile Pressing. A Must-Have for Jazz Saxophone & Trumpet Lovers! 2,500 limited edition and numbered copies. Remastered 180 Gram vinyl, 45RPM set.(Out Of stock)

Line-Up:
Ben webster - Saxophone
Harry 'Sweets' Edison - Trumpet
Hank Jones - Piano
George Duvivier - Bass
Clarence Johnston - Drums

Recorded on June 6 & 7,1962 at the Columbia 30th Street Studio in New York City
Produced by Mike Bemiker
Digital Remix Producer: Michael Brooks
Digital Remix Engineer: Larry Keyes
All digital engineering and mastering at CBS Studio, New York
Jazz Masterpieces Series Coordination: Mike Bemiker and Amy Herot
Historical Research: Nathaniel Brewster
Cover Design: Allen Weinberg Cover Photo: CBS Records Photo File

Ben and 'Sweets'

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Ian Shaw - Live At Ronnie Scott's: The Best Of Ian Shaw

Size: 136,5+195,8 MB
Time: 58:27+84:22
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz Vocals/Pop
Art: Front

CD 1:
01. I Concentrate On You (3:37)
02. My Heart Is Haunted (4:42)
03. It Could Happen To You (4:02)
04. It's Easy To Remember (5:41)
05. Just Let Me Look At You (4:48)
06. The Echo Of A Song (5:38)
07. Change Partners (4:59)
08. You Are My Hearts Delight (4:21)
09. Time After Time (5:35)
10. You Stepped Out Of A Dream (3:54)
11. Taking A Chance On Love (3:26)
12. I'll Be Seeing You (3:26)
13. Goodnight Angel (4:14)

CD 2:
01. Danny Boy (Live) ( 3:53)
02. Spinning Wheel (Live) ( 4:16)
03. When Sassy Sings (Live) ( 5:16)
04. Broken Blue Heart (Live) ( 5:11)
05. Me, Myself, I (Live) ( 4:52)
06. Some Other Time - People Will Say We're In Love (Live) ( 7:10)
07. Lover Man (Live) ( 6:55)
08. Calling You (Live) ( 6:42)
09. Sophisticated Lady - I Got It Bad And That Ain't Good (Live) ( 7:45)
10. Somewhere (Live) ( 4:22)
11. Goodbye Pork Pie Hat (Live) (11:19)
12. Blame It On My Youth (Live) (11:12)
13. Lover Man (Live) ( 5:24)

Named Best Jazz Vocalist at the BBC Jazz Awards in 2007 and 2004, Ian Shaw is one of the UK's finest male jazz vocalists. His exciting, edgy and provocative style has made him a popular name both at home and in the States.

Shaw's career in performance began unusually for a jazz musician on the Alternative Cabaret Circuit, alongside such performers as Julian Clary, Rory Bremer and Jo Brand. Shaw was spotted by Dave Illic, jazz critic for City Limits and was described as "the voice of the decade." Shaw recorded an album with legendary English blues and rock artist Carol Grimes, Lazy Blue Eyes. Over the next two years Shaw moved from the singer-pianist format to working with his new band, Brave New World, co-formed with Adrian York. This band garnered a huge club and concert following playing such venues as the Hammersmith Odeon and Ronnie Scott's in the U.K.

His first solo album Ghostsongs, Live At Ronnie Scott's was described by The Wire magazine as "quite simply the year's finest release." Venturing boldly into jazz Shaw recorded a further two albums, Taking It To Hart (a tribute to Rodgers and Hart) and The Echo Of A Song (an album of love songs compiled by Shaw's mentor, Ronnie Scott.) Shaw toured extensively in the UK, Europe and the States, promoting these albums. His appearances on TV in the '90ss included guesting with Jools Holland, Pebble Mill, Top Of The Pops (Shaw wrote a song for the 1993 Children In Need), The Jack Dee Show, Christmas Night with the Stars (BBC), C4's The Happening, TVAM, BBC Breakfast Show, BBC 2's A Night of Love, BBC 2's Jazz at the 606 and, more recently, numerous appearances on the Performance and Artsworld channels. In the summer of 2002, Carlton/HTV made a documentary about Shaw.

His collaborators over the years have included Guy Barker, Mari Wilson, Ruby Turner, Kenny Wheeler, John Taylor, Iain Ballamy, Mornington Lockett, Sarah Jane Morris, Tim Whitehead, Carol Grimes, Lol Coxhill, Phil Minton and Veryan Weston, Elton Dean, Fayaaz Virjii and Tony Remy (Jazz Warriors), Gail Thompson, Cleo Laine, John Dankworth, Cedar Walton, Joe Lovano, Joe Beck, Papa Vasquez, Lew Soloff, David Williams, Judi Silvano, Geoffrey Williams, Bobby Hutcherson and Ray Brown.

