Carolyn Lee Jones - The Performer

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 61:41
Size: 144,0 MB
Art: Front

(4:41)  1. Small Day Tomorrow
(5:19)  2. East of the Sun
(4:17)  3. The Performer
(2:30)  4. Creepin'
(4:39)  5. Nearness of You
(5:01)  6. If You Were Shakespeare
(4:10)  7. I Wished on the Moon
(3:47)  8. Let's Get Lost
(4:47)  9. Plano in the Dark
(5:13) 10. Old Devil Moon
(3:53) 11. Never Let Me Go
(4:25) 12. Tell Me All About It
(2:48) 13. Lazy Afternoon
(6:05) 14. The Island

Deciding what to title this album was a toss up! The first song, Small Day Tomorrow (music by my pal Bob Dorough and lyric by Fran Landesman), I think of as my ode to corporate life. I had originally intended this as my CD title; however, the third song The Performer (by Kenny Vance and Gordon Kaswell), felt right since a performer is what I’ve very happily become. I love singing, performing and all that is involved with making music. This CD marks my 5-year anniversary as a “dedicated full-time” vocalist and bandleader. What a wonderful journey it’s been! The songs represent a wider swath of "musical genre" similar to one of my live performances. The musicians, who are my core group in Dallas and who inspire me on the bandstand, perform with me here. Individually and collectively, they have shared their talents and knowledge and have helped bring this project to life.  http://www.cdbaby.com/cd/carolynleejones2

Personnel : Carolyn Lee Jones (vocals); Brad Williams (keys, piano, synth); Jonathan Fisher (upright, electric bass); Andrew Griffith (drum set); Jorge Ginorio (percussion); Todd Parsnow (guitars); Mario Cruz (tenor sax, flute,); Shelley Carrol (tenor sax ,flute, alto flute); Joyce Spencer (alto sax); Paul Elder (bass clarinet); Tony Baker( trombone); Dave Pierce (trombone).

The Performer

---

Giovanni Mirabassi - Live At Blue Note Tokyo

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 72:01
Size: 164,9 MB
Art: Front

(8:07)  1. NY #1
(8:16)  2. It's Us
(9:26)  3. World Changes
(8:16)  4. Here's The Captain
(3:59)  5. My Broken Heart
(6:56)  6. It Is What It Is
(9:54)  7. Six For Sex
(9:43)  8. Gold And Diamonds
(7:20)  9. World Changes

"An exceptionally precise and dynamic sound recording. After the release of the two outstanding albums Terra Furiosa in 2008 and Out of Track, last year, the new album by the same trio recorded between 21st and 23rd April at the Blue Note in Tokyo is a great success. This is first due to the melodic and rhythmic richness of the nine compositions of the CD’s répertoire, displaying in turn pianist Giovanni Mirabassi’s elegiac and lilting style (My broken heart, World changes) and the swing and energy that characterize him (NY#1, It’s us). The rich improvisations with their brilliant internal logic are always followed by poetical undulating efflorescences, which are typical of the pianist’s style.  The success of this new album is also due to the trio itself, in perfect osmosis, with exceptional Leon Parker’s impressively precise drum playing and Gianluca Renzi, who constantly creates bass lines which do not only provide the melodic and rhythmic foundations of the phrasing, but can also approach what can sound like the human voice , when playing solo. This new album of remarkable sound quality which is a legendary characteristic of all CDs under Japanese label Vénus, renders Giovanni Mirabassi’s musical generosity when playing in concert, and certainly has the polished touch of all great classics."~ Choc Classica – Jean-Pierre Jackson, December 2010.

"A sense of freedom radiates from Giovanni Mirabassi Trio’s jazz. This gifted jazz pianist is sometimes likened to Bill Evans or the Che … Giovanni Mirabassi’s latest release, live in Tokyo, conveys pure communicative energy (…) The trio inaugurates the recording of an explosive concert given at the mythical Blue Note of Tokyo. We savour a refined répertoire, two-thirds of which are the pianist’s compositions, interpreted all the way through with great complicity between the three musicians. (…) The album ends with World changes, the climax of their musical alchemy. We certainly feel their communicative appetite for playing ! It is a high-class concert ! "~ L’humanité Dimanche – Maud Vergnol, 11-17 November 2010

"One evening in Tokyo… A trio really running well performs brilliantly… Everything is in place in this formation which swiftly carries us along as soon as they start playing… and enthrals us most of the time."
~ La Croix – Yann Mens, 15 November 2010.

"Walking upon the red carpet of the prestigious Blue Note in Tokyo, pianist Giovanni Mirabassi ends a trilogy which started in 2008 with Terra Furiosa (or sensuality after hours) followed by Out of Track (with some incunabula revisited) … The leader is well-known for his propensity to provoke interchange and dramatic progression in his piano playing (…) rendering perfectly identifiable atmospheres for they are so profoundly personal. Live @ the Blue Note, Tokyo constitutes once more a striking confirmation of Giovanni Mirabassi’s very personal style."~ Music Story – Christian Larrède, 17 November 2010.

"Listening to pianist Giovanni Mirabassi’s latest CD, you cannot but rejoice and be moved by the multiple joys that run through it. Every bar of this recording speaks to us… We are enraptured by its elegance, its genius and its enthusiasm…"~ Citizen Jazz.com – Michel Arcens, 6 December 2010.

"This album cannot be ignored… It is a must which will mark the end of the 2010s… An added value to all « good jazz » lovers’ record collections around the world. ".  ~ MyPercu.com – Jimmy Braun, October 2010.   http://www.mirabassi.com/en/a-livetokyo.html

Personnel:  Giovanni Mirabassi (piano); Gianluca Renzi (bass); Leon Parker (drums)

Live At Blue Note Tokyo

---

Joe Beck - Get Me

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 74:53
Size: 172,3 MB
Art: Front

(8:15)  1. Stella by Starlight
(9:11)  2. Manha de Carnaval
(0:55)  3. The Guitar Is A Six Piece Band (Spoken)
(8:16)  4. Georgia On My Mind
(8:14)  5. Alone Together
(0:47)  6. Trio Interlude (Spoken)
(8:40)  7. Tenderly
(0:16)  8. On Ballads and Drinking
(6:20)  9. I Can't Get Started
(8:12) 10. You and the Night and the Music
(1:39) 11. Jobim (Spoken)
(9:38) 12. Corcovado
(4:25) 13. Georgia On My Mind (Reprise)

It would be something of an understatement to say that the late Joe Beck was a fine guitarist. In truth, he was one of the most multifaceted players to wield the instrument during his lifetime. Beck was hailed for his funky fusion work, both as an individual and in combination with saxophonist David Sanborn, he was an ace studio musician, working with everybody from Miles Davis to Paul Simon to Gloria Gaynor, and he was a brilliant and daring interpreter of standards. It's that last aspect of his playing that shines brightly on this posthumously released live date.  If this is truly Beck's final recording, it's a great way to cap a recording career. This album was recorded in 2006, two years before lung cancer took his life, and it's a shame that it took this long for it to reach the marketplace; it's a beauty, and one that almost never came to be. Anna de Leon, the proprietor of Anna's Jazz Island in Berkeley, California, had Beck at her club for two nights in September of 2006. Beck asked her to pick out a rhythm section, which is always a risky proposition, but she obliged. Little did anybody know that the combination of Beck, bassist Peter Barshay, and drummer David Rokeach would turn out to be such a winning combination. 

