Helen Merrill - You've Got A Date With The Blues

Bitrate: 320K/s

Time: 36:43

Size: 84.1 MB

Styles: Vocal jazz

Year: 1959/2006

Art: Front

[5:21] 1. The Blues From Black, Brown And Beige

[3:33] 2. Am I Blue

[3:17] 3. Blue Gardenia

[3:27] 4. You've Got A Date With The Blues

[3:34] 5. The Thrill Is Gone

[3:08] 6. (Ah The Apple Trees) When The World Was Young

[3:36] 7. Blues In My Heart

[3:22] 8. Vous M'eblouissez (You Go To My Head)

[2:45] 9. Lorsque Tu M'embrasses (Just Squeeze Me)

[3:05] 10. The Meaning Of The Blues

[1:31] 11. Signing Off

Helen Merrill dates are always something special. This set for Metrojazz, which has been reissued as a Verve CD, matches the cool-toned yet inwardly heated singer with an all-star sextet arranged by Quincy Jones and featuring solos by trumpeter Kenny Dorham and either Frank Wess or Jerome Richardson on flute and tenor. The repertoire includes versions of "You Go to My Head" and "Just Squeeze Me" sung in French, a couple of numbers by producer Leonard Feather, Duke Ellington's "The Blues From Black, Brown and Beige," and a haunting rendition of "The Thrill Is Gone." Recommended. ~Scott Yanow

You've Got A Date With The Blues

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Stan Getz - The Essential Stan Getz: The Columbia Years (2-Disc set)

One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself and to his credit he never stopped evolving.

Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16, followed by stints with Stan Kenton (1944-1945), Jimmy Dorsey (1945), and Benny Goodman (1945-1946); he soloed on a few records with Goodman. Getz, who had his recording debut as a leader in July 1946 with four titles, became famous during his period with Woody Herman's Second Herd (1947-1949), soloing (along with Zoot Sims, Herbie Steward, and Serge Chaloff) on the original version of "Four Brothers" and having his sound well-featured on the ballad "Early Autumn." After leaving Herman, Getz was (with the exception of some tours with Jazz at the Philharmonic) a leader for the rest of his life.

Throughout his career Getz recorded as a leader for Savoy, Spotlite, Prestige, Roost, Verve, MGM, Victor, Columbia, SteepleChase, Concord, Sonet, Black Hawk, A&M, and EmArcy among other labels (not to mention sessions with Lionel Hampton, Dizzy Gillespie, and Gerry Mulligan) and there are dozens of worthy records by the tenor currently available on CD. ~Scott Yanow

Album: The Essential Stan Getz: The Columbia Years (Disc 1)
Bitrate: 320K/s
Time: 74:37
Size: 170.8 MB
Styles: Saxophone jazz
Year: 2013

[ 3:53] 1. Early Autumn
[ 3:47] 2. Blue Getz Blues
[ 4:16] 3. Blue Serge
[ 4:29] 4. Clear Out Of This World
[ 5:15] 5. Misty
[ 7:01] 6. Who Cares
[ 5:49] 7. Lester Left Town
[ 5:39] 8. The Peacocks
[ 4:52] 9. What Am I Here For
[ 3:58] 10. Skylark
[10:35] 11. Invitation
[ 9:58] 12. Summer Night
[ 4:59] 13. Polka Dots & Moonbeams

The Essential Stan Getz: The Columbia Years (Disc 1)

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Album: The Essential Stan Getz: The Columbia Years (Disc 2)
Bitrate: 320K/s
Time: 76:46
Size: 175.7 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[15:31] 1. tanglewood concerto
[ 5:42] 2. A Song After Sundown
[ 3:50] 3. The Girl From Ipanema
[ 3:29] 4. Double Rainbow
[ 4:40] 5. Aguas De Marco
[ 5:19] 6. Ligia
[ 5:16] 7. E Preciso Perdoar
[ 4:01] 8. Retrato Em Branco E Preto
[ 8:09] 9. Five Hundred Miles High
[ 4:14] 10. Lush Life
[ 5:06] 11. Captain Marvel
[11:24] 12. Infant Eyes

The Essential Stan Getz: The Columbia Years (Disc 2)

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Raphael Wressnig's Organic Trio - Cut A Little Deeper On The Funk

Bitrate: 320K/s

Time: 52:37

Size: 120.4 MB

Styles: Organ jazz

Year: 2008

Art: Front

[4:46] 1. Road To Detroit

[4:37] 2. N.O.T. Aka N'awlins Thang

[7:06] 3. Cut A Little Deeper On The Funk

[4:41] 4. Ridin'

[5:17] 5. Stringdance

[7:40] 6. Exit Soul-Ville

[7:01] 7. Midnight On The Bayou

[4:45] 8. Twenty Four

[6:39] 9. Growlin' The Blues

Raphael Wressnig was 28 at the time of this recording but is already considered one of Europe's top jazz organists. On this CD, Wressnig plays the usual assortment of blues and soul-jazz grooves but also stretches his instrument by playing some music that borders on the avant-garde, some funk, a second-line New Orleans parade rhythm groove, a soulful country ballad, and even hints of hip-hop. Two songs are performed solely by Wressnig's Organic Trio, a unit that had been together for six years by 2008, featuring the fine guitarist Georg Jantscher and drummer Lukas Knöfler. Three numbers add either tenor saxophonist Craig Handy or Christian Bachner, two others have the team of trumpeter Eric Bloom and tenorman Sax Gordon, and the remaining two find percussionist Luis Ribeiro making the group a quartet. The constant changes in instrumentation along with the wide variety of styles give Cut a Little Deeper on the Funk plenty of variety, but the main reason to pick up this CD is to discover the brilliant playing of Raphael Wressnig. ~Scott Yanow

