Yvonne Sanchez - My Garden

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 50:33
Size: 116,8 MB
Art: Front

(4:26)  1. The Girl
(4:18)  2. Just For Us
(3:37)  3. Voa Voa
(3:09)  4. Sunshine
(4:09)  5. Pieces
(2:58)  6. Under the Moon and the Stars
(4:13)  7. The Song
(4:09)  8. Roses
(3:33)  9. Skylight
(4:03) 10. Rainbow
(4:03) 11. Dito's Lullaby
(7:49) 12. Meu Jardim (My Garden)

Yvonne Sanchez first performance was in Poland as a percussionist with the Polish rock star legend Joseph Skrzek. Later during her German stay, she started to play bass guitar and piano, but regardless her passion for musical instruments she never planned to become a vocalist until she moved to Prague in 1994 and whithin one year she had her premiere as a jazz vocalist at the reonouned Reduta jazz club in Prague. In 1997 she won the poll held by the Czech magazine Harmony which covers classical, jazz and world music as the best jazz singer and in 1998 Yvonne was awarded with Vocalist of the Year by the Czech Jazz Society. Yvonne Sanchez has always talked about Ella Fitzgerald, Sarah Vaughan and Billie Holliday in particular as her main inspirations but except her passion for jazz standards in 1998 she started a new project called “Brazilian Groove” interpreting songs based on Latin American rhytms such as Bossa Nova and Samba, especially written by her favorite Brazilian composer, Antonio Carlos Jobim. Yvonne Sanchez co-produced and arranged her first album “Invitation” in 2001. 

The album was recorded with Robert Balzar Trio, one of the best and most well respected jazz musicians in Czech Republic. “Invitation” was a great success and was considered by critics and audiences as one of the best jazz records ever to be recorded in the Czech Republic. “Invitation” received a nomination for the 2002 Czech Grammy awards in the jazz and blues category. In 2008 Yvonne recorded and produced her latest album “My Garden” (Warner Music) presenting herself for the first time as a songwriter. “My Garden was recorded with international musicians and is a fusion of jazz, latin and world music. “My Garden” received great reviews from critics and was nominated for the Andel award (equivelant of a Grammy) in the categories for the Best Album of the year and the Jazz Album of the year. Less than a year of the release, My Garden reached gold sales.Yvonne’s latest work is a live album recording with Brazilian guitarist Pedro Taglini. The album was recorded in Prague in October 2011 and will be released through Supraphon records. Songs about love is a beautifully arranged album which include love songs such as “The look of Love”, “Cry me a river” and a couple of original compositions by Yvonne Sanchez. Yet another musical treat from Producer/Singer/Composer Yvonne Sanchez.Yvonne Sanchez has performed in Russia, Poland, Hungary, Slovakia, Turkey, Cyprus, France, Germany, Austria, Luxemburg, England, Portugal, Israel, Brazil, Cuba and the USA. Bio ~ http://yvonnesanchez.eu/yvonne-sanchez-bio.html

My Garden

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Joe Zawinul - My People

Styles: World Fusion, Big Band
Year: 1996
File: MP3@320K/s
Time: 52:39
Size: 127,0 MB
Art: Front

(1:52)  1. Introduction  to a Mighty Theme
(6:03)  2. Waraya
(6:36)  3. Bimoya
(3:20)  4. You Want Some Tea, Grandpa ?
(4:12)  5. Slivovitz Trail
(2:29)  6. Ochy-Bala / Pazyryk
(7:53)  7. Orient Express
(4:53)  8. Erdäpfee Blues (Potato Blues)
(6:13)  9. Mi Gente
(4:48) 10. In An Island Way
(4:15) 11. Many Churches

If one must indulge in categories, My People, featuring the Zawinul Syndicate and a United Nations coterie of guests, probably belongs on the vast world music shelf, the links to so-called jazz now so tenuous as to be nearly, but not quite, invisible. On the percolating "Slivovitz Trail," "Orient Express," "Many Churches," and the Caribbean-tinged cleverly titled "In an Island Way," the music does suggest earlier versions of the Syndicate, and Joe Zawinul's nostalgic evocations of Wayne Shorter on the Korg Pepe reach back even further. Otherwise, Zawinul is looking entirely toward ethnic cultures for musical sustenance. The musical structures are linear, the rhythms full of intricacies welded to Zawinul's love affair with the groove, the synthesizer textures usually sparer than ever. There are vocals in several languages by Zawinul's longtime colleague Salif Keita (for whom Zawinul produced a great album in 1991), Syndicate percussionist Arto Tuncboyaciyan, a throat vocal specialist from South Siberia named Bolot, Thania Sanchez, Zawinul himself, and several others. When translated, the lyrics speak of joy and unity among the cultures, and there isn't any doubt that Zawinul's bubbling music feeds the message of uplift. Hear it; you purists may be jiggling along in spite of yourselves. ~ Richard S.Ginell  

http://www.allmusic.com/album/my-people-mw0000613149

Personnel includes: Joe Zawinul (vocals, keyboards, programming); Bolot (vocals, topshur); Richard Bona (vocals, bass); Arto Tuncboyaciyan (vocals, percussion); Salif Keita, Thania Sanchez, Burhan Ocal (vocals); Duke Ellington (spoken vocals); Bobby Malach (tenor saxophone); Mike Mossman (trumpet, trombone); Cheick Tidiane Seck (keyboards); Gary Poulson, Amit Chatterjee, Osmane Kouyake (guitar); Matthew Garrison (bass); Paco Sery, Tal Bergmann (drums, percussion); Alex Acuna, Trilok Gurtu, Rudy Regalado, Michito Sanchez, Souleyman Doumbia (percussion); Ivan Zawinul (programming); Djene Doumbouya, Assitan Dembele, Beto Sabala, Kenny O'Braian, Lucho Avellaneda (background vocals).

