Sally Night - Ballads For You

Size: 166,8 MB
Time: 71:26
File: MP3 @ 320K/s
Released: 2013
Styles: Vocal Jazz
Art: Front

01. More Than You Know (3:55)
02. It Amazes Me (4:50)
03. Everything I've Got Belongs To You (4:59)
04. In Love In Vain (4:02)
05. Fascinating Star (4:31)
06. Everything Happens To Me (4:47)
07. Good Morning Heartache (5:05)
08. I Hadn't Anyone Till You (4:12)
09. London By Night Is A Wonderful Sight (5:17)
10. Close To You-The Shadow Of Your Smile-It's Impossible (7:23)
11. Prelude To A Kiss (4:50)
12. Round Midnight (5:54)
13. Blame It On My Youth (3:22)
14. Speak Low (4:10)
15. Yes I Do (4:03)

Sally Night-Vocals , Jon Davis-Piano, Dezron Douglas-Double Bass, Steve Williams-Drums

”Sally Night is a great new Singer, Songwriter & Performer with a beautiful full voice”- Billboard Live Club, Tokyo, Japan

Since her recent arrival in New York & USA Sally Night has recorded 2 new albums for Venus Records, made an opening performance at the 1st Miami- Nice Jazz Festival in Miami, Florida, made several appearances at Birdland Jazz Club NYC, performed in Tokyo at the Billboard Live Club for AXN TV and has been invited to sing as a guest singer with Jazz legends Cedar Walton, Buster Williams, Bucky Pizzarelli & performed and recorded with a polithera of other Internationally acclaimed musicians.

“Sally Night is a Sassy swing vocalist with excellent technique and a powerful voice” - TIME OUT, London

“An effervescent live performer with echoes of Ella and Sarah, innately gifted vocalist Sally Night swings like a true diva”- JAZZ CLUB SOHO, Pizza Express, London

“Ms. Night is that rare new singer who backs up the chutzpah, talent and confidence needed to succeed in the jazz scene in New York & America. It didn’t take me long to start programming Ms. Night’s music on Real Jazz, Sirius XM and I think the jazz scene is better for it. Believe me there aren’t enough good singers around” -MARK RUFFIN, Real Jazz, SIRIUS XM, North America & Canada

Ballads For You

---

Zizi Possi - Tudo Se Transformou

Size: 88,3 MB
Time: 37:50
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian Jazz, MPB, Brazilion Traditions
Art: Front

01. Filho De Santa Maria (2:54)
02. Disparada (3:58)
03. Contrato De Separaçao (3:09)
04. Explode Coraçao (3:03)
05. Tudo Se Transformou (2:52)
06. Morena Dos Olhos D'agua (3:11)
07. Cacos De Amor (3:28)
08. Meu Mundo E Nada Mais (3:26)
09. No Vento (3:15)
10. Porta Estandarte (4:57)
11. Sem Voce (3:32)

Zizi Possi opened different paths during her career. She had her first hit with an MPB tune ("Pedaço de Mim" by Chico Buarque) and then with a series of pop ballads during the '80s; but finally in the '90s, she found her way with a repertory of classics of Brazilian music in highly polished acoustic renditions. There are variations apply, as in Per Amore, which is completely devoted to Italian romantic songs (sung in the original idiom).

Singing alone since she was a child, Possi started to take piano classes at five. At 20, she abandoned the strong composition program at the State University of Bahia and started working as an actress in a musical when she discovered herself as a singer. In 1978, she left for Rio, where she was invited by Roberto Menescal to record (at the time he was Polygram's A&R) her first album (Flor do Mal). Possi' first hit was the title track of the second album, Pedaço de Mim (Chico Buarque), from Buarque's musical A Ópera do Malandro, in which she participated that same year. In the '80s, Possi expanded her pop repertory at the expenses of MPB, having success with "Asa Morena" (Zé Caradípia, 1982). Other hits of that decade were "Perigo" (Nico Resende/Paulinho Lima, 1986), "A Paz" (Gilberto Gil/João Donato, 1987); "É A Vida Que Diz" (Marina), and "O Amor Vem Pra Cada Um" (a version for "Love Comes to Everyone" by George Harrison). The LP Estrebucha Baby (1989) represented a different, almost experimental phase, being the first time that "Meu Erro" (Herbert Vianna) was recorded not as rock or pop (as it was written), but as a densely interpreted song, which worked as an endorsement for a genre that was being incorporated into MPB under mixed feelings.

In 1990, the show Sobre Todas As Coisas (piano/voice/percussion) represented the finding of an internal coherence after taking different paths. Rewarded by the success enjoyed during the tour, she accepted Marcos Suzano's suggestion of incorporating Lui Coimbra's cello, recording the album Sobre Todas As Coisas (1991). The esthetics of an acoustic sound and the classics of Brazilian music were paid even further tribute on Valsa Brasileira (1993) and on her subsequent albums. Valsa Brasileira had two hits, "Bom Dia" (Swami Jr./ Paulo Freire) and "Lamento" (Pixinguinha).

Tudo Se Transformou

---

Spike Wilner - Portraits

Bitrate: 320K/s
Time: 65:54
Size: 150.9 MB
Styles: Piano jazz
Year: 1999
Art: Front

[6:03] 1. Wonderful! Wonderful!
[8:01] 2. For The Girl
[6:30] 3. Forever Young
[8:26] 4. Three To Go
[4:33] 5. A Tale Thrice Told
[6:13] 6. In The Still Of The Night
[7:39] 7. The Dennis Jeter (Bug) Waltz
[4:19] 8. Everything I Have Is Yours
[6:07] 9. A Stitch In Time
[7:57] 10. Slow Blues

Michael “Spike” Wilner was born in New York City and started playing piano at an early age. He was inspired by a television program about the life of Scott Joplin to learn to play Ragtime Music. He perused this art form throughout high school and performed Joplin’s “Maple Leaf Rag” at the St. Louis Ragtime Festival. Although it was an informal appearance it, nonetheless, profoundly affected him and drove him to peruse a career in music. In his high school jazz program he met pianist Peter Martin who introduced him and inspired him to learn more modern jazz.