Cut A Little Deeper On The Funk

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Novabossa - S/T

Bitrate: 320K/s
Time: 38:25
Size: 88.0 MB
Styles: Bossa Nova, Latin jazz
Year: 2005
Art: Front

[4:01] 1. O Barquinho (My Little Boat)
[2:52] 2. Wave
[2:46] 3. The Look Of Love
[2:56] 4. Garota De Ipanema
[3:00] 5. Corcovado
[3:02] 6. You Don't Know Me
[2:42] 7. Dindi
[3:02] 8. Skylark
[3:30] 9. Smile
[4:27] 10. The Nearness Of You
[3:13] 11. My One And Only Love
[2:48] 12. The Look Of Love (Sax Version)

novabossa, a Seattle-based jazz/bossa nova quintet, performs the music of Antonio Carlos Jobim and a selection of great standards and sultry ballads. Featuring the stunning vocals of Márcia Távora; and the spirited musical stylings of Marty Jourard (keyboards), Frederick Cockfield (bass), Peter Caruso (guitar) and Eric Larson (drums/perc), novabossa combine the best of two musical worlds: Brazil's beautiful bossa nova, and elegant tunes from the Great American Songbook.

Novabossa

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Adelaide Ruble - Come Fly With Me

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 36:15
Size: 85,5 MB
Art: Front

(2:16)  1. On The Street Where You Live
(4:00)  2. A Nightingale Sang In Berkley Square
(2:38)  3. Come Fly With Me
(3:36)  4. Do You Know What It Means To Miss New Orleans
(4:29)  5. I've Got You Under My Skin
(2:25)  6. They Can't Take That Away From Me
(2:32)  7. I Get Along Without You Very Well
(2:25)  8. A Wink And A Smile
(3:39)  9. Don't Worry Bout Me
(2:12) 10. Devil May Care
(2:42) 11. I Thought About You
(3:16) 12. I See Your Face Before Me

Adelaide Ruble evidently makes her debut recording as a leader with Come Fly with Me. The Washington, D.C., area resident digs deeply into a number of frequently recorded gems from the Great American Songbook, backed by a strong band anchored by keyboardist and guitarist Rick Eldridge and some terrific trombone by Harry Watters. Ruble has a warm alto voice and an almost conversation approach, though occasionally with a touch of excessive vibrato that seems to come from nervous energy. She's best on the slow ballads like a heartfelt "I Get Along Without You Very Well" (a lovely duet with Eldridge on piano) and a sassy, brisk treatment of "Devil May Care" (complemented by Watters' tasty licks). Ruble avoids many of the traps that singers can fall into, like running a song into the ground with excessive choruses (only one runs past the four-minute mark), though the CD is rather brief at just over 36 minutes. Adelaide Ruble's initial release is a promising beginning to her career as a recording artist. ~ Ken Dryden  http://www.allmusic.com/album/come-fly-with-me-mw0000515926.

Come Fly With Me

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Rebecca Zapen - Nest

Styles: Pop/Rock
Year: 2011
File: MP3@320K/s
Time: 40:29
Size: 123,4 MB
Art: Front

(2:31)  1. Beautiful Love Songs Without the Love
(4:09)  2. Peace
(3:58)  3. Ledge
(2:29)  4. Swamp Pit
(3:07)  5. Lakewood
(3:09)  6. I'm Gonna Make So Many Things For You
(3:03)  7. 888
(1:41)  8. Tiny and Strong
(3:51)  9. You Did Me Wrong
(2:38) 10. Grandfather's Song
(2:36) 11. Jacaranda
(4:03) 12. Addicted to Love
(3:06) 13. Colorado

Barely out of the starting gate, Rebecca Zapen's brand-new release, Nest, was awarded Florida Album of the Year 2011 (Florida Times-Union). The album's delicate, cinematic, lush new folk forays into Americana, bossa nova, and pop. In essence, Zapen made Nest while she was building a nest of her own, with husband and recording engineer Jeremy Douglass, who also plays keyboards and melodica on the new album. The two met when Jeremy (from St. Petersburg) was searching for a string player for a friend's recording project and found classically-trained violinist Rebecca (in Jacksonville). After corresponding for a while, a chance gig allowed the two to meet and it was love at first sight. It was bashert, fate. In a dizzy, giddy whirlwind, Rebecca moved to St. Pete where they soon married and started a family. The recording for Nest began when Rebecca was 6 months pregnant, during which time they laid down all the rhythm tracks before baby Joel came into the world. They took a break from the recording as they adjusted to being new parents and getting back into the swing of gigging and such. After 13 months away from the recording they dedicated themselves to finishing it, burning the midnight oil (and 1 and 2am oil), and had it mastered when Joel was 20 months old.

Twelve of the thirteen tracks on Nest are originals, with one cover, a bossa nova version of Robert Palmer's "Addicted to Love". Singer and multi-instrumentalist Zapen plays violin, guitar, ukulele, and cavaquiño on the album, which hops genres from the finger-picked folk and lush vocal harmonies and strings of "Peace", to the sultry bossa nova rhythms of "Ledge" and "Addicted to Love", to the stark Appalachian twang of "Colorado", in which Zapen delivers one of her most powerful songs with the simplest arrangement of voice and violin. Ukulele and its South American cousin the cavaquiño make an appearance on "Tiny and Strong" and "Beautiful Love Songs Without the Love", respectively. Rebecca forays into pop with her feel-good "I'm Gonna Make So Many Things For You", and features autobiographical songs "Jacaranda", "888", "Lakewood", and "Grandfather's Song". 