My People

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Coleman Hawkins And Roy Eldridge - Live At The Opera House

Styles: Trumpet And Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 73:55
Size: 171,5 MB
Art: Front

( 7:58)  1. Bean Stalkin'
( 2:50)  2. The Nearness Of You
( 2:27)  3. Time On My Hands
( 7:17)  4. The Walker
( 6:00)  5. Tea For Two
( 2:23)  6. Blue Moon
( 2:19)  7. Cocktails For Two
( 7:55)  8. Kerry
( 7:27)  9. Bean Stalkin'
( 2:36) 10. I Can't Get Started
( 2:12) 11. Time On My Hands
( 7:22) 12. The Walker
(15:04) 13. Stuffy

This CD contains the two complete sets by the Coleman Hawkins/Roy Eldridge quintet recorded it the fall of 1957 at the "Civic Opera House" in Chicago (stereo) and at the "Shrine Auditorium" in Los Angeles (mono). The "Hawk" is still imperial here, and there is also a particularly welcome bonus in the fine form of Roy Eldridge on both concerts - not always the case during his career. Another astonishing surprise is the rhythm section, which consists of three quarters of the "Modern Jazz Quartet": John Lewis, Percy Heath and Connie Kay. They swing hard, proving they were versatile enough to change their style when accompanying their two elders. Making a great closing performance for a CD full of outstanding playing is a very rare version of "Stuffy," with Coleman and Roy, plus JJ Johnson, Stan Getz, Oscar Peterson, Ray Brown, Herb Ellis and Jo Jones. ~ Editorial Reviews  http://www.amazon.com/Live-Opera-House-Roy-Eldridge/dp/B002LTNWWG

Personnel:  Bass – Percy Heath;  Drums – Connie Kay;  Piano – John Lewis;  Tenor Saxophone – Coleman Hawkins; Trumpet – Roy Eldridge

Live At The Opera House

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Eddie Chamblee - Chamblee Special

Bitrate: 320K/s
Time: 66:42
Size: 152.7 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[3:09] 1. Chamblee Special
[4:26] 2. Without A Song
[2:39] 3. At Your Beck And Cal
[3:57] 4. And The Angels Sing
[4:38] 5. Whisper Not
[3:13] 6. Flat Beer
[4:10] 7. Sometimes I'm Happy
[3:57] 8. Stella By Starlight
[4:34] 9. Stella By Starlight (2)
[2:22] 10. Strollin' Sax
[4:34] 11. Stardust
[2:37] 12. Swing A Little Taste
[4:00] 13. Robbin's Nest
[4:22] 14. Doodlin'
[4:16] 15. Village Square
[2:14] 16. Lone Gone
[3:23] 17. Lester Leaps Again
[2:11] 18. Solitude
[1:51] 19. Back Street

This CD brings together two excellent sessions that Chamblee made in Chicago in 1957 and 1958, fronting a septet of outstanding category that had previously served as a very efficient backing group on some of the recordings made by his wife Dinah Washington. They were most certainly not just mere blowing sessions in the studio but effective and exciting arrangements executed with enormous precision and swing.

Throughout these sessions we can hear Chamble in his triple facet of impressive honker, excellent composer and quality arranger. Apart from the splendid labours of the leader, on many of the themes that appear on this CD we can hear other experienced jazzmen such as Joe Newman, Johnny Coles, Charlie Davis or Jack Wilson. A very suitable example of the extraordinary quality of a musician who made some of his best performances fronting small combos, the type of formation that allowed him to demonstrate his great musical qualities and his enormous capacity for swinging.

Tracks #1-5: Johnny Coles (tp), Julian Priester (tb), Eddie Chamblee (ts), Charlie Davis (bs), Jack Wilson (p), Richard Evans (b), Charlie Persip (d).
#6-9: Joe Newman (tp) and Osie Johnson (d) replaxe Coles and Persip.
#10-19: Flip Ricard (tp), Julian Priester (tb), Eddie Chamblee (ts, vcl #11), Charlie Davis (bs), Jack Wilson (p), Robert Wilson (b), Charlie james Slaughter (d).
Recorded in Chicago, 1957 (1-9) and 1958 (10-19).

Chamblee Special

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Paul Horn - Plenty Of Horn (2-Disc set)

While still a member of the Chico Hamilton Quintet, Paul Horn recorded two albums for the Dot label that were later reissued on Impulse and most recently came out in the late 1970's on this two-LP set. Switching between flute, clarinet and his cool-toned alto, Horn is in excellent form on the wide-ranging material which reflects the influence of Hamilton's chamber jazz approach but also contains some hard swinging. The settings range from a quartet to a ten-piece group that utilizes a string quartet and a 12-piece mini big band. Among the sidemen are drummer Hamilton, cellist Fred Katz, vibraphonist Larry Bunker and pianist Gerry Wiggins, but most of the emphasis is on Horn's playing (particularly on flute); he also contributed five originals. Worth searching for, this music has not yet been reissued on CD. ~Scott Yanow

Bass – Don Bagley, Don Payne, Hal Gaylor, Red Mitchell; Celesta – Gerry Wiggins; Cello – Fred Katz, Ray Kramer; Claves – Larry Bunker; Congas – Mongo Santamaria; Drums – Chico Hamilton, Gene Estes, Mel Lewis, Osie Johnson, Shelly Manne; Flute, Piccolo Flute, Clarinet, Alto Saxophone, Flute [Alto] – Paul Horn; French Horn – Dick Perissi, Vince DeRosa; Guitar – Billy Bean, John Pisano; Piano – Calvin Jackson, Dick Katz, Fred Katz, Gerry Wiggins; Tuba – Red Callender; Vibraphone – Larry Bunker; Viola – DavidSterkin; Violin – Dan Lube, David Frisina;

Album: Plenty Of Horn (Disc 1)
Bitrate: 320K/s
Time: 60:49
Size: 139.3 MB
Styles: Hard bop
Year: 2011

