Jessica Lee - Rhythms Of Anyway

Size: 142,0 MB
Time: 61:22
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. The More I See You (3:33)
02. Love No Hands (4:08)
03. Small Day Tomorrow (4:49)
04. Halelujah I Love Him So (3:40)
05. Nature Boy (5:34)
06. Whispering (4:31)
07. Baby Come To Me (5:21)
08. One With The Skies - Song For Claire (4:54)
09. Nocturne (4:11)
10. Song Bird (4:23)
11. You Don't Know I Love You (5:34)
12. World Medley What The World Needs Now Is Love - Wonderful World (6:45)
13. Raincoat (3:53)

Jessica Lee displays her considerable vocal palette on this collection of jazz and blues songs. In addition to songs from the Great American Songbook and some R&B and blues, the album contains three original songs by Jessica. Legendary drummer Roger Humphries is featured on ten of the tracks. Also featured are guitarist Mark Strickland, Max Leake on keys,Chris Hemingway and Jay Willis on sax and Mark Perna on bass. In addition to the 10 songs which comprise the "Rhythms of Anyway" collection three bonus tracks are included. These include "Raincoat" which we hoped to include on Jessica's first CD "Bluebird Fly", but the release was delayed and with a new guitar solo and a new vocal track it was worth the wait. We hope you enjoy the album.

Rhythms Of Anyway

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Frank Potenza - Soft & Warm

Size: 76,7 MB
Time: 33:00
File: MP3 @ 320K/s
Released: 1987/2013
Styles: Guitar Jazz
Art: Front

01. California Dreamin' (4:15)
02. Sleeping Beauty (4:16)
03. Quiet Storm (4:21)
04. Coast Line (4:10)
05. Soft & Warm (3:51)
06. The 'In' Crowd (3:54)
07. Somewhere Out There (3:55)
08. Be My Love (4:14)

Upon graduating from the Berklee College of Music in 1972, jazz guitarist Frank Potenza embarked upon a prolific career that found him teaching, performing, and recording over the next few decades. A protégé of Joe Pass, Potenza has appeared with a number of well-known musicians, including Dizzy Gillespie, George Van Eps, Mose Allison, and Joe Sample, among others. Beginning in 1986, Potenza began recording solo albums for TBA Records of Los Angeles, CA: Sand Dance (1986), Soft and Warm (1987), When We're Alone (1988), and Express Delivery (1990). It wasn't until 1999 that he returned with another solo album, In My Dreams, recorded for Azica Records. At the time of the album's release, Potenza was teaching at USC and performing in his spare time. ~ Biography by Jason Birchmeier

Soft & Warm

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Gabrielle Ducomble - Notes From Paris

Size: 137,8 MB
Time: 59:22
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. La Vie En Rose (4:58)
02. Un Homme Et Une Femme (4:53)
03. Ces Petits Riens (5:24)
04. Padam Padam (5:13)
05. Que Feras-Tu De Ta Vie (6:09)
06. Je Ne Regrette Rien (5:58)
07. Sanfona (4:06)
08. Ne Me Quitte Pas (6:40)
09. Oblivion (5:43)
10. Que Reste-T-Il De Nos Amours (4:50)
11. Sous Le Ciel De Paris (5:24)

Personnel:
Gabrielle Ducomble - Vocals
Nicolas Meier - Nylon, Steel & Fretless Guitars
Dan Teper - Accordian & Piano on Tracks 2, 6
Nick Kacal - Double Bass
Saleem Raman - Drums & Bongos
Chris Garrick - Violin
Gilad Atzmon - Clarinet & Alto Saxophone
John Bailey - Piano on track 5

Belgian-born and London-trained singer Gabrielle Ducomble’s second album, Notes from Paris, offers a glowing and vigorous account of the French chanson, seasoned with touches of jazz and tango. As you would expect in a French singer featured in Jazz FM’s Valentine's Day playlist, she draws heavily on the traditionally romantic perception of an English-speaking audience to both French lyrics and French-accented English.

Ducomble has made her own arrangements of some of the most iconic chansons in the repertoire for this album. Her background combines popular acclaim (she first made her name as the winner of a TV talent show) and high-class training (at the Guildhall School of Music). Her voice is exquisitely groomed, sumptuously powerful and buttery, like a fine Meursault, though that very poise, control and strength is occasionally at odds with the character of the original song. The strength of the best chansons - certainly Piaf’s, and in many ways Brel’s too - lies in their combination of defiance and vulnerability, expressed in that unmistakably nasal, even whinnying resilience that’s on the edge of dissolving into sobs. Ducomble’s versions are, on the whole, too slick and confident for that: there’s a sense she’s cheerfully revealing all to a stadium of fans rather than disclosing intimate secrets.

It’s particularly apparent with the Piaf numbers. La Vie en Rose, the first track on the album, opens with a crackly, period sound, before Ducomble’s glossy tone bursts through, perhaps a little stridently, given the tenderness of the lyrics. Ducomble’s version of Je ne regrette rien, though a novel re-working, also obscures the desperation in the speaker’s defiance beneath a rather too-fluent self-confidence. However, her version of Brel’s Ne Me Quitte Pas is, for the most part, beautifully desolate, Chris Garrick’s spare violin opening setting the scene in evocative, vaguely Celtic colours.

There’s much to enjoy in the album’s band of expert jazzers. Ducomble’s arrangements use instrumental colours well, especially saxes (Gilad Atzmon), which varies from cute, piping alto to sensual, thrusting tenor, and accordion (Dan Teper), which displays everything from cafe-style coquette to rasping menace.

A note is usually a slight, personal document; Notes from Paris is too big and bold for that, but it’s a confident statement by a powerful and charismatic singer, who’s destined to establish herself as a performer of the jazz- and tango-tinged chanson. ~Review by Matthew Wright

Notes From Paris

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Jack Brass Band - For Your Body

Size: 127,6 MB
Time: 55:05
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: New Orleans
Art: Front

01. There Goes My Baby (5:49)
02. If I Had No Loot (5:57)
03. Bad Mama Jama (4:58)
04. All I Do (4:51)
05. Got My Whiskey (4:35)
06. Freaky In The Club (4:44)
07. Every Little Step (4:59)
08. Let's Stay Together (3:50)
09. We're In This Love Together (6:20)
10. Can't Stop (4:40)
11. They All Asked For You (4:16)

Feel-Good Music is an apt description. The Jack Brass Band's latest album features 11 songs made famous by other artists, familiar to listeners from different generations, and puts a fresh spin on them to make them "street" and "party" worthy anthems. It's about the groove, and the way the rhythm section with a tuba (sousaphone) plays the basslines, and two drummers take over where many opt for one drumset player. Add in some greasy horns, killer ensemble and improvisational work, and a sing-a-long mentality to the lyrics - and you have a mix that makes people MOVE SOMETHING.