Shaw's ongoing and highly popular collaboration is a celebrated duet show with Claire Martin, the UK's finest female jazz singer. He guested on her album Too Darn Hot. Together they have toured the world in an intimate duo setting with Shaw playing piano or sometimes with the BBC Radio Big Band, a band with whom, over the last six years, Shaw has cemented a highly popular musical relationship. He has played the Harrogate International Festival with the Big Band along with concerts all over the UK including Stoke, BBC Leeds Live, to the Cork International Jazz Festival in 2002 where Shaw made his festival debut with this internationally acclaimed radio big band. His concert and festival appearances have been numerous.

In 2002 Shaw performed in Jerry Springer, the Opera, by Richard Thomas and Stewart Lee . Thomas created the part of the warm-up man/devil for Shaw. Shaw is a regular on BBC Radio 2, 3 and 4 as well as this year contributing to Behind the Mask with Alison Moyet, on Jazz FM (U.K.)

Nominated two years running for Best Jazz Vocalist at the BBC Jazz Awards, Ian Shaw has recorded 8 highly-acclaimed albums. This year, 2003, saw Ian on a national tour with the world-famous Brodsky String Quartet. The Brodsky Song Album features Ian alongside Sting, Elvis Costello, Bjørk, Paul McCartney and Jacqui Dankworth.

Named Best Jazz Vocalist at the BBC Jazz Awards in 2007 and 2004, Ian Shaw is one of the UK's finest male jazz vocalists. His exciting, edgy and provocative style has made him a popular name both at home and in the States.

Shaw's career in performance began unusually for a jazz musician on the Alternative Cabaret Circuit, alongside such performers as Julian Clary, Rory Bremer and Jo Brand. Shaw was spotted by Dave Illic, jazz critic for City Limits and was described as "the voice of the decade." Shaw recorded an album with legendary English blues and rock artist Carol Grimes, Lazy Blue Eyes. Over the next two years Shaw moved from the singer-pianist format to working with his new band, Brave New World, co-formed with Adrian York. This band garnered a huge club and concert following playing such venues as the Hammersmith Odeon and Ronnie Scott's in the U.K.

His first solo album Ghostsongs, Live At Ronnie Scott's was described by The Wire magazine as "quite simply the year's finest release." Venturing boldly into jazz Shaw recorded a further two albums, Taking It To Hart (a tribute to Rodgers and Hart) and The Echo Of A Song (an album of love songs compiled by Shaw's mentor, Ronnie Scott.) Shaw toured extensively in the UK, Europe and the States, promoting these albums. His appearances on TV in the '90ss included guesting with Jools Holland, Pebble Mill, Top Of The Pops (Shaw wrote a song for the 1993 Children In Need), The Jack Dee Show, Christmas Night with the Stars (BBC), C4's The Happening, TVAM, BBC Breakfast Show, BBC 2's A Night of Love, BBC 2's Jazz at the 606 and, more recently, numerous appearances on the Performance and Artsworld channels. In the summer of 2002, Carlton/HTV made a documentary about Shaw.

His collaborators over the years have included Guy Barker, Mari Wilson, Ruby Turner, Kenny Wheeler, John Taylor, Iain Ballamy, Mornington Lockett, Sarah Jane Morris, Tim Whitehead, Carol Grimes, Lol Coxhill, Phil Minton and Veryan Weston, Elton Dean, Fayaaz Virjii and Tony Remy (Jazz Warriors), Gail Thompson, Cleo Laine, John Dankworth, Cedar Walton, Joe Lovano, Joe Beck, Papa Vasquez, Lew Soloff, David Williams, Judi Silvano, Geoffrey Williams, Bobby Hutcherson and Ray Brown.

Shaw's ongoing and highly popular collaboration is a celebrated duet show with Claire Martin, the UK's finest female jazz singer. He guested on her album Too Darn Hot. Together they have toured the world in an intimate duo setting with Shaw playing piano or sometimes with the BBC Radio Big Band, a band with whom, over the last six years, Shaw has cemented a highly popular musical relationship. He has played the Harrogate International Festival with the Big Band along with concerts all over the UK including Stoke, BBC Leeds Live, to the Cork International Jazz Festival in 2002 where Shaw made his festival debut with this internationally acclaimed radio big band. His concert and festival appearances have been numerous.

