Sunday, July 6, 2014

Heather Ramsey - So Many Stars

Size: 109,7 MB
Time: 47:14
File: MP3 @ 320K/s
Released: 2008
Styles: Pop/Jazz Vocals
Art: Front

01. Avalon (3:02)
02. Love You Madly (3:47)
03. So Many Stars (3:53)
04. Mas Que Nada (3:45)
05. Signed, Sealed, Delivered (3:38)
06. At Last (4:38)
07. Here's That Rainy Day (4:58)
08. Lover Man (5:06)
09. Never Will I Marry (2:35)
10. Come Rain Or Come Shine (5:06)
11. How Sweet It Is (3:29)
12. That's All (3:12)

"'So Many Stars' is just one of the many that will shine in Heather Ramsey's career." - Chuck Workman, WICR Jazz Show Host

". . . an impressive debut." - Scott Shoger, NUVO Newsweekly

The seeds that would begin Heather (Ault) Ramsey’s musical career were planted very early in life, mostly being sown as she was surrounded by her musical parents, grandparents and extended family at their small church in northern Indiana. Family members spent hours out-harmonizing one another at family reunions, church gatherings and holiday meals, accompanied by grandma’s sweeping piano flourishes and grandpa’s booming baritone. Heather’s knack for harmony, improvisation and vocal styling most certainly grew from these early influences.

Playing piano and flute through high school and early college years brought in a more classical foundation in reading music and understanding theory and musical structure. In her later college years, however, Heather got her first professional performance training from Purdue Musical Organizations, where directors Brian Breed and Ly Tartell (and several others!) taught her to engage audiences, improve her vocal technique and love live performance. She was listening to everything from Lauryn Hill to Celine Dion, Janis Joplin to Eva Cassidy, and Ella Fitzgerald to Sarah McLachlan, beginning to develop a simultaneous love for R&B, pop, blues and jazz.

When Heather first moved to Indianapolis in 2001, she began singing standards with well-known accompanist David Meek at Ruthellen’s (now the Abbey) downtown. She then auditioned for and was selected as the “front girl” for local cover bands Tastes Like Chicken, the Jackson Street Orchestra and Blair & Company.

While she still plays with these bands, Heather is not to be so easily swayed from her passion for jazz, and, in addition to her continued performance with David Meek and Blair Clark, she also works on occasion with big bands such as Cool City Band and the Tom Mullinix Orchestra.

It was at a show with Tom Mullinix where she met acclaimed pianist and arranger Chris Rutkowski. When Chris expressed interest in arranging for a solo project, Heather’s debut album began to take shape. Celebrated bass player Frank Smith joined Heather and Chris for several live performances, where they worked on arrangements and selected the songs now appearing on “So Many Stars.” Chris provided musical direction and arranging, renowned drummer Kenny Phelps joined the group, and sax genius Tom Walsh from Indiana University added his smooth tenor to several arrangements, all of which were recorded by Chip Reardin at Airtime Studios in Bloomington.

About her new release, Heather says, “This project is a compilation of jazz standards with a bit of R&B and pop on the side – a melting pot for the styles and artists that have had a great influence on me. I’m incredibly proud to have Chris, Frank, Kenny and Tom with me on ‘So Many Stars,’ and I can’t thank them enough for lending their extraordinary talents and support to take this album to new levels. The creative energy in the studio was totally electric!”

Heather released “So Many Stars” on November 30 at The Jazz Kitchen to a sold-out audience. Of her musical future, she says, “‘So Many Stars’ is a great snapshot of where I am in my career right now and is a terrific representation of the fine musicians I was fortunate enough to work with. I can’t wait to get started on the next project!”

So Many Stars

Majid Bekkas - Mogador

Size: 169,3 MB
Time: 73:00
File: MP3 @ 320K/s
Released: 2006
Styles: World, Folk, African Blues
Art: Front

01. Bossoyo (9:43)
02. Barma Soussandi (5:28)
03. Chabakrou (5:31)
04. Aalach Ya Dounia (4:45)
05. Moussaoui (7:44)
06. Soye (9:29)
07. Mogador (9:24)
08. Soudan Yebki (5:50)
09. Ballade A Niamey (8:27)
10. Nekcha (6:34)

Some moments are magic. Some aspects of humanity are fortunate. Some music sets the heart in time. The music of Majid Bekkas is all that: magic, humane, profound. This record, his second, reflects that. It offers roots and openness, tradition and modernness.

He starts by offering us some beautiful traditional melodies in the broad and powerful style of his master, Ba Houmane, the mââlem* that taught him the essence of gnawa. Majid’s voice joins that of his elder and all the gnawi** masters that have been connecting deepest Africa to the mysticism of the Orient.

Music and lay instruments - such as the guembri*** that is so rudimentary yet reveals such extreme beauty in the hands of Majid - create their own space and time. Another trip arrives. The blues. Jazz chords follow. We are in the universal. Roots lead towards the top, where the tree is biggest and the fruits the ripest.

So it’s only normal that Majid Bekkas should continue, in this record as in his other recordings and concerts, to dialogue with the most talented musicians from the blues and jazz scenes. This is the case again on this record, as his group of gnawi from Rabat are joined by the pianist Charles Loos, the guitarist Paolo Radoni, trumpet player Flavio Boltro and the percussionist Serge Marne. A dialogue all the richer as Majid has, in addition to his traditional background, a solid musical knowledge and is a multi-instrumentalist (guembri, oud****, molo, guitar). Like the previous one “African Gnaoua Blues”, this release consists of 5 traditional and 5 original composition

Mogador

Celso De Almeida - Celso De Almeida Trio

Size: 69,8 MB
Time: 29:42
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian Jazz & Rhythms
Art: Front

01. Sambalanço 1 (4:38)
02. Sambalanço 2 (4:10)
03. Sambalanço 3 (2:24)
04. Sambalanço 4 (3:58)
05. Sob O Silencio Da Escuridao (3:09)
06. Sambalanço 5 (3:55)
07. Sapequinha (4:25)
08. Aos Momentos De Paz (3:00)

Created some years ago, this trio, composed of Celso de Almeida on drums, Fàbio Torres playing piano and arrangements by Paulo Paulelli on bass and percussion.