After the first night, de Leon realized that this music was too good not to preserve, so she arranged to have night two recorded. It's really hard to fathom that these three men had no history together prior to those two nights. All parties combine sensitivity and a daredevil attitude to create something special. Hearing the way Beck and Barshay dovetail and overlap on "Stella By Starlight," for example, is hearing, to quote writer Whitney Balliett, "the sound of surprise." Other highlights include a not-too-tender "Tenderly," "You And The Night And The Music," and a "Manha De Carnaval" for the ages. Beck and company are respectful of the music, but never excessively reverential. These men are willing to go off on tangents a bit, making these oft-performed pieces that much more interesting. Almost every number starts off with a Beck introduction, alone worth the price of admission. What follows fluid chordal pathways, unexpected harmonics, ripping single note lines, swinging passages, and quiet scenarios is the real show. Bits of banter are interspersed throughout the album, giving Beck a chance to share recollections of Antonio Carlos Jobim, praise his musical partners of the moment, discuss drinking, and liken the guitar to a six-piece band. Anna de Leon's instincts about these Beck shows were spot-on; it's a shame that night one never got recorded, but it's a good thing night two was preserved for posterity. Beck may be gone, but he still has much to offer. ~ Dan Bilawsky  

http://www.allaboutjazz.com/php/article.php?id=47179#.U1R2ZFdSvro 
 

Personnel: Joe Beck: guitar; Peter Barshay: bass; David Rokeach: drums.
 

Get Me

---

David Newton - Inspired

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 57:38
Size: 132,6 MB
Art: Front

(6:50)  1. On A Misty Night
(6:12)  2. Just Enough
(7:56)  3. So In Love
(5:29)  4. Detour Ahead
(5:00)  5. FSR
(5:48)  6. Isfahan
(5:19)  7. I'm Getting Sentimental Over You
(5:19)  8. Lifetimes
(4:19)  9. Alone Together
(5:22) 10. Both Sides Now

Growing up in Renfrewshire, Scotland, David Newton had a musical upbringing with the piano trio sound of Peterson, Tatum or Garner an ever-present feature in the Newton household. After graduating from Leeds College of Music in 1979 he freelanced around Yorkshire and eventually became a resident musician at the Stephen Joseph Theatre in Scarborough for two and a half years. A move to Edinburgh followed where theatre work using local musicians quickly led to an established position on the Scottish jazz scene but after some four years there, his old roommate from college, Alan Barnes, persuaded him to move to London where he rapidly became a much sought after pianist teaming up with Barnes, guitarist Martin Taylor and saxophonist Don Weller. Newton's recording career had begun in 1985 with Buddy De Franco and Martin Taylor and his first solo album was released in 1988 in association with producer Elliot Meadow who oversaw the next nine years of recording for Linn Records followed by Candid Records.

In 1989 ha became Carol Kidd's musical director and pianist and as a result of his participation in her album "The Night We Called it a Day ", Linn Records asked him to record his album "Victim of Circumstance" (Linn AKD 013). It received many excellent reviews proclaiming it as "a beautifully mature and relaxed collection", "a brilliantly accomplished recording" and one to be "highly recommended ". This was followed by "Eye Witness" which received an equally strong response - "even better than his debut, which is saying something" The List. In 1997, David Newton and Alan Barnes teamed up and together with Concorde Label agent Barry Hatcher, made four CDs for that label. By 2003, Newton set up a business partnership with former pupil Mike Daymond and they established Brightnewday Records initially as a vehicle for Newton's own music but with an eye to opening up the catalogue to other artists later on. In the first five years of the nineties, Newton's reputation as an exquisite accompanist for a singer, spread rather rapidly and by '95 he was regularly working with Carol Kidd, Marion Montgomery, Tina May, Annie Ross, Claire Martin and Stacey Kent, with whom he spent the next ten years recording and travelling all over the world. 

While all this was going on, Newton was composing music which he would record on his own CDs as well as writing specifically for Martin Taylor, Alan Barnes, Tina May or Claire Martin. Indeed, Newton's music can now be heard on many television productions, especially in the United States where over twenty TV movies benefit from Newton's haunting themes. In 2003, after a twenty year gap, David Newton was reunited with playwright Alan Aykbourn having been involved with eight world premiers in Scarborough and London back in the early eighties, and he was asked to write the music for two new productions, "Sugar Daddies" and "Drowning on Dry Land". Currently, with the release of a new CD called "Inspired", on the Brightnewday label, David Newton is relishing the musical freedom of his Trio and the special sound it makes whilst working on two other new recording projects, as an arranger and a composer. David Newton has been voted Best Jazz Pianist in the British Jazz Awards six times and was made a Fellow of Leeds College of Music in 2003.  http://www.linnrecords.com/artist-david-newton.aspx

Personnel :  David Newton – piano; Matt Miles – bass; Steve Brown - drums

Inspired

---

Mimi Terris - They Say It's Spring

Size: 97,4 MB
Time: 41:49
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Vocals
Art: Front

01. They Say It's Spring (3:48)
02. West End Blues (3:57)
03. En Sadan Natt Som Denna (3:15)
04. It Won't Be You (3:27)
05. Lilac Wine (4:58)
06. I Got It Bad And That Ain't Good (5:09)
07. Rocking Chair (2:50)
08. Lover Come Back To Me (4:14)
09. Star Dust (5:07)
10. Alice (4:59)

After 28-year old Swedish-American songstress Mimi Terris spent a year in New York City, the collaboration with swing jazz pianist Gordon Webster and bass player Cassidy Holden has led to her long awaited debut album.

After growing up in a jazz-dedicated family in her childhood home of Tjörn, Sweden, further music studies led her to explore the full range of her soprano voice through 7 years of classical vocal studies in England and at the Royal Danish Music Conservatoire. During a year long break she left for the American music metropolis, searching to widen her musical range, and soon found herself immersed in early swing and vernacular jazz, performing in several of the venues dedicated to early jazz.

They say it’s spring is an enchanting showcase of Terris’ subtle, warm and expressive voice, in a closely connected trio setting, all recorded during a one day session in February 2012. The live session, including several first takes, took place at the old studio 3 in Radiohuset, the beautiful building that was the home of the The Danish Broadcasting Corporation from 1940-2007.