In 2002 Shaw performed in Jerry Springer, the Opera, by Richard Thomas and Stewart Lee . Thomas created the part of the warm-up man/devil for Shaw. Shaw is a regular on BBC Radio 2, 3 and 4 as well as this year contributing to Behind the Mask with Alison Moyet, on Jazz FM (U.K.)

Nominated two years running for Best Jazz Vocalist at the BBC Jazz Awards, Ian Shaw has recorded 8 highly-acclaimed albums. This year, 2003, saw Ian on a national tour with the world-famous Brodsky String Quartet. The Brodsky Song Album features Ian alongside Sting, Elvis Costello, Bjørk, Paul McCartney and Jacqui Dankworth.

Live At Ronnie Scott's: The Best Of Ian Shaw CD 1
Live At Ronnie Scott's: The Best Of Ian Shaw CD 2

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Lovisa Stahl - #2

Size: 98,9 MB
Time: 42:25
File: MP3 @ 320K/s
Released: 2013
Styles: Folk Rock, Adult Alternative, Bossa Nova
Art: Front

01. This Day (2:44)
02. Shining Star (4:04)
03. Mermaid Days (4:09)
04. Never Meant To Miss You (3:20)
05. Daniel (4:11)
06. Why Do You Try (3:42)
07. Chasin' The Sun (3:57)
08. Mother's Arms (4:16)
09. Sabina (4:26)
10. John (2:56)
11. Claustrophobia (4:34)

Sweden has had an incredibly diverse music scene over the years. On one hand, that Scandinavian country is famous for sugary Euro-pop artists like Abba and Ace of Base. But on the other hand, Sweden is also famous for giving the world an abundance of avant-garde jazz, power metal and death metal. So Sweden certainly cannot be accused of being one-dimensional when it comes to music, and Malmö, Sweden-based singer/songwriter Lovisa Ståhl offers a fair amount of variety on her 2013 release, #2.

This album essentially falls into the adult alternative category; Ståhl, who wrote or co-wrote all 12 of the songs on this 47-minute CD, tends to appeal to fans of singer/songwriters like Sarah McLachlan, Shawn Colvin, Joan Osborne and Suzanne Vega. “Never Meant to Miss You,” “Claustrophobia” and other songs on this disc would be right at home at Lilith Fair (the female-oriented music festival that McLachlan co-founded in 1996). But Ståhl is unpredictable, showing her appreciation of everything from folk-rock on “John,” “Daniel,” “Sabina,” “Something Better” and “Mother’s Arms” to jazz on “Mermaid Days” and blues on “Chasin’ the Sun.” Meanwhile, the opener “This Day” has an appealing bossa nova influence and is not unlike something Basia would do. And soul is a strong influence on the funky “Shining Star,” which shouldn’t be confused with either the funk classic that was a smash hit for Earth, Wind & Fire in 1975 or the northern soul/sweet soul ballad that was a major hit for the Manhattans (of “Kiss and Say Goodbye” fame) in 1980.

If “Shining Star” were released as a single and sent to urban contemporary stations in the United States, the program directors would probably think it was too pop or too adult alternative for their purposes. “Shining Star” isn’t hardcore soul, but more a combination of soul and adult alternative. The song is funky in a Tracy Chapman-ish way rather than funky in the way that Jill Scott, Beyoncé Knowles, Erykah Badu and Mary J. Blige are funky. Regardless, “Shining Star” has an infectious hook and an empowering message (stay strong, believe in yourself, stay true to your goals), and if Ståhl were asked to perform the tune as a duet with Chapman or another R&B-influenced folk-rock/adult alternative artist at a Lilith Fair event, it would fit right in.

“Sabina” is a gem of a folk-rock song, albeit a sad gem. The song (which would be perfect for triple-A/adult album alternative radio stations) is about a 17-year-old girl who is killed when she’s out horseback riding in the forest. “Sabina” vividly describes the grief of her parents, making it a real tearjerker. And Ståhl has no problem bringing the tragic tale to life in perfect English.

Although Swedish is the primary language in Sweden, English is widely spoken in that country. Fluency in English is aggressively encouraged in Sweden’s public school system, and it isn’t unusual for Swedish vocalists to perform in English exclusively (which is what Ståhl does on this album). And Ståhl’s high level of proficiency in English is evident. Her English-language lyrics are nuanced ad sophisticated in a way that they wouldn’t be were she not truly fluent in the language. In fact, the only song on this album that Ståhl did not write by herself is “This Day,” which she co-wrote with Brazilian songwriter João Pinaud. On top of doing all that writing, Ståhl co-produced #2 with her colleague Henrik Alsér. Ståhl and Alsér’s production is warm and inviting; the album sounds well-produced but never overproduced and never cold or mechanical.