[3:39] 1. A Soldier's Dream
[4:27] 2. Day By Day
[4:06] 3. To A Little Boy
[5:46] 4. Siddartha
[2:55] 5. Pony Tale
[3:30] 6. House Of Horn
[3:50] 7. Sunday, Monday Or Always
[3:30] 8. The Golden Princess
[4:37] 9. Interlude
[2:55] 10. Pony Tale
[4:34] 11. Lover Man
[3:53] 12. Mood Improvisation
[4:46] 13. Chloe
[4:10] 14. Romanze
[4:04] 15. A Parable

Plenty Of Horn (Disc 1)

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Album: Plenty Of Horn (Disc 2)
Bitrate: 320K/s
Time: 53:33
Size: 122.6 MB
Styles: Hard bop
Year: 2011
Art: Front

[3:53] 1. Blues For Tom
[4:06] 2. Yesterdays
[2:41] 3. The Smith Family
[4:06] 4. Invitation
[3:32] 5. Tellin' The Truth
[2:24] 6. Effervescense
[3:56] 7. Reminescense
[2:06] 8. Exuberance
[4:19] 9. Ebullience
[7:46] 10. Give Me The Simple Life
[4:22] 11. Willow Weep For Me
[2:58] 12. Jive At Five
[4:28] 13. My Old Flame
[2:50] 14. Swedish Pastry

Plenty Of Horn (Disc 2)1

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Jean Bonal - Jazz Loves Paris By Night

Bitrate: 320K/s
Time: 42:24
Size: 97.1 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[2:42] 1. Pétales
[2:21] 2. We'll Meet Again
[2:07] 3. Flor Do Brazil
[2:25] 4. Tenderly
[2:19] 5. From The Beginning
[3:15] 6. The Gambler
[3:11] 7. San Paolo
[2:22] 8. Still Swinging
[2:48] 9. Spleen
[2:09] 10. Bruno
[2:01] 11. Phelippe
[2:11] 12. Anatole
[2:53] 13. Caco
[2:49] 14. Tendresse
[2:23] 15. Retour
[2:15] 16. Minha Querida
[2:05] 17. Superstition

Le jazz est une affaire de passion, de feeling, presque de militant, témoin la carrière de Jean Bonal dont le jeu de guitare est nourri, entre autres de Charlie Christian et Django Reinhardt : ses premières séances d'enregistre-ment datent de 1946 pour la fameuse marque "Savoy" avec Michel de Villiers et André Persiani. Il participera même à des cessions privées avec Jeff Gilson (alors clarinettiste), puis pour Eddie Barclay (sous la marque Blues Star, encore une légende !) avec les nouvelles étoiles du Hot Club de France, et fera aussi les belles heures du Caveau de la Montagne et du Boeuf sur le toit. Depuis Jean Bonal a travaillé et enregistré avec tout le gotha du jazz français, notamment Alix Combelle, André Ekyan, Stéphane Grappelli, mais aussi du jazz américain, de Don Byas à Nelson Williams, Art Simmons, Jonah Jones, Buck Clayton (trompette chez Count Basie) avec lequel il enregistre deux 33 tours. Il a même à son palmarès un moment d'anthologie; une séance historique, le rêve de tout jazzman digne de ce nom : une authentique jam session avec Charlie Parker, Oscar Peterson, Ray Brown, à la grande époque ! De quoi peut-on rêver après cela ! Rien d'étonnant donc à ce qu'il ait obtenu de multiples récompenses dont déjà un prix SACEM en 1982 avec "Guitare à la carte", une mention spéciale de l'Académie du jazz en 1998 pour son "Histoire de la guitare dans la musique de jazz" et le prix de la SACEM de la musique instrumentale de variétés en 1993. Nous tenions a couronner la carrière de Jean Bonal; nous avons eu la chance de pouvoir réunir quelques uns des grands jazzmen français qui ont jalonné sa carrière .

Jazz Loves Paris By Night

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Budd Johnson - Off The Wall

Bitrate: 320K/s

Time: 37:59

Size: 87.0 MB

Styles: Bop, Saxophone jazz

Year: 1964/2005

Art: Front

[5:07] 1. Off The Wall

[5:19] 2. The Folks Who Live On The Hill

[7:28] 3. Love Is The Sweetest Thing

[3:54] 4. Strange Music

[6:01] 5. Baubles, Bangles, And Beads

[5:01] 6. Ill Wind

[5:05] 7. Playin' My Hunch

A great little album from tenor legend Budd Johnson -- and a record that nicely updates his sound by pairing him with a hip 60s-styled group! The album's got a jaunty feel that's like the best soul jazz sessions on Impulse at the time -- taking Budd's tenor and placing it next to trumpet by Joe Newman, piano by Albert Dailey, bass from Richard Davis, and drums by Grady Tate. Upbeat tracks bounce along in a swinging take on mainstream soul jazz -- and the mellower cuts feature some really wonderful blowing from Budd -- done with a raspy tone that's got a nice earthy quality! Includes the jazz dancer "Off The Wall", the samba-styled "Strange Music", a snapping take on "Baubles Bangles & Beads", and the syncopated groover "Playin' My Hunch". ~The Jazz Cooperative

Bass – George Duvivier (tracks: A3, B1, B2), Richard Davis (2) (tracks: A1, A2, B3, B4); Drums – Grady Tate; Piano – Al Dailey, Jr.; Tenor Saxophone – Budd Johnson; Trumpet – Joe Newman.