Self taught, Celso de Almeida belongs to a family of musicians, his father and grandfather are drummers. He has been playing with Rosa Passos for 9 years and Fabiana Cozza. During which he had plenty time to increase his performance. He also has already played with Brazilian artists like: Gal Costa, Gilberto Gil and Dominguinhos, has played with Israel Philharmonic’s Orchestra, playing with Jane Duboc and Edu Lobo. Member of the "Banda Savana" a Brazilian’s music orchestra.

Celso De Almeida Trio

Clover Jean - This Is Me

Size: 74,5 MB
Time: 31:52
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Guardian Angel (3:11)
02. Obsessive Behaviour (2:44)
03. Grandma's Brew (3:01)
04. It's Human Kind (3:22)
05. Clockwise (This Is Me) (3:25)
06. Friends (3:51)
07. Miss Lady Day (2:18)
08. Television Blues (3:48)
09. Unlimited Supply (2:57)
10. Vitality (3:10)

Clover Jean: This is Me! – Debut Album. In collaboration with Axel van Duin: composer, producer and musician; this is a collection of distinctive song lyrics: a mix of Pop Jazz, Soft Soul, Bluesy Gospel and Calypso Reggae. She has a very special warm jazzy and velvety silky sound. Clover Jean’s expressive tone and attractive voice keep you feeling positively optimistic. This is me - debut album is a mix of different music styles; genres that are inspirational, soothing and invigorating. These songs reflect the highs, lows: observations, perceptions and intriguing visions of life.

Clover Jean: Words & vocals
Axel van Duin: Music & bass guitar
Remy Vogel: Guitar
Betrand Robinne: Drums
Thomas van Dijk: Keyboard

This Is Me

Charlie Apicella & Iron City - Big Boss

Size: 196,9 MB
Time: 84:41
File: MP3 @ 320K/s
Released: 2014
Styles: Funky/Soul Jazz, Groove
Art: Front

01. I Hear A Symphony (7:27)
02. Idris (6:13)
03. In The Grass (5:26)
04. Big Boss (6:32)
05. Spoonful (6:06)
06. Amalfi (6:31)
07. The Selma March (6:48)
08. Sunday Mornin' (7:04)
09. The Business (5:21)
10. 64 Cadillac (6:08)
11. Sparks (5:32)
12. Play It Back (5:02)
13. Shaw Shuffle (4:35)
14. Billie Jean (5:50)

Thank god for groove music. In an era when needless complexity often dominates, it's nice to encounter a throwback record that's built on feel-good rhythms and soulful declarations. That's what Big Boss is all about.

Sparks (Carlo, 2009) set things in motion for this band, as guitarist-leader Charlie Apicella planted his flag in soul jazz territory by delivering direct-and-honest originals and covering the music of organist Dr. Lonnie Smith, guitarist Grant Green, and saxophonist Lou Donaldson; The Business (Carlo, 2011), with another Green number ("Donny Brook") and a tip of the cap to slick saxophonist Stanley Turrentine ("Stanley's Time"), operated in the same orbit; and this album, with a double shot of Green, a Willie Dixon classic, and a nod to The Supremes ("I Hear A Symphony"), is basically cut from the same cloth. That, however, doesn't mean that it's the same. Apicella has furthered his art with each record, extending and expanding his outlook while remaining firmly attached to the roots of the music.

Big Boss is just as honest and direct as the rest of Apicella's work, but it's a bit more polished in nature. The band sounds sharper and more mature than ever, with understated and coordinated horn backgrounds, the pairing of guest violinist Amy Bateman and tenor saxophonist Stephen Riley on Apicella's breezy "Amalfi," and greater attention given to blend and balance in general. But that's not to say the same old soulful spirit isn't there. Apicella takes everyone to church ("Sunday Mornin'"), shuffles along in high spirits ("I Hear A Symphony"), and delivers no-frills blues-funk with vim and vigor ("Idris"). Organist Dan Kostelnik and drummer Alan Korzin gel beautifully with Apicella throughout, conga drummer Mayra Casales makes her mark on "Idris," and the hot vs. cool combination of trumpeter Freddie Hendrix and Riley makes for an interesting pairing. While the horn hang never manifests as a competition, it's Riley's low-key brilliance that tends to win out.

Big Boss is a wonderful reminder of a time long gone. It's a record that speaks of good times, fun grooves, and high spirits.

Personnel: Charlie Apicella: guitar; Dan Kostelnik: organ; Alan Korzin: drums; Freddie Hendrix: trumpet; Stephen Riley: tenor saxophone; Mayra Casales: congas; Amy Bateman: violin (6).