For Your Body

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Deborah Latz - Toward Love

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 41:28
Size: 95,4 MB
Art: Front

(3:10)  1. It Had To Be You
(5:07)  2. Bewitched, Bothered & Bewildered
(6:49)  3. How Insensitive
(2:21)  4. Gone With The Wind
(3:00)  5. Avril A Paris
(5:30)  6. Lover Man
(3:51)  7. I Only Have Eyes For You
(6:54)  8. Night And Day
(2:08)  9. The Thrill Is Gone
(2:32) 10. Bluesette

They say that love makes the world go around. I don't know about that, but it's made for some great songs, tunes that vocalist Deborah Latz goes after with gusto on her debut disc, Toward Love. On the classic "Loverman," where Billie Holiday sounded fragile and deeply hurt where Carmen McRae gave us a wounded, world weary mood Latz evokes a hopeful innocence, as though she believes it will happen, that loverman will show up. The vocalist demonstrates some downtempo sass on Rodgers and Hart's "Bewitched, Bothered and Bewildered," this listener's highlight. Her voice rings with a fetching richness here, with Bob Bowen's bass caressing her syllables. And do I detect a hint of tongue in cheek? I'm not sure. The lyric is by today's perspective on romance wonderfully sappy; and Deborah Latz pulls it off with grace and straight-ahead beauty. On "Avril a Paris" Latz shows us she can sing a lyric in French with aplomb; pianist Timo Elliston works a percussive mode, nailing down the rhythm behind the mellifluous flow of language. "Night and Day" has the vocalist entering the scene with a coy hush in her voice, a softly feminine Tony Bennett-like rasp in front of Ben Sher's piquant guitar lines. A marvelous vocal effort, beginning to end. I'm bewitched. ~ Dan McClenaghan   

http://www.allaboutjazz.com/php/article.php?id=13783#.Ux0THoVZhhk

Personnel: Deborah Latz - vocal; Timo Elliston - piano; Bob Bowen -bass; Jimmy Wormworth - drums; Bob Sher - guitar

Toward Love

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Dee Daniels - Close Encounter of the Swingin' Kind

Styles: Vocal Jazz
Year: 1991
File: MP3@320K/s
Time: 56:53
Size: 131,0 MB
Art: Front + Back

(5:43)  1. Blues in the Night
(4:17)  2. Lavern Walk
(5:45)  3. Georgia
(5:32)  4. On Green Dolphin Street
(3:28)  5. Never Make Your Move too Soon
(8:33)  6. Nigerian Market Place
(5:56)  7. Lover man
(4:23)  8. J.c. Blues
(4:08)  9. Centerpiece
(5:05) 10. April in Paris
(3:57) 11. Things Ain`t What They Used to be

Dee Daniels mixes together the influences of Sarah Vaughan, R&B, and gospel in her own appealing style. She started off singing in church as a child and also took piano lessons so she could play for the choirs of her stepfather's church. She earned an art degree from the University of Montana in 1970 and taught art in high school in Seattle. She also sang on the side, at first for the fun of it and then eventually six nights a week with a band that performed rock and R&B. In 1972 she quit her teaching job to concentrate exclusively on singing.

Over time, Daniels began to love improvising and gradually drifted toward jazz. While living in Europe during 1982-1987, she worked with such jazz greats as Toots Thielemans, Monty Alexander, Johnny Griffin, and John Clayton. Although she moved back to the U.S. in 1987, she has performed often in other countries including Canada, Australia, Hong Kong, 11 African countries, and throughout Europe, and is actually better known overseas than in the U.S.

Daniels has appeared in such shows as the musical comedy Wang Dang Doodle and the 2001 Calgary Stampede, and she has performed with both jazz groups and pops orchestras. Along the way she has recorded for Capri, Mons (with the Metropole Orchestra), Three XD Music, and Origin in addition to releasing a DVD on Challenge. 

Bio ~ https://itunes.apple.com/us/artist/dee-daniels/id155971580#fullText

Personnel: Dee Daniels (vocals); Johan Clement (piano); Fred Krens (drums).

Close Encounter of the Swingin` Kind

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Regina Carter - Southern Comfort

Styles: Violin Jazz
Year: 2014
File: MP3@320K/s
Time: 56:19
Size: 130,5 MB
Art: Front

(5:01)  1. Miner's Child
(2:11)  2. Trampin'
(4:36)  3. Hickory Wind
(7:21)  4. Shoo-Rye
(4:39)  5. Blues de Basile
(7:11)  6. I'm Going Home
(3:52)  7. Honky Tonkin'
(4:14)  8. Cornbread Crumbled in Gravy
(5:14)  9. See See Rider
(3:33) 10. I Moaned and I Moaned
(8:21) 11. Death Have Mercy / Breakaway

Although certainly best known as a jazz violinist, Carter seems comfortable enough playing the classical repertoire when called upon. Witness her 2003 album Paganini: After a Dream. And now with her new album, Southern Comfort, set for release March 4, she is out to show one more of the many faces of Regina Carter as she tackles a program of southern folk music and Americana. Needless to say, she takes this music and makes it her own.  As on some of her past albums, Southern Comfort is a thematic celebration of an important influence on her life and music. There was I'll Be Seeing You: A Sentimental Journey (2006) which focused on jazz favorites of her late mother, and then in 2010 there was her nod to the African influence on her musical heritage, Reverse Thread. In Southern Comfort, she explores some of the music that would have been available to her grandfather, an Alabama coal miner. She adds a modern tune or two, but even the additions are couched in the spirit of the album's theme-a little Cajun-style fiddling, some work songs, a homey lullaby, and a bit of the gospel spirit.  As she points out in the album's liner notes, while this music has a personal significance for her, it is indeed "the common experience of American folk music." The personal is indeed universal.