Wilner decided to enter into the New School For Social Research’s Jazz and Contemporary Music department, which was then in it’s first year. Headed by the late saxophonist Arnie Lawrence, this was an experimental forum where young jazz musicians were introduced to masters and left on their own to interact and play together. In this fertile musical environment Wilner met and became friends with many of today’s leading jazz musicians. Students at that time included: Peter Bernstein, Jesse Davis, Larry Goldings, Brad Mehldau, Roy Hargrove, Sam Yahel, Joe Strasser and many others. It was there that Wilner had the good fortune to become the student of the late pianist Walter Davis Jr. as well as the late great Jaki Byard. At this same time Wilner became involved at the Jazz Cultural Theater under the direction a Barry Harris and spent several years studying there.

It was also at this time that Wilner began to work professionally on the New York City jazz scene. He began to play gigs in the various clubs and throughout the years has held down many steady engagements in well-known clubs. Wilner was a house pianist at the legendary, now defunct, Village Gate as well as other long-gone clubs such as Visiones, The Angry Squire and The Village Corner. In 1995, Wilner became involved with the jazz club Smalls under the direction of owner Mitch Borden. At Smalls, Wilner has developed his music and his career.

Portraits

---

Alexis Cole - I Carry Your Heart: Alexis Cole Sings Pepper Adams

Bitrate: 320K/s

Time: 60:28

Size: 138.4 MB

Styles: Vocal jazz

Year: 2012

Art: Front

[ 7:47] 1. In Love With Night

[ 3:38] 2. I Carry Your Heart

[ 5:52] 3. Now In Our Lives

[ 7:53] 4. Urban Dreams

[10:54] 5. Julian

[ 7:41] 6. Civilization And Its Discontents

[ 8:07] 7. Lovers Of That Time

[ 8:32] 8. I Carry Your Heart (Reprise) [duo Vers]

I Carry Your Heart; Alexis Cole Sings Pepper Adams is a stunning piece of work. The lyrics, pure poetry; the music, cerebral and swinging. This creation is even more amazing when seen as part of a five-volume production covering all of baritone sax legend Pepper Adams' work. Producer Gary Carner got the idea for a digital box set, Joy Road: The Complete Works of Pepper Adams (Volumes 1-5), to be put out on Motéma Music. Subsequent to Cole's vocal CD was Joy Road Sampler (Motéma, 2012), which contains highlights from all four volumes. All discs will be available at a later date.

Carner became interested in the project in the mid-eighties. "Now," he says, "after 28 years of research, it has become a crusade...to maintain the historical record of his [Pepper's] life and work" Also a meticulously researched Pepper Adams' Joy Road: An Annotated Discography (2012), has been published by Scarecrow Press.

Adams' compositions are sung by the highly rated Cole. The New York-based vocalist was recommended by saxophonist Eric Alexander, who had recorded with her on a Fred Hersch album. For this first ever pairing of his music with words, Carner got poet/lyricist Barry Wallenstein, his friend and mentor at City College of New York (CCNY). Rearranging Adams' seven ballads to various speeds and styles, and pairing them with Wallenstein's richly literary lyrics, was the task. Cole comes up a winner here with her straightforward interpretations, honoring the integrity of the poetry and always swinging. The band also deserves special mention, especially the two tenor sax performers, Alexander and Pat La Barbera. Whether soloing or blending their sound, they excel in mostly long takes.

I Carry Your Heart: Alexis Cole Sings Pepper Adams

---

Taylor Eigsti - Lucky To Be Me

Bitrate: 320K/s
Time: 58:47
Size: 134.6 MB
Styles: Piano jazz
Year: 2006
Art: Front

[5:11] 1. Giant Steps
[5:07] 2. Get Your Hopes Up
[3:11] 3. Love For Sale
[5:28] 4. I've Seen It All
[4:29] 5. Argument
[4:29] 6. True Colors
[5:34] 7. Woke Up This Morning
[5:32] 8. Promenade
[6:52] 9. Adventure One
[4:49] 10. Darn That Dream
[4:52] 11. Freedom Jazz Dance
[3:07] 12. Lucky To Be Me

It must indeed be a lucky thing to be Taylor Eigsti, a 21-year-old pianist who has already been performing for over a decade. After a handful of independent discs comes his Concord debut, Lucky to Be Me, a collection of originals, standards and unexpected interpretations featuring bassist Christian McBride, drummer Lewis Nash and guitarist Julian Lage.

From the very top, his reharmonized arrangement of John Coltrane's "Giant Steps" bears all the indications of a mature talent with an adventurous spirit. The cohesiveness of the assembled musicians is instantly apparent as they blow through the "new" changes with frenetic grace. Eigsti also contributes three originals. "Get Your Hopes Up" is a breezy up-tempo tune with a strong Latin inflection and an alternating two chord major/minor vamp that allows the pianist to stretch out. "Argument" is aptly titled and fitfully executed with bassist James Genus and drummer Billy Kilson. Although the hyperactive syncopation and licks-per-minute rate is fairly high, the Fender Rhodes solo offers a nice contrast to the otherwise difficult ensemble workout. The lightness of his touch certainly counterbalances the gravity of his phrasing throughout the disc, and his third composition, "Adventure One," takes his technical abilities to expressive heights. McBride's bass solo is a highlight.