Big Boss

Herb Ellis - Nothing But The Blues

Bitrate: 320K/s
Time: 57:40
Size: 132.0 MB
Styles: Guitar jazz
Year: 1958/1994
Art: Front

[7:05] 1. Pap's Blues
[5:38] 2. Big Red's Boogie Woogie
[2:59] 3. Tin Roof Blues
[6:01] 4. Soft Winds
[4:44] 5. Royal Garden Blues
[6:01] 6. Patti Cake
[7:12] 7. Blues For Janet
[4:50] 8. Blues For Junior
[3:11] 9. Les Tricheurs
[3:20] 10. Clo's Blues
[4:19] 11. Phil's Tune
[2:15] 12. Mic's Jump

Guitarist Herb Ellis considers this is his favorite personal album and it is easy to see why. With trumpeter Roy Eldridge and tenor saxophonist Stan Getz contributing contrasting but equally rewarding solos and lots of inspired riffing while bassist Ray Brown and drummer Stan Levey join Ellis in the pianoless rhythm section, these performances have plenty of color and drive. Ellis does indeed stick to the blues during the original eight selections yet there is also a surprising amount of variety. This CD reissue has been augmented by four numbers from 1958 originally recorded for a European soundtrack. Getz, Eldridge, and Coleman Hawkins all have their features but Dizzy Gillespie fares best. ~Scott Yanow

Nothing But The Blues

Lara Solnicki - A Meadow In December

Bitrate: 320K/s
Time: 42:59
Size: 98.4 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[4:57] 1. Gentle Rain
[4:26] 2. Lazy Afternoon
[2:02] 3. Sometimes I'm Happy
[4:59] 4. The Things We Did Last Summer
[3:18] 5. I Wished On The Moon
[4:10] 6. Lover Come Back To Me
[3:00] 7. Don't Go To Strangers
[4:14] 8. You'd Be So Nice To Come Home To
[3:27] 9. But Not For Me
[4:34] 10. Midnight Sun
[3:47] 11. Softly As In A Morning Sunrise

"To me, Miss. Solnicki is assuredly one of the finest jazz singers to emerge on the Canadian scene recently...the purity of her voice, her understanding of the most subtle nuances in lyrics and melody, and the freshness, intelligence and wit she invests in every interpretation. A new Canadian voice to discover." ~ Stanley Péan

Toronto-born Lara enjoys a busy performance schedule, appearing regularly at many of Canada’s most prestigious jazz venues with top flight musicians. She participated in the TD Toronto Jazz Festival 2009-2011, and has held four house gigs in fine dining restaurants. She received a BA in 2006 from The Glenn Gould School/ Royal Conservatory of Music, where she was the recipient of numerous scholarships, studying voice and piano in the Performance Diploma and Artist Diploma programs. With respect to jazz, Lara has studied extensively with Frank Falco, Shannon Gunn, Christine Duncan, and Bonnie Brett.

A Meadow In December

Bossa Nova Messengers - Hard Bossa

Bitrate: 320K/s
Time: 41:55
Size: 96.0 MB
Styles: Latin jazz
Year: 2006
Art: Front

[4:50] 1. Speak Low
[6:41] 2. Estate
[7:23] 3. Berimbau
[6:41] 4. Retrato Em Branco E Preto
[5:04] 5. Este Seu Olhar
[6:33] 6. Ligia
[4:40] 7. Vivo Sonhando

Il progetto nasce dalla collaborazione tra il tenorsassofonista Beppe Castellani e il chitarrista Ennio Righetti, profondo conoscitore della musica brasiliana.

L'intento è di interpretare con feeling jazzistico famosi brani degli autori più celebrati della Bossa Nova (da A.C.Jobim a C.Buarque, da V.De Moraes ad altri) ed anche di scoprirne composizioni forse meno conosciute ma comunque altrettanto affascinanti.

Il repertorio è arricchito inoltre da pertinenti "standards" e anche da "songs" di varia origine divenute successi internazionali (ad esempio "Estate" del nostro B.Martino). Il tutto in ogni caso inserito nella peculiare estetica della musica brasiliana.

L'impianto stilistico del quartetto si allinea al moderno mainstream, nella scelta sostanzialmente tradizionale delle sonorità, della sezione ritmica e degli arrangiamenti.

Hard Bossa

Daryl Sherman - A Lady Must Live

Styles: Vocal Jazz
Year: 1998
File: MP3@320K/s
Time: 61:41
Size: 141,7 MB
Scans:

(4:11)  1. One Life To Live
(3:09)  2. I Want To Be Bad
(4:17)  3. Fun To Be Fooled
(6:03)  4. Speak Low
(4:31)  5. Give Me The Simple Life
(6:27)  6. Lover Man
(3:55)  7. When In Rome
(5:48)  8. Something To Live For
(5:01)  9. It's Love I'm After
(4:18) 10. Groovin High
(4:53) 11. I'm In Love Again
(5:21) 12. If I Love Again
(3:41) 13. A Lady Must Live

Daryl Sherman quickly gained and earned a reputation as one of the top swing-based singers around in the 1990s. On this CD she sometimes sounds a bit like her main influence Mildred Bailey (particularly on "It's Love I'm After") but also displays her own warm style. Despite how the collective personnel looks (which includes 11 horn players, three guitars and three pianists), on most songs Sherman is accompanied by a rhythm section and just a horn or two. Clarinetist Ken Peplowski is quite notable during his three appearances and other guests include trombonist Dan Barrett, tenorman Frank Wess and pianist Tommy Flanagan in addition to the singer's usual pianist Mike Abene. The music fits into the mainstream where classic jazz and swing meet bop. Sherman sings a variety of superior standards most of which (with the exception of "Give Me the Simple Life," "Lover Man" and "Something to Live For") are not performed very often. The singer swings, uplifts the melodies and the messages of the lyrics with subtle creativity, and is in prime form throughout . Highlights include "I Want to Be Bad," "Speak Low," "Groovin' High" and the title cut. A delightful set, easily recommended.       ~ Scott Yanow  http://www.allmusic.com/album/lady-must-live-mw0000041482

Belinda Underwood - Greenspace

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 53:18
Size: 123,6 MB
Art: Front