Featuring both rare and well-known jazz standards, intermingled with Swedish cabaret songs and contemporary works, Terris brings together a wide variety of musical flavors and eras, all held together gently but confidently, by her way of telling the individual stories.

Having studied the classical western repertoire for so many years, language interpretation and word-painting lies first and foremost in my mind when I am singing any song in any genre. Whether it’s jazz or French chansons is very secondary to me when I sing, as all songs ever written simply are stories that need to be told in harmony and rhythm.

This special collection of songs presents Webster, Holden and Terris’ own arrangements, in their own take of the old-fashioned jazz vinyl format, on They say it’s spring, due for release on CD and LP in March 2013.

They Say It's Spring

---

Bill Doggett - In A Mellow Tone

Size: 89,5 MB
Time: 38:40
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Soul/Blues
Art: Front

01. In A Mellow Tone (7:24)
02. Hey Little Doggy (7:22)
03. Coming Home (4:33)
04. Double Eddie (6:47)
05. Here's That Rainy Day (5:22)
06. Love Is Here To Stay (7:09)

ith his instrumental hit "Honky Tonk" in February 1956, Bill Doggett (born William Ballard Doggett) created one of rock's greatest instrumental tracks. Although it generated scores of offers to perform in rock & roll clubs throughout the United States, Doggett remained tied to the jazz and organ-based R&B that he had performed since the 1930s. Continuing to record for the Cincinnati-based King label until 1960, he went on to record for Warner Brothers, Columbia, ABC-Paramount and Sue. His last session came as a member and producer of an all-star jazz/R&B group, Bluesiana Hurricane in 1995.

Born on the north side of Philadelphia, Doggett struggled with poverty as a youngster. Although he initially dreamed of playing the trumpet, his family was unable to afford lessons. Persuaded by his mother (a church pianist), to try keyboards instead, he quickly mastered the instrument. Hailed as a child prodigy by his 13th birthday, he formed his first band, the Five Majors, at the age of 15.

Performing with the Jimmy Gorman Band, the pit orchestra at the Nixon Grand Theater, while still in high school, Doggett assumed leadership of the group in 1938. The experience was brief, however, as Doggett sold the orchestra to Lucky Millinder, with whom he continued to work off and on for the next four years. He made his recording debut on Millinder's tracks, "Little Old Lady From Baltimore" and "All Aboard" in 1939.

Although he formed a short-lived orchestra with Benny Goodman's arranger, Jimmy Mundy, in late 1939, Doggett continued to work primarily as a sideman. Playing piano and arranging for the Ink Spots from 1942 until 1944, he went on to arrange tunes for Count Basie's band and tour and/or record with Coleman Hawkins, Johnny Otis, Wynonie Harris, Ella Fitzgerald and Lionel Hampton. Replacing Wild Bill Davis in Louis Jordan's band, in 1947, he appeared on the influential tunes, "Saturday Night Fish Fry" and "Blue Light Boogie." He made his debut as an organist during June 1951 recording sessions with Ella Fitzgerald.

Debuting his own organ-led combo at New York nightclub, the Baby Grand, in June 1952, Doggett recorded more than a dozen singles before striking gold with "Honky Tonk" four years later.

A longtime resident of Long Island, New York, Doggett died on November 13, 1996, three days after suffering a heart attack. ~Biography by Craig Harris

In A Mellow Tone

---

Gabrielle Ducomble - J'ai Deux Amours

Size: 123,1 MB
Time: 53:07
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz: Vocals
Art: Front

01. Haven't We Met (4:54)
02. J'ai Deux Amours (4:55)
03. Libertango (6:26)
04. Spring Is Here (6:02)
05. My Little Boat (4:34)
06. La Chanson Des Vieux Amants (5:35)
07. It Might As Well Be Spring (4:43)
08. Manha De Carnaval (4:09)
09. La Javanaise (4:37)
10. Never Will I Marry (3:22)
11. That's All (3:44)

Gabrielle Ducomble: J'ai Deux Amours Belgian singer Gabrielle Ducomble began her recording career in 2003, after reaching the finale of French television's Pop Idol. After hearing Dee Dee Bridgewater Ducomble started to move towards jazz, relocated to London and graduated from the Guildhall School of Music and Drama. So, while J'ai Deux Amours is not her first recording, it is her jazz debut.

Ducomble's voice is lightly expressive, with a slight vulnerability that adds emotional depth to the more romantic or melancholy songs. Her sound and her choice of composers give her a resemblance to Stacey Kent and to Dutch singer and actress Mathilde Santing. All three are comfortable with the Great American Songbook but are also willing to explore elsewhere—Ducomble covers the songs of French writer Serge Gainsbourg ("La Javanaise") and fellow-Belgian Jacques Brel ("La Chanson Des Vieux Amants") with great sympathy here.

Any vocalist who decides to perform Astor Piazzolla's "Libertango" invites comparison with Grace Jones' darkly erotic version of the song. Ducomble and guitarist Nicolas Meier's arrangement focuses on the drama and mystery of the song to create an original interpretation that complements Jones' own. Meier's guitar playing is exceptional, combining precision and drive to conjure up an air of tension that Chris Garrick takes further with his own powerful, almost threatening violin solo. Garrick's playing is also a highlight of "Mahna de Carnaval," but this time he picks up on the song's melancholy romance to create a beautiful solo filled with longing and regret. He creates a similar mood on "La Chanson des Vieux Amants," weaving in and out of Ducomble's emotive vocal. ~Bruce Lindsay

On the opening verse of "Spring is Here" Ducomble sounds rather nervous and hesitant, and the lyric loses impact as a result. It's oddly uncharacteristic and, given the strength of her vocals on most of the songs—especially "Libertango " and "That's All"—such a lack of confidence is also unexpected. On her own arrangement of Rodgers and Hammerstein's "It Might As Well Be Spring"—from the same '09 session that produced "Spring Is Here"—Ducomble's joyously bright vocal is given terrifically upbeat musical support by the band, with pianist Alex Hutton and trumpeter Andy Davies both contributing solos that perfectly complement the singer's optimism.

J'ai Deux Amours is a welcome debut from a new European jazz vocalist. Ducomble's voice has charm, and her willingness to go beyond the standard vocal repertoire is to be applauded.

Personnel: Gabrielle Ducomble: vocals; Alex Hutton: piano; Nicolas Meier: guitar; Nick Racal: double-bass; Saleem Raman: drums; Chris Garrick: violin; John Bailey: piano (1, 10, 11); Eric Ford: drums (2, 4, 7); Andy Davies: trumpet, flugelhorn (2, 4, 7); Nathan Mansfield: trumpet, flugelhorn (1, 5, 10).