Both rhythm sections on this album sound relaxed and comfortable, and the addition of guitarist Julian Lage offers a pleasing extension of Eigsti's natural affinity for strong melody. The choice of material and tight arrangements make me look forward to future releases by this young talent. Although not an earth-shattering opus, Lucky to Be Me is nonetheless a worthy endeavor that should attract listeners who are curious about a new voice in jazz with something original to say. We'll keep listening. ~Ken Kase

Taylor Eigsti: piano; Christian McBride, James Genus: bass; Lewis Nash, Billy Kilson: drums; Julian Lage: guitar; Greg Adams: trumpet; Eric Marienthal: alto saxophone; Adam Schroeder: baritone sax; Garrett Smith: trombone; Brian Swartz: trumpet; Ben Wendel: tenor sax.

Lucky To Be Me

---

Cannonball Adderley Sextet - Jazz Workshop Revisited

Recorded: 1962
Released: 1963,1986,1992
Reissue: 2001 (Remastered)
Size: 128,4 MB
Time: 55:38
File: MP3 @ 320K/s
Styles: Hard Bop,Soul Jazz,Saxophone
Art: Front,Back,Tray

01. An Opening Comment By Cannonball... [ 0:51]
02. Primitivo [ 9:13]
03. Jessica's Day [ 6:30]
04. Marney [ 6:52]
05. A Few Words... [ 0:13]
06. Unit Seven [ 9:06]
07. Another Few Words... [ 0:26]
08. The Jive Samba [11:02]
09. Lillie [ 4:43]
10. Mellow Bruno [ 6:00]
11. Time To Go Now - Really! [ 0:36]

Adderley's burning 1959 live recording "In San Francisco" was something of a hit for the altoist and his quintet. Fully aware of the high standards they'd set, Cannon and producer Orrin Keepnews decided to return to the Jazz Workshop three years later for another hard-swinging affair. By then, Adderley's band had been fleshed out to a sextet distinguished by the presence of a second wind player in Yusef Lateef. Joe Zawinul had settled into the piano chair a year earlier, while Adderley's cornetist brother Nat and the rhythm team of Sam Jones and Louis Hayes were all holdovers from the previous S.F. record. The exotic, ominous one-chord vamp "Primitivo" makes effective use of Lateef's evocative flute and oboe touches. Another highlight is Nat's 11-minute "Jive Samba," a bossa-nova-based groove that actually found its way onto jukeboxes in severely abridged form. Here Lateef's flute proves to be a dynamic addition to the solo procession.(~~Marc Greilsamer)

In 1963 Cannonball Adderley signed with the Capitol label, retaining the rights to some master tapes recorded earlier while he was with Riverside. This CD (a straight reissue of an earlier LP) therefore contains music much closer to the altoist's freewheeling Riverside period than to his R&Bish Capitol dates. Adderley's greatest band -- his sextet with cornetist Nat Adderley, Yusef Lateef (on tenor, flute and oboe), pianist Joe Zawinul, bassist Sam Jones, and drummer Louis Hayes -- is featured on such exciting numbers as "Jessica's Day," Jones' "Unit 7," and "The Jive Samba." A special treat of this live date is hearing the leader's introductory words to several of the songs.(~~Scott Yanow)

Here we are again with Cannonball and associates in The Jazz Workshop . . and it sounds like a very good place to be. Which is exactly the way it sounded while this warm and happy album was being recorded before a warm and happy, no-empty-seats audience.A great many thousands of listeners must feel very much at home in this setting even though most of them may never even have set foot in the city of San Francisco. For the Workshop, one of the best-known and most relaxed of the nation's jazz nightspots, was of course also the scene of the Adderley's group's very first LP: the remarkable, phenomenally best-selling "Cannonball Adderley Quintet in San Francisco," which helped catapult this band to the top and has become something of a landmark among on-the-job jazz records.The idea of again capturing the band in action in this room is one that, naturally enough, all concerned have had in mind for quite some time. It wasn't just a matter of wanting to return to the scene of the band's initial triumph - although the club will always have a special sentimental value, something like a good-luck charm, for Cannonball and for Riverside. It was also a matter of a long-standing awareness that this is a band that responds magnificently to the stimulus of the right crowd. And, with no offense intended to any other place or people, it has been my experience that audiences in San Francisco in general and at The Jazz Workshop in particular are just about the rightest crowds possible!The group has of course been back several times since that momentous first engagement in 1959. But it wasn't until roughly the third anniversary of that occasion that all the circumstance fell into place to bring about the present album. And although this is not and could not be intended as a 'duplication" of the earlier LP, there are some rather remarkable similarities to be noted. For one thing, no less than four members of the original quintet are still very much on hand: the Adderley brothers themselves, and the unbeatable rhythm team of Sam Jones and Lou Hayes. (In jazz today, such band longevity is in itself something special.) The only changes are that Joe Zawinul, from Austria, has for some time been on piano, and that the group has been augmented to sextet size by the addition of the deep-toned tenor sax and vivid flute of Yusef Lateef.For another thing, there is the inclusion of what seems clearly destined to be another of those rare, all-pervading tunes. The first album had, (do we need to remind anyone?) Bobby Timmons' memorable This Here. Other LPs have introduced other stand-outs (several of which have been assembled on "Cannonball's Greatest Hits"). Now we have Nat Adderley's richly low-down Jive Samba. There was no difficulty in spotting this one: the first time I heard it, and heard the reaction it provoked (such as you can hear on the record), it was obvious that this tune had what it takes. Which was no more than what the band had been telling me since I arrived in town. And even before the release of this album, a short 45-rpm single version of The Jive Samba (extracted from this recording) had sky-rocketed into nation-wide "hit" status.
The very mean Samba is scarcely alone here. There is Cannon's thoroughly unique and gripping "Primitivo"; Lateef's swinging, Ellington. tinged "Mellow Bruno"; and Sam Jones' very pretty ballad, "Lillie" - a total of four quite varied examples of the composing talents of this group. Plus a wonderfully buoyant treatment of a Quincy Jones tune, and an intriguing, adventurous new number contributed by Donald Byrd. Small wonder that, after a night of music like this, the audience gave Cannonball a hard time about leaving the stand.Fortunately, however, there is no curfew hour for recorded club dates. All you have to do is to start listening all over again, from the top.(~~Orrin Keepnews)