(2:49)  1. Bass Blues
(4:17)  2. The Secret Life Of Plants
(3:43)  3. No Moon At All
(4:11)  4. Seeing Red
(4:50)  5. Blue Gardenia
(5:02)  6. Estate
(4:54)  7. Polar Blue
(4:25)  8. Midnight Snatcher
(4:07)  9. Limitless
(4:34) 10. Odd Meter Blues
(5:16) 11. The Oasis
(5:05) 12. Once Upon A Summertime

Following her acclaimed 2005 debut, Underwood Uncurling, vocalist/bassist Belinda Underwood is back with her new release, Greenspace, which features pianist Benny Green (Betty Carter, Art Blakey, Ray Brown), bassist Phil Baker (Diane Schuur, Diana Ross, Pink Martini), percussionist Martin Zarzar (Al Andalus, Pink Martini), and Grammy nominated vocalist Nancy King. In this uniquely inspired work, Underwood summons fresh interpretations of classic songs by John Coltrane, Johnny Mercer, Stevie Wonder and other greats while also showcasing her gifts as a talented song-writer. Her instrumental piece, \"Seeing Red,\" is reminiscent of a Blue Note boogaloo while Underwood\'s \"The Oasis\" incorporates musical elements she discovered while studying in Egypt. Greenspace, a cohesion of seasoned musicians with Belinda\'s lush emotive vocals and poignant compositions, swings hard enough to conjure a jazz-of-old feeling while revealing a sweet sensitivity. http://www.cdbaby.com/cd/belindau2

Bill Heid - Air Mobile

Styles: Vocal And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 67:13
Size: 154,3 MB
Art: Front

(6:42)  1. Blues in the Airport
(6:50)  2. Spring Tones
(5:13)  3. Moorefield Mojo
(7:56)  4. Blue Ice Cubes
(5:48)  5. Winter Tones
(5:38)  6. Boomph!
(6:00)  7. Saying Goodbye
(6:37)  8. You Don't Even Know
(4:34)  9. Air Mobile
(5:32) 10. Same Old Blues
(6:17) 11. Wondering Blues

Bill Heid is well known as a great jazz organist on recordings, but for the majority of his numerous club dates, he plays the acoustic piano. So for his staunchest fans the issue of Air Mobile might be a surprise in that he plays the 88's exclusively. What remains a constant is that he has written all of the material on the date, and keeps the quality of the music very high by employing such first-rate accompanists as bassist Dwayne Dolphin, the great veteran kit drummer Roger Humphries, and hand drummer George Jones. Brother George Heid is the engineer, making the session sound as sweet and clean as possible. Perhaps Bill Heid does not play as nasty and dirty as he might on the B-3 organ, but his immense talent is no less diminished or evident. In fact, you might hear more of his influences, including the block chords and fleet lines à la McCoy Tyner, the rivaled virtuosity of Oscar Peterson, and the subtle harmonic dynamics of Red Garland or Bill Evans. 

For sheer hard bop, the title cut and "Moorefield Mojo" offer clutchless speed in sixth gear and ability to split on a moment's notice, while the loping slightly Latinized "Blues in the Airport" and "Boomph!" reflect the smart, classic Peterson touch. "Spring Tones" and "Blue Ice Cubes" reveal the elegance Heid is able to generate in hushed tones, while these compositions parallel those of Wayne Shorter or Herbie Hancock. Deeper into the Tyner/Hancock harmonic mold is the waltz "Saying Goodbye," while "You Don't Even Know" is a lithe jog reminiscent of another of Heid's fellow Pittsburghians, Ahmad Jamal. Never far from the blues, Heid sings, and quite well, on "Same Old Blues" with the adage "the more things change, the more things stay the same," while "Wondering Blues" reflects the self-doubt of whether she is or isn't. Dolphin is a major player as demonstrated during his solo on "Moorefield Mojo" or the intro to "Same Old Blues," while Humphries is the steady and masterful rhythm pilot he always has been. Those who prefer Heid's organ nuttiness and wild virtuosic excursions on that dual duty instrument should also be pleased with this worthwhile addition to his thankfully growing discography. ~ Michael G.Nastos   http://www.allmusic.com/album/air-mobile-mw0000819093.

Personnel: Bill Heid (vocals, piano); Dwayne Dolphin (bass instrument); Roger Humphries (drums, drum); George Jones (percussion).

Antti Sarpila - Jazz Party

Styles: Swing
Year: 1994
File: MP3@320K/s
Time: 78:10
Size: 179,4 MB
Art: Front

( 8:39)  1. China Boy
( 6:02)  2. Ballin' The Jack
( 4:55)  3. Till There Was You
( 2:20)  4. Handful Of Keys
( 6:22)  5. When You're Smiling
( 4:19)  6. Savoy Blues
( 4:50)  7. Runnin' Wild
( 3:48)  8. Harmonica Boogie
( 7:34)  9. I Can't Give You Anything But Love
( 6:00) 10. Royal Garden Blues
( 5:56) 11. Sweet Georgia Brown
( 5:20) 12. That's A Plenty
(12:00) 13. I Got Rythm

Antti Sarpila (born 1964) is one of the few internationally known jazz musicians from Finland. Although based in Helsinki, he performs extensively as a solo artist all over the world. Antti Sarpila has been a student of the world famous American clarinet and saxophone player Bob Wilber during the 1980's. Wilber himself was a student of legendary Sidney Bechet in the 1940's. This legacy is the reason for Sarpila's dedication and respect to the tradition of jazz. He wants to combine the influences captured from the early masters (from Louis Armstrong to Charlie Parker) with his own personal style to create what would be best described as "classic jazz".The continuing association between Antti and Bob has reaped many rewards. One of the highlights was in 1988, when Antti was asked to join Bob in doing a "Tribute to Benny Goodman" concert in Carnegie Hall, New York. In 2000 Antti renewed his visit to this legendary concert hall with the Swedish vibraphone player Lars Erstrand.  During his career, Antti has performed on numerous jazz festivals and concerts all over Europe, USA, Asia and as far as in Australia. 