J'ai Deux Amours

---

Ana Velinova - The Thief

Size: 89,6 MB
Time: 38:34
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Vocals
Art: Front

01. Could You See Could I Say (4:41)
02. I'm Movin' On (4:21)
03. How Can I Sleep (3:33)
04. O Bebado E A Equilibrista (3:42)
05. Mystic In My Soul (3:52)
06. I Want You (3:19)
07. Baby Bye Bye (3:14)
08. Cool (3:17)
09. Nani Mi Damiancho (Bulgarian Folk Song) (4:57)
10. The Thief (3:33)

Ana Velinova has won the love of jazz fans from around the globe. Originally from Sofia Bulgaria, Ana has lived in many major US and Canadian cities such as New York, Boston, Los Angeles and Vancouver, Canada. "The Thief " is Ana Velinova's first album of predominantly original jazz compositions featuring world renowned musicians Neil Swaison (George Shearing) on bass, Willard Dyson (Cassandra Wilson, Regina Belle, Michael Franks) on drums and percussion and Misha Piatiigorksy on keys. The album was recorded and produced by Grammy Award winning producer Joby Baker at Joby Baker Studios in Canada. In the words of her band members: "Ana's "The Thief" is steal! Ana is definitely one of the most exciting vocalists and songwriters in the contemporary jazz music scene. She tells a story with energy, character, sophistication, elegance
and musical wonder.” Ana holds a Master's Degree in Jazz & Contemporary-Classical Voice Performance from the Longy School of Music in Boston, undergraduate studies in Vocal Jazz from the Musician’s Institute in Los Angeles and a diploma in classical guitar from the National Music School in Bulgaria.

The Thief

---

Marilyn Scott - Every Time We Say Goodbye

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 47:13
Size: 112,0 MB
Art: Front + Back

(5:56)  1. Every Time We Say Goodbye
(4:05)  2. I Got Lost In His Arms
(5:35)  3. Lonely Town
(4:29)  4. Detour Ahead
(4:27)  5. Do You Know The Way To San Jose?
(5:10)  6. Autumn In New York
(4:26)  7. I Love Paris
(5:04)  8. Cry Me A River
(3:20)  9. Caravan
(4:36) 10. Somewhere

Marilyn Scott has straddled several music styles over her career though she is better known as a pop or smooth jazz singer. Unfortunately, that background rarely serves a musician well who attempts a straight-ahead CD with seasoned mainstream players interpreting standards. Scott's alto voice is at best average and a bit nasal, while the use of frequent reverb is evidently to cover up for her shortcomings. Her grating inflections in each song reveal her primary music interests. Particularly annoying are Scott's draggy setting of Cole Porter's "Ev'ry Time We Say Goodbye" (which is misspelled on the cover) and the lightweight "Do You Know the Way to San Jose?" (a Burt Bacharach tune that was a hit for Dionne Warwick), which is recast in a bland bossa nova arrangement with a rather uninspired vocal. It is a shame that veterans like pianist Cyrus Chestnut, guitarist Paul Bollenback, and tenor saxophonist/clarinetist Ken Peplowski aren't featured more in these rather brief arrangements, aside from a sizzling "Caravan." The producers would have been better off writing a check to Scott and sending her packing after a few takes, while retaining the instrumentalists for their own record date. ~ Ken Dryden   

http://www.allmusic.com/album/every-time-we-say-goodbye-mw0001198488

Personnel: Bass – Gerald Cannon ; Drums – Willie Jones III ; Guitar – Paul Bollenback ; Piano – Cyrus Chestnut; Saxophone [Tenor]; Clarinet – Ken Peplowski ; Vocals – Marilyn Scott

Every Time We Say Goodbye

---

Scott Hamilton - Jazz Signatures

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 57:44
Size: 132,5 MB
Art: Front + Back

(5:05)  1. Raincheck
(7:04)  2. In Your Own Sweet Way
(7:36)  3. Jitterbug Waltz
(5:31)  4. If You Could See Me Now
(4:01)  5. Move
(5:43)  6. Byas a Drink
(6:05)  7. You Left Me All Alone
(5:46)  8. When Lights Are Low
(4:50)  9. Angel Face
(5:58) 10. John's Bunch

Continuing in his quarter-century tenure with Concord Records, Scott Hamilton is still finding fresh concepts for presenting his pre-bop tenor sax sound that went against the grain of the fusion groups when he first started recording. Taking his cue from masters like Ben Webster or Don Byas, rather than Wayne Shorter, Hamilton continued their pioneering tradition of the tenor sax as a voice-like instrument with universal emotional appeal. Hamilton pays tribute to those originators, who merged melodic urgency with emotional content, as well as to others who had the same effect in extending the vocabulary of jazz within boundaries accepted by the general public. His concept on Jazz Signatures is a simple one: recognizing through his own style the jazz artists who left their own mark on the genre, unobtrusively and yet indelibly. His choices are sometimes telling. Don Byas in particular is an insightful choice, Byas’ work inspiring other tenor players, even as he faded from public recognition after his move to Europe. Playing “Byas A Drink” with a light Latin-tinged approach, Hamilton stresses the richness of tone combined with the appeal of the improvisational lines. In addition, Hamilton goes against convention by recognizing Illinois Jacquet with a slower, evocative "You Left Me All Alone,” instead of the “signature” number, “Flying Home.” Pianists are included in Hamilton’s signatures as well, particularly Fats Waller, whose “Jitterbug Waltz” breezes along more aggressively and perhaps less unctuously than one would expect from the saxophonist.

 Dave Brubeck’s “In Your Own Sweet Way” proceeds with a light swing, Hamilton’s long tones stretching the phrasing from one chorus into the next as he lightly bends notes and adds swelling dynamics to a single note, similar to Stan Getz’s approach. And Billy Strayhorn is counted among the pianists. Hamilton animates “Raincheck” with an effortless and mature interpretation that has no need at all for gimmickry. Hank Jones’ “Angel Face” is more delicate, Hamilton’s full sound stressing the logic of its harmonic development, the meandering theme eventually weaving into a satisfying conclusion. But then the last track honors a pianist important to Hamilton’s career, John Bunch, who accompanies him throughout the album. The person who introduced Hamilton to Benny Goodman in the 1970’s, and who thus helped launch Hamilton’s career, Bunch has stayed in touch with the saxophonist through the years. Their relationship continues, as shown on Jazz Signatures, which they recorded last year in Wimbleton, England after a gig at London’s Pizza Express (where, by the way, Mose Allsoin recorded The Mose Chronicles, Vol. One. “John’s Bunch,” however, ends the project on a high note, its shuffle rhythm propelling the quartet into its controlled frenzy and then dramatically closing the CD with rolling chords, trills, growls and a blue note. ~ AAJ STAFF   http://www.allaboutjazz.com/php/article.php?id=7756#.U1LSXldSvro

Personnel: Scott Hamilton, tenor sax; John Bunch, piano; Dave Green, bass; Steve Brown, drums