Line-Up:
Julian 'Cannonball' Adderley - Alto Saxophone
Nat Adderley - Cornet
Yusef Lateef - Tenor Saxophone, Flute and Oboe
Joe Zawinul - Piano
Sam Jones - Double Bass
Louis Hayes - Drums

Recorded "live" at The Jazz Workshop , San Francisco, September 22 & 23 , 1962

Jazz Workshop Revisited    Mega


Jazz Workshop Revisited Zippyshare

---

Cassandre McKinley - Right In Front Of You

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 34:01
Size: 78,3 MB
Art: Front

(2:54)  1. Anyone But You
(4:47)  2. A Beautiful Friendship
(2:49)  3. Never To Return
(3:28)  4. Our Journey (Lexi's Song)
(4:43)  5. Watch Yourself Go By
(3:26)  6. Cravin' Spring
(3:40)  7. It's Alright With Me
(4:30)  8. Right In Front Of You
(3:43)  9. Hit Me With A Hot Note And Wat

Cassandre McKinley has never been compared to another famous singer “before her time”. Instead, McKinley has enriched her musical surroundings with something honest and refreshing. Her approach to jazz is organic, instinctual and from the heart  most simply describe her as “authentic”. Drawing from a diverse group of influences, McKinley has developed a sound and style that is so unique, there’s no comparisons. Her voice is a blend that is true “soul” at it’s core a sound that is pure, yet sophisticated and distinctive. Many will tell you that McKinley gives every ounce of herself to the music and the strength in her vocal performance, while dynamic and clear, leaves one wondering where this seemingly endless reserve of vocal power and prowess comes from.

McKinley grew up 20 minutes outside of Boston. She trained as a singer, dancer and actress at a very young age, but was never extreme in her focus for one or the other. The dance company she studied and performed with kept her well rounded and allowed her frequent trips to Boston and NYC where she could fulfill her passion for the arts. She began working with a vocal coach; Beatrice was a European opera singer who had retired professionally and was teaching students at The Boston Conservatory of Music. McKinley went on to attend the college and formed a special bond with the teacher. After college, McKinley rooted herself in the city where she spent time cultivating her music skills. She frequented musical venues  listening and absorbing. Occasionally, she would have the opportunity to sit in and sing which lead to a few guest appearances in larger venues (The House of Blues, Ryles Jazz Club). It had become clear to those that had worked with McKinley, to her growing number of local fans, and McKinley herself that Jazz was not only something she had a special knack for  she felt more passion for it than any other style of music.  Her first legitimate jazz gig McKinley took a leap of faith and asked some of Boston’s most well known players to accompany her on the gig. They obliged. From that point on, she would continue building musical relationships that would strenthen her artistically. Dick Johnson (Artie Shaw Orchestra), Herb Pomeroy, Al Vega and a list of local legends world class performers all spent time with McKinley with a willingness to advise and educate the young singer. “Friendships like these are a gift those gentlemen shared thier philosophies with me  they each taught me to trust my instincts”. McKinley admits that the jazz form and the art of “improvisation” appeals to her. “I love the freedom that comes with singing jazz although there is still a form to the music, it can move and bend it all depends on what’s inside the soul and how you happen to apply it”.

When asked who her influences are, she answers with a surprising mix. “Dinah Washington, Anita O’Day, Miles Davis, Sam Cooke, Marvin Gaye, Cat Stevens, Ray Charles, Stevie Wonder, Nancy Wilson  even Elvis. Drawing from this diverse group, McKinley has developed a sound and style that is unique to her like leaves on a tree. Her soulful blend is simple, yet sophisticated true and distinctive. Cassandre has just released her debut album under the MAXJAZZ label titled TIL TOMORROW – REMEMBERING MARVIN GAYE. In this body of work, McKinley delivers her interpretation of selected music Gaye wrote, co-wrote and performed throughout his career. From inception to execution, McKinley’s sensitivity to Gaye’s message and her rich, warm sound combine to pull this project far, far away from the ordinary. Creating a genre that just fits between Jazz, Smooth Jazz and R & B, “Til Tomorrow” is a rich exploration into Nu-Jazz and Soul focusing on the “soul”. 

“Making this album was like reading over old pages from my journals  it was a beautiful opportunity to see where it is I’ve been and then, take a moment to anticipate what may be ahead.”  http://www.cassandremckinley.com/about/

Right In Front Of You

---

Nikki Loney - Falling in Love

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 61:23
Size: 142,1 MB
Art: Front

(4:59)  1. At Last
(4:12)  2. Will You Still Love Me Tomorrow?
(4:09)  3. Summer Wind
(3:12)  4. I Only Have Eyes for You
(3:49)  5. Since I Fell for You
(4:11)  6. Makin' Whoopee
(5:03)  7. Smoke Gets in Your Eyes
(4:29)  8. These Arms of Mine
(4:36)  9. Somewhere over the Rainbow
(5:00) 10. Lover Man
(4:59) 11. Summertime
(4:18) 12. Crazy
(4:32) 13. Black Coffee
(3:48) 14. In the Wee Small Hours of the Morning

Nikki Loney is a professional vocalist and Registered Music Teacher from Hamilton, Ontario Canada. She is an honours graduate of the Humber College Music Program. She works with professional and amateur vocalists ages 6 to 63, preparing them for examinations, post secondary auditions, competitions and professional singing endeavours. Nikki has over twenty years of recording studio experience and her vocals have been featured on television and radio jingles, and commercial recording releases.  http://thefullvoice.com/fvauthors.html

Falling in Love

---

Kathleen Grace - Sunrise

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 46:48
Size: 107,4 MB
Art: Front