The cinematic "You Did Me Wrong" moves seamlessly from folk to string-driven pop to spaghetti western to jazz waltz. The songs' instrumentations vary, including support from violin, double bass, drums, clarinet, trumpet, trombone, and keyboards. And there is Zapen's beautiful voice, lilting and crooning, with purity of tone and minimal use of vibrato, although she reveals a rarely-heard facet of her voice, belting key phrases in "Colorado". Said one listener, "your voice made my heart break into a million pieces".http://www.cdbaby.com/cd/rebeccazapen

Nest

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Louis Stewart - Overdrive

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 71:49
Size: 164,4 MB
Art: Front

( 5:30)  1. All The Things You Are
( 9:44)  2. (Oh) Lady Be Good
( 8:04)  3. Polka Dots And Moonbeams
( 6:37)  4. Oleo
( 7:17)  5. Yesterdays
( 5:50)  6. Stomping At The Savoy
(11:23)  7. Body And Soul
(10:33)  8. Walkin'
( 6:47)  9. My Shinging Hour

There is no doubt that Irish jazz guitarist Louis Stewart is one of the all-time greats, and it is obvious from the first notes he plays on any occasion. Quick witted, clean and clear, original, inventive, steeped in tradition, astonishing at most turns and only remarkable on the others, the only reason most of you don't know him is that he works in Europe, barely visiting the continental America's during his five decades of performing. This live club date at the Tron Jazz Cellar in Edinburgh, Scotland shows Stewart at the height of his powers during a set of well-worn standards, brought to life by this brilliant plectrist. As most use energy as a fuel for the others, or as a flashy pyrotechnical show, Stewart has no problem playing quickly. 

In fact, for him it all seems so effortless when he plays a straight melody on the well-worn "All the Things You Are," the rousing "Oleo" with its tricky changes played perfectly, or the very fast, never flustered "Stompin' at the Savoy," where he seems really in his element. Did it take any time for him to warm up? In contrast to the fleet fingered display of virtuosity, Stewart also likes to change things up a bit. He strips down the melody of "Lady Be Good," extrapolates slightly on the basic theme, and then stretches out the song in his solo spotlight, swings the normally balladic "Body and Soul," and fattens the tempo for the usually relaxed "Walkin'." Ronnie Rae is the bassist, and the Edinburgh native and regular accompanist for vocalist Fionna Duncan acquits himself well on this recording, especially taking the lead for "Walkin." The appropriate closer "My Shining Hour" closes this set of music that showcases Stewart wonderfully, and is likely the best, certainly most accessible recording of his relatively small discography. ~ Michael G.Nastos  http://www.allmusic.com/album/overdrive-live-at-the-tron-edinburgh-mw0000665369.

Personnel: Louis Stewart (guitar); Ronnie Rae (bass instrument); Tony McLennan (drums).

Overdrive

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Louis Hayes - Dreamin Of Cannonball

Styles: Jazz, Bop
Year: 2001
File: MP3@320K/s
Time: 68:59
Size: 158,3 MB
Art: Front

(7:06)  1. What Is This Thing Called Love
(5:49)  2. The Chant
(5:16)  3. Dat Dere
(7:29)  4. I Can't Get Started
(5:46)  5. Work Song
(6:14)  6. Naturally
(8:33)  7. Fiddler On The Roof
(7:46)  8. The Jive Samba
(7:15)  9. Scoth And Water
(7:41) 10. Del Sasser

Louis Hayes & the Cannonball Legacy Band pay tribute to the drummer's late employer by exploring a number of songs that he recorded while working with Cannonball Adderley. The veteran is in great form, joined by alto saxophonist Vincent Herring, trumpeter Jeremy Pelt, pianist Rick Germanson, and bassist Vicente Archer. The music doesn't focus on any one edition of Adderley's band, but delves into music the alto saxophonist recorded during the early '60s. Hayes' crop of Young Lions opens with an explosive take of "What Is This Thing Called Love?," delves with gusto into Bobby Timmons' soul-jazz hit "Dat Dere" and Nat Adderley's spiritual-flavored "Work Song," and delivers a playful performance of "Fiddler on the Roof," the latter tune showcasing the leader's effective solo. No effort is made to mimic Adderley's style or the sidemen who played alongside him, though it is clear that all the musicians are enjoying themselves throughout these sessions. ~ Ken Dryden   http://www.allmusic.com/album/dreamin-of-cannonball-mw0000223532.

Personnel: Louis Hayes (drums); Vincent Herring (alto saxophone); Jeremy Pelt (trumpet); Rick Germanson (piano).

Dreamin Of Cannonball

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Tardo Hammer - Simple Pleasure

Bitrate: 320K/s

Time: 58:13

Size: 133.3 MB

Styles: Piano jazz

Year: 2013

Art: Front

[4:43] 1. Asiatic Raes

[6:03] 2. The Folks Who Live On The Hill

[5:32] 3. New Rhumba

[5:01] 4. Uranus

[6:09] 5. I'll Wait & Pray

[6:06] 6. Kay Dee

[5:48] 7. Short Story

[5:21] 8. Simple Pleasure

[4:38] 9. Fran Dance

[4:34] 10. My Conception

[4:13] 11. No Smokin'

In his JazzWax Blog of September 30, 2007, Marc Myers described Tardo Hammer as follows: “ Hammer 49 (then), is an old soul and knows his way around a keyboard—having played with Lou Donaldson, Bill Hardman, Junior Cook, Annie Ross, Art Farmer…. among others.” Now several years on, Hammer offers a new album in a trio setting, recorded live by Cellar Live in New York City in March 2013 at Klavierhaus Recital Hall and called Simple Pleasure

For the most part Hammer is self-educated on the piano, started playing at five, and was performing professionally when he was fifteen. Such is the unpredictable nature of being a jazz musician that while not generally well-known much beyond the boundaries of New York City, Tardo is a bebop-oriented player along the lines of Bud Powell with flashes of Tommy Flanagan and Barry Harris. In this session, he offers a set list of an eclectic nature, using the composing talents Kenny Dorham, Ahmad Jamal, Miles Davis, and Horace Silver among others.