Jazz Signatures

---

Bruce Barth - Daybreak

Styles: Piano Jazz
Year: 2014
File: MP3@256K/s
Time: 61:46
Size: 113,7 MB
Art: Front

(6:32)  1. Triste
(6:21)  2. Tuesday's blues
(8:28)  3. Vamanos
(5:04)  4. Moon shadows
(4:47)  5. Daybreak
(6:51)  6. Brasilia
(6:36)  7. Then three
(6:24)  8. Somehow it's true
(5:25)  9. In the still of the night
(5:13) 10. So tender

Pianist Bruce Barth starts throwing curves right out of the gate on Daybreak, transforming Antonio Carlos Jobim’s “Triste,” rhythmically and harmonically, into a buoyantly percussive, odd-meter delight. It’s one of several performances that immediately invite repeat listens, the better to appreciate the pianist’s wit and invention or to enjoy the inspired company he’s keeping this time around: trumpeter/flugelhornist Terell Stafford, vibraphonist Steve Nelson, bassist Vicente Archer and drummer Montez Coleman. While the lineup shifts from time to time, the distinctive instrumentation pays off consistently. Stafford is in terrific shape-shifting form now a hard-bop virtuoso, now a lyrical balladeer, now a master of soulfully expressive slurs that reveal deep roots and stylistic affinities. Likewise, Nelson proves adept as colorist, collaborator and foil, so much so that one wishes the two were teamed more often in this seemingly intuitive setting. 

Then again, not the least of the album’s charms is Barth and Nelson performing as a duo on the luminous ballad “Somehow It’s True,” one of seven tunes here composed by the pianist. Not long afterward, Barth and Stafford sound similarly well matched and autonomous on Keith Jarrett’s “So Tender.” Archer and Coleman play significant roles when the ensemble performances demand atmospheric touches, as they often do, but they’re also responsible for vibrantly propelling Barth’s “Tuesday’s Blues” and other highlights. Barth has now recorded 13 albums as a leader, and like many of its predecessors, Daybreak can’t help but enhance his reputation as player, composer, arranger and bandleader. ~ Mike Joyce   

http://jazztimes.com/articles/126686-daybreak-bruce-barth

Personnel: Bruce Barth (piano); Terell Stafford (trumpet, flugelhorn); Steve Nelson (vibraphone); Montez Coleman (drums).

Daybreak

---

Micheller Myrtill - Save The Last Dance For Me

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 52:32
Size: 121,1 MB
Art: Front

(4:06)  1. Save The Last Dance For Me
(3:15)  2. With A Little Help From My Friends
(3:54)  3. I Love Paris
(2:37)  4. Mr. Paganini
(4:33)  5. Historia De Un Amor
(3:43)  6. Part-time Lover
(6:02)  7. Parole, Parole
(3:53)  8. Fever
(4:40)  9. If There's Any Justice
(5:27) 10. Careless Whispers
(3:30) 11. Hushabye Mountain
(2:54) 12. Sway
(3:51) 13. Brrlak

Myrtill Micheller has been a well-known artist in the Hungarian music industry for more than ten years and is now a household name. After graduating as a jazz vocalist major from the Franz Liszt Music Academy, she started her music career as a jazz singer and vocal coach. She has performed with many Hungarian bands and solo artists such as Tamas Hevesi, Erika Zoltan, Roy and Adam, United, Animal Cannibals, Zsuzsa Cserhati, TNT, Naksi & Brunner and Istvan Lerch. Myrtill also performed a singing-acting role in the musical production Dr. Bubo and lent her vocal skills to the move classic “Meseauto” (Dreamcar) with the band Escape. She is often a singer guest of the famous Hungarian group Benko Dixieland Band. In 2006 Myrtill took part in two remarkable international singing contests. Myrtill and her guitarist partner Tibor Pinter were awarded the top eigth spot among 55 competitors in an international singing-guitar duet contest in Germany. 

Using the same unique arrangement from the competition, they recorded and released the album “Same As You” (2006). The album was very popular and was nominated for a Fonogram for Best Jazz Album of 2007 by MAHASZ. In 2006 Myrtill performed in another competition at the Lady Summertime jazz contest in Finland and reached third place. Myrtill is also a well-known performer at many Hungarian music pubs, festivals and company events.In June 2007 she was listed as one of the 50 best young Hungarian artists by one of the most remarkable newspapers of the country, the Magyar Hirlap. Myrtill, who is also known as the star singer of the popular Hungarian television show called Szombat Esti Laz (Saturday Night Fever)and is a vocal coach of the famous national singing contest Megastar. Currently, she is also releasing her third solo album called “Save the last dance for me.” In addition to the usual instruments, the arrangement also includes a special whole rhythm section and a string-quartet. We also find the beautiful, well-known jazz evergreens with different, unique arrangements.   

http://musicians.allaboutjazz.com/musician.php?id=2720#.U1bWWlchElU

Personnel:  Myrtill Micheller – voice; Richard Revesz – piano; Tibor Pinter – guitar; Sandor Sarkany – bass; Peter Kaszas – drums; Gabor Szendi – percussion; Balazs Bujtor – violin; Erika Kovacs - violin; Tunde Varasdy – viola; Bela Gal – cello; Krisztian Kurucz – cello; Andras Jasz - alt sax; Csaba Deseo - violin

Save The Last Dance For Me

---

Madeline Eastman & Tom Garvin - Bare - A Collection of Ballads

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 57:17
Size: 131,5 MB
Art: Front

(3:57)  1. Not Like This
(8:12)  2. O Cantador
(5:07)  3. Listen Here
(5:03)  4. Never Let Me Go
(9:15)  5. My Ship/ Soul Eyes
(5:00)  6. I'm Gonna Laugh You
(4:13)  7. Bilhete
(5:42)  8. You Better Go Now
(5:16)  9. Lucky To Be Me
(5:28) 10. Funeral Blues/ Turn Out The Stars

This set of sensitive ballads features singer Madeline Eastman, who is accompanied by just pianist Tom Garvin. It immediately reminds one of Irene Kral's collaborations with Alan Broadbent in the 1970s and sometimes comes close to being as coolly emotional. Eastman is probably best-known for her wit, scatting ability, and swinging style, so this project is a departure for her. All of the songs are taken pretty slow and the emphasis is on her interpretations of the lyrics. Overall, Eastman succeeds in setting a dark and desolate but often hopeful mood, recording a date worth several listens, particularly when one is in an introspective mood. ~ Scott Yanow   http://www.allmusic.com/album/bare-a-collection-of-ballads-mw0000011402.

Personnel: Madeline Eastman (vocals); Tom Garvin (piano).