Off The Wall

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Grant Stewart - In The Still Of The Night

Bitrate: 320K/s
Time: 60:01
Size: 137.4 MB
Styles: Mainstream jazz, Saxophone jazz
Year: 2007
Art: Front

[6:28] 1. In The Still Of The Night
[6:42] 2. Theme For Ernie
[7:43] 3. Wives And Lovers
[8:26] 4. Autumn In New York
[7:50] 5. If Ever I Would Leave You
[8:00] 6. Work
[8:35] 7. Lush Life
[6:13] 8. Loads Of Love

This is hardly tenor saxophonist Grant Stewart's first recording as a leader, but his earlier CDs were for various European labels. In the Still of the Night is the release that set his career afire, as he joins forces with three of New York's in-demand musicians in his rhythm section: the hard-driving pianist Tardo Hammer, everyone's first call bassist Peter Washington and the talented drummer Joe Farnsworth. Right of the box, the big-toned Stewart makes his presence known with an up-tempo rendition of "In the Still of the Night" that makes one stand up and take notice. Stewart and Hammer dive head first into Thelonious Monk's "Work" (not exactly one of the pianist's more frequently recorded numbers), with Washington and Farnsworth fueling their spirited solos. But Stewart is also no slouch playing ballads, as his dreamy take of "Autumn in New York" and haunting treatment of "Lush Life" display a profound lyricism. Stewart's astute choice of Richard Rodgers' "Loads of Love" uncovers another gem that is rarely recorded, his sizzling solo will invite comparisons to Dexter Gordon. Even Burt Bacharach's often blandly played "Wives & Lovers" is rejuvenated with Stewart's lighthearted but aggressive interpretation. Highly recommended! ~Ken Dryden

In The Still Of The Night

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Freda Payne - How Do You Say I Don't Love You Any More

Styles: Vocal
Year: 1966
File: MP3@320K/s
Time: 32:20
Size: 75,1 MB
Art: Front

(2:37)  1. (How Do You Say) I Don't Love You Anymore
(3:03)  2. Yesterday
(2:29)  3. San Juan
(2:41)  4. You Never Should Have Loved Me
(3:15)  5. Let It Be Me
(2:03)  6. On Easy Street
(3:16)  7. You've Lost That Lovin' Feeling
(2:57)  8. It's Here For You
(3:13)  9. Feeling Good
(1:55) 10. Sad Sad September
(2:35) 11. If You Love Me
(2:12) 12. Too Late

In 1966, when Freda Payne recorded How Do You Say I Don't Love You Anymore for MGM, she had already recorded a jazz LP for Impulse! but was still a few years away from Invictus and her commercial peak with the polished '70s soul of "Band of Gold." Although the LP was arranged by Benny Golson, one of the finest arranger/composers in jazz, it was closer to a pop date than vocal jazz. Payne sang "Yesterday" and "Let It Be Me" and "You've Lost That Lovin' Feelin'," while the studio charts of Golson (and production by Tom Wilson) looked to the contemporary pop burgeoning across the pond from Petula Clark and Tony Hatch. (Think punchy but compressed brass, perfect for mono speakers in car radios and department stores.) Despite her early jazz leanings, Payne proves herself a far better pop-soul singer, sounding great on the two songs with the most hit potential, the title track and "You Never Should Have Loved Me." By comparison, her interpretations of the standards are clumsy; she holds notes a beat too long and wrings every last note of melodrama from "Yesterday" and "Let It Be Me." Overall, not a bad dry run for her Invictus recordings, which would begin in just a few years. ~ John Bush  http://www.allmusic.com/album/how-do-you-say-i-dont-love-you-anymore-mw0000811893

How Do You Say I Don't Love You Any More

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Yves Brouqui - Foreign Currency

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 53:20
Size: 122,3 MB
Art: Front

(5:37)  1. Will You Still Be Mine
(5:24)  2. The More I See You
(5:41)  3. An Eye With Steeve
(6:50)  4. You Go To My Head
(6:16)  5. Somewhere In The City
(6:43)  6. The End Of A Love Affair
(6:25)  7. From this Moment On
(5:20)  8. Uhhuh!
(5:01)  9. Love Is A Many Splendored Thing

Classical guitarist and personal style, leaving a large part in the melody and blues, Yves Brouqui , popular and sought sideman, is also a persuasive leader who likes to give his own version of little known standards and play his compositions. His latest personal project is an adaptation for piano quartet / guitar music of the American composer and pianist Horace Silver, culminated in the release of his latest CD as a leader, "  The Music of Horace Silver  . " A native of Grenoble, Yves Brouqui began studying jazz in the early 80s with local musicians as Benoit Sourisse . After studying at CIM in Paris, he decided to turn professional when Simon Goubert engages in his first sextet. This group will allow it to become known and to be asked by musicians such as Luigi Trussardi, Philippe Combelle, Olivier Hutman, Alain Jean-Marie , or the Belgian musicianJacques Pelzer , former partner René Thomas. Follows a prolific period during which it can be heard alongside Steve Potts - with whom he remained six years. It will also be hired by the American drummer - former partner of Wes Montgomery - George Brownwho also uses Emmanuel Bex to complete the trio. It will also, during this period, appeared in the quartet of Christian Vander, alongside his friend pianist Emmanuel Borghi, and the septet Pierre Blanchard. 

Co-founder of the first sextet Laurent Fickelson the early 90s, he then enters the quintet 'of Emmanuel Bex - the Bextet -with whom he recorded two CDs and plays regularly and intensively to Paris, in the provinces, in some countries Europe and South America. After a brief stay in New York, Yves Brouqui decided to settle there. It is in a jazz club became famous, the Smalls Jazz Club , he contacted the New York scene. The legendary "jam sessions" of "Smalls" allow him to be heard and appreciated American musicians. His encounter with tenor saxophonistGrant Stewart will lead to the creation of a quartet with Nicolas Rageau (bass) and Johnny Ellis or Phil Stewart (drums).This group produced locally and conduct several tours in France. During his stay, which lasted eight years, Yves Brouqui meeting and working with the next generation of musicians as New Yorkers Michael "Spike" Wilner (with whom he recorded two CDs for Fresh Sound), Joe Strasser, Mark Taylor, Joe Magnarelli, Jim Rotundi, Sam Yahel, Brian Floody, Tony Leone, Rob Bargad, Sylvia Cuenca, Charles Ruggiero, Mike Le Donne, Eric Alexander, Joe Farnsworth, Joe Cohn, Joel Forbes, Dan Converse, Frank Amsalem, Joe Martin, Niel Minor, Barak Mori Peter Zack, Mike Karn, John Weber, Paul Gill, and those of previous generations asBobby Durham, Bob Mover, Charles Dennis and Mike Clarke.