The 11-song set begins appropriately with a traditional piece called "Miner's Child" in an arrangement by guitarist Marvin Sewell. With some exceptions, most of the songs were arranged by instrumentalists playing on the individual tracks. Carter points out that the only direction she gave to the various arrangers "was to preserve the music's raw beauty." There is a haunting version of Gram Parsons' lovely "Hickory Wind" and a take of "Cornbread Crumbled in Gravy" reeking with sensitive simplicity. There is also a little vocal passage of this at the end of the album's final track, "Death Have Mercy"/"Breakaway." "Blues de Basile" is a tangy Cajun blues, while the hugely popular "See See Rider" is played in a version I had never heard before. Elsewhere, "I'm Going Home" is a lovely melody, not to be confused with Dvorak. Joining Carter on most tracks are Will Holshouser on accordion, Jesse Murphy on bass, Alvester Garnett on drums, and Sewell on guitar. Together with Carter, they have put together a truly exciting piece of work with a unique sound.   http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Regina-Carter-Southern-Comfort-5248666.php

Southern Comfort

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Jackie Ryan - You and The Night and The Music

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 69:07
Size: 158,7 MB
Art: Front

(4:51)  1. You'd Be So Nice to Come Home To
(5:15)  2. The Very Thought of You
(3:50)  3. Something Happens to Me
(5:33)  4. Bésame Mucho
(4:34)  5. Let There Be Love
(6:56)  6. Wild Is the Wind
(5:57)  7. Moonlight
(4:39)  8. The Best Is Yet to Come
(5:58)  9. You and the Night and the Music
(5:15) 10. You Are There
(4:26) 11. I Just Found out About Love
(5:26) 12. Never Let Me Go
(2:25) 13. I Know That You Know
(3:54) 14. While We're Young

On most vocal recordings, singers are accompanied by their usual band, perhaps with a famous guest sitting in for a track or two. If the singer and band are good, the result is pleasing but when the singer is excellent, the band is a crackling, long-term trio on its own, and the guest is a legend, it vaults the whole enterprise into an altogether different category.  All of these elements are here, on Jackie Ryan's third release for Open Art Productions. Ryan is an excellent singer: classy and warm, with a supple, rich, wide-ranging voice, great phrasing and time and the ability to make you believe everything she says. The band is the peerless Jeff Hamilton Trio, featuring the superb bass of Christoph Luty, the exceptional playing and arranging of pianist Tamir Hendelman, and Jeff Hamilton, the world's most tasteful and musical drummer. The visiting legend is Red Holloway, who swings his posterior off on five of the fourteen tracks, and there are two more guests: guitarist Larry Koonse and harpist Carol Robbins, members of the Billy Childs sextet. 

Aside from their other contributions, each of them gets a powerful duet turn with Ryan. This CD is so good that picking highlights is purely a matter of personal taste. To these ears, the peaks include the swingers "You'd Be So Nice... and "Let There be Love (Red!!), the rarely-heard "Moonlight, rendered as a luxurious bossa, and Hendelman's blazing solo on "The Best is Yet To Come. Then there are luminous ballads "Wild is the Wind, "Never Let Me Go, and "You Are There, which Dave Frishberg has identified as his favorite of all the lyrics he's written. I also appreciated Ryan's sensuous, fully-ripe approach to "Besame Mucho it's high time somebody seared the clichés off that tune and revealed how beautiful it really is.  So far, Jackie Ryan is best-known on the West Coast and in London, where she performs regularly at Ronnie Scott's; this CD will create legions of new fans in all the places in-between. Consistently excellent, gimmick-free, alternately exuberant and moving, You and the Night and the Music is a treasure, and highly recommended. ~ Dr. Judith Schlesinger   

http://www.allaboutjazz.com/php/article.php?id=26731#.UxqQO4VZhhk
 

Personnel: Jackie Ryan: vocals; Tamir Hendelman: piano; Christoph Luty: bass; Jeff Hamilton: drums; Red Holloway: tenor sax; Larry Koonse: guitar; Carol Robbins: harp.
 

You and The Night and The Music

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Django's Cadillac - New Wheels

Styles: Gypsy Jazz
Year: 2006
File: MP3@320K/s
Time: 49:15
Size: 112,8 MB
Art: Front

(4:11)  1. Formosa Please
(3:57)  2. Do Nothing Till You Hear From Me
(4:47)  3. Blue Rondo ala Turk
(4:46)  4. Lullaby of the Leaves
(4:42)  5. Delphinus
(3:05)  6. Bei Mir Bist Du Schoen
(5:17)  7. Peel Me a Grape
(5:01)  8. Forget the Tears
(5:07)  9. When Sunny Gets Blue
(4:49) 10. Gata Salvaje
(3:28) 11. Somewhere Over the Rainbow

“These guys swing, they sit all the way in the back seat and just swing like crazy” ~ Joe Craven (David Grisman, Jerry Garcia, Stephane Grapelli)

“From the opening track, Rick Hulett's infectious and heart-pounding original "Formosa Please" to the final sultry, stirring rendition of the timeless Ballad "Somewhere Over the Rainbow" the crew takes us on an entire expedition of sweet harmony and captivating rhythm. These folks have been together a while, and it shows in their polished execution and acutely intuitive reciprocation. Years of being a team, simpatico in their tastes, you experience in every note how much they enjoy playing with each other. Throw in compelling guest appearances with percussionist Joe Craven, and you've more than you bargained for!” ~ Jazzmando.com (review of New Wheels CD)

“Django's Cadillac” recorded in 2003 is a 6 member band playing 10 great songs. Very unpretentious music...very skillfully played...joyful and light hearted but with plenty of depth...a wonderful blend of instrumental textures! ~ David Friesen (internationally reknown bassist)    http://www.cdbaby.com/cd/djangoscadillac2

New Wheels

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Great Jazz Trio - Flowers for Lady Day

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 54:27
Size: 126,0 MB
Art: Front

(4:23)  1. Sometimes I'm happy
(5:26)  2. I'll never smile again
(5:09)  3. Love me or leave me
(5:41)  4. You don't know what love is
(4:00)  5. Baby, won't you please come home
(6:22)  6. Lover man
(5:38)  7. Easy living
(5:51)  8. I'm a fool to want you
(4:32)  9. Time warp
(7:21) 10. Don't explain

When you name your group the Great Jazz Trio, you generally run the risk of being called arrogant and had better have a lot to back it up. But if your trio consists of pianist Hank Jones, drummer Roy Haynes, and bassist George Mraz, that name isn't an example of arrogance or conceit -- it's a statement of fact. Forming a very cohesive trio, Jones, Haynes, and Mraz pay tribute to Billie Holiday on Flowers for Lady Day. This 1991 session finds the veteran improvisers embracing mostly songs that Holiday recorded, including "Lover Man" and "Don't Explain" both of which she defined. However, you won't hear "Gloomy Sunday," "My Man," "Good Morning, Heartache," "Strange Fruit," or "God Bless the Child" on this CD  most of the other songs are standards that Holiday recorded but didn't necessarily define. "I'm A Fool to Want You," for example, was defined by Frank Sinatra and while Lady Day recorded a superb hit version of "Easy Living" in 1937, her version wasn't the only famous one. Nonetheless, the Great Jazz Trio's affection for Holiday's legacy comes through loud and clear. Post-swing pianism doesn't get much more lyrical and melodic than Jones, and his interpretations of melodies that Holiday embraced are every bit as rewarding as one would expect. Flowers for Lady Day is easily recommended to Holiday and Jones fans alike. ~ Alex Henderson   http://www.allmusic.com/album/flowers-for-lady-day-mw0000181197

Personnel: Hank Jones (piano); Roy Haynes (drums).