Bare, A Collection of Ballads

---

Eddie Higgins - By Request

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 56:39
Size: 130,4 MB
Art: Front

(3:46)  1. St. Louis Blues
(3:58)  2. Georgia on My Mind
(4:28)  3. Old Folks
(3:11)  4. Sweet Georgia Brown
(4:18)  5. A Hundred Years from Today
(1:55)  6. Eustis Rag
(3:05)  7. Carinhoso
(4:11)  8. Body and Soul
(4:11)  9. We'll Be Together Again
(4:18) 10. Back Home Again In Indiana
(4:02) 11. What's New
(2:28) 12. Magnolia Rag
(3:50) 13. As Time Goes By
(3:52) 14. Sleigh Ride
(2:34) 15. Squeeze Me
(2:24) 16. Little Rock Getaway

Originally a Statiras LP recorded in 1986, when this date was reissued as a CD in 1992, Eddie Higgins went back into the studio and recorded five solos (including his "Magnolia Rag") to increase the release's length. The bulk of the set is the earlier trio date with bassist Milt Hinton and drummer Bobby Rosengarden, which primarily sticks to warhorses that are often requested of Higgins and most other jazz pianists. Highlights include "St. Louis Blues," "A Hundred Years from Today," "Little Rock Getaway," "Indiana," and "Sweet Georgia Brown." A strong all-around set from the underrated mainstream pianist. ~ Scott Yanow   http://www.allmusic.com/album/by-request-mw0000724266

Personnel: Eddie Higgins (piano); Bobby Rosengarden (drums).

By Request

---

Harry Allen & The Bill Charlap Trio - Plays Ellington Songs

Styles: Saxophone And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 65:37
Size: 150,6 MB
Art: Front

(7:10)  1. C-Jam Blues
(7:05)  2. Solitude
(5:02)  3. Moon Indigo
(1:37)  4. It Don't Mean a Thing
(6:40)  5. Lush Life
(7:42)  6. Just Squeeze Me
(9:05)  7. Things Ain't What They Used to Be
(4:18)  8. Caravan
(4:09)  9. Take the 'A' Train
(7:51) 10. Cotton Tail
(4:54) 11. Sophisticated Lady

Duke Ellington fans are an odd lot, and it took last years celebration of the centennial of his birth to bring out the crankiest of Ellington cranks. What follows is not my review of tenor saxophonist Harry Allen's tribute to Ellington, but real and mostly imagined reactions. You see, as a jazz fan, I haven't immersed myself into the minutia of Ellingtonia like others have (and you know who you are). The Ellington-phile, like the Coltrane, Miles, or Satchmo devotee, knows dates, line-ups, and has searched for every radio broadcast tape available. They spent most of last year either saving for the huge complete retrospective boxsets or ranting about the proper centennial tribute. One reader wrote to complain that the Japanese magazine Swing Journal's poll to select the tunes for this album missed dozens of popular (more like obscure) Ellington classics. 

They pointed out that Allen, in 1994 produced two wonderful Billy Strayhorn tributes for the Progressive jazz label. Others complained that Allen's notoriety in Japan stems from his classic swing tenor sound. Others scolded me for how I characterized his tone. Many said he was a cross between Ellington alumni such as Ben Webster and Paul Gonzales. Some said his breathy tone was all-Stan Getz or Zoot Sims. Readers decried him a throwback to Lester Young. Note: to this point, no one has said his playing wasn't luxuriously complete.As for his band, many wrote that they bought the disc to get their Ellington fix but fell hard for pianist Bill Charlap's trio. A hit in the jazz critics' community, Charlap and company has been recording for the Dutch label Criss Cross of late. Soon to be a star in the US, his near-perfect approach reminded readers more of Tommy Flanagan or Hank Jones than Duke Ellington. 

They criticized me for praising Charlap for not being derivative of Ellington's piano styling. Then again, others criticized me for not stating that he was in fact derivative of Ellington's piano sound. I called it a draw, because they all praised his work. I won't repeat the death threats, even the ones from family members, over Allen's taking liberties with some of the arrangements. In duo with Charlap, they slow "A" Train way down and further slow down "Solitude." Maybe, just maybe Duke, would smile on this glorious tribute. I can't say, but most Ellington fans agreed, just before they returned for their search for a radio air check circa 1949. ~ Mark Corroto   

http://www.allaboutjazz.com/php/article.php?id=5698#.U1LWqVdSvro
 

Personnel: Harry Allen: tenor saxophone; Bill Charlap: piano; Peter Washington: bass; Kenny Washington: drums.

Plays Ellington Songs

---

Ken Clark Organ Trio - Mutual Respect

Size: 110,8 MB
Time: 47:19
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Hammond Organ, Funk
Art: Front

01. K Mart Special (3:14)
02. Lil' Joe (4:52)
03. The New Sound (4:53)
04. For Now (4:15)
05. Close The Door (4:35)
06. I Just Woke Up (3:58)
07. Kato (4:08)
08. Mutual Respect (4:23)
09. Nocturne (5:15)
10. Frustration (4:03)
11. Influence (3:38)

Getting down and getting funky, Ken Clark heats things up with a hip attitude. His trio provides the spark to get things moving as the program moves dynamically through eclectic moods. Clark's song list, consisting mostly of originals, affords plenty of variety. From slow, romantic R&B to hip-hop stompers, he grooves with spirit.

Drummer Steve Chaggaris provides a striking backbeat, guitarist Mike Mele solos with fire, and organist Ken Clark creates murals that are made up of "organic" elements. It's true-life stuff from the guys down the street. Clark's trio lends that kind of a credible familiarity to the program.

"Mutual Respect" stutters with a driving swirl. The trio's anthem allows heels to cool while pushing forward in a motion designed for comfort. The song's structure allows them room for an explosion of creative fire. Here, they've captured the essence of mutual respect by working together cohesively to release spasms of energy. Clark sings "Close the Door" with blues on his mind. Romantic R&B colors give the room a glow that's suited to a sultry mood, as the trio oozes with the spirit.

The trio's lightweight funk session comes with a familiar appearance. You get the feeling that you've met these players before. Like the house band from your favorite downtown nightspot, Ken Clark's organ trio gives you the kind of performance that rings familiar. ~Jim Santella

Personnel: Ken Clark: organ, electric piano, vocals; Mike Mele: guitar; Steve Chaggaris: drums.