(4:47)  1. Blackbird
(3:56)  2. I've Got the World on a String
(3:20)  3. The Summer Knows
(3:43)  4. The Lady is a Tramp
(4:06)  5. Cool
(5:32)  6. Softly as in a Morning Sunrise
(3:04)  7. But Not for Me
(3:59)  8. Beautiful Love
(4:39)  9. Emily
(3:30) 10. Armageddon
(6:07) 11. Small Day Tomorrow

Kathleen Grace hails from Tucson, Ariz., and wails in Los Angeles. She boasts a three-octave voice, and her self-released debut album deserves a wider audience so major labels, step up. Her range of feelings embraces straightahead, theater, cabaret and smoky, intimate, small hours vocalizing. Mood swings and tricky modulations are effortless thanks to the disciplined backing by pianist Tamir Hendelman, bassist Darek Oles and drummer Jamey Tate. Grace oozes self-confidence and has the sort of intonation that allows her to introduce two tunes a cappella: “But Not for Me,” propelled by brushes (she gamely sings in unison with piano during brief exchanges with drums), plus her solo introduction of Johnny Mandel’s gorgeous “Emily.” She effortlessly juggles 5/4 and 4/4 in “I’ve Got the World on a String” and exhibits her personal scat on Wayne Shorter’s “Armageddon.” A passionate highlight for piano and voice is “Softly, As in a Morning Sunrise,” a great study in dynamic shadings, all evolving from a sensuous tango figure. ~ Harvey Siders   http://jazztimes.com/articles/17132-sunrise-kathleen-grace

Sunrise

---

The Pasadena Roof Orchestra - Licensed to Swing

Styles: Big Band
Year: 2011
File: MP3@320K/s
Time: 50:27
Size: 119,5 MB
Art: Front + Back

(3:41)  1. You´re the top
(3:12)  2. At the Jazz Band Ball
(3:16)  3. Bel Ami
(3:10)  4. No strings
(2:59)  5. Futuristic rhythm
(2:54)  6. Polka dot rag
(3:26)  7. About a quater to nine
(2:25)  8. I heard
(3:22)  9. Without a certain thing
(2:36) 10. Am Sonntag will meine Süsse mit mir segeln gehn
(3:02) 11. Jungle nights in Harlem
(2:56) 12. Happy feet
(3:20) 13. Singing in the rain
(3:34) 14. A cheerful little earful
(3:13) 15. Where the blue of the nicht (meets the gold of the day)
(3:11) 16. Yes! We have no bananas

It´s the Year 1969. A man makes the first step on the moon. The BEATLES play their last concert. The first Woodstock happens ….

… and The Pasadena Roof Orchestra gets its licence to swing when over 1000 original dance band arrangements are discovered in an attic by founder-member, John Arthy. But you know that story, don´t you? And the rest - as they say – is history!
More than 40 years on from that incredible find, the orchestra´s reportoire has been shaken again – not stirred! The best 1920´s and 30´s tunes are the simple ingredients fort hat cocktail. So, sit back and take a sip of the orchestra´s new programme LICENCE TO SWING .

For over forty years the Pasadena Roof Orchestra, based in the UK, has delighted audiences all over the world with its mix of swing and hot dance music. Swing is much more than a musical genre, it personifies a lust for life, with its infectious beat. Its roots lie in the pre war dance bands, and the roaring twenties which inspired the later big swing bands. In contrast to many other musical genres swing has never really gone out of fashion over the decades, particularly in recent years. The Pasadena Roof Orchestra has played an important role in this resurgence of popularity.
In the past, the orchestra’s kind of music provided a boost in the background to some calamitous times, pre and post war. Today, not only is the orchestra bringing its music to young audiences all over the world, it is introducing new generations of young musicians to the music. 

The reputation of the orchestra is as legendary in its own right, as the bands from the 1920’s and 1930’s that inspired it. 40 recorded vinyl LPs, singles, CDs, and DVDs containing over 300 titles have been released since 1974. The timeless sound of the orchestra has led to ever more recordings. In Japan the orchestra's first five vinyl albums have recently been rereleased in a CD format. When it comes to authentic swing music the orchestra has no equal. The orchestra performs year-round with a line up of eleven excellent jazz musicians who have perfected their craft and studied jazz at the top conservatories. Many years of working together with top class arrangements, result in the ensemble sound for which the orchestra is renowned. The show is presented in a way that not only showcases this talent, but adds some wit and humour. Duncan Galloway is the band-leader and vocalist and is also responsible for the musical direction. With a background in theatre and music, Duncan has been part of the orchestra for over ten years. The repertoire currently comprises over 200 titles of jazz, early swing and dance music from the era. The orchestra was founded in 1969 by the master baker John Arthy... 

http://www.painteddogrecords.com/pasadenarooforchestra.html

Licensed to Swing

---

Bobby Pierce - The Long Road Back

Size: 118,9 MB
Time: 51:18
File: MP3 @ 320K/s
Released: 2009
Styles: Smooth Jazz, Jazz Organ
Art: Front

01. Bobby's Back (7:14)
02. One For Duff And Dink (5:48)
03. Frenchie (6:15)
04. The Good Life (5:49)
05. The Long Road Back (5:00)
06. Invitation (8:48)
07. Seems So Long (4:51)
08. John Brown's Body (7:30)