From the songwriting to the production to Ståhl’s sweetly expressive vocals, this CD is a winner. Adult alternative and folk-rock enthusiasts will find a lot to admire on#2. 4 stars out of 5 ~Review by Alex Henderson

#2

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John Barron - Long Ashes

Released: 2003
Size: 102,7 MB
Time: 44:42
File: MP3 @ 320K/s
Styles: Guitar Driven Jazz, Soul-Jazz, Organ Jazz
Art: Big Front

01. Hurry Up N' Wait [4:55]
02. Move It Along [5:53]
03. The Border [4:01]
04. The Rifler [6:25]
05. Long Ashes [3:16]
06. The Roust [5:25]
07. New Blues, Same Blues [7:36]
08. You And I [7:09]

Recommended if you like Grant Green, Kenny Burrell, John Scofield.

Long Ashes is the debut full length CD from Detroit guitarist John Barron. The disc is a culmination of two different trio sessions. One featuring the bluesy Mark Thibodeau on organ, and the other featuring in demand motown bassist Pat Prouty. Veteran Canadian drummer Kevin Venney anchors both trios. The result is 8 original compositions penned by Barron that cross into many territories of jazz while maintaining a strong sense of feel good - in the pocket grooves.
John's style of guitar playing has been described as a cross between jazz and blues. This is by no means accidental. Along with the influence of jazz guitar greats like Kenny Burrell, Wes Montgomery, and Grant Green, John also cites blues legends such as Albert King, and Johnny "Guitar" Watson as personal favorites.
John is a graduate of Wayne State University and keeps busy as a guitarist/bassist performing and teaching in and around Detroit Michigan. He has toured internationally with soul singer Bettye Lavette and Motown legends The Contours. Recording credits include blues/jazz vocalist Odessa Harris (The Easy Life), award winning latin jazz group Tumbao Bravo(Montuno Salad, Amigos: From Our Hands), and wrote four of the songs on the new CD by blues legend Alberta Adams (I'm on the Move) for Eastlawn records. John currently serves on the music faculty at the University of Windsor.Outside of music, John enjoys spending time with his wife and children (to whom this music is dedicated).(~~Vincent Kenwood)

Long Ashes

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Eric 'Scorch' Scortia - Singled Out

Released: 2004
Size: 143,8 MB
Time: 62:38
File: MP3 @ 320K/s
Styles: Organ Jazz
Art: Big Front

01. Green Tea [7:15]
02. Key Club Cookout [6:29]
03. Son Of Ice Bag [8:46]
04. Milestones [5:49]
05. The Cantaloupe Woman [7:22]
06. The Work Song [6:16]
07. Sookie Sookie [6:31]
08. 63rd Street Theme [6:40]
09. Georgia On My Mind [7:26]

Eric “Scorch” Scortia is back with another collection of groovin' tunes featuring his sizzling playing on the Hammond B-3 organ. Classic tunes with a modern twist include: Milestones, The Work Song and Georgia On My Mind among others. “Scorch’s playing has never been hotter!!
Jazz with blues twist, the real deal.A must have CD for any fan of the Hammond B-3.

Line-Up:
Eric Scortia – Hammond B-3 Organ
Marchel Ivery – Tenor Saxophone
Henry Johnson – Guitar
Greg Rockingham – Drums

Note: Biography Included
Singled Out

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Mose Allison - The Way Of The World

Bitrate: 320K/s
Time: 34:33
Size: 79.1 MB
Styles: Jazz-blues vocals/piano
Year: 2010
Art: Front

[2:55] 1. My Brain
[3:24] 2. I Know You Didn't Mean It
[2:54] 3. Everybody Thinks You're An Angel
[2:27] 4. Let It Come Down
[2:26] 5. Modest Proposal
[2:52] 6. Crush
[2:44] 7. Some Right, Some Wrong
[2:46] 8. The Way Of The World
[3:17] 9. Ask Me Nice
[3:28] 10. Once In A While
[3:08] 11. I'm Alright
[2:06] 12. This New Situation