Mutual Respect

---

Sinne Eeg - Face The Music

Size: 115,8 MB
Time: 50:03
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front & Back

01. What A Little Monolight Can Do (5:20)
02. Crowded Heart (5:20)
03. The Best I Ever Had (4:34)
04. High Up In The Sky (4:23)
05. Somewhere (4:40)
06. Let's Face The Music And Dance (5:11)
07. Taking It Slow (4:43)
08. New Horizons (4:00)
09. I Draw A Circle (4:22)
10. What Are You Doing The Rest Of Your Life (3:38)
11. Caravan (3:48)

”A fully mature artist who dares to take chances, and succeeds with an instinctive feeling that lends credibility to everything she does.” - Boris Rabinowitsch, Politiken (Danish national daily newspaper) Sinne Eeg released Waiting For Dawn - her second album in her own name - in August 2007, four years after the release of her debut CD Sinne Eeg. Waiting For Dawn has stirred up a great deal of enthusiasm, both among critics and the listening public, and 2007 Sinne Eeg recieved a Danish Music Award (vocal jazz album of the year) for this album. ”Not a single track seems superfluous; not one passage in a song seems lacking – which is why the album is so masterful. Immediately accessible, but at the same time so complex that new layers are constantly revealing themselves.” – Gaffa (Danish music magazine) ”A voice that is warm and tremendously expressive - sometimes revealing a touch of fragility - and whose emotional register ranges from delicate modesty to explosiveness, without falling for the temptation of over dramatizing. Add to this a talent for phrasing and a rhythmic emancipation that makes the music come alive in a way I have not experienced in any other Danish singer. It is equally rare to encounter a CD release containing a series of newly-written songs that are such gems.” - Boris Rabinowitsch, Politiken Sinne Eeg has been exceptionally busy on the Danish music scene - and has also made several tours of Japan and China – during the four years that have passed between her 2003 CD debut and her 2007 release Waiting For Dawn.

Face The Music

---

Carolyn Martin - A Platter Of Brownies: The Music Of Milton Brown

Size: 128,6 MB
Time: 54:39
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Swing, Big Band, Vocals
Art: Front

01. Right Or Wrong (2:50)
02. Sittin' On Top Of The World (4:39)
03. Keep Knockin' But You Can't' Come In (2:52)
04. Some Of These Days (4:06)
05. Who's Sorry Now (2:49)
06. There'll Be Some Changes Made (3:08)
07. In The Shade Of The Old Apple Tree (4:09)
08. Chinatown My Chinatown (3:23)
09. Four Or Five Times (3:11)
10. Sweet Georgia Brown (3:30)
11. I'm Confessin' (That I Love You) (4:01)
12. Down By The Ohio (3:27)
13. The Waltz You Saved For Me (3:44)
14. Take It Slow And Easy (3:13)
15. Wabash Blues (4:21)
16. Musical Brownies Theme (1:09)

Why I recorded a “Platter of Brownies: The Music of Milton Brown”, by Carolyn Martin

I’ve always taken a rather broad view about what qualifies as “western swing.” I’ve recorded brand new compositions as well as songs from Broadway shows and beloved movies. I've recorded songs by artists from Hank Williams and Faron Young to Duke Ellington and Rosemary Clooney, as well as classics by those giants on whose shoulders all of us who make this music stand: Bob Wills, Spade Cooley and Cindy Walker.

For this project, the band and I decided we would tap into the roots of the genre – and that led us straight to the music of Milton Brown and His Musical Brownies. We had Milton’s complete recordings with us while we were on tour in Canada last summer, and once we decided to do the record, we discovered that our job was not so much finding songs that we liked but choosing which songs to discard – not an easy task!

In the end, the 16 songs on “A Platter of Brownies” are a fair representation of the Brownies’ varied repertoire. Our goal was not to duplicate the sound of the original recordings; our arrangements, which were group efforts done in the studio immediately prior to recording, were fashioned to suit our inclinations and musical tastes while trying to retain the energy and spirit of the Brownies’ wonderful versions.

This album would not have been possible without the incredible musicians and singers who wholeheartedly contributed their talents to this project. Thanks to all of you. You swing hard! ~Carolyn Martin

A Platter Of Brownies

---

Rondi Charleston - In My Life

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 61:28
Size: 144,2 MB
Art: Front

(3:22)  1. Beautiful
(3:37)  2. Until
(4:56)  3. In My Life
(4:42)  4. Someone to Light Up My Life
(5:07)  5. Bewitched, Bothered, and Bewildered
(4:51)  6. Ancient Steps
(4:08)  7. I'm Old Fashioned
(4:19)  8. I Believe in You
(4:43)  9. Baby Don't Quit Now
(4:33) 10. Estate
(3:41) 11. Shall We Dance
(3:30) 12. Waltz for Debby
(5:20) 13. Telescope
(4:34) 14. Fragile as a Song

This CD, In My Life, should help this talented vocalist achieve the recognition she deserves. Two fine earlier recordings on LML Music (2001's Love Letters and 2004's Love Is The Thing) did not receive wide notice or distribution. This release, accompanied by a Virgin Megastores national in-store performance tour, should change that. Charleston and pianist/musical director Bruce Barth have chosen an eclectic collection of material. It ranges from well-known Great American Songbook tunes, "Bewitched, Bothered and Bewildered" and "I'm Old Fashioned to the lesser-known, "Baby Don't Quit Now," by Johnny Mercer and Jimmie Rowles. It includes two Tom Jobim songs, a Bill Evans gem, the Lennon and McCartney title track and the Charleston/Barth composition, "Telescope." Sting and Carole King are also both represented. Only four selections overlap between the two discs. Charleston proves equally adept at all of it, weaving the disparate material into a memorable performance. Charleston's voice is both polished and powerful. She is equally capable of caressing the lyrics as she does on "Waltz for Debbie" and "Estate, or swinging authoritatively as she does on the Jobim songs. "I love the tradition of jazz, says Charleston, "and how...it encourages artists to creatively move the music forward, beyond the genre, expanding one's own musical vocabulary." Her performance of "Beautiful, from King's classic Tapestry (Ode, 1971), offers an excellent example of Charleston's rapport with tenor saxophonist Joel Frahm, lifting the song to another level, with guitarist Adam Rogers contributing one of several outstanding solos. 

That rapport between Charleston and Frahm puts its stamp on much of the music. Frahm's solo on The Beatles' tune is one of many fine contributions. Barth, whose work with vocalists includes, notably, a recent stint with Tony Bennett and who shares credit for these arrangements with Charleston, also stands out. Their collaboration on "Bewitched is truly lovely. Frahm again solos impressively. The musicians include Sean Smith on bass and Hadar Noiberg on flute, as well as Clarence Penn on drums (Alvester Garnett replaces Penn on the DVD). Some CD tracks include very tasteful and subtle strings arranged by Barth. The inclusion of the DVD adds something substantial. The CD recording stands on its own as a fine piece of work, however watching Charleston live with her talented band reinforces the impression that she is a special talent. The jazz world should take notice. ~ Geoff Mirelowitz   

http://www.allaboutjazz.com/php/article.php?id=27425#.U1Bnb1dSvro

Personnel:  Rondi Charleston: vocals; Bruce Barth: piano; Sean Smith: bass; Clarence Penn: drums; Joel Frahm: tenor saxophone; Adam Rogers: guitars; Hadar Noiberg; flute; Erik Charleston: vibes; Barbara Allen: harp; Meg Okura: strings; Tanya Kalmanovitch: strings; Antoine Silverman: strings; Mary Wooten: strings.