 He befriends guitarist Peter Bernstein , occasionally it replaces, including within the pianist / organist group Mike Le Donne   another New Yorker club has also become famous:Smoke. Yves Brouqui records one after her first two CDs as a leader. The first, "  Foreign Currency  "will be awarded the Diapason d'Or in Diapason magazine and the second, "  Live at Smalls  "will also receive excellent reviews from the press. Once back in France Yves Brouqui worked and recorded with the younger generation of Parisian musicians like Fabien Mary, Xavier Richardeau (two CDs for Taxi Rec.) Laurent Courthaliac David Sauzay Mourad Benhamou , but  Alain Jean-Marie, Luigi Trussardi, James Stafford, Douglas Sides . Together with Nicolas Rageau, he recorded a third album for Elabeth "Made In France", alongside Grant Stewart and Joe Magnarelli then set up a project with two guitars with Peter Bernstein. It will also have the opportunity to accompany the singer Bob Dorough during his time at Sunset in Paris. Along with its status as a guitarist of " Duc Des Lombards Jazz Affair "sextet" home "of the Parisian club, led by Xavier Richardeau , he joined the new quintet of singer Elisabeth Kontomanou with whom he turns three years and rides a draft quartet with saxophonist Martin Jacobsen will happen in Parisian clubs and Africa and Portugal. More recently, he accompanied, alternating with Alain Jean-Marie, the New Yorker saxophonist Dmitry Baevsky during his visits to France. Recently, he released his new CD as a leader "  Tribute to Horace Silver  "on the label Elabeth. Translate by google... Bio ~ http://www.yvesbrouqui.com/bio/

Foreign Currency

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Stefan Patry - Singer

Styles: Vocal, Jazz
Year: 2012
File: MP3@320K/s
Time: 54:36
Size: 125,3 MB
Art: Front

(4:10)  1. Ain't No Sunshine
(5:24)  2. When I Fall in Love
(4:09)  3. I Got My Mojo Workin'
(4:57)  4. Moonlight In Vermont
(4:18)  5. Teach Me Tonight
(5:04)  6. Night & Day
(4:39)  7. You Are the Sunshine of My Life
(4:07)  8. Only You
(5:18)  9. That' All
(5:39) 10. Young Forever, Forever Young
(6:45) 11. The Man I Love

Born in 1962, Stefan Patry feels naturally drawn to music. as a teenager, he discovered and developed a passion for jazz; meeting with Rhoda Scott at the age of 14 years will be decisive as to its lifeline and its exclusive choice for the Hammond organ. After studying classical piano, organ, singing and harmony, he discovers Paris and its clubs and jazz musicians. He received his first engagement at Petit Journal Montparnasse and other clubs in rapid succession ( Caveau de la Huchette , Meridien Etoile , Bilboquet, Sunset , Duc des Lombards ...).  It is programmed in festivals in France and abroad; gradually his career as an organist is emerging; he plays in training of gospel, jazz and blues. He developed the immense possibilities of his instrument, fully exploits the pedal bass with the composition will become its main musical weapons. 

In 1996, he created the association Tribute To Hammond (which he chairs) in which he brings together amateur and professional organists; he organized the famous "rushes organ" real events around the Hammond organ. It also creates Organ Jam Sessions at the Caveau des Oubliettes in Paris. Designer label Must Record, the label of Hammond organists , it produces well-known artists but does not hesitate to find out and discover new talent. Musician, organist, songwriter and singer recently, he has recorded over 10 CDs under his name; worked with an incredible number of artists. Every day he is looking forward to living his passion, he plays, he composes and is looking for a simple music always melodic, and rhythmic mixed. Translate by google..http://stefanpatry.com/discographie.html

Personnel: Stefan Patry – Vocal & Hammond organ, Gilles Renne – Guitar, Benjamin Henocq – Drums. And in its special guests : Anne Ducros – Vocal (2), La Velle – Vocal (5), Emmanuel Bex – Hammond organ (11), Hervé Meschinet – Flute (3 & 6), Jean-Luc Pino – Violin (6), Michel Delakian – Trumpet (8), Sydney Haddad – Percussions (3 & 6).

Singer

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Stan Kenton - Lush Interlude & The Kenton Touch

Styles: Jazz, Big Band
Year: 2003
File: MP3@320K/s
Time: 42:36
Size: 98,0 MB
Art: Front

(4:20)  1. Interlude
(4:19)  2. Collaboration
(4:03)  3. Opus In Pastels
(3:32)  4. A Theme For My Lady
(3:33)  5. Artistry In Bolero
(6:33)  6. Concerto To End All Concertos
(2:51)  7. Machito
(4:36)  8. Theme To The West
(4:13)  9. Lush Waltz
(4:32) 10. Artistry In Rhythm

A pair of Pete Rugolo-arranged classics from 1958, both featuring string sections and legendary West Coast jazz musicians like Red Mitchell, Shelley Manne and Laurindo Almeida! In fact, this pairing went together so well that we’re putting it out on a two-CD set, since the two albums didn’t fit on a single CD. "Lush Interlude" dramatically re-interprets the Kenton standards "Interlude," "Collaboration," "Opus in Pastels," "A Theme for My Lady," "Artistry in Bolero," "Concerto to End All Concertos," "Machito," "Theme to the West," "Artistry in Rhythm," and the new composition "Lush Waltz." "The Kenton Touch," meanwhile, features sparkling Bill Holman charts on "Salute," "Monotony," "Elegy for Alto," "Theme for Sunday," "Ballade for Drums," "Minor Riff," "The End of the World," "Opus in Chartreuse," "Painted Rhythm," and "A Rose for David." A Collectors’ Choice Music exclusive! ~ Editorial Reviews  http://www.amazon.com/The-Kenton-Touch-Lush-Interlude/dp/B00008A8I8