Mose Allison basically retired from studio recording after 1998’s dynamite Gimcracks and Gewgaws. Retired, that is, until producer Joe Henry met him in 2008 and dogged him until he graciously caved in. He coaxed Allison into his basement studio and cut the seven originals and five covers that became The Way of the World with a host of players from his own stable in five days. At 82, Allison is as smart, cagey, and inventive as ever. All but one of these cuts feature his weathered but still wiry dry baritone voice that exudes a trademark jazz singer cum beat poet’s phrasing. For anyone who’s seen him in the last decade -- or heard his jaw-dropping Live in London recordings -- his keyboard skills are sharp as an Argentine stiletto: give a listen to the lone instrumental, “Crush.” Allison's elastic harmonic sense is as beautifully unruly as Monk's, yet his improvisational ideas are carried by a nimble-fingered force worthy of Bud Powell. The opener, “My Brain,” is a smoking rewrite of Willie Dixon's “My Babe.” Allison reflects on the ever-changing intellectual capabilities of his gray matter while punching up the piano's middle register. The blues have been at the heart of Allison’s piano attack (Back Country Suite, 1957), though he’s always wedded them to swing, rag, and bop. Henry underscores that with subtle touches: the strummed Gypsy swing mandola on the ironic betrayal anthem “I Know You Didn’t Mean It” that engages with a knotty bluesed-out piano break and a warm tenor solo -- à la Ben Webster -- and “Everybody Thinks You’re an Angel,” a waltz with a Weissenborn guitar, follows a similar principle to delightfully different ends. On “Modest Proposal” Allison humorously asserts the compassionate idea that perhaps God is so weary he deserves a vacation. It’s a strutting piano-and-vocal number, where Allison's saloon-singer irony might scandalize a preacher but makes the congregation laugh. The elegant parlor ballad “Once in a While” and the shuffling, not brokenhearted blues of “I’m Alright” also stand out. The latter’s addition of electric guitar, mandola, and saxophone might seem like frills for an Allison session, but sound perfectly balanced and natural. On the final track, Buddy Johnson's WWII-era pop tune “This New Situation,” Allison duets with daughter Amy; the two swing beautifully together. The Way of the World is not a comeback album; Henry had a nagging suspicion that Allison might have something new to say and Allison obliged. In the process they created a gem of an album that proves the pianist and songwriter still has many tricks up his elegantly tailored, eternally hip sleeve. ~Thom Jurek

The Way Of The World

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Helen Merrill - Dream Of You

Bitrate: 320K/s
Time: 39:28
Size: 90.3 MB
Styles: Vocal jazz
Year: 1956/1992
Art: Front

[2:33] 1. People Will Say We're In Love
[3:23] 2. By Myself
[4:10] 3. Any Place I Hang My Hat Is Home
[3:33] 4. I've Never Seen
[3:02] 5. He Was Too Good To Me
[3:09] 6. A New Town Is A Blue Town
[3:26] 7. You're Lucky To Me
[2:45] 8. Where Flamingos Fly
[2:54] 9. Dream Of You
[4:07] 10. I'm A Fool To Want You
[3:08] 11. I'm Just A Lucky So And So
[3:14] 12. Troubled Waters

One of the finest jazz vocal albums of the 1950s is Helen Merrill's Dream of You. Recorded over the course of three days in July 1956 for EmArcy, the session paired Helen with arranger Gil Evans nearly a year before his first majestic session with trumpeter Miles Davis. Helen's Dream of You isn't a typical jazz-vocal recording of the period, where a singer belts out a set of American Songbook tunes backed by a bouncy band. Instead, what you have here is a true artistic duet—with Helen delivering deeply passionate readings of offbeat songs as Evans' jagged orchestrations lap at the lyrics and at times wash right over them.

What I love most about this recording is Helen's phrasing. To me, Helen sounds as though she's singing while lying in a grassy field, pulling out blades aimlessly as she tries to make sense of her life and feelings. In many cases in the '50s, big bands functioned as male counterparts to female vocals. But here, Evans' approach is decidedly feminine in its sophistication and sensitivity. His charts play the role of best friend, empathizing with Helen's wonderment, adding a flute affirmation here and violin shoulder to cry on there.

Evans truly is at the top of his arranging game here before he was brought to Columbia by producer George Avakian. Combined, Helen and Evans make you think and feel, and they don't take no for an answer. Dig Andy Razaf and Eubie Blake's You're Lucky to Me. Helen is at first girlishly shy before letting loose with adulation over her good fortune in love. Or the exotic quality of Elthea Peale, Harold Courlander and John Benson Brooks' Where Flamingos Fly. Or Duke Ellington and Mack David's haughty I'm Just a Lucky So and So.