Organ combo historians might be the only ones who remember Bobby Pierce, the Columbus, OH native and peer of Don Patterson, Eddie Baccus, and Hank Marr. His only other album for the Cobblestone/Muse family of record labels came out back in 1972, Introducing Bobby Pierce. It's long out of print, a collectors item for sure, and a reminder of the chitlin' circuit club scene where his central Ohio home was a focal point. At the time of this recording, he is based in Los Angeles, playing music in jazz, gospel, or classical settings after being devoted to a life apart from music for the better part of four decades. Pierce returns with this tasteful set of swinging originals and soulful covers with a formidable band, including the excellent tenor saxophonist Rickey Woodard, guitarist Frank Potenza, and drummer Clarence Johnston. They give Pierce more than ample support, and in fact exceed expectations of regular sidemen. Pierce tends to be laid-back, but when he cuts loose and jams out -- you know he is redoubtable, as are his talented bandmates. Tunes like the bop-oriented title track and the soul-pop ballad "Seems so Long" with the leader's vocals, definitely reflect how Pierce had been off the scene, while the cool blues "Bobby's Back" is representative of their unified teamwork, and how the organist missed grooving. Woodard is a sound, fundamental saxophonist who is a joy to hear; he should be more often. His solos stand out above the post-Sonny Rollins crowd, but on the funky off-minor rocker "One for Duff & Dink," he commands the attention he deserves. Potenza is also a world-class player whose taste level ranks right up there with peers like Pat Martino and Russell Malone. When he swaps lines with Woodard on the nine-minute swinger "Invitation," you know he and Woodard are true experts in the soul-jazz style. Pierce himself lays in the cut, poised and reserved for the most part, but during the classic Sacha Distel ballad "The Good Life," he springs into action with a flurry of notes that fly in the face of the slower pace, as if the good life is indeed what he is living. The funky boogaloo "Frenchie" moves to a jazzier swing, where Pierce again is a bit more animated and forceful. "John Brown Body" takes the group into an area of church orientation where the leader has been centered in recent times, frequently quoting Nat King Cole's "Send for Me" in the process. Hopefully, Bobby Pierce will do another recording sooner than the some 35 years it took to produce this one, and it will be just as satisfying. ~Review by Michael G. Nastos

The Long Road Back

---

Dean Grech - We Got Lost

Size: 121,4 MB
Time: 52:25
File: MP3 @ 320K/s
Released: 2014
Styles: Smooth Jazz, Jazz Vocals
Art: Front

01. Shake It Around (4:11)
02. We Got Lost (4:17)
03. Nothing More (4:19)
04. You Don't Know Me Well (3:55)
05. I Don't Think So (5:04)
06. Playa Rosa (5:55)
07. Feeling I Can't Undo (3:49)
08. Suddenly (3:52)
09. Let's Go (5:05)
10. Wishing You Were Here (4:04)
11. Love Song (4:38)
12. Altercation (3:12)

This album is cutting edge with it's variety of passion filled vocals, Top Notch song Writing, and instrumental pieces executed with position, these tracks groove like a well oiled machine
The CD features stellar performances from this amazing collection of musicians:

Dean Grech -Vocals/Guitar
Greg Vail - sax
Hans Zermuelhen - B3, Piano, Rhodes
Hal Ratliff - Rhodes, Piano
Mitch Manker, Ron Robbins, Andrew Carney - Trumpet and Flugal Horn
Rick Shaw, Koko Powell - Bass
John Ferraro, Peter Pfiefer Drums

We Got Lost

---

The Marty Nau Group - At The Bouquet Chorale

Bitrate: 320K/s
Time: 70:10
Size: 160.6 MB
Styles: Saxophone jazz
Year: 2005
Art: Front

[6:04] 1. At The Bouquet Chorale
[5:19] 2. Airmail Special
[5:38] 3. Rainy Day
[6:56] 4. Cadillac Jack
[8:07] 5. Door Number Three
[6:05] 6. Slash And Burn
[6:18] 7. Saucy Susan
[5:59] 8. Calling All Cars
[6:58] 9. Samba Nau
[6:14] 10. Delawareness
[6:28] 11. The Mooche

Listeners who hear At the Bouquet Chorale without looking at the liner notes may be excused if they think they are hearing triple. Marty Nau is a fine bebop altoist, based in Washington, D.C., whose main playing idol has always been Phil Woods. Much to his joy, he was able to persuade Woods to be on this set along with Vince Lardear, a third altoist who also sounds a little like Woods (though not as much as Nau). Backed by a fine local rhythm section, the three altos romp on a variety of basic material and originals that often utilize standard chord changes. Some of the songs just feature two altoists in different combinations and on the closing "The Mooche," all three horn players switch to clarinets quite effectively. But the hottest numbers have all three battling with each other. It is to their great credit that Nau and Lardear hold their own with the great Phil Woods. Recommended. ~Scott Yanow

At The Bouquet Chorale

---

Shaynee Rainbolt & Donn Trenner - Two For The Road

Bitrate: 320K/s
Time: 43:55
Size: 100.5 MB
Styles: Cabaret, Easy Listening
Year: 2013
Art: Front

[3:10] 1. Lucky To Be Me
[4:27] 2. Midnight Sun
[3:36] 3. In The Glow Of You
[2:22] 4. The Years Kisses
[3:45] 5. Yesterday / Yesterdays
[4:11] 6. Down In The Depths
[7:52] 7. I Will Wait For You / Watch What Happens
[6:44] 8. Memory Of The Rain / Come In From The Rain
[2:33] 9. There's No You
[3:07] 10. Two For The Road
[2:03] 11. Thanks For The Memory

Singer Shaynee Rainbolt has teamed up with musical director, conductor, and pianist Donn Trenner for a month of Fridays at the Metropolitan Room. Trenner has had quite an illustrious career, having worked with some of the biggest names in music and show business, among them Bob Hope, Shirley MacLaine, Ann‑Margret, Lena Horne, Anita O’Day, José Feliciano, and Steve Allen. Originally from California, for the past several years Rainbolt has been performing fairly steadily in New York venues and internationally, garnering MAC and Bistro Awards along the way. Having seen her perform many times over the years, I can say that in this engagement she is doing her best, her most mature work to date.