Lush Interlude

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Stan Kenton - Kenton Touch

Styles: Jazz, Big Band

Year: 2003

File: MP3@320K/s

Time: 37:16

Size: 85,7 MB

Art: Front

(3:57)  1. Salute

(3:48)  2. Monotony

(3:12)  3. Elegy For Alto

(5:26)  4. Theme For Sunday

(3:08)  5. Ballade For Drums

(3:30)  6. Minor Riff

(2:31)  7. The End Of The World

(3:28)  8. Opus In Chartreuse

(5:25)  9. Painted Rhythm

(2:46) 10. A Rose For David

Kenton Touch

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Benny Carter - Cosmopolite: The Oscar Peterson Verve Sessions

Bitrate: 320K/s

Time: 77:30

Size: 177.4 MB

Styles: Saxophone jazz, East Coast blues

Year: 1994

Art: Front

[2:54] 1. Gone With The Wind

[2:54] 2. I Got It Bad (And That Ain't Good)

[3:03] 3. Long Ago (And Far Away)

[3:17] 4. I've Got The World On A String

[3:17] 5. Street Scene

[3:30] 6. Imagination

[2:31] 7. Pick Yourself Up

[2:50] 8. I Get A Kick Out Of You

[7:39] 9. Laura

[6:44] 10. That Old Black Magic

[3:26] 11. Angel Eyes

[4:45] 12. The Song Is You

[3:38] 13. A Foggy Day

[3:54] 14. You Took Advantage Of Me

[2:47] 15. Poinciana (Song Of The Tree)

[3:45] 16. Prisoner Of Love

[4:36] 17. Frenesi

[2:28] 18. Gone With The Wind

[3:00] 19. I Got It Bad (And That Ain't Good)

[3:04] 20. Long Ago (And Far Away)

[3:17] 21. I've Got The World On A String

These timeless Benny Carter performances match the great altoist with pianist Oscar Peterson, bassist Ray Brown, either Barney Kessel or Herb Ellis on guitar, Buddy Rich, J.C. Heard or Bobby White on drums, and, on four numbers, trombonist Bill Harris. The 17 standards (four of which are also heard in alternate versions) are treated with respect, taste, and swing. Carter always sounds flawless and is in excellent form throughout this enjoyable set. ~Scott Yanow

Cosmopolite! The Oscar Peterson Verve Sessions  

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Curtis Amy & Paul Bryant - Meetin' Here

Bitrate: 320K/s
Time: 65:23
Size: 149.7 MB
Styles: Saxophone jazz, Straight ahead jazz
Year: 1961/2013
Art: Front

[7:08] 1. Meetin' Here
[6:46] 2. Early In The Morning
[6:04] 3. If I Were A Bell
[8:02] 4. One More Hamhock Please
[6:22] 5. Angel Eyes
[4:12] 6. Just Friends
[3:23] 7. Meet Me In The Bottom
[4:32] 8. In The Evening
[2:42] 9. New B & O Blues
[5:00] 10. Puppy Love
[2:45] 11. Wake Up In The Mornin'
[5:50] 12. Wee Baby Blues
[2:32] 13. I'm The One

Curtis Amy was an accomplished Texas tenor who moved freely and productively between straightahead jazz, blues and rhythm and blues, and both aspects of his musical personality are fruitfully deployed on these enjoyable early 60s West Coast sessions. On the first, “Meetin’ Here,” he brings a fiery conviction to bear on a relaxed, grooving date with organist Paul Bryant. Sharing the front line with them is the solid trombone of Roy Brewster, and the results have the hand-inglove feel of a group to which cooking is as natural as breathing. Whether on a ballad or up-tempo driving, Amy is the main man, bringing a declamatory edge to his tone that reinforces his expressiveness.

After this, the tenor’s career soon shifted into higher gear. Pacific Jazz producer Richard Bock used him in an all-star jazz group to back the veteran blues singer and guitarist Bumble Bee Slim on the second session of this set. Recorded a year later under Slim’s leadership as part of the album “Back in Town!,” it offered, in addition to Slim’s unpretentious, relaxed, and undeniably expressive way with slow, medium and up-tempo blues tunes, gripping soloing by Curtis Amy, and fine contributions by organist “Groove” Holmes and trombonist Lou Blackburn.

Curtis Amy (ts), Roy Brewster, Lou Blackburn (tb), Paul Bryant, Richard 'Groove' Holmes (org), Bumble Bee Slim (vcl, g), Clarence Jones (b), Jimmy Miller, Leroy Henderson (d). Recorded at Pacific Jazz Enterprises Inc./Rex Studios, Los Angeles, on March 30, 1962

Meetin' Here

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Laurie Antonioli - American Dreams

Bitrate: 320K/s
Time: 56:25
Size: 129.2 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[4:33] 1. America The Beautiful
[6:22] 2. Dreary Black Hills Get Up & Go
[4:34] 3. How Long
[5:52] 4. Just A Dream
[4:47] 5. Long Way From Home
[4:35] 6. Moonlight In Vermont
[5:16] 7. Oh, What A Beautiful Morning
[3:58] 8. Samba Nada Brahma
[3:44] 9. Stimulus Plan
[4:19] 10. Sweet Sound Of Spring
[4:28] 11. Under Consideration
[3:52] 12. Vienna Blues

Calling American Dreams a jazz album is too narrowing a description. This record is actually an odyssey through the American musical landscape. After recording Foreign Affair (Nabel, 2004), with a multi-cultural cast of musicians while living abroad, vocalist Laurie Antonioli's mind drifted back toward thoughts of home. In exploring her vision of America, Antonioli touches on standards, country, folk and patriotic music. These entries are nestled within a collection that also includes a good amount of material resulting from a marriage of her lyrics with the music of pianist Fritz Pauer--the longtime accompanist for trumpeter Art Farmer.