What's special about this album are its impositions. This isn't pop material. Each song is an artistic commitment, and both Helen and Evans work hard to engage you with every note and lyric line. As with Billie Holiday, Helen's voice is an instrument offering a hidden message—where the breaths are taken and how forceful or tender the expression. ~Marc Myers

Dream Of You

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Joe Barna & Lee Russo - The Abenaki

Bitrate: 320K/s
Time: 60:29
Size: 138.5 MB
Styles: Bop, Piano jazz
Year: 2007
Art: Front

[ 5:08] 1. Bossa For The Ornithologist
[ 6:18] 2. Mobleyisms
[ 6:00] 3. Swingin' Lee
[ 7:57] 4. Carros-Elle
[ 5:18] 5. Emily's Shake
[ 5:39] 6. Lady Like
[ 6:53] 7. Natalie's Lullaby
[ 6:38] 8. Expedition
[10:34] 9. The Abenaki

Did you ever spend weeks or months on tenterhooks, hoping against hope that you'd get this REALLY way cool toy, game, or book for your birthday, only to have it turn out to be a total dud when you finally get it? I've been experiencing the tenterhooks portion of the equation for about six months, waiting for Lee Russo's follow-up to his outstanding debut disc Trading Off (LRS, 2006). Well, I finally got it, and there was good news and a surprise. The good news is The Abenaki simply rocks (in a jazz sense of the word); the surprise is that Russo's name is not alone on the masthead.

This disc is a collaboration between Russo and Joe Barna - one of the most consistently interesting percussionists in the Capital Region, and a major reason why Trading Off was as bewitching as it was. Barna was Russo's primary foil on Trading Off - a necessity on a trio date: Russo's alto-saxman father Leo guested on two tracks, but other than that, it was just Lee and his rhythm section, bringing the West Coast to the East Coast with stripped-down, unapologetic aplomb. Someone else plays the foil on The Abenaki (More on that in a moment), but Barna's got plenty more irons in the fire.

First, Barna is credited with playing “drums and cymbals.” That may seem redundant, but it's not. Barna plays them as two separate instruments - the cymbals being the second voice and driving force behind all the music, and the drums used to add flashes of drama or tension. It's the bebop theory of drumming taken to the next level, and it's both amazing and effective. For one thing, whenever Barna does drop a bomb or play an extended flourish or crescendo, the effect is twice as big as it would have been if he'd been hitting it all night long. His solo on “Mobleyisms” literally makes you jump, and the thunder he brings to the title track makes you want to close the windows to shut out the storm.

Second, we get to experience Joe Barna as a composer. He wrote three terrific pieces for this date, all of them interesting for different reasons: “Carros-Elle” is a light, sweet, almost-classical waltz that swirls around your head, with Russo's sweet, substantial tenor sax in one ear and Barna's hissing brushes in the other; Ryan Berg (another holdover from Trading Off) contributes a resonant bowing bass solo that adds to the classical subtext. “Lady Like” is an out-and-out bossa ballad, straight out of the Stan Getz School of Romance, and as touching a tune as you'll hear all this year. “Swingin' Lee” is just what it says: A chance for Russo to just stand up and play swinging tenor blues over a meaty beat.

And let's talk about Russo's tenor for a moment: I've seen Lee play with his father since Trading Off, and it's obvious the fruit does not fall far from the tree, at least as far as the elder Russo's love of the sub-genre that gave us Dave Brubeck, Gerry Mulligan and Lee Konitz. That said, Lee Russo's music is not simply mashups of solos we've come to know and ignore; his writing and playing is all contemporary and all him. ~J. Hunter

Lee Russo - tenor sax; Dave Solazzo - piano; Ryan Berg - bass; Joe Barna - drums & cymbals.

The Abenaki

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Juliann Kuchocki - Don't Explain

Styles: Vocal  Jazz
Year: 2010
File: MP3@320K/s
Time: 54:30
Size: 128,4 MB
Art: Front

(3:24)  1. If I Move You
(3:57)  2. You Don't Know Me
(4:57)  3. Don't Explain
(4:37)  4. Besame Mucho
(3:29)  5. One Mint Julep
(4:58)  6. The Wind
(2:34)  7. Hit Me With A Hot Note
(6:07)  8. Somewhere Over The Rainbow
(3:23)  9. Witchcraft
(4:50) 10. Skylark
(7:21) 11. Send In The Clowns
(4:49) 12. We Were Born

Juliann's debut full length album Don't Explain showcases her innate gifts and versatility. It is a celebration of a life's journey that has been by turns exciting and glamorous yet also challenging and painful. Her own indomitable spirit and influences from great jazz, R&B, soul and pop divas past and present shine all the way through. Produced and arranged by Bill King, the album is graced by an all-star cast of Canadian musicians: Bill King (piano & strings), Brian Dickinson (piano) Duncan Hopkins (bass), Mark Kelso (drums), Rob Piltch (guitar), Alex Dean (saxophone, clarinet), William Sperandei (trumpet), Rob Somerville (trombone), Rick Lazar (percussion), Jorge Luis Torres (congas), and guest vocalists Bradley Harder and Josephine Biundo, for the on line bonus tracks, Richard Underhill, Eric Oleskiw, Ray Respicio, Tyler Yarema. Juliann's passion for music and sharing creative energy with an audience radiates from the stage. In person, one is quickly impressed by the scope of her perspective and confident yet humble personality - equally informed by the glare of the spotlight and sheer hard work behind the scenes. 