Mind you, I thought she was good when I first heard her seven years ago, but now everything has fallen into place: she brings to each song a combination of solid musicianship and equally strong lyric detail, with nary a misstep or infelicitous choice; what’s more, her voice has deepened into a beautiful burnished gold. I don’t know whether this growth stems from her collaboration with Trenner or is simply the latest stage in her ongoing artistic development. Some of each I should think. But whatever the source, it’s pretty wonderful to see. ~Roy Sander

Two For The Road

---

Nicole Lvoff - Here's That Rainy Day

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 47:46
Size: 109,9 MB
Art: Front

(2:51)  1. Too Marvelous For Words
(4:35)  2. Black Orpheus
(4:43)  3. Darn That Dream
(4:35)  4. Here's That Rainy Day
(4:02)  5. Whatever Lola Wants
(5:02)  6. Fever
(3:13)  7. Softly, As In A Morning Sunrise
(4:51)  8. Sometimes I'm Happy
(5:08)  9. Angel Eyes
(3:45) 10. Caravan
(4:57) 11. Don't Explain

A native of Santa Barbara, California, Nicole grew up in a classically trained household of musicians. Her father was a violinist who graduated from Juliard and her mother is a classical pianist who graduated from the University of Texas and Berkeley School of Music. A singer with some background in piano and flute, Nicole is drawn to a wide variety of jazz music spanning from the 1920s to the ‘60s. “I like finding old songs that people rarely perform like ‘Put the Blame on Mame’ from Gilda, and ‘Don’t Explain’ composed by Billie Holiday. I also love Cole Porter and, of course, the beautiful melodies of Jobim.”  Her first album is musically exciting and melodically haunting. Arranged by Woody DeMarco, also the pianist on the album, “Here’s That Rainy Day” is full of hidden gems and beloved treasures. 

The album opens with an exciting arrangement of “Too Marvelous For Words.” Nicole’s vocals are effortlessly fun and the band joins in with the same excitement. Jon Crosse, Paul Anka’s musical director, plays the saxophone as well as flute, clarinet and trumphet on the album. “Here’s that Rainy Day” is an enchanting interplay of flute and vocals over a bossa nova beat. Check out the ever so sassy “Fever” with a funky groove and ever so sultry vocals. “Whatever Lola Wants” and “Caravan” involve the entire ensemble, introducing Lorenzo Martinez on bongos and shakers. To be sure, these high energy songs are some of the highlights on the album. The album ends with the haunting “Don’t Explain,” where there are only vocals and piano. It is reflective and heartbreaking, ending the album with beautifully expressed emotion. “Here’s That Rainy Day” is Nicole’s first album, and definitely an eye opener to a singer with a voice that is full of honest sweetness and warmth. Welcome to Nicole Lvoff’s first album, “Here’s That Rainy Day.” We hope you enjoy it as much as we’ve had making it. And we look forward to hearing more from this vocal chanteuse. We have a feeling there is more to come…rain or shine!  http://www.cdbaby.com/cd/NicoleLvoff

Here's That Rainy Day

---

Maria Jacobs - Art of the Duo

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 37:13
Size: 86,7 MB
Art: Front

(3:45)  1. Alone Together (feat. Bob Fraser)
(4:49)  2. Small Day Tomorrow (feat. Bob Fraser)
(4:24)  3. Too Close for Comfort (feat. Bob Fraser)
(4:10)  4. It Could Happen to You (feat. Steve Cipriano)
(3:34)  5. Summertime (feat. Steve Cipriano)
(2:30)  6. Nearness of You (feat. Steve Cipriano)
(4:30)  7. Poetry Man (feat. Steve Cipriano)
(2:57)  8. I Will (feat. Tony Dumas)
(6:29)  9. Yeh Yeh (feat. Dan Maier)

Simplicity in jazz performance is a sure bet when one has the chops to deliver. Jazz vocal in a duet format is one of the more exposed configurations, one where the singer liability is great. All mistakes, mis-steps and wrong notes are readily audible. Cleveland, Ohio native singer Maria Jacobs' fourth release features seven voice-guitar duets and one each with acoustic bass and piano. Jacobs is most refreshing because her voice is not over-trained and contains just enough grit to give it a lived-in sound that makes it at once familiar and friendly with a hint of sex and satin. Her rugged alto has a fearless quality that compliments the nine standards present here. Jacobs, accompanied by guitarist Bob Fraser give the Schwartz/Dietz standard "Alone Together" a rigorous, almost roadhouse treatment that pushes the song to the edge of jazz. 

"Alone Together" translates into Bob Dorough's ballad, "Small Day Tomorrow," played with equal grit, though lighter on the rigor. "Too Close for Comfort" swings with a mighty momentum and played with greater finesse and a lighter touch. Jacobs responds in kind until the coda, where she pulls out all the stops and belts out the ending. Jacobs pairing with guitarist Steve Cipriano provides a bouncing "It Could Happen to You" and a downright piquant "Summertime." The two remain pious on Phoebe Snow's signature "Poetry Man," where Cipriano's shimmering chords cradle Jacobs voice in the verse. The disc closes with the two non-guitar duets, Jacobs and bassist Tony Dumas on a strolling take of the Beatles' "I Will" and a slightly churchy treatment of "Yeh Yeh" accompanied by pianist Dan Maier. 

The Art of the Duo delivers a readily enjoyable catalog of the great American Songbook, presented in a fresh and refreshing manner.~ C.Michael Bailey  

http://www.allaboutjazz.com/php/article.php?id=44177#.UtLL3LRc_vs

Personnel: Maria Jacobs: vocals; Bob Fraser: guitar (1-3); Steve Cipriano: guitar (4-7); Tony Dumas: bass (8); Dan Maier: keyboards (9).