In lesser hands, these disparate musical ideals might have resulted in an album that suffered from multiple personality disorder, but Antonioli and her exquisite band help fuse all of these songs into a unified musical expression. While a song called Samba Nada Brahma might seem like an odd way to start off an album that speaks of America, it provides instant excitement as Sheldon Brown's soprano saxophone work bounces around with boundless energy. Moonlight In Vermont gives Antonioli a chance to showcase her superb scatting skills and bassist John Shifflett provides excellent support here. How Long, one of five pieces credited to Pauer and Antonioli, has an alt-country vibe and--if one looks past the saxophone solo--it sounds like it could have come from the Emmylou Harris songbook. Brown--one of the key ingredients on this record--provides some harmonica work at the top of Dreary Black Hills and Antonioli's voice picks up a bit of country twang on this traditional tune. This song transitions into Get Up And Go--an earthy, appealing original from Shifflett--and Antonioli's voice takes on a firmer, focused quality here.

In addition to bringing stylistic authenticity into every song on the album, guitarist Dave McNab put together a gorgeous arrangement of America The Beautiful. Antonioli slowly lays out the visually rich lyrics over a warm bed of guitar and Brown's bass clarinet work adds volumes to the performance. Freer forms of expression come through on the loose and woozy Stimulus Plan, as Jason Lewis' jittery cymbal work scurries around and Antonioli moves in tandem with Brown's bass clarinet. Broadway also makes a brief appearance and Oh, What A Beautiful Morning is taken at a relaxed pace, with pianist Matt Clark providing the harmonic foundation for Antonioli and Brown--on tenor saxophone here. From start to finish, American Dreams proves to be a happy marriage of cultural appreciation and musical creation. ~ Dan Bilawsky

American Dreams

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Alice Babs - Swingtime Again

Styles: Jazz, Vocal
Year: 1998
File: MP3@320K/s
Time: 52:36
Size: 122,2 MB
Art: Front

(2:38)  1. Me And You
(4:28)  2. It's Wonderful
(4:17)  3. Sugar
(2:48)  4. I Let A Song Go Out Of My Heart
(4:46)  5. Our Love Is Here To Stay
(5:06)  6. A Sailboat In The Moonlight
(1:54)  7. Swing It Magistern
(4:34)  8. I Don't Mind
(1:54)  9. Who's Got The Other Half Of Heaven
(3:49) 10. Regntunga Skyar
(4:19) 11. I'm Checkin' Out Go'Om Bye
(3:25) 12. Don't Get Around Much Anymore
(4:13) 13. Drop Me Off In Harlem
(4:18) 14. Bluer Than Blue

A popular singer when she was still a young teenager, Alice Babs has had a long and varied career. She made her recording debut in 1939 at the age of 15 and, although her yodelling made her initially popular and the novelty "Swing It, Mr. Teacher" was her first hit, Babs even at the start had a highly appealing voice and a lightly swinging style. She mostly recorded in jazz and swing-oriented settings throughout the years of World War II. Babs remained active throughout the 1950s and '60s in Europe, singing everything from jazz (recording with Duke Ellington in 1963 and performing the classic "Heaven" at his second spiritual concert) and pop to a bit of classical music. By the late '70s, Alice Babs had become less active but into the mid-'90s, she occasionally performed on special occasions. Although her important first set with Duke Ellington (on Reprise) remains out of print, a Phontastic CD (Swing It!) does a fine job of summing up her first 15 years on records. Bio ~ https://itunes.apple.com/ca/artist/alice-babs/id14957329#fullText

Swingtime Again

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Joe 'Piano' Henderson - Joe 'Piano' Henderson

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 25:56
Size: 59,5 MB
Art: Front

(2:30)  1. Cheek To Cheek
(2:46)  2. Isn't This A Lovely Day
(3:02)  3. I Won't Dance
(2:35)  4. They Can't Take That Away From Me
(2:52)  5. Let's Call The Whole Thing Off
(2:54)  6. Let's Face The Mucsic
(2:23)  7. Lovely To Look At
(2:23)  8. They All Laughed
(2:21)  9. The Way You Look Tonight
(2:05) 10. Top Hat

Born 2 May 1920, Glasgow, Scotland, d. 4 May 1980, London, England. A pianist and composer, Henderson formed his own band to play at school dances before turning professional at the age of 13. In the early 50s he served as accompanist for former child actress and singer Petula Clark, who featured frequently in the UK charts, and subsequently recorded several of her ex-pianist’s compositions. Henderson himself became extremely popular on the UK variety circuit, alongside other solo piano acts, such as Winifred Atwell, Russ Conway and - much later - Bobby Crush. He survived the radical changes in popular music that began to take place in the 50s, and still retained an audience. He also featured in Bumper Bundle on Radio Luxembourg, and had his own television series Sing Along With Joe and Mr. Piano Plays. Henderson’s first hits came in 1955 with ‘Sing It With Joe’ and ‘Sing It Again With Joe’. These consisted of short piano medleys of jolly standards, such as ‘Margie’ and ‘Somebody Stole My Gal’. In 1958 he had another UK Top 20 hit with ‘Trudie’, accompanied by the Beryl Stott Chorus. 