Her musical voice has been shaped by over 25 years of diverse experience as a vocalist, actress, director, producer, dancer and choreographer. She has headlined the Mont Tremblant Jazz Festival and performed at the Celebrate Toronto street festival; toured with Cats in Germany, Joseph... across North America and Beauty & the Beast in Japan; and performed at countless festivals & events around the world. Her extensive film and TV credits include: the long-running Canadian drama DaVinci's Inquest, First Wave, and Defiance, Ohio with Woody Harrelson, Julianne Moore and Laura Dern. Juliann is the proud owner and director/ choreographer of Pro Arts. This triple-threat company includes: Shows-2-Go, which produces customized live shows; the School at which she teaches students at all levels; and Video Production. "It has been such a joy to be able to finally focus on singing, and an honor to work with such skillful and gracious musicians on Don't Explain," says Juliann. "I am thrilled with the end result, and excited by the prospect of introducing myself to touring audiences once again as a vocalist."     

http://www.cduniverse.com/productinfo.asp?pid=8184765&style=music&fulldesc=T

Don't Explain

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Dan St. Marseille - Swingin' With The Saint

Styles: Straight-ahead/Mainstream
Year: 2006
File: MP3@320K/s
Time: 54:45
Size: 125,9 MB
Art: Front

(4:09)  1. There Will Never Be Another You
(6:25)  2. Finger Painting
(6:45)  3. Só Danço Samba
(5:02)  4. Moonlight in Vermont
(4:39)  5. Just a Closer Walk With Thee
(5:44)  6. Because It's There
(4:45)  7. Rosetta
(5:05)  8. Sweet Lips
(5:03)  9. Inca
(7:03) 10. Frankie And Johnny

With several previous recordings as a leader in addition to his many appearances as a sideman on other albums, Dan St. Marseille is known exclusively as a tenor saxophonist who now, with this release, joins a select group of musicians recording a straight-ahead jazz album with clarinet as the lead instrument. Though he began playing music with the clarinet at the age of nine, Swinging With The Saint is St. Marseille's professional debut on this instrument in one of those rare albums of modern jazz led by the voicing of the clarinet instead of the saxophone. This disc contains ten tracks of challenging originals and familiar standards given a new treatment from the different texture of the clarinet. The result is a varied straight-ahead sound with a sprinkle of New Orleans flavor, a taste of bossa nova and a groove of swing, producing an enjoyable set of music. Assisting St Marseille here is a fine group of players consisting of pianist Chris Dawson, bassist Chris Colangelo and drummer Thomas White, forming a tight quartet and rhythm section delivering faultless musical support. With shades of the great bebop clarinetist Buddy DeFranco, St Marseille introduces the music with a colorful rendition of "There Will Never Be Another You. 

This is followed by Herbie Hancock's "Finger Painting, and one of the best versions of Antonio Carlos Jobim's classic bossa nova "So Danco Samba, clearly one of the spicier tunes on the album. The pronounced voicing of the clarinet stands out on such tunes as the Lenny Tristano-influenced clarinet and piano melody of "Because It's There, that's also a feature for Dawson. The leader's play on "Rosetta evokes comparisons with clarinet masters Benny Goodman and Artie Shaw. The one track not to be missed is the very hip and jazzy "Inca, featuring an appreciable outing by the leader and terrific power drumming from White. Dan St. Marseille may be more recognizable as a saxophonist but his training and love for his first instrument come glaring through with a formidable performance on Swinging With The Saint, a truly heavenly and charming recording of entertaining light jazz. ~ Edward Blanco   http://www.allaboutjazz.com/php/article.php?id=25319#.UsmbvLRc_vs
 

Personnel: Dan St. Marseille: clarinet; Chris Dawson: piano; Chris Colangelo: bass; Thomas White: drums.