Art of the Duo

---

Judy Blair - Sunshine

Styles: Jazz
Year: 2006
File: MP3@320K/s
Time: 57:17
Size: 132,3 MB
Art: Front

(5:14)  1. La Fete
(9:08)  2. Chez Gaby
(7:02)  3. Sunshine
(7:08)  4. Lookin' Up
(6:45)  5. It's Only You
(8:21)  6. Lucky Blues
(4:37)  7. This Love's for You
(8:58)  8. Passage

Judy wrote or co-wrote all the songs on this project, recorded at Audio Dallas in Garland, Texas in 2005. This CD exhibits the full spectrum of her artistry as singer/songwriter/musician. She is joined by her brother Donny Blair (guitar), Abdu Salim (tenor sax, flute), Christian Ton Ton Salut (drums), and special guest artist, blues great Lucky Peterson. From the upbeat jazz swing of La Fete to the beautifully sensitive ballad It's Only You, this soulful CD has something for everyone.  

http://www.judyblair.com/?section=products

Sunshine

---

Cannonball Adderley - Them Dirty Blues

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 51:06
Size: 117,5 MB
Art: Front

(5:06)  1. Work Song
(7:16)  2. Jeannine
(4:21)  3. Easy Living
(7:10)  4. Them Dirty Blues
(5:29)  5. Dat Dere
(4:42)  6. Del Sasser
(5:35)  7. Soon
(5:52)  8. Work Song (Alt Take)
(5:30)  9. Dat Dere (Alt Take)

Quite familiar to the world’s jazz audience, "Dat Dere," "Work Song" and many more were brought to us by the Adderley brothers. This reissue brings together two sessions, recorded February 1 and March 29, 1960 in New York and Chicago. The New York date features Bobby Timmons, while the later, Chicago date substitutes Barry Harris. Originally issued as Riverside 1170, this reissue adds two alternate tracks from the February New York date with Timmons on piano. They’re not much different from the originals, perhaps with a little less spirit. Cannonball Adderley was in fine form, leading with fluid saxophone energy through expressive scenes and lyrical thoughts. Nat Adderley, with a rougher tone and equally quick attitude, follows up with similar expression. The ensemble romps, for the most part, with tight counterpoint that emphasizes the group’s autonomy over individual efforts. Soloists receive full support from the rest of the quintet each time up. At one point, the band gets so quiet during one of Sam Jones’ bass solos that you can hear Louis Hayes’ unused drumstick fall to the floor. The sound reproduction is quite clear, the mood is loose with a blues feel, and each soloist turns out a stellar performance. 

~ Jim Santella   http://www.allaboutjazz.com/php/article.php?id=6061#.UtaYlbRc_vs

Personnel: Cannonball Adderley- alto saxophone; Nat Adderley- cornet; Barry Harris, Bobby Timmons- piano; Sam Jones- bass; Louis Hayes- drums.

Them Dirty Blues

---

Tina May, Nikki Iles, Tony Coe - More Than You Know

Bitrate: 320K/s
Time: 55:37
Size: 127.3 MB
Styles: Vocal jazz
Year: 2006
Art: Front

[5:53] 1. The Touch Of Your Lips
[5:32] 2. Very Early
[6:47] 3. More Than You Know
[5:18] 4. Ocean
[5:37] 5. Sometime Ago
[4:30] 6. Cruel September
[5:20] 7. November Girl
[4:50] 8. What Kind Of Fool Am I
[5:59] 9. My Man's Gone Now
[5:47] 10. So Long Big Time

Voice, piano and tenor saxophone or clarinet; with an odd setup like that, you just don't know what to expect. In the case of these three, however, the chances are that it will turn out to be an interesting, quirky and, above all, enjoyable hour's music. And it is. In the first place, they have performed together so much that they must enjoy each other's company. That enjoyment includes a shared sense of what is possible with this tiny format and complete trust in one another's musical instincts. Tina May has a fine, expressive voice, with immaculate pitch, clear diction and no annoying mannerisms. Nikki Iles plays the piano with a crystalline touch and a technique that enables her to cover for the missing double bass when necessary. Coe is one of today's best clarinettists, in any idiom, with an inquisitive, slightly irascible saxophone style that is quite inimitable. The result is like overhearing an intelligent, often witty three-way conversation. ~Dave Gelly

More Than You Know

---

Eddie Palmieri - S/T

Bitrate: 320K/s
Time: 36:35
Size: 83.8 MB
Styles: Latin jazz
Year: 2009
Art: Front

[ 7:13] 1. El Dia Que Me Quieras
[10:31] 2. Ritmo Alegre
[ 6:51] 3. Páginas de Mujer
[ 6:05] 4. No Me Hagas Sufrir
[ 5:53] 5. Ven Ven

Eddie Palmieri, known for his charismatic power and bold pioneering drive, has a musical career that spans over 50 years as a bandleader of both Salsa and Latin Jazz orchestras. Born in Spanish Harlem in 1936, Eddie began piano studies at an early age, as did his celebrated older brother, the late Salsa legend and pianist, Charlie Palmieri. For Latin New Yorkers of Eddie’s generation, music was a vehicle out of El Barrio. At age 11, he auditioned at Weil Recital Hall, next door to Carnegie Hall, a venue as far from the Bronx as he could imagine. Possessed by a desire to play the drums, Palmieri joined his Uncle’s orchestra at age 13, where he played timbales. Says Palmieri, “By 15, it was good-bye timbales and back to the piano until this day. I’m a frustrated percussionist, so I take it out on the piano.”

Eddie Palmieri’s musical style is paradoxical in nature: married to preserving the core fundamentals of latin orchestral tradition, he is possessed by a bold innovative drive and seeks all opportunities to challenge these very traditions. Eddie’s unique vision and distinctive arrangements have paved the way for ground-breaking compositions, ensuring a unique musical legacy. Eddie has one of the most actively touring Salsa and Latin Jazz orchestras to date, tours of which have taken him to Europe, Asia, Latin America, Australia, North Africa and throughout the Caribbean. A true powerhouse of brilliance, he has shown that time is infinite with respect to his repertoire, as he continues to captivate live audiences throughout the world.

Eddie Palmieri

---