Flowers for Lady Day

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Steve Kuhn trio - Mostly Coltrane

Styles: Piano Jazz

Year: 2009

File: MP3@320K/s

Time: 77:29

Size: 181,6 MB

Art: Front

(5:00)  1. Welcome

(7:31)  2. Song of Praise

(6:23)  3. Crescent

(6:00)  4. I Want To Talk About You

(8:45)  5. The Night Has A Thousand Eyes

(5:12)  6. Living Space

(3:50)  7. Central Park West

(6:04)  8. Like Sonny

(3:41)  9. With Gratitude

(4:19) 10. Configuration

(6:53) 11. Jimmy's Mode

(8:21) 12. Spiritual

(5:24) 13. Trance

Although he's spent most of his career focusing on interpreting the music of others, pianist Steve Kuhn's albums for the ECM label have largely been about his small but significant repertoire of original music. Which makes Mostly Coltrane a real anomaly by comparison to earlier works like those reissued in the three-CD box set Life's Backward Glances - Solo and Quartet (ECM, 2009). Still, Kuhn has a perhaps little-known connection that makes this set of, well, mostly material either composed or covered by John Coltrane a stronger fit than might be expected. Kuhn gigged briefly with the iconic saxophonist in the early months of 1960, a transitional time for Coltrane. But instead of focusing on the repertoire Kuhn played with him, the pianist addresses a bigger picture, ranging from the more mainstream standards Coltrane was performing at the time of Kuhn's employment to the extreme experimentation so definitive of the saxophonist's later years, prior to his untimely death in 1967 at the age of 40.

Kuhn reunites his trio from Remembering Tomorrow (ECM, 1996) ubiquitous drummer Joey Baron and bassist David Finck, a longtime partner who also appeared on the pianist's last release for ECM, 2004's string-driven Promises Kept. But to make the connection to Coltrane complete, Kuhn also enlists saxophonist Joe Lovano. The beauty of Mostly Coltrane is that while the album is, indeed, reverential to the spirit of Coltrane, stylistically it's all Kuhn and his quartet.

Kuhn plays with a more delicate touch than Coltrane's longest-standing pianist, McCoy Tyner, so even when he heads into the swinging modal territory that Tyner carved out so singularly on "Song of Praise," first heard on Coltrane's Live at the Village Vanguard (Impulse!, 1962), it possesses none of Tyner's forceful, block-chord attack. Instead, with Lovano similarly eschewing Coltrane's infamous "sheets of sound" without sacrificing any of the passion, Kuhn plays it more impressionistically, although there's nothing implicit about the turbulent underpinning created by Finck and Baron.

Still, even Baron mainly plays it less hard-hitting than his Coltrane counterpart, the late Elvin Jones. While Jones would boil over on the title track to Crescent (Impulse!, 1964), Baron largely opts for a simmer on Kuhn's rubato arrangement, with greater power only occasionally demonstrated and, instead, more left to implication. Even when the quartet shoots for greater extremes on "Configuration," from Stellar Regions (Impulse!, 1967) including an incendiary opening duet between Baron and Lovano it feels somehow more truly collaborative and less a pure vehicle for Coltrane's by then truly out-of-this-world explorations.

Kuhn's motivic ability to build solos from the smallest of building blocks has always been a strength, and here he excels at taking music so strongly associated with Coltrane that it's difficult to imagine anyone else playing it, not just making it fit within his overall discography, but specifically within his ECM work. His own compositional contributions the new "With Gratitude" and a retake of the title track to Trance (ECM, 1975), both solo vehicles for the pianist fit just as comfortably in the overall program as do the two standards. These are Billy Eckstine's gentle ballad, "I Want to Talk About You" and the enduring Bernier/Brainin classic "The Night Has a Thousand Eyes," taken here at a fast clip.

Lovano is in equally fine form, capturing Coltrane's shimmering intensity on "Spiritual," but playing it on the Hungarian tarogato rather than the soprano saxophone towards which Coltrane became so disposed in his later years. He shines in the most understated of ways on a short but sweet duet with Kuhn on Coltrane's often-recorded and elegant ballad "Central Park West," from Coltrane's Sound (Atlantic, 1960), the two seemingly joined at the hip. Baron's ability to be both subtle and powerful sometimes instantaneously makes him an equal partner and superb foil for Kuhn's interpretive and sometimes sparse approach. Both players are capable as is Lovano of fervent energy and expansive dynamics, but they avoid the relentlessness that Coltrane was demonstrating by the time of Stellar Region's "Jimmy's Mode," which also features a rare but impressive solo from Finck. Mostly Coltrane is the ideal homage. There's no shortage of the intrepid exploratory spirit (and spiritual inspiration) that's made Coltrane a cultural icon for generations of musicians and fans, but equally there's no missing the personal qualities that define Kuhn and his group. A rare opportunity to hear Kuhn outside the trio setting he's largely preferred for most of his career, Mostly Coltrane may not appear, on first glance, to jibe with his original composition-focused discography for ECM, but in its absolute retention of the markers that have defined his work for the label, it's nothing short of a perfect fit. ~ John Kelman   http://www.allaboutjazz.com/php/article.php?id=33244#.UxgE44VZhhk

Personnel:  Steve Kuhn: piano; David Finck: double-bass; Joey Baron: drums; Joe Lovano: tenor saxophone, taragato (12).