In My Life

---

Ella Fitzgerald - The Diamond Collection

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 179:22
Size: 416,4 MB
Art: Front

(4:01)  1. I Get a Kick Out of You
(2:46)  2. I've Got You Under My Skin
(3:33)  3. Just One of Those Things
(5:30)  4. Prelude to a Kiss
(3:54)  5. My Funny Valentine
(5:00)  6. Summertime (feat Louis Armstrong)
(3:25)  7. Fascinatin' Rhythm
(3:32)  8. Ev'ry Time We Say Goodbye
(3:08)  9. I Got Rhythm
(5:21) 10. Sophisticated Lady
(3:37) 11. So Rare
(3:33) 12. A Foggy Day
(5:14) 13. Stormy Weather
(3:16) 14. Lover
(4:52) 15. Embraceable You
(4:53) 16. Embraceable You (Remastered)
(3:17) 17. How About Me?
(3:26) 18. Isn't It a Pity?
(3:52) 19. The Man I Love
(2:57) 20. Let's Face the Music and Dance
(3:16) 21. Change Partners
(3:34) 22. But Not for Me
(3:28) 23. (You Forgot To) Remember
(2:36) 24. Imagination
(3:24) 25. The Lady Is a Tramp
(2:37) 26. My One and Only
(2:17) 27. Puttin' on the Ritz
(3:39) 28. Lush Life
(3:15) 29. I've Got a Crush on You
(3:14) 30. I Concentrate on You
(1:44) 31. All of You
(3:55) 32. Love Is Here to Stay
(3:38) 33. Begin the Beguine
(3:31) 34. Georgia on My Mind
(2:50) 35. Manhattan
(3:30) 36. 'S Wonderful
(3:05) 37. Dream a Little Dream of Me
(5:54) 38. Love for Sale
(2:09) 39. Solitude
(2:53) 40. Misty
(4:58) 41. Mack the Knife
(2:45) 42. With a Song in My Heart
(4:10) 43. That Old Black Magic
(3:05) 44. Night and Day
(3:12) 45. Tenderly
(3:17) 46. I've Got the World on a String
(3:13) 47. But Not for Me
(4:01) 48. Star Dust
(3:53) 49. The Man I Love
(2:47) 50. In a Sentimental Mood

"The First Lady of Song," Ella Fitzgerald was arguably the finest female jazz singer of all time (although some may vote for Sarah Vaughan or Billie Holiday). Blessed with a beautiful voice and a wide range, Fitzgerald could outswing anyone, was a brilliant scat singer, and had near-perfect elocution; one could always understand the words she sang. The one fault was that, since she always sounded so happy to be singing, Fitzgerald did not always dig below the surface of the lyrics she interpreted and she even made a downbeat song such as "Love for Sale" sound joyous. However, when one evaluates her career on a whole, there is simply no one else in her class. One could never guess from her singing that Ella Fitzgerald's early days were as grim as Billie Holiday's. Growing up in poverty, Fitzgerald was literally homeless for the year before she got her big break. In 1934, she appeared at the Apollo Theater in Harlem, winning an amateur contest by singing "Judy" in the style of her idol, Connee Boswell. 

After a short stint with Tiny Bradshaw, Fitzgerald was brought to the attention of Chick Webb by Benny Carter (who was in the audience at the Apollo). Webb, who was not impressed by the 17-year-old's appearance, was reluctantly persuaded to let her sing with his orchestra on a one-nighter. She went over well and soon the drummer recognized her commercial potential. Starting in 1935, Fitzgerald began recording with Webb's Orchestra, and by 1937 over half of the band's selections featured her voice. "A-Tisket, A-Tasket" became a huge hit in 1938 and "Undecided" soon followed. During this era, Fitzgerald was essentially a pop/swing singer who was best on ballads while her medium-tempo performances were generally juvenile novelties. She already had a beautiful voice but did not improvise or scat much; that would develop later. On June 16, 1939, Chick Webb died. It was decided that Fitzgerald would front the orchestra even though she had little to do with the repertoire or hiring or firing the musicians. She retained her popularity and when she broke up the band in 1941 and went solo; it was not long before her Decca recordings contained more than their share of hits. She was teamed with the Ink Spots, Louis Jordan, and the Delta Rhythm Boys for some best-sellers, and in 1946 began working regularly for Norman Granz's Jazz at the Philharmonic. Granz became her manager although it would be nearly a decade before he could get her on his label. A major change occurred in Fitzgerald's singing around this period. 

She toured with Dizzy Gillespie's big band, adopted bop as part of her style, and started including exciting scat-filled romps in her set. Her recordings of "Lady Be Good," "How High the Moon," and "Flying Home" during 1945-1947 became popular and her stature as a major jazz singer rose as a result. For a time (December 10, 1947-August 28, 1953) she was married to bassist Ray Brown and used his trio as a backup group. Fitzgerald's series of duets with pianist Ellis Larkins in 1950 (a 1954 encore with Larkins was a successful follow-up) found her interpreting George Gershwin songs, predating her upcoming Songbooks series. After appearing in the film Pete Kelly's Blues in 1955, Fitzgerald signed with Norman Granz's Verve label and over the next few years she would record extensive Songbooks of the music of Cole Porter, the Gershwins, Rodgers & Hart, Duke Ellington, Harold Arlen, Jerome Kern, and Johnny Mercer. Although (with the exception of the Ellington sets) those were not her most jazz-oriented projects (Fitzgerald stuck mostly to the melody and was generally accompanied by string orchestras), the prestigious projects did a great deal to uplift her stature. 

At the peak of her powers around 1960, Fitzgerald's hilarious live version of "Mack the Knife" (in which she forgot the words and made up her own) from Ella in Berlin is a classic and virtually all of her Verve recordings are worth getting. Fitzgerald's Capitol and Reprise recordings of 1967-1970 are not on the same level as she attempted to "update" her singing by including pop songs such as "Sunny" and "I Heard It Through the Grapevine," sounding quite silly in the process. But Fitzgerald's later years were saved by Norman Granz's decision to form a new label, Pablo. Starting with a Santa Monica Civic concert in 1972 that is climaxed by Fitzgerald's incredible version of "C Jam Blues" (in which she trades off with and "battles" five classic jazzmen), Fitzgerald was showcased in jazz settings throughout the 1970s with the likes of Count Basie, Oscar Peterson, and Joe Pass, among others. Her voice began to fade during this era and by the 1980s her decline due to age was quite noticeable. Troubles with her eyes and heart knocked her out of action for periods of time, although her increasingly rare appearances found Fitzgerald still retaining her sense of swing and joyful style. By 1994, Ella Fitzgerald was in retirement and she passed away two years later, but she remains a household name and scores of her recordings are easily available on CD.  https://itunes.apple.com/gb/artist/ella-fitzgerald/id73568#fullText

The Diamond CollectionPart.1

The Diamond CollectionPart.2

---