With thoughtful support from Jimmy Wormworth on drums, and the ever adaptable Lee Hudson on bass, Hammer starts the proceedings with a Kenny Dorham composition “Asiatic Raes” and fully demonstrates his exploratory instincts. The Jerome Kern chestnut ”The Folks Who Live On The Hill” has been done to death by numerous artists, but Tardo has managed to avoid the usual clichés with his thoughtful rendition. Ahmad Jamal’s “New Rhumba” gained currency when Miles Davis included it on his album Miles Ahead. Now Hammer, following a strong introduction from bassist Hudson and a subsequent solo, gives the wonderful stop-time melody a fresh approach.

Fulfilling an early promise, is often a challenge in an overly-competitive musical environment. Perhaps that may help to explain why Hammer has perhaps not received the kind of recognition his talent deserves. But clearly in this recital he exhibits that he is a harmonically confident pianist, whether it’s on Cedar Walton’s title tune “Simple Pleasure” where he shows his poised technique, or the Miles Davis composition “Fran Dance” as he gives free rein to his probing instincts. This is a sparkling album that deserves wide recognition.

Recording information: Klavierhaus Recital Hall, New York, NY (03/20/2013).

Tardo Hammer (piano); Lee Hudson (acoustic bass); Jimmy Wormworth (drums).

Simple Pleasure

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Laura Simo Sextet - The Best Is Yet To Come: Live At The Jamboree

Bitrate: 320K/s
Time: 70:51
Size: 162.2 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[5:13] 1. With A Song In My Heart
[6:15] 2. Sconsolato
[6:41] 3. Waltz For Debbie
[2:51] 4. The Best Is Yet To Come
[4:56] 5. Moody's Mood
[3:51] 6. Maxine
[3:41] 7. Three Views Of A Secret
[4:44] 8. Crazy Life
[6:18] 9. I Mean You
[4:21] 10. Walter Whitman Where Are You
[3:37] 11. Walk Between Raindrops
[6:00] 12. Since I Fell For You
[5:39] 13. I've Got It Bad And That Is Good
[6:36] 14. Lousiana Sunday Afternoon

Simó and Capella are two of the best-established exponents of Barcelona jazz who have been working together for a couple of years. In 1996, Capella worked with Simó on his album The Best Is Yet To Come (1996, recorded live at the Jamboree). He also wrote two arrangements for the CD Senza Fine (2002), recorded by Laura Simó with the Bellaterra Big Band, and he placed himself at the service of the vocalist for the Sueño inmaterial project (2009). Lovers of the eternal standards and of film music, Simó and Capella will offer a session of classics performed with taste and finesse.

Laura Simó vocals, Francesc Capella piano, Guillermo Prats double bass, David Simó drums. Recorded live in Jamboree of Barcelona the CD “THE BEST IS YET TO COME”, from the group Laura Simó Sextet, with arrangements from Joan Vinyals and Francesc Capella.

The Best Is Yet To Come: Live At The Jamboree

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Kristine Mills - Kristine Mills Playing With The Big Boys Live!

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 68:50
Size: 158,5 MB
Art: Front

(5:15)  1. I Love Paris
(5:38)  2. Lullaby Of Birdland
(7:48)  3. How Long Has This Been Going On
(7:29)  4. Do Nothing Till You Hear From Me
(4:35)  5. Bye Bye Blackbird
(7:19)  6. If You Never Come To Me (Intuil Passagim)
(7:46)  7. Norwegian Wood
(3:28)  8. Mountain Greenery
(5:35)  9. They Can't Take That Away From Me
(4:20) 10. Tennesse Waltz
(4:48) 11. How High The Moon
(4:43) 12. One For My Baby (...And One More For Lee)

Vocalist Kristine Mills is doing something almost no one else in Houston is doing these days: singing jazz. Not watered-down jazz lite, but real, actual jazz with nuance, improvisation, interplay between her and her musicians, and respect for the art form. Mills's new CD, Playing with the Big Boys Live!, recorded live at Cezanne in April 2007, is filled with her fresh takes on standards including "They Can't Take That Away from Me," "How Long Has This Been Going On?" and especially "Do Nothing Till You Hear from Me." She's sassy, smart and smoldering on that Duke Ellington classic; if it's not her signature song, it should be. On "One for My Baby," she's both fantastically forlorn and somehow hopeful. 

Accompanied by the Ken Ward Trio and guests Barry Lee Hall Jr. and Rocky White, Mills is technically flawless, and her performance seems effortless. Pianist Ward does a good job supporting Mills, while bassist David Craig is less helpful, but thankfully stays out of the way for the most part. Paul Chester's guitar adds a melancholy sound to tunes like "How Long...," and Big Boys stands as a memorial to White, a longtime drummer in the Duke Ellington Orchestra who recently died after a long illness. His brushwork, especially on "Do Nothing...," adds just the right touch, fluidly going from delicate to bold. The interplay between Mills and Hall, on trumpet and flugelhorn, makes "Bye Bye Blackbird" another bright spot. But without taking anything away from her band, Mills is clearly the star here. As well she should be. ~ Olivia Flores Alvarez  http://www.houstonpress.com/2008-09-25/music/kristine-mills-playing-with-the-big-boys-mdash-live/full/

Kristine Mills Playing With The Big Boys Live!