Mostly Coltrane

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Esther Haynes - Esther Haynes / Moon Country

Album: Esther Haynes
Size: 103,9 MB
Time: 44:28
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz Vocals, Swing, Blues
Art: Front

01. Honeysuckle Rose (3:39)
02. Up The Country Blues (4:03)
03. Trouble In Mind (3:00)
04. Stars Fell On Alabama (4:01)
05. Lady Be Good (2:40)
06. Why Don't You Do Right (3:02)
07. What's The Matter With The Mill (2:54)
08. After You've Gone (2:55)
09. Billie's Blues (2:47)
10. Black Eye Blues (4:09)
11. Darktown Strutter's Ball (2:49)
12. Mama's Gone, Goodbye (3:14)
13. St. Louis Blues (5:08)

This album pays tribute to early blues, swing, and ragtime vocalists of the 20's and 30's; instrumentation includes fiddle, clarinet, slide guitar, banjo, cornet, and mandolin, among others.

Esther was awarded her 10th WAMMIE for Jazz Vocalist 2010 by the Washington Area Music Association on February 20th, 2010!

Esther received a Wammie Nomination for Jazz Vocals, 2010. She has received 9 Wammie Awards for Big Band/Swing and Jazz Vocals since 2003.

A native of Virginia, Esther grew up hearing the sounds of bluegrass music. She learned finger-style folk guitar from her sixth grade teacher and started studying bluegrass banjo at age 15, which she continued playing seriously until age 21. During her college years at Virginia Tech, she attended jam sessions and fiddler's conventions in southwestern Virginia, where there is a strong traditional music culture. She played in a folk guitar/voice duo with at coffeehouses, crafts fairs and outdoor events, and had her first paying gig with a bluegrass band in Beaufort, S.C. She also took a group voice class where her professor invited her to take private lessons, and informed her that "music was her element."

On one drive to college with her brother, she heard a tape of Billie Holiday singing "Violets for Her Furs", which made a distinct impression on her. At age 26 she decided to attend Berklee College of Music in Boston, where she studied professional music and voice. She met some great musicians there, including Flying Fish artists Hiro Arita, Howie Tarnower, Matt Glaser, Eric Levinson, and Ruthie Dornfeld, who played in Boston City Limits, a bluegrass and swing band. When their singer Chris Jones left for Nashville, Esther was invited to join them as vocalist and rhythm guitarist. While in Boston she also worked with ragtime blues guitarist Larry Unger, playing swing dances and benefits in the area, and was invited to perform on a cable television program, "The Routes of American Music."

Other experiences include two years performing in Tel Aviv, recording in New York and Vermont with John Dirac (of the Either Orchestra), and working in the D.C. area with Swing Season, The Resonators, and Justin Lees. She sang the title track on Eddie McGee's CD entitled "Who Will Sing for Me?" which placed 9th on Durham's radio rating in April of 1999, and was selected to perform as local talent in the Chesapeake Bay Blues festival in May of 2000 and 2001. Currently she performs in a jazz duo with guitarist Phil Mathieu (of Ruthie and the Wranglers) and with Hokum Jazz, a hot jazz and swing group that includes members of the Resonators, J.C. Veve and Nevada Newman. She was twice nominated for a WAMMIE (Washington Area Music Award) in the area of Traditional Jazz Vocals.

In 2001, Esther produced her first CD featuring songs of vocalists from the 20's and 30's such as Alberta Hunter, Sippie Wallace, Memphis Minnie, Lil Green, Bessie Smith and others. The CD was nominated for a WAMMIE in 2001.

Esther has been awarded 6 WAMMIES, (Washington Area Music Awards), 4 for Big Band/Swing vocals, and 2 for Jazz vocals, since 2003.

She is currently working with guitarist Keith Grimes, who recorded on Eva Cassidy's albums! Currently a 3rd CD with Keith Grimes is in progress, but donations are needed for its completion. Write to estherhaynes1@gmail.com if you would like to help in this effort.

Esther Haynes

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Album: Moon Country
Size: 115,6 MB
Time: 49:00
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals, Blues Country, Swing
Art: Front

01. Old Devil Moon (2:59)
02. Moon Country (3:04)
03. Moon And Sand (3:34)
04. Dixie Lullaby (2:36)
05. Me And The Man In The Moon (2:57)
06. Memphis In June (3:17)
07. Treat You Right Blues (2:54)
08. Skylark (4:10)
09. Peach Pickin' Time In Georgia (3:00)
10. Sugar Moon (2:26)
11. In The Evenin' (When The Sun Goes Down) (3:12)
12. Tennessee Waltz (3:23)
13. Rockin' Chair (3:41)
14. My Window Faces The South (2:59)
15. Georgia On My Mind (4:39)

A blend of Hoagy Carmichael, moon tunes, and southern tunes in a variety of styles such as jazz standard, country blues, vaudeville, western swing, and bossa.

This album was conceived as a tribute to my dad, who came from Montgomery County, Tennessee, and hopefully will inspire others to think about their family roots. It encompasses various vocal styles, including four Hoagy Carmichael standards, an Alec Wilder bossa, two swing tunes, a country blues, a vaudeville tune, and one original. It is kind of relaxing, hence the title "Moon Country", (named after one of the Hoagy tunes), and is meant to evoke an imaginary place harkening to days gone by.

All tracks include Keith Grimes on guitar and slide guitar; Mac Cridlin on bass; and Pete Ragusa on drums (most tracks), and Esther on rhythm guitar (most tracks). Additional solos are by the talented Washington, DC-area musicians John Hurd on keyboard; Pete Chauvette, vibes; Buddy Griffin, pedal steel; Helen Hausmann, violin; Merle Johnson on mandolin; and Bob Spates on violin.

Studio production is by Richard Seidel; Mastering by Bill Wolf; Cover photo by Chip Py; Cover art by Dick Bangham.

Esther was recently accepted as voting member of NARAS (National Academy of Recording Arts and Sciences).

Moon Country

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Darren Heinrich Trio - The Jimmy Smith/Larry Young Project Live

Size: 121,4 MB
Time: 52:32
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Hammond Organ
Art: Front

01. A Night In Tunisia (8:38)
02. Luny Tune (7:33)
03. Roadsong (O.G.D.) (6:21)
04. When Johnny Comes Marching Home (6:32)
05. Zoltan (7:47)
06. The Buckeye Blues (7:32)
07. Ritha (8:06)

Leading Sydney jazz organist Darren Heinrich, together with regular band mates Steve Brien (guitar) and Andrew Dickeson (drums), perform some rare and classic repertoire with great interaction and groove. This energetic concert, recorded in the intimate Music Cafe at Sydney Conservatorium, presents the trio performing the music of two trailblazing organists - Jimmy Smith and Larry Young. Highlights include Smith’s fingerbusting arrangement of “A Night in Tunisia” and Young’s quirky “Luny Tune.” A must have for fans of the Hammond Organ and "O.G.D." - “ Organ/Guitar/Drums.