It was the best-known of his mostly bright, catchy compositions, and won an Ivor Novello Award for The Year’s Best Selling And Most Performed Item. He earned another Ivor the following year for the movie title song ‘Jazzboat’, The Year’s Most Outstanding Composition In The ‘Jazz’ Or ‘Beat’ Idiom. Jazzboat was one of three films that Henderson scored that starred Anthony Newley. The others were Idle On Parade, the film that launched Newley’s singing career (he co-wrote some of the songs) and Let’s Get Married. Henderson’s other compositions, published by his own company, included ‘Why Don’t They Understand?’ (a US and UK chart hit for country singer George Hamilton IV), ‘Chick’, ‘Treble Chance’ (his last Top 30 entry, in 1959), ‘Dear Daddy’ (with lyrics by Jack Fishman, featured on Ruby Murray Successes), ‘Matchbox Samba’, ‘Coffee Bar Jive’, ‘What A Day We’ll Have’, ‘I’d Have A Long Way To Go’, ‘When You’re Away’, ‘Dream Of Paradise’, ‘First Theme’, ‘I Need You’, ‘Somebody’ and ‘Crinoline Waltz’. His other recordings included Charles Chaplin’s ‘Smile’, Leroy Anderson’s ‘Forgotten Dreams’, ‘The Theme From the Threepenny Opera (Moritat)’ and a lively version of the novelty ‘Don’t Ring-A Da Bell’. 

On the latter he played harpsichord, while the vocal was by the British actress Shani Wallis, who went on to play Nancy in the movie of Lionel Bart’s Oliver! A very likeable and genial personality, Henderson continued to entertain for many years after the hits dried up, particularly in the seaside summer season, at top venues such as Blackpool and Bournemouth. 

http://www.allmusic.com/artist/joe-mr-piano-henderson-mn0000900270/biography and 

http://www.amazon.com/Joe-Piano-Henderson/dp/B00485DUA0

Joe 'Piano' Henderson

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Ole Stolle, Jesper Lundgaard, Jacob Fischer - Trioen

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 61:25
Size: 143,7 MB
Art: Front

(3:27)  1. It Don't Mean a Thing
(4:12)  2. Two Sleepy People
(5:28)  3. On a Slowboat to China
(2:58)  4. A Cottage for Sale
(5:15)  5. Honeysuckle Rose
(4:54)  6. Pennies from Heaven
(7:20)  7. Gee Baby Ain't I Good to You
(3:33)  8. Memories of You
(2:53)  9. Sugar
(4:03) 10. In My Solitude
(8:11) 11. In a Mellow Tone
(5:41) 12. Don't Get Around Much Anymore
(3:23) 13. Indiana

We appreciate anyone who can give information about this album.

Trioen

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Stefan Patry - Organ Groove Explosion

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 55:48
Size: 128,2 MB
Art: Front

(5:19)  1. On Broadway
(4:13)  2. Lady Marmelade
(4:17)  3. Groove Mechant
(5:49)  4. Light My Fire
(6:37)  5. Love PM
(5:01)  6. Round Midnight
(5:25)  7. What Now My Love
(5:05)  8. The Good Life
(5:11)  9. Satisfaction
(4:58) 10. Come Together
(3:49) 11. That's All

Born in 1962, Stefan Patry feels naturally drawn to music. As a teenager, he discovered and developed a passion for jazz; meeting with Rhoda Scott at the age of 14 years will be decisive as to its lifeline and its exclusive choice for the Hammond organ. After studying classical piano, organ, singing and harmony, he discovers Paris and its clubs and jazz musicians. He received his first engagement at Petit Journal Montparnasse and other clubs in rapid succession ( Caveau de la Huchette , Meridien Etoile , Bilboquet, Sunset , Duc des Lombards ...).  It is programmed in festivals in France and abroad; gradually his career as an organist is emerging; he plays in training of gospel, jazz and blues. He developed the immense possibilities of his instrument, fully exploits the pedal bass with the composition will become its main musical weapons. 

In 1996, he created the association Tribute To Hammond (which he chairs) in which he brings together amateur and professional organists; he organized the famous "rushes organ" real events around the Hammond organ. It also creates Organ Jam Sessions at the Caveau des Oubliettes in Paris. Designer label Must Record, the label of Hammond organists , it produces well-known artists but does not hesitate to find out and discover new talent. Musician, organist, songwriter and singer recently, he has recorded over 10 CDs under his name; worked with an incredible number of artists. Every day he is looking forward to living his passion, he plays, he composes and is looking for a simple music always melodic, and rhythmic mixed. Translate by google..http://stefanpatry.com/discographie.html

Personnel:  Stefan Patry - Voice & Hammond Organ / Grant Green Jr. – Guitar /Bernard Purdie - Battery / Renato Caranto - Tenor Sax/ Rob Paparozzi - Harmonicas

Organ Groove Explosion

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Dexter Gordon - Dexter Digs In: The Young Dexter Gordon

Bitrate: 320K/s

Time: 46:54

Size: 107.4 MB

Styles: Bop, Saxophone jazz

Year: 2000

Art: Front

[5:52] 1. Setting The Pace

[2:40] 2. So Easy

[2:41] 3. Dexter's Riff

[3:00] 4. Long Tall Dexter

[3:15] 5. I Can't Escape From You

[2:55] 6. Dexter Digs In

[3:11] 7. Dexter Rides Again

[2:50] 8. Dexter's Mood

[3:03] 9. Index

[2:47] 10. Dextrose

[2:59] 11. Dextivity

[2:40] 12. Dexter's Minor Mad

[3:06] 13. Dexter's Cutting Out

[2:52] 14. Dexter's Deck

[2:55] 15. Blow Mr. Dexter

Balanced perfectly between the swing and bebop eras, tenor saxophonist Dexter Gordon played a major role in linking the styles of earlier players, such as Lester Young and Ben Webster, with those who followed, including Sonny Rollins and John Coltrane. Gordon made some of the first bebop recordings in the 1940s, and was an active and highly influential player through the 1970s.

Baritone Saxophone – Leo Parker (tracks: 1-3); Bass – Curly Russell (tracks: 4-7), Gene Ramsey (tracks: 12-15), Nelson Boyd (tracks: 1-3, 8-11); Drums – Art Blakey (tracks