Despite his relatively young age he has had the honour to play with such giants as Doc Cheatham, Wild Bill Davison, Buddy DeFranco, Vic Dickenson, Panama Francis, Bob Haggart, Scott Hamilton, Jake Hanna, John Henrics, Milt Hinton, Peanuts Hucko, Thad Jones, Dave McKenna, Bucky Pizzarelli, Marshal Royal, Zoot Sims, Dick Wellstood, Frank Wess, Trummy Young... and to guest world famous orchestras as Count Basie Orchestra, Metropole Orchestra, Dutch Swing College Band. In Finland Antti Sarpila has his own group - the Antti Sarpila Swing Band, which will celebrate its 25th anniversary in 2007. In the fall it has already become a tradition for Antti Sarpila Swing Band to go on tour bringing "Swinging Christmas" to every corner of Finland. In addition, he performs regularly as a solo artist with small groups, big bands as well as symphony orchestras. Finnish jazz federation has awarded Antti Sarpila with annual "George" award 1997 and Classic Jazz Society with the "Louis Armstrong" award 1996. Antti Sarpila has made numerous recordings under his own name, the latest one being "Gospel & Spirituals" (ASCD-29). Antti Sarpila has done six recordings with Wilber, in New York, Stockholm, London, Bern (with Byron Stripling, John Allred, Mark Shane, Phil Flanigan, Joe Ascione), Hamburg and Florida (with Dick Hyman, Dan Barrett, Peter Appleyard, Ed Metz Jr.). 

In Hamburg he has also recorded six times with top American jazz musicians (incl. Ralph Sutton, Jack Lesberg, Bill Allred, Oliver Jackson, Butch Miles, Harry Allen, Jon-Erik Kellso, Randy Sandke, Ken Peplowski, Allan Vache). In Sweden he's been featured on several recordings (incl. Swedish Swing Society live in New York, Swedish Jazz Salutes USA live at Carnegie Hall). His contribution as a skilled jazz artist has also been featured on about 100 different recordings. Hans Westerberg has written a Antti Sarpila bio-/discography - "The Swinging Beginning" giving information about all recordings as well as all known broadcasts and telecasts between 1980 and 1998. Included in the book is a cd, compiled from the essential recordings during Antti Sarpila's early career.~ Bio http://www.anttisarpila.com/en/biography

Personnel: Oscar Klein, Antti Sarpila, Jesper Thilo, Roy Williams, Henri Chaix, Peter 'Banjo' Meyer, Vic Pitt, Charly Antolini

Saturday, July 5, 2014

Joey DeFrancesco - Live At The 5 Spot

Bitrate: 320K/s
Time: 74:50
Size: 171.3 MB
Styles: Organ jazz, Soul jazz
Year: 1993
Art: Front

[ 8:01] 1. The Eternal One
[ 9:10] 2. Embraceable You
[ 8:48] 3. I'll Remember April
[ 9:33] 4. Work Song
[ 9:42] 5. Moonlight In Vermont
[10:29] 6. Impression
[ 8:53] 7. All Of Me
[10:10] 8. Spectator

Organist Joey DeFrancesco clearly had a good time during this jam session. His fine quintet (which has strong soloists in altoist Robert Landham, trumpeter Jim Henry, and especially guitarist Paul Bollenback) starts things off with a run-through of "rhythm changes" during "The Eternal One" and the hornless trio cuts loose on a swinging "I'll Remember April," but otherwise all of the other selections feature guests. Tenors Illinois Jacquet, Grover Washington, Jr., Houston Person, and Kirk Whalum all fare well on separate numbers (Jacquet steals the show on "All of Me"), and on the closing blues DeFrancesco interacts with fellow organist Captain Jack McDuff. Few surprises occur overall (the tenors should have all played together), but the music is quite pleasing and easily recommended to DeFrancesco's fans. ~Scott Yanow

Live At The 5 Spot

Barney Kessel - Blue Guitar

Bitrate: 320K/s
Time: 63:33
Size: 147.7 MB
Styles: Guitar jazz
Year: 2004
Art: Front

[2:51] 1. Willow Weep For Me
[4:50] 2. On A Clear Day (You Can See Forever)
[5:14] 3. How High The Moon
[5:09] 4. Aquarius
[4:18] 5. More Than You Know
[4:12] 6. The Look Of Love
[6:18] 7. Honeysuckle Rose
[3:49] 8. Et Maintenant
[4:36] 9. Little Star
[3:55] 10. Out Of Nowhere
[5:53] 11. It Don't Mean A Thing (If It Ain't Got The Swing)
[5:13] 12. Tea For Two
[3:32] 13. Limehouse Blues
[3:38] 14. Blue Moon

Barney Kessel was one of the great jazz guitarists of his generation. Few realize that he was also an important voice on the pop-music scene in the 1950s and '60s. Indeed, his recordings with Ricky Nelson, the Righteous Brothers, and others show the great diversity of this guitarist. On BLUE GUITAR, listeners are treated to 14 renditions of jazz standards such as "Willow Weep for Me," "How High the Moon," "Honeysuckle Rose" and the always-infectious "It Don't Mean a Thing (If It Ain't Got The Swing)." The Burt Bacharach pop tune "The Look of Love" is also performed here as a delicate bossa nova. Kessel's style is silky and understated throughout. His quintet is made up of bass, drums, rhythm guitar, and violin, but unfortunately, no personnel is listed. One doesn't need liner notes, though, to realize that the mystery violinist is likely the great Stephane Grappelli. Overall, BLUE GUITAR is sophisticated, romantic music.