The Jimmy Smith/Larry Young Project Live

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Elly Kouri - I Love You Too Much

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 43:10
Size: 98,8 MB
Art: Front

(2:25)  1. Can't We Be Friends
(2:27)  2. Billie's Blues
(3:37)  3. I Love You Too Much
(3:05)  4. Second Time Around
(2:30)  5. Do I Move You
(3:28)  6. Weep No More
(2:03)  7. Tra La La
(3:52)  8. Blues Are Brewin'
(4:09)  9. Solitude
(4:27) 10. Please Send Me Someone To Love
(4:05) 11. Softly
(2:40) 12. Tomorrow Is My Turn
(4:15) 13. If We Never Meet Again

A musically intimate collection of songs reflecting on love, heartbreak and hope, soothing, yet with a surprising touch of fire.

"I Love You Too Much" is a tribute to the many aspects of love. The songs describe the initial pining and longing stages of love, the different types of rejection and separation and the final reward. The set, with some humor, weaves in the direction of this reward, love's fulfillment while celebrating individual growth through relationship. "Can't We Friends," every lover's nightmare, or "Weep No More," a rejected lover's struggle to heal, reveal that finding love has not changed much over the years. The title track, "I Love You Too Much," was a particularly appreciated discovery. Recorded by the Andrew Sisters in the 1940's, there is a light yet haunting quality that uncovers a danger in loving "...Too Much." "Tomorrow is My Turn" seems a fitting way to balance or heal that obsession and "If We Never Meet Again," is a rich and satisfying completion to love that has been lost, but deeply felt.   http://www.cdbaby.com/cd/ellykouri

I Love You Too Much

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New York Trio - Always

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 49:37
Size: 114,0 MB
Art: Front + Back

(5:19)  1. Always
(5:45)  2. Cheek To Cheek
(4:01)  3. They Say It's Wonderful
(5:23)  4. I Got The Sun In The Morning
(4:02)  5. How Deep Is The Ocean
(4:48)  6. Change Partners
(5:28)  7. What'll I Do
(5:43)  8. Isn't This A Lovely Day
(6:55)  9. The Song Is Ended
(2:07) 10. Russian Lullaby

The New York Trio, led by pianist Bill Charlap with bassist Jay Leonhart and drummer Bill Stewart, exists exclusively as a band to record for the Japanese jazz market, as Charlap has a regular trio with Peter Washington and Kenny Washington, while both Leonhart and Stewart are busy session musicians who occasionally also lead their own record dates. These 2007 sessions focus exclusively on the extensive songbook of the prolific Irving Berlin. Most of the ten tunes heard on this CD have long since become standards and are frequently recorded by jazz artists. One that isn't typically heard as an instrumental is "I Got the Sun in the Morning" (from the musical Annie Get Your Gun), heard in a loping yet infectious interpretation. "How Deep Is the Ocean" is one of Berlin's most recorded songs, yet this version sizzles with energy, unlike the typical ballad treatments. Other highlights include the breezy, joyful setting of "Cheek to Cheek," with Stewart's whispering brushes propelling Charlap's buoyant piano, along with the bittersweet "What'll I Do," featuring Leonhart's intimate solo. Even though this isn't a working band, things seem to gel quickly for The New York Trio when the group assembles to record. 

~ Ken Dryden   http://www.allmusic.com/album/always-mw0001427436

Personnel: Bill Charlap: piano; Jay Leonhart: bass; Bill Stewart: drums.

Always

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Ornette Coleman - Free Jazz

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 54:13
Size: 124,2 MB
Art: Front

(37:10)  1. Free Jazz
(17:02)  2. First Take (Bonus Track)

Alto saxophonist Ornette Coleman's masterpiece, Free Jazz: A Collective Improvisation by the Ornette Coleman Double Quartet, is one of the hinges of jazz evolution. As a musical hinge, Free Jazz, heard from this side of its development, is a bit of an anticlimax compared with the two-label, five album prelude to this point: Something Else!!!! (Contemporary, 1958), Tomorrow is the Question! (Contemporary, 1959), The Shape of Jazz to Come (Atlantic, 1959), Change of the Century (Atlantic, 1959) and This is Our Music (Atlantic, 1959). Had Coleman done nothing else but release these first five recordings, his legacy as one of the pioneers of free jazz would still be assured. But on Free Jazz Coleman took that final step into the chaos of untethered group improvisation and in doing so took the "free" in free jazz as far as it would go. Tenor saxophonist John Coltrane, taking his own route, would do the same five years later with Ascension (Impulse!, 1966). If following the cause-and-effect explanation for the development of free jazz, Coleman's music was an evolved response to the highly structured be bop of the late 1940s and early 1950s and swing-era big band jazz before that. Unlike Coltrane, free jazz's other high priest, Coleman did not have a slew of recordings before he began disassembling the genre. 

Coleman emerged anxious and impatient with the music when he started to record in 1958. Coleman's creative evolution in free jazz lasted a mere three years and was dense and rapid. Coleman took a hard right emerging from This is Our Music, increasing the size of his standard ensemble to his "double quartet." In this, Coleman solved his problem of employing sympathetic drummers Billy Higgins and Ed Blackwell and bassist Charlie Haden and Scott LaFaro by simply using them all. Coleman retains trumpeter Don Cherry, adding trumpeter Freddie Hubbard as Cherry's cohort and taking on no less than multi-reedist Eric Dolphy as his own. The modus operandi of Free Jazz is even simplier than what trumpeter Miles Davis famously employed three years earlier, when he and his famous sextet recorded Kind of Blue (Columbia, 1959): Coleman sketched out a brief and dissonant fanfare to introduce and separate solo sections of his mass improvisation and then they entered the studio and blew. This might stand as a last vestige of the traditional jazz "head-solo-head" configuration. You have to start and end somewhere. No matter how you cut it, Free Jazz cannot be heard in a post-modern vacuum. Without context, this "music" is effectively un-listenable. 