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Jeri Brown - I've Got Your Number

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 65:05
Size: 149,3 MB
Art: Front

( 5:19)  1. I've Got Your Number
( 5:49)  2. Midnight Sun
( 4:08)  3. Softly, As in Morning Sunrise
( 5:55)  4. The Nearness of You
( 8:34)  5. Joy
(12:24)  6. You Must Believe in Spring
( 8:22)  7. Echoes
( 6:15)  8. As Long as You're Living
( 8:16)  9. What Goes Around

The torch has been passed, Betty Carter is gone, and Jeri Brown is in line here and now. On this, her seventh CD for the Canadian Justin Time label, Brown continues to mature as a jazz interpreter, and proves a cherry picker in terms of choosing world class back-up. As on her previous CD "Zaius, " she's got John Hicks on piano throughout, Curtis Lundy and Wali Muhammad on four cuts, Avery Sharpe and Sangoma Everett for another three on bass and drums respectively. David Murray plays tenor sax on two tracks, Don Braden on another one, and two selections reprise the appearance as on "Zaius" of vocalist Leon Thomas. The difference is that these duels with Thomas are released posthumously following his untimely death in mid-1999. 

Brown's voice is getting decidedly better and better, he lower register center profoundly richening, and her confidence building. You should further appreciate in Brown, traces of Sarah Vaughan's range and expressiveness, Ella Fitzgerald's clear enunciation, and Carter and Ella's super scatting powers. This combination produces a singer unlike any other on the current scene. Brown's eminent scatability is fully pronounced on the title track, the wild 5/4 duet with Thomas and Braden plus ensemble on "Long As You're Living," and in a more undercurrent, low down arena with sympatico ostinato bass (Lundy) on "Softly As In A Morning Sunrise." There's a 12 1/2 minute, lugubrious slow version of "You Must Believe In Spring," seperate verses sung in French & English with a long Hicks solo, a subtle rubato format for Brown and Hicks only during "The Nearness Of You," and other beautifully turned out ballads "Midnight Sun" (w/Murray, ) and the closer "What Goes Around."

Murray's other feature, the Gerry Niewood waltz "Joy" has Brown & the saxophonist in a surreal unison setting that bears a second or third listening. The cherry-on-the sundae is the modal, Coltrane-ish Thomas piece "Echoes," as they trade yodels, yelps, oohs and ahhhs. This CD is easily as tasteful and skilled as her others, but not yet her magnum opus. She's getting close, and has surpassed others, including several more popular singers in term of heart, soul and warmth. ~ Michael G.Nastos   http://www.allmusic.com/album/ive-got-your-number-mw0000240703.

Personnel: Jeri Brown, Leon Thomas (vocals); Don Braden, David Murray (saxophone); John Hicks (piano); Curtis Lundy (bass); Sangoma Everett, Wali Muhammad (drums). Personnel: Jeri Brown (vocals); Leon Thomas (vocals); David Murray, Don Braden (tenor saxophone); Hicks (piano); Muhammad, Sangoma Everett (drums).

I've Got Your Number

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Florian Ross Elektrio - Wheels & Wires

Styles: Jazz
Year: 2011
File: MP3@256K/s
Time: 50:20
Size: 92,8 MB
Art: Front

(5:06)  1. Doors Closed
(5:36)  2. Okay
(4:54)  3. Heather Deep
(5:23)  4. Sarinah
(6:23)  5. Swing By
(5:18)  6. Scratch
(5:16)  7. Biscuit
(4:10)  8. West Babylon, Nj
(4:54)  9. Kat & Penny
(3:16) 10. Tremor

German pianist/composer Florian Ross has been making provocative music since his early Naxos Jazz recordings. He is a rolling stone, moving from one format to the next, always bringing something new and leaving something newer. The organ trio, specifically that of the organ-guitar-drums variety, has proven to be as durable an instrument format as it has a fertile ground from the whole of jazz, as well as rock. This format has included groups as disparate at Wild Bill Davis/Floyd Smith/Chris Columbus, Jimmy Smith/Eddie McFaddin/Donald Bailey, Big John Patton/Grant Green/Ben Dixon Quintet, Larry Young/John McLaughlin/Tony Williams and Keith Emerson/Greg Lake/Carl Palmer (throwing in Ray Manzarek/Robbie Krieger/John Densmore for good measure). Well-documented German keyboardist Florian Ross has been known to front an organ trio from time to time: the Florian Ross Elektrio. 

In the above spectrum of organ trios, the Elektrio falls this side of Tony Williams; Emergency! (Polydor, 1969) band and that side of the Doors' rhythm section. Ross is even tempered as is guitarist Jesse Van Ruller, who only occasionally hits an over-driven segment and never so much that it annoys.  "Doors Closed" opens the recital with an intricate, descending figure that makes its way into a driving momentum sustained by drummer Martijn Vink channelling his best Stanton Moore. Ross' playing is super-scrubbed no chitlin' circuit grease here. His B3 is taut and controlled even when he steps out in solo. However, none of the three fear turning up the heat as heard in the opener's coda. "Okay" shows a rhythmic-melodic side to Ruller, who establishes a polished, mid-tempo ballad for Ross to ruminate over. The closest thing to a "traditional" organ trio piece is "Heather Deep." 