Barney Kessel (guitar); Stephane Grappelli (violin).

Blue Guitar

Nancy Bierma - I Love Being Here With You

Bitrate: 320K/s
Time: 67:45
Size: 155.1 MB
Styles: Vocal jazz
Year: 2007
Art: Front

[3:21] 1. For Mom
[6:44] 2. My Romance
[4:07] 3. Aisha Joy
[3:33] 4. I Love Being Here With You
[6:51] 5. My Song
[3:22] 6. Cheek To Cheek
[5:19] 7. Mikala
[3:23] 8. Lucky Southern
[4:35] 9. I'm All Smiles
[3:30] 10. Samba With Me
[4:58] 11. The Very Thought Of You
[4:39] 12. Margaret's Blue Garden
[4:29] 13. Memories Of Tomorrow
[3:16] 14. Isn't It Romantic
[3:58] 15. El Gaucho
[1:34] 16. Ode To Joy

Nancy Anderson-Bierma is a jazz pianist in Minneapolis. She has been playing piano since age 4 and has a degree in music from Drake University. Since 1980 she has played professionally with her own jazz groups, as a soloist, and with jazz fusion, R&B, and pop bands. She performed extensively in the Midwest and made her mark as a jazz pianist. Living in Des Moines, Iowa for many years Nancy was a well known jazz musician and organizer of jazz events. Nancy is married to bassist Jim Bierma and they have two daughters Aisha and Mikala. In 1994 they moved to Minneapolis and continued their music careers. They perform in concerts and at local venues with some of the twin cities top musicians and vocalists. Nancy is also an acupuncturist/ herbalist and works as a healer and teacher. Aisha and Mikala are the inspiration for two of the songs on this CD. Many of the originals were created for family or special events in the spirit of love, joy and passion for life. Nancy is influenced by Keith Jarrett and Bill Evans. She plays from the heart and her intention is to uplift the listener.

Jim Bierma, bassist, is from Des Moines, Iowa. He has played professionally since age 15. In 1977 he joined the jazz group of the legendary Irene Myles and worked with her for 17 years. Since moving to the Twin Cities Jim is a fixture at all of the local jazz clubs and plays with a wide variety of talented musicians. A rock solid bass player, he is a pianist and drummer’s dream. Jim swings hard and has been compared to Ray Brown in revues written about him. Sensitivity abounds when he takes a solo on a ballad. Jim loves Charlie Haden and Charles Mingus. He is a school counselor and works with at risk kids.

Nathan Norman, drummer, is originally from Washington D.C. He is one of the Twin Cities busiest drummers. He received a degree from Eastman School of Music in 1984. One of his strengths is accompanying jazz singers and soloists. He adds a rich texture to the music and has a great feel. His biggest influences are Art Blakely, Philly Joe Jones and Brian Blade.

Charmin Michelle, Thomas Bruce, and Aaron Keith Stewart are three of the finest vocalists in the Minneapolis area. They captivate audiences and each have their own unique vocal style. These singers will be sure to delight you with

I Love Being Here With You

Steve Lucky & The Rhumba Bums (Featuring Miss Carmen Getit) - Some Like It Hot

Bitrate: 320K/s
Time: 50:45
Size: 116.2 MB
Styles: Blues-jazz, R&B, Jump blues
Year: 2008
Art: Front

[3:14] 1. Adam's Rib
[3:04] 2. Some Like It Hot
[4:19] 3. How'm I Doin
[3:02] 4. How Come
[3:14] 5. Real Gone Girl
[4:11] 6. Maybe Later
[3:40] 7. The Grapevine
[3:16] 8. Beat Girl
[3:30] 9. Let Me In
[4:05] 10. The Hollywood Jump
[3:06] 11. Haul Off And Love Me
[3:35] 12. Don't You Want To Get Lucky
[3:39] 13. The Rhumbabum Hum
[4:43] 14. That Mellow Saxophone

Called "Instant Crowd Favorites" by the San Francisco Blues Festival and "Consummate musicians and entertainers" by New York City's Lincoln Center, Lucky and Getit really shine before a live audience, bringing an intense energy and sheer personal magnetism to the stage, exercising wit in a continuous battle of the sexes. They've earned a reputation as captivating entertainers with "superior musicianship" (Downbeat), engaging audiences at the Montreux Jazz Festival in Switzerland, the Half Note Jazz Club in Athens, Greece, the San Francisco Blues Festival, as the house band at the Derby in Hollywood, and hundreds of nightclubs, festivals, and performing arts centers around the world.

Born in Seattle and raised near Detroit, Steve Lucky started playing piano at age eight and was playing and singing professionally by the time he was thirteen. He founded and led the six-piece Blue Front Persuaders through the ‘80s, playing swing, jump-blues, and ‘40s and ‘50s R & B, while living in Ann Arbor and attending the University of Michigan. Their novel sound and wild show was a big draw on the Midwest college circuit, earning them a spot on Star Search and a notable review for one of Lucky's original songs in Billboard magazine.

In 1987 Lucky moved to New York City to play keyboards for Grammy award-winning guitarist and vocalist Johnny Clyde Copeland. During the next five years he was active in the Greenwich Village music scene, was hired to score performance art and theater, and performed with a diverse group of musicians including Joan Osborne, Blues Traveler, and the Spin Doctors. Sticking to his musical roots, Lucky formed his own band in New York City working the nightclubs and touring throughout Europe. In 1993 he moved to San Francisco and started the Rhumba Bums as a quintet, but admits the band really took shape in ‘94 with the addition of Miss Carmen Getit on vocals and guitar.