Apologists for free jazz dismiss this characteristic as part of the music's experimental nature. Needless to say, this "experimental nature" renders this music less appropriate for consideration over a glass of neat single malt and more at home with Fantasia on the television with the sound muted, under the influence of ergot's muse. That is not to imply that Free Jazz has no artistic merit, only that a bit of background more fully enhances the experience. Starting with the premise that Free Jazz, after the briefest of direction, devolves into an eight-part improvisation with all parts equally independent, observations may be noted. While nature, when left to her own devices, typically migrates from a state of order to greater disorder, the musical synthesis on Free Jazz tends to go into the opposite direction: from a greater disorder to order. "Free Jazz" begins as a schizophrenic note salad, borne in chaos and given only a whiff of direction. The music may best be described as the best New Orleans Dixieland exposed and mutated by radiation exposure. It is the phenomenon where the music, at first blush, sounds completely untethered, at least until ideas begin to coalesce. Once the piece is started in earnest, certain characteristics begin to manifest. Among these is Coleman's experiences playing blues. It saturates his playing and is present throughout the piece. Cherry's and by proxy, Hubbard's hard bop bona fides reveal themselves potently. From an ensemble point of view there is a migration through evolution, where the elements of swing can be heard in call-and-response phrasing and some natural Count Basie big band riffing emerges naturally among the horns. Also revealed is the innate sense of humor of the musicians, heard in the quotes of nursery rhymes and other jazz pieces. Again, this music is meaningless in a vacuum.

The musical environment improves as the 37-minute plus piece evolves. The end section contains provocative bass and drum interplay, occurring after the horns make their combined and separate statements. On that note, let there be no doubt that Eric Dolphy possessed the freedom vision, seemingly from the very beginning, and Freddie Hubbard's post bop experience prepared him well also. From a full-ensemble direction, it is instructive to listen to the 17-minute plus "First Take" to hear the dry run of what would become Free Jazz.

It is readily evident that the longer version benefited from a run through showing that some ideas solidified between the two versions.  Free Jazz may exist as a piece of music to possess for historic reasons rather than aesthetic musical ones. If a lesson exists in this music it is that context is always important and a little knowledge about that music is not a dangerous thing, but a catalyst to further investigation and listening. In that, lies the values of Free Jazz. ~ C.Michael Bailey   http://www.allaboutjazz.com/php/article.php?id=40430&pg=1#.Uxz13IVZhhk

Personnel: Ornette Coleman: alto saxophone; Don Cherry: pocket trumpet; Eric Dolphy: bass clarinet; Freddie Hubbard: trumpet; Scott LaFaro: bass; Charlie Haden: bass; Billy Higgins: drums; Ed Blackwell: drums.

Free Jazz

Roy Meriwether - The Art Of The Groove

Styles: Jazz
Year: 2007
File: MP3@320K/s
Time: 45:37
Size: 105,8 MB
Art: Front

(7:18)  1. I'll Take Romance
(6:26)  2. I'm Just A Lucky So And So
(6:22)  3. Woodline
(4:09)  4. Me & Mrs. Jones
(7:16)  5. Blues For Big Maceo
(4:02)  6. A Tribute To You My Lady
(4:28)  7. Sexual Healing
(5:33)  8. Jonah

A multi-dimensional and self-taught virtuoso, Roy Meriwether blends jazz, blues, and gospel with classical elements in a unique and innovative style that has drawn enthusiastic crowds to night clubs, colleges, and concert halls across the country. Born in Dayton, Ohio, Mr. Meriwether started playing piano at the age of three and had composed two pieces before he was four. Shortly thereafter, he began playing in his father’s church, accompanying the family choir, and performing with gospel singers throughout the Midwest. Mr. Meriwether turned professional with his own group at age 18 and has devoted himself to both composing and performing ever since. Reviewers are frequently impressed by his power. Critic Arnold Shaw once described him as a “two-fisted pianist who in this day of right-handed wizards has the sound of a champion, with thunder in his left hand and lightning in his right.” As recently reported in the Scottsdale, Arizona Daily Progress: “Mr. Meriwether performs both standards and original compositions with a creativity that is nothing short of genius. Meriwether himself is the epitome of a ‘giving’ musician, at his best with a responsive, listening audience. 

He does not require it, but appreciates it and rewards it with dynamite delivered with the power his hands produce.” In 1973, the National Endowment for the Arts bestowed on Mr. Meriwether a Jazz Composition Fellowship Grant for the purpose of writing a musical work tracing the history of the black experience in America. The scope and breadth of the project resulted in the 21-piece suite, BLACK SNOW, written and premiered for the United States Bicentennial Celebration, April, 1976, with the Howard Roberts Chorale and the Dayton Contemporary Dance Guild. Living in New York City since 1976, Roy continually elicits standing ovations from his audiences.  He is frequently called upon to compose specific works for special events such as the November, 1989 NAUBA Salute to Women Conference in the Bahamas, where he performed his piece, “A Tribute To You, My Lady.”

He has received numerous awards including Jamaica Queens New York Jazz Community Award, the New York Manhattan Association of Cabaret Award (MAC Award), and has been considered for a Grammy nomination. In March of 1999, Mr. Meriwether received a Lifetime Achievement to Music Award. Mr. Meriwether's sound is unmistakable and his music is timeless!  His latest releases “The Art Of The Groove”, "Inspiration", "Live at John Word's", and "Live at Gordy's", and he continues to tour regularly throughout the US and Europe. ~ Bio   http://www.roymeriwether.biz/id9.html

The Art Of The Groove

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Benita Hill - Fan The Flame / Tangerine Moon

Album: Fan The Flame
Size: 106,1 MB
Time: 45:18
File: MP3 @ 320K/s
Released: 1995
Styles: Jazz Vocals, Jazz/Pop
Art: Front

01. Old Love Letters (3:01)
02. Fan The Flame (3:09)
03. Something Old, Something Blue (2:56)
04. I'm Not Satisfied (3:56)
05. Here's To Love (3:39)
06. Winter Fire And Snow (2:52)
07. You And The Weatherman Lied (2:48)
08. Two Faces In A Texas Moon (2:57)
09. Walkin' After Midnight (2:15)
10. Take The Keys To My Heart (2:36)
11. Baptize Me In Your Love (4:08)
12. Look Homeward Angel (3:57)
13. How Are Things In Paradise (3:15)
14. Dreams That Don't Come True (3:42)