Ross adopts an apostolic tone to his B3, modulating through a considered prelude where he dances with Ruller's guitar before getting down to his sanctified business. The song recalls the Crusaders' "Way Back Home" being played over a simple church figure. Ruller plays above and beyond the lines. Ross shows himself a very capable small band leader and one not afraid to recast older formats in new and creative ways.
~ C.Michael Bailey  http://www.allaboutjazz.com/the-little-and-big-of-florian-ross-florian-ross-by-c-michael-bailey.php#.U6S4pLEguSo

Personnel: Florian Ross: Hammond B3; Jesse Van Ruller: guitar; Martijn Vink: drums.

Wheels & Wires

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Paul Gonsalves - Tell It The Way It Is

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 77:22
Size: 180,7 MB
Art: Front

(11:37)  1. Tell it the way it is
( 4:43)  2. Things ain't what they used to be
( 5:28)  3. Duke's place
( 5:01)  4. Impulsive
( 3:46)  5. Rapscallion in rab's canyon
( 5:35)  6. Body and soul
( 4:13)  7. Caesar and Cleopatra Theme
( 3:09)  8. Antony and Cleopatra Theme
( 5:40)  9. Bluz for liz
( 4:25) 10. Cleo's blues
( 5:10) 11. Action in alexandria
( 6:46) 12. Cleo's asp
( 6:43) 13. Cleopatra's Lament
( 4:59) 14. Second chance

When Duke Ellington's sidemen recorded on their own, the Duke's influence often had a way of asserting itself even if he was nowhere near the studio. This was true in the 1930s and 1940s, and it was true on some of Paul Gonsalves' recordings of the 1960s. Nonetheless, Gonsalves was his own man, and this excellent CD points to the fact that the breathy tenor saxophonist wasn't afraid to enter a variety of musical situations. This reissue combines two excellent 1963 dates Cleopatra Feelin' Jazzy and Tell It the Way It Is on a single CD. Tell It the Way It Is unites Gonsalves with the great Swedish trumpeter Rolf Ericson and pianist Walter Bishop, Jr. as well as such Ellington alumni as Johnny Hodges (alto sax) and Ray Nance (cornet, violin). The strong Ellington influence asserts itself on pieces that range from Hodges' "Rapscallion in Rab's Canyon" to "Things Ain't What They Used to Be" and "Duke's Place." 

Meanwhile, Cleopatra Feelin' Jazzy is an interesting session that finds Gonsalves painting a musical picture of the Egyptian queen Cleopatra. Joined by guitarist Kenny Burrell, pianist Hank Jones, bassist George Duvivier, and drummer Roy Haynes, Gonsalves salutes Cleopatra with music that is generally moody and evocative yet swinging. Cleopatra Feelin' Jazzy is an example of a jazz concept album that really works, and this CD is highly recommended to anyone who has appreciated Gonsalves' soulful tenor playing. ~ Alex Henderson   http://www.allmusic.com/album/tell-it-the-way-it-is!-mw0000764567

Personnel: Paul Gonsalves (tenor saxophone); Ernie Shepard (vocals); Kenny Burrell (guitar); Ray Nance (violin, cornet); Johnny Hodges (alto saxophone); Rolf Ericson (trumpet); Hank Jones , Walter Bishop, Sr., Walter Bishop, Jr. (piano); Dick Hyman (organ); Osie Johnson, Roy Haynes (drums).

Tell It The Way It Is

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Chris Bennett - Bennett On Broadway

Size: 151,4 MB
Time: 64:42
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Vocals, Broadway
Art: Front

01. Come Back To Me (3:49)
02. Just One Of Those Things (2:50)
03. Old Devil Moon (3:48)
04. What Did I Have That I Don't Have (4:43)
05. Losing My Mind (5:59)
06. He Was Too Good To Me (4:33)
07. Summertime (4:15)
08. Wouldn't It Be Loverly (3:04)
09. If Ever I Would Leave You (4:41)
10. September Song (3:15)
11. All Of You (2:38)
12. All That Jazz (2:21)
13. This Nearly Was Mine (2:56)
14. Get Out Of Town (3:22)
15. Fascinatin' Rhythm (2:52)
16. I'll Tell The Man In The Street (4:09)
17. Cabaret (2:08)
18. The Party's Over (3:13)

Chris Bennett is, today, a name synonymous with the international success and commercial appeal of the southern California contemporary jazz music scene. With the Summer 2008 release GIRL TALK, her 10th studio CD release, she has secured a revered place as one of an intimate handful of successors to Peggy Lee, June Christy, Anita O'Day and the classic American female jazz vocalists.

Chris Bennett has 10 CDs available which include a Christmas Jazz CD, a Latin Jazz CD, and an import-only live CD released in 2004. A humanitarian of the first order, she has also co-written and recorded a song in memory of the Holocaust survivors (“Remember), as well as a song in support of gay marriage (“Everybody Has the Right). An outspoken artist for social change and an advocate of community activism, locally and globally, Chris is often called upon to perform in benefit of organizations such as SHARE, The Torch Foundation and many others.

From disco diva to jazz chanteuse, the musical journey of Chris Bennett has been the evolution of an artist come full circle. An accomplished vocalist, songwriter, composer and producer, she recently added Broadway musical composer to her repertoire. Her latest CD GIRL TALK is an homage to the classic jazz recordings of a bygone era. Utilizing string arrangements and an all-girl band, Girl Talk is her finest effort to date and charts the musical, personal and artistic growth of a classic jazz vocalist returning to the songs, the strings and the soul of her mentor and friend, the late Anita O’Day.