In Carmen's powerful vocals, one can hear echoes of her idols Ruth Brown, Etta James, and Dinah Washington. Miss Getit is a dynamic performer and versatile vocalist, interpreting "slick jazz a la Dinah Washington" or shouting down-and-out blues according to the Ann Arbor Observer. Miss Getit got her musical start plucking out melodies on the piano before she learned to read. Piano lessons soon followed, and at age ten Carmen began singing and playing acoustic guitar with a group of girl guitarists at her local church. Over fifteen years later Steve Lucky bought her an electric guitar and turned her on to early blues and jazz. In 1998 she recorded a critically acclaimed release with the Rhumba Bums, "Come Out Swingin'!", earning four stars in both Downbeat and Blues Access Magazines and accolades from the press. Getit is recognized for her more swinging styles in Guitar Player Magazine as "smooth and steady", and her grittier blues playing in Experience Hendrix Magazine, where Frank-John Hadley calls Getit "one of the most striking young blues guitarists in the country".

Some Like It Hot

Bill Charlap & Renne Rosnes - Double Portrait

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 50:02
Size: 116,7 MB
Art: Front

(3:57)  1. Chorinho
(5:04)  2. Double Rainbow (Chovendo Na Roseira)
(8:55)  3. Ana Maria
(4:27)  4. The Saros Cycle
(8:35)  5. My Man's Gone Now
(5:05)  6. Dancing In The Dark
(5:15)  7. Inner Urge
(4:15)  8. Little Glory
(4:26)  9. Never Will I Marry

Many people believe that married couples have a telepathic connection. This recording puts that theory to the test, with two of the most important pianists in jazz today who also happen to be husband and wife sitting down for a duo piano recital.  Charlap's own work with drummer Kenny Washington Vocals and bassist Peter Washington has positioned him as one of the key voices in the piano trio format. His selection of standards and exquisite, classy recording projects have given him status as an arbiter of taste within the jazz world. While these aspects of his playing are Charlap's calling card, Rosnes is often lauded for two very different sides of her personality. Many in the jazz community have appreciated her ability to uphold the traditions of jazz, backing legends like J.J. Johnson, James Moody and Bobby Hutcherson since arriving Stateside in the mid-'80s, while another segment of the jazz listening public revels in her more adventurous exploits on her own recordings and with the SFJAZZ Collective.  Neither pianist compromises their artistic inclinations on Double Portrait, instead merging effortlessly to create a tapestry of refined and tasteful statements. Both players balance a sensitive touch with deeply probing and responsive ideas.

 Song choices here make sly, joking reference to their personal connection ("Never Will I Marry"), nod toward former Rosnes employers Joe Henderson ("Inner Urge") and Wayne Shorter ("Ana Maria"), and touch on standards ("Dancing In The Dark" and "My Man's Gone Now").  While every track is first-rate, the second half of the program posses greater heat and energy. The album opens with two Latin leaning compositions Lyle Mays' "Chorinho" and Antonio Carlos Jobim's "Double Rainbow" and both pianists lock in well together, but don't seem to be completely engaged with the material. This all changes when the pair arrives at "Ana Maria," a nine-minute performance that's almost too short, with both players digging deeper, and exploring the open expanse of Shorter's composition. The duo arrives at a loose and appropriately dark place for "My Man's Gone Now," and they swing as well or better than any sans-rhythm section pair on "Dancing In The Dark." Pent-up intensity is present on their first rate take of "Inner Urge," while Gerry Mulligan's under-performed "Little Glory" is all class. Charlap and Rosnes deserve all the happiness in the world for finding each other personally and artistically and the jazz community gets a little glimpse of this match made in heaven on Double Portrait. ~ Dan Bilawsky http://www.allaboutjazz.com/double-portrait-bill-charlap-blue-note-records-review-by-dan-bilawsky.php#.U7X9grF8eM0

Personnel: Bill Charlap: piano; Renee Rosnes: piano.

Double Portrait             

Abbey Lincoln - Abbey Sings Billie [Disc 1] And [Disc 2]

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 57:06 [Disc 1]
Size: 131,2 MB [Disc 1]
Time: 40:12 [Disc 2]
Size: 92,3 MB [Disc 2]
Art: Front

[Disc 1]

( 3:18)  1. What A Little Moonlight Can Do
( 2:51)  2. I Only Have Eyes For You
( 5:09)  3. Gloomy Sunday
( 4:27)  4. Crazy He Calls Me
( 6:16)  5. Strange Fruit
( 5:42)  6. Lover Man
( 4:41)  7. These Foolish Things
( 5:20)  8. I'll Be Seeing You
(10:18)  9. Soul Eyes
( 9:01) 10. I'll Wind

Abbey Lincoln's idol has always been Billie Holiday. Although she has never really copied Lady Day and she has long had her own style and sound, the feeling and intensity that Lincoln gives the lyrics she interprets is reminiscent of late-period Holiday. A perfect person to pay tribute to Billie Holiday, Lincoln (on the first of two Enja CDs) is joined by the underrated tenor Harold Vick (who would pass away unexpectedly within a short time after this recording), pianist James Weidman, bassist Tarik Shaha and drummer Mark Johnson for fresh renditions of standards. Mal Waldron's "Soul Eyes" is taken as an instrumental feature for Vick and other highlights include "What a Little Moonlight Can Do," "Strange Fruit," an emotional "I'll Be Seeing You" and a song perfectly suited for Abbey Lincoln's voice: "Crazy He Calls Me." One of the singer's best recordings of the 1980s and a fine complement to the equally rewarding Vol. 2. ~ Scott Yanow   http://www.allmusic.com/album/abbey-sings-billie-vol-1-mw0000315240

Personnel: Abbey Lincoln (vocals); Harold Vick (tenor saxophone); James Weidman (piano); Tarik Shah (bass); Mark Johnson (drums).