Swingin' With The Saint

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Meredith D'Ambrosio - It's Your Dance

Styles: Vocal
Year: 1985
File: MP3@224K/s
Time: 47:34
Size: 77,1 MB
Art: Front

(3:12)  1. Giant Steps
(2:30)  2. Once Upon A Tempo
(4:28)  3. Listen Little Girl
(4:55)  4. Devil May Care
(2:26)  5. August Moon
(2:56)  6. Nobody Else But Me
(3:03)  7. Humpty Dumpty Heart
(2:55)  8. It's Your Dance
(5:10)  9. The Underdog
(3:13) 10. It Isn't So Good - It Couldnt Be Better
(3:17) 11. Off Again On Again
(2:46) 12. No One Remembers But Me
(3:37) 13. Miss Harper Goes Bizarre
(2:59) 14. Strange Meadowlark

A first-rate trio date, possibly D'Ambrosio's finest in that format. Her singing has punch, variety, and dimension, and her phrasing is creative and expertly constructed. Kevin Eubanks' guitar contributions are concise, thoughtful, and without any gimmicks or wasted riffs. D'Ambrosio and Harold Danko interact smoothly, and his piano backing is delicate and supportive. ~ Ron Wynn   

http://www.allmusic.com/album/its-your-dance-mw0000188016

It's Your Dance

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Jim Cullum Jazz Band - Chasin' The Blues

Styles: Dixieland Jazz
Year: 2006
File: MP3@320K/s
Time: 64:56
Size: 149,4 MB
Art: Front

(6:10)  1. Tight Like This
(3:33)  2. Cakewalkin' Babies from Home
(4:36)  3. My Old Kentucky Home, Good Night
(4:03)  4. I've Got the Blues for Home Sweet Home
(4:31)  5. Lonesome Road
(4:00)  6. Slow and Easy
(3:47)  7. Bugle Call Rag
(3:31)  8. Shake That Thing
(5:16)  9. Aunt Hagar's Blues
(5:20) 10. Trouble in Mind
(6:26) 11. Sobbin' Blues
(5:15) 12. Burnin' the Iceberg
(4:19) 13. Apex Blues
(4:01) 14. Diga Diga Doo

Not every hair is in place; sometimes it’s just plain sloppy. But what the heck, this CD is authentic Dixieland. Everyone in the band is having a ball, and the same can be said for the large, live audience in San Antonio. This is the home of the Alamo. Equally historical, it’s where Jim Cullum started his famous jazz band in 1962 not at the Alamo, but at the Landing along the Riverwalk, where the group has played six nights a week since 1980. Thanks to NPR and XM Satellite Radio, the band is a national institution. If traditional is your bag, this new release will be highly enjoyable. For the natives and tourists who crowd into Cullum’s bistro, the band can do no wrong. Every solo not just every tune is applauded heartily. 

The driving cornet of leader Cullum, the trombone work of Kenny Rupp and clarinetist Ron Hockett are a joy to hear. Characteristically, if the front line is strong in a trad band, you’ve got it made. Which makes tunes such as “Cakewalkin’ Babies From Home,” “My Old Kentucky Home,” “Shake That Thing,” “Bugle Call Rag” and “Diga Diga Doo” so exciting. By the way, Topsy Chapman knows how to belt blues. 

~ Harvey Siders  http://jazztimes.com/articles/17077-chasin-the-blues-the-jim-cullum-jazz-band

Chasin' The Blues

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Barbara Dane With Earl Fatha Hines - Livin' With The Blues

Bitrate: 320K/s
Time: 30:06
Size: 68.9 MB
Styles: Blues-jazz vocals
Year: 2013
Art: Front

[2:50] 1. Livin' With The Blues
[2:58] 2. How Long, How Long Blues
[3:07] 3. If I Could Be With You
[2:56] 4. In The Evenin' (When The Sun Goes Down)
[2:27] 5. Bye Bye Blackbird
[3:27] 6. A Hundred Years From Today
[2:59] 7. Mecca Flat Blues
[2:44] 8. Why Don't You Do Right
[3:49] 9. Porgy
[2:45] 10. Since I Fell For You

Barbara Dane (1927) started her musical career in folk music and traditional jazz circles in the mid Forties, first in her native Detroit and then in San Francisco, where in 1954 she came into contact with some local jazz revivalists, including trombonist Bob Mielke and banjo player Dick Oxtot. During her high school years, she had received training as an operatic contralto, but Mielke and Oxtot encouraged her to probe further into the blues with their band, the Bearcats. From the time she first stirred interest among aficionados and critics in San Francisco, she developed into virtually the only white singer of classic blues at the time. On Livin with the Blues (1959), she belts out her message in an all-star group conducted by pianist Earl Hines. It is interesting to hear the splendid trumpet work of Benny Carter, Shelly Manne playing traditional drums, and Plas Johnson soloing to good effect in this context.

Livin' With The Blues

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