Bennett On Broadway

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Min Rager - First Steps

Size: 140,5 MB
Time: 60:56
File: MP3 @ 320K/s
Released: 2009
Styles: Piano Jazz
Art: Front

01. Nothing To Gain, Nothing To Lose (8:08)
02. First Steps (6:58)
03. Bella (6:02)
04. Persistence Of Memory (1:58)
05. Passing (4:25)
06. Song Of Love (6:23)
07. Portrait Of Miles (6:33)
08. Embrace (7:31)
09. Goodbye, Manhattan (5:41)
10. Always Near To You (7:11)

It could have been the first steps for Min Rager but this is not the case here We are only dealing with a nod toward modal music and John Coltrane's "Giant steps". In 2004 her group with members Kevin Dean (trumpet), Kieran Overs (bass), Andre White (drums) and Donny Kennedy (alto saxophone) completed a studio recording for the CBC Radio II program Jazz Beat. The recording was released as Min's debut CD Bright Road on the Effendi label in October of 2005.

Coltrane as the essence of jazz overshadows this new outing as a pure new bop session but these ten fingers do not possess the authority of Mulgrew Miller. The rhythm is not as thrilling as could have been the case with Tony Williams on drums. The saxophone is not as warm as it could have been in the hands of Billy Pierce - yet it's been quite a long time since I listened to a good new bop album and this one is quite good. The musicians have not changed since their debut album except for sidemen Fraser Hollins and Alec Walkington.

The game of the young Min obviously needs more maturity but the spirit is present and thus the promise of a beautiful future for the Korean pianist. Born in Seoul, Korea, Min Rager began her jazz career performing in local jazz clubs. Her reputation quickly grew and by 1996 she was performing with some of Korea's top jazz musicians in a variety of settings from clubs to concerts. In 1997 she moved to Montreal to attend the McGill University, study jazz in more expert hands, form a band and play the most famous Canadian jazz clubs. Min is currently on staff both at McGill University as a part-time faculty member where she teaches courses in the jazz department; and at the McGill conservatory where she teaches jazz piano.

Min Rager is a truly generous piano virtuoso but also very creative spirit. First Steps is an exclusive collection of her own original music. And if we remain with a very common score, her beauty and sensitivity are quite today uncommon, above all for a blues feeling. Rager can play either straightahead fast, cool or dramatic. She has enough musical background to put the right color where it is needed with good timing. Her music is anchored in inventive bebop sensibilities. I found no specific weaknesses amongst these ten tracks. I loved the eloquent chops displayed by Kevin Dean on "Portrait of Miles". I loved the beautiful and gorgeous ballads, especially "Persistence of memory". And there is a beautiful homage in the last track where Min plays duet with her husband and pianist Josh Rager.

If this young lady is coming to visit Paris, I will surely not miss her stage performance. The beginning of this century seems set to celebrate plenty of young jazz women. You know what, I'm happy!

First Steps

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Anne Bisson - Tales From The Treetops

Size: 133,0 MB

Time: 56:29

File: MP3 @ 320K/s

Released: 2014

Styles: Jazz Vocals

Art: Front

01. I Live In A Treehouse (3:58)

02. I Don't Believe In Destiny (4:15)

03. Dry My Tears (4:52)

04. I Miss My Love (3:19)

05. Lilac Blooms (3:53)

06. Everybody's Kissing In Paris (3:43)

07. Coeur De Verre (3:58)

08. Winter's Coming (3:40)

09. The Lady Of The Black Lake (Feat. Suzie LeBlanc) (4:00)

10. Love's Philosophy (Feat. Suzie LeBlanc) (3:28)

11. Da Unten Im Tale (4:23)

12. Your Smile (5:21)

13. I Do (3:57)

14. Where Are You (3:35)

Anne Bisson is a many-sided artist. She first became known as a captivating and charismatic television personality, but in recent years she has been concentrating on music, her first love. A pianist since childhood, she won the prestigious Étoiles Du Maurier competition in 1984 thanks to two of her original compositions. Two years later, she sang the role of Cristal in a new version of the popular rock opera Starmania, which was created especially for the Festival d’été de Lanaudière (Quebec).

In 2009, after more than 20 years of a successful and eclectic career, Bisson released the acclaimed, Blue Mind, in which she was accompanied by Normand Guilbeault (double bass) and Paul Brochu (drums). The critics were unanimous: Anne Bisson is a natural jazz artist. In 2011 she did it again, releasing Portraits & Perfumes, an album of jazz standards ("How Insensitive," "The Nearness of You") with full and sometimes sizzling arrangements, an original cover of Pink Floyd’s "Us and Them," and original pieces, all produced by Guy St-Onge.

In 2014, she makes her welcome return with new album Tales From The Treetops, a beautiful 14-song set which finds the celebrated singer/pianist joined by drummer Paul Brochu, bassists Frederic Alarie and Normand Guilbeault, and cellist Vincent Belanger. All but one of the songs are performed in English. Anne also presents a pair of otherworldly duets with special guest international soprano Suzie LeBlanc.

"I feel Tales 'From The Treetops' is the true follow-up to 'Blue Mind' ...a collection of people and their tales we’ve already met in that first album. The themes behind 'Little Black Lake' are still very much present and the characters move around a natural, savage landscape. We will discover still more about the magnificent 'Lady of the Black Lake', as we follow her journey from childhood (I Live in a Treehouse) to her final days (Winter’s Coming). These are songs of emotion, passion, love and mourning..." - Anne Bisson

Tales From The Treetops   

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B3Madness - Honkology

Size: 111,6 MB
Time: 48:12
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz: Hammond Organ
Art: Front

01. Honkology (3:12)
02. Romayne (7:06)
03. Phenelope (2:38)
04. Chemo (4:13)
05. Diagnosis (3:17)
06. Here We Go Again (5:07)
07. My Foolish Heart (7:20)
08. December (3:33)
09. The Klifton Way (3:31)
10. Funky Side Effects (3:11)
11. The Treatment Blues (5:00)

This album was created as a direct result of experiencing breast cancer. From 'Funky side Effects to My Foolish Heart', there is a song on this album for everyone. Compositions written and arranged by Nicole Thorne during her breast cancer journey provide a variety of different styles, that allow the listener to experience the emotion at the time the song was written. Guest artists feature on this album and have played an important role in interpreting works which also add to the listeners choice of works. Andrew Bradsworth features on guitar, Budi Winarto on tenor, Graeme Steel on trumpet and Wes Mowson on trombone.