Abbey Sings Billie [Disc 1]


[Disc 2]

(7:02)  1. Gimme A Pigfoot
(6:58)  2. No More
(5:22)  3. God Bless The Child
(6:22)  4. Don't Explain
(5:28)  5. For Heaven's Sake
(3:20)  6. Please Don't Talk About Me (When I'm Gone)
(5:36)  7. For All We Know

Abbey Lincoln is the perfect person to pay tribute to Billie Holiday. She knew Lady Day during her last years and, like Holiday, Lincoln has always lived the words she sings and chosen to only intepret lyrics that have great meaning to her. Her expressive powers have been quite strong throughout her career and there are plenty of dramatic moments on this disc along with its first volume. Tenor-saxophonist Harold Vick, who would die suddenly within days of these sessions, is quite effective as is the supportive rhythm section. Abbey Lincoln shows off her versatility on such diverse numbers as "Gimme a Pigfoot," "Don't Explain" and "Please Don't Talk About Me When I'm Gone." ~ Scott Yanow   http://www.allmusic.com/album/abbey-sings-billie-vol-2-mw0000091041

Personnel: Abbey Lincoln (vocals); Harold Vick (tenor saxophone); James Weidman (piano); Tarik Shah (bass); Mark Johnson (drums).

Abbey Sings Billie [Disc 2]

Bucky Pizzarelli & Frank Vignola - Moonglow

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 47:01
Size: 108,5 MB
Art: Front

(3:03)  1. Whispering
(2:33)  2. I Can Dream, Can't I
(2:07)  3. Temptation
(2:09)  4. Moonlight Serenade
(1:48)  5. My Ideal
(3:59)  6. Moonglow
(3:21)  7. In The Blue Of Evening
(2:22)  8. Sleepy Time Down South
(4:44)  9. If I Had You
(3:36) 10. Golden Earrings
(2:55) 11. Dream A Little Dream Of Me
(3:28) 12. P.S. I Love You
(3:27) 13. Serenade In Blue
(3:16) 14. I'm Confessin'
(2:14) 15. Deep Purple
(1:51) 16. You'll Never Know

At least as evidenced by this collection of guitar duets, nothing but a mere few decades would seem to separate Bucky Pizzarelli (b. 1925) and Frank Vignola (b. 1965). Pizzarelli's lengthy resume includes years as a studio musician beginning in the '50s, touring with Benny Goodman, a celebrated guitar partnership with George Barnes, and popular stops along the way with Bobby Hackett and Bob Wilber, among others. Vignola, playing a six-string archtop guitar (and sometimes banjo), has always been a strong melody man on recordings which have ranged from "Stars Fell on Alabama to Horace Silver's "Cookin' at the Continental to tunes by Sting, Cream, and Bob Marley, in company with Ken Peplowski, Randy Sandke, and Roland Hanna, among others. 

The sixteen great pop standards on which they collaborate here turn into a celebration of the joys of simplicity. These are two virtuosos, masters with neither a need to outdo each other nor to hide behind flashy pyrotechnics. Vignola's clarity dominates on the melodies while Pizzarelli, on a seven-string electric, provides the most faithful partnering. The closeness of their chemistry is immediately evident on the opening tune, "Whispering. Vignola plucks a few notes while Pizzarelli, all subtle mellow warmth, joins in almost imperceptibly. They next glide into "I Can Dream, Can't I? , capturing a yearning which if anything is more than matched later by the incredible tenderness they express on "P.S. I Love You. Mood and tempo are shifted effortlessly for the sensual bolero beats of "Temptation, as throbbing colors from Vignola ride on an undulating wave of current from Pizzarelli.

On the great Glenn Miller hit "Moonlight Serenade, Pizzarelli's mellow chords with Vignola's lyrical eloquence perfectly capture the dreamy romanticism of the Swing Era classic. Recollections of moments as sublime as Sinatra's "In the Wee Small Hours and Ella's "Like Someone In Love come to mind. As with those masterpieces, each tune seems woven into a seamless, totally satisfying whole. Moonglow is melodious bliss. ~ Andrew Velez   http://www.allaboutjazz.com/moonglow-bucky-pizzarelli-hyena-records-review-by-andrew-velez.php#.U7Eqm7F8eM0
 
Personnel: Bucky Pizzarelli: guitar; Frank Vignola: guitar.

Primo Kim - To Be Near

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 44:55
Size: 103,2 MB
Art: Front

(2:44)  1. Why You
(3:40)  2. To Be Near
(2:34)  3. How Can I Be Sure
(2:59)  4. Is That Why
(4:37)  5. Right Turn
(3:51)  6. Gentle Rain
(2:41)  7. You've Got A Lotta Love to Give
(3:55)  8. More Than You Know
(2:58)  9. How Can This Love Affair Be Though
(3:58) 10. Don't Be Afraid, It's Time To Move On
(3:28) 11. Joy
(3:32) 12. Seabird
(3:52) 13. Come To Me

A totally amazing vocal jazz album from the early 70s  an obscure private pressing album from Primo Kim, an obscure singer  but a great one too! Primo's got a very hip approach to his work  a sound that's somewhere in the territory of Mark Murphy or Bobby Cole light years from mainstream male vocals, and often served up with some very jazzy grooves in the background! Many tracks here are originals by Primo, and a few others are well-chosen covers too  and in a way, the feel is quite like some of Mark Murphy's best overseas work of the 60s, or Bobby Cole's landmark album from the early 60s a set without compare, and with a freshness that's just getting appreciated all these many years later. https://soundcloud.com/primo_jp/sets/primo-kim-to-be-near-reissue