NASHVILLE- Two number one songs by Garth Brooks-and she's not even country!In the world of jazz, Benita Hill's one-two punch is hitting its mark. The former background singer for the Allman Brothers Band released her first critically acclaimed CD, Fan The Flame, and established herself as a silky-voiced stylist and hit songwriter. "Old Love Letters", the first single from the album, gained popularity across the U.S. as well as Europe; and Hill has shared the stage with Boney James, Chuck Mangione, Kirk Whalum and Bobby Lyle.
Fan the Flame elicited these raves:
"One of the top ten albums of the year"(Entertainment At Home),"An immensely involving vocalist"(Billboard),"Sexy enough to put a eunuch in the mood"(Charles Earle, In Review),"Music with a languid, timeless quality that draws on pop standards and cocktail jazz...a stylist on the order of Julie London or Peggy Lee"(Michael McCall, Nashville Scene),"An exquisitely crafted recording from an amazing talent"(Brent Clanton,KODA,Houston).
Her second CD, Tangerine Moon, features the title cut and fourteen songs ranging from the sultry Southern style "Dream About You" to a swinging "More Money". Warner Brothers recording artist Norman Brown lends his extraordinary smooth guitar on two songs. The final cut on the album, "It Was Your Song" is Benita's touching and emotional tribute to her mother, Carmen Revelle, who in the 1950's sang with a big band that broadcast live on NBC radio from the Aragon Ballroom in Chicago.
Jazz from Nashville? Jazz at its purest freely interprets myriad influences.Benita's standard-sounding original songs crossed so many boundaries that even Garth Brooks is a fan and was moved to record three of her compositions."Take The Keys To My Heart" and "Two Pina Coladas" (also a #1 single) were on his Sevens album and "It's Your Song" (renamed as a dedication to his mother) was the first single from his Double Live CD.
Benita's limited edition Christmas release, Winter Fire And Snow (written by Brendan Graham and Macdara Woods) was one of the top selling CDs of the 2000 season and was the Tennessean's critic's choice as best album of the season.
Benita has brought her original music and vocal stylings to audiences everywhere from Chicago,Myrtle Beach, Houston, London, Dublin and Rome. Her road to success has been a roller coaster ride of the highest highs and lowest lows imaginable.The thrill of having Garth Brooks, one of the world's biggest recording artists, record her songs. Divorced, and with a son to care for, finding she had lymphoma. Fully recovered now and with two top singles, Benita is here to stay. She has proved her artistry and her mettle.

Fan The Flame

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Album: Tangerine Moon
Size: 135,0 MB
Time: 57:51
File: MP3 @ 320K/s
Released: 1998
Styles: Jazz Vocals, Jazz/Pop
Art: Front

01. Dream About You (2:23)
02. Water Water Everywhere (3:44)
03. More Money (3:38)
04. Two Pina Coladas (4:24)
05. Holdin' On To Nothin' (4:01)
06. Love For The Taking (4:42)
07. Valentine Gift To Myself (4:10)
08. Tangerine Moon (2:54)
09. Lookin' For A New Old Man (4:14)
10. When Your Baby's Not Your Baby Anymore (2:47)
11. Two Afternoons In December (3:46)
12. Somebody's Lookin' For You (3:46)
13. All We Know Of Love (4:04)
14. Just Outside Your Heart (3:36)
15. Yours - It Was Your Song (5:34)

Her second CD, Tangerine Moon, features the title cut and fourteen songs ranging from the sultry Southern style “Dream About You” to a swinging “More Money”.

"An exquisitely crafted recording from an amazing artist" -- Brent Clanton, KODA-FM, Houston

"It's (It Was) Your Song" says everything I've ever wanted to say to my mom" -- Garth Brooks

"She's a talented song crafter and her delicate, frosted glass voice is perfect for her ideas" -- Rusty Russell, Music Row Magazine

Tangerine Moon

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Mike Mangan's Big Organ Trio - Unwound

Size: 156,5 MB
Time: 67:36
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Hammond B-3
Art: Front

01. On The Fritz (6:09)
02. Go For Broke (5:37)
03. Birkenstock Bandit (6:14)
04. Smack Talkin' (5:57)
05. Dragon's Triangle (5:21)
06. Fly In The Ointment (5:49)
07. Hip-Hug-Her (8:36)
08. Jo Daddy (5:24)
09. Manic Depression (3:34)
10. On All Fours (5:33)
11. Wiggle Room (9:18)

Mike Mangan's groundbreaking Hammond B3 Organ playing fuses rock, jazz, funk, and blues in a modern organ power trio. Mike Mangan is the most unique voice on the legendary Hammond Organ in the world today.

Mike Mangan's BIG ORGAN TRIO has recently released their second album, UNWOUND. Mike Mangan's new album once again includes a bevy of great musicians, and his current Big Organ Trio line up includes a spectacular rhythm section. Ryan Krieger mans the drums while Mick Linden currently covers bass duties.

Mangan has used Big Organ Trio to expand the range of the Hammond organ trio format, while diving headfirst into uncharted sonic and technical territory on the legendary keyboard.

Personnel:
Marc Ford - Guitar (Black Crowes)
Steve Molitz - Organ (Particle/Phil Lesh Band)
Skerik - Sax (Darn near everybody)
Leon Mobley - Percussion (Ben Harper)
Munyungo Jackson - Percussion (Stevie Wonder)

Unwound

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Chicago Rose - Setting New Standards

Size: 108,6 MB
Time: 46:42
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Lullaby Of Birdland (3:42)
02. I Missed You By That Much (3:50)
03. No More Blues (3:52)
04. What Are You Doing The Rest Of Your Life (3:43)
05. In The Still Of The Night (3:39)
06. My Melody Of Love (5:12)
07. Lady Be Good (3:45)
08. Autumn Leaves (2:42)
09. How Deep Is The Ocean (5:04)
10. The Days Of Wine And Roses (3:34)
11. Nature Boy (7:34)

Chicago Rose is a singer for world renowned Cirque du Soleil and was featured in a production called ZAiA that played at the Venetian Hotel Casino and Resort in Macau, China from 2008 - 2012. She has also made herself an Icon on the US National dueling piano circuit. Watching this wonderful talent is fun, entertaining and will fill any audience with energy. She has an extensive repertoire with over a thousand melodies from the nineteenth century to the present which spans a few decades of Pop Hits mixed in with Jazz, Rock Standards and unique Originals. She can be upbeat or soulful. Saucy or Romantic…in fact the spectrums of performance that she can evoke are seldom found all within the same entertainer. In truth, she is a rarity. With a winning smile, charm and onstage wit she involves her audience in the show and gets everybody moving.

This incredible woman is an international talent who is an accomplished flute player when she appears with her Jazz Ensemble Performances and is certainly at home as a solo singer in front of an ensemble. Too, in the fifteen years she has been on the pro circuit, she’s made quite a name for herself on three continents. Her recordings receive airplay currently in Spain, Belgium, Germany, Italy, Norway, Ireland, Australia, France and has appeared numerous times on WGN Radio’s - Rick Kogan Show. As well, she’s appeared a few times on national networks to include the WB Syndicate and FOX!

Setting New Standards

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