Female Jazz organists are a rarity in Australia. Nicole had always dreamt of playing Jazz Hammond. In late 2005 Nicole found a Hammond B3000 then shortly after forming her own Jazz Hammond trio,' B3Madness'. B3Madness later recorded their debut album 'It's Never Too Late'. Nicole's extensive use of pedal bass allowed her to comp fiercely and provides musical and dynamic flexibility. Nicole's experience as a pianist/organist combined, has given her the knowledge and skills which she has adapted to develop her own unique style of playing the Hammond. Supporting Nicole are two outstanding musicians, Nick Pearce on ten/alto sax and Mark Voogd on drums. The trio communicate effortlessly allowing creativity and spontaneity when improvising.

Honkology

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Stevie Holland - More Than Words Can Say

Bitrate: 320K/s
Time: 43:58
Size: 100.7 MB
Styles: Vocal pop
Year: 2006
Art: Front

[3:26] 1. Only You
[3:56] 2. Yesterdays
[4:22] 3. If Ever I Would Leave You
[3:48] 4. This Is It
[3:45] 5. Lovingly
[4:08] 6. By Myself
[3:56] 7. Firefly
[2:20] 8. Day By Day
[2:48] 9. Murder, He Says
[3:14] 10. Evening Song
[3:59] 11. Desafinado
[4:11] 12. More Than Words Can Say

Vocalist Stevie Holland sings a set loaded with nostalgic hits on More Than Words Can Say. Opening with the smash hit "Only You"made famous in the '50s, Holland's beautiful voice immediately captures your attention with her soprano range that is accompanied by the exotic riffs of Ole Mathisen's saxophone and the arrangement and orchestration by Gary William Friedman. With a four octave range that is as exciting as it is soothing, Holland showcases this song in a whole new light that completely removes any doubts about her abilities. She tones things down on "Yesterdays" and reaches for new heights with an uptempo change that truly sets this song apart from previous renditions. The piano solo by Martin Bejerano is memorable and he livens up the song with his impeccable jazz stylings. Further into the set is a delightful arrangement of Antonio Carlos Jobim's chestnut "Desafinado." Holland's alto range on this bossa nova is ever so gentle, and the guitar accompaniment from Sean Harkness brings the song to another level. Overall, Stevie Holland offers her fans delightful new renditions of some of your old favorites as well as a great way to spend a romantic evening or just kick back in the sun and sand. Go for it! ~Paula Edelstein

More Than Words Can Say

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Bobby Hutcherson - For Sentimental Reasons

Bitrate: 320K/s
Time: 53:12
Size: 121.8 MB
Styles: Post bop, Vibraphone jazz
Year: 2007
Art: Front

[4:53] 1. (I Love You) For Sentimental Reasons
[6:17] 2. Ode To Angela
[5:40] 3. Embraceable You
[4:35] 4. Along Came Betty
[2:47] 5. Somewhere
[6:06] 6. Jitterbug Waltz
[5:41] 7. What Are You Doing The Rest Of Your Life
[4:05] 8. Don't Blame Me
[4:28] 9. Spring Is Here
[5:59] 10. I Wish I Knew
[2:36] 11. I'll Be Seeing You

This is Bobby Hutcherson's self-proclaimed "love" album, clearly a project he has wanted to do for some time. As prolific a jazz artist as there ever was in the '60s and '70s, the legendary vibraphonist's recording career has slowed to a crawl, with very few items added to his catalog in the past three decades. So this is one to savor, particularly with a significant other, drenched in romantic notions as the title suggests, comprising standard ballad material, save a few less serene personal favorites. With pianist Renee Rosnes, Hutcherson has chosen a sensitive partner to walk slowly, hand in hand, through picturesque fields of flowers, while younger bassist Dwayne Burno walks the line lightly, and veteran drummer Al Foster employs brushes more than drumsticks to get this aged and mellow message across. Among the off-the-beaten path offerings; Hutch plays his old partner Harold Land's "Ode to Angela" in refracted Asiatic and Latin lights, with beautiful harmonies from Rosnes. There's a modified, easy swinging take of Benny Golson's "Along Came Betty," the slow to sprightly "Jitterbug Waltz" with a tad more energy, the upbeat bossa nova take of "I Wish I Knew," and a straight, simple read of "Don't Blame Me." The rest of the program is in ballad style, ranging from the tone-setting title track, a pristine, deeply passionate, patient piano/vibes duet for Leonard Bernstein and Stephen Sondheim's "Somewhere," a version of "Spring Is Here" sans Foster, and Hutcherson's solo vibes taking control of "I'll Be Seeing You." Included is a spare version of "Embraceable You" where a muffled sound from Hutch turns the lamp way down low. Clearly as he gets older (65 at the time) the calmer side of this great musician has taken hold of his soul, far removed for the firebrand progressive he was in earlier days. He's changed in focus -- we all do -- so expectations should be different, but the brilliant musicianship Bobby Hutcherson has always displayed is quite the same, and still ever present. ~Michael G. Nastos

For Sentimental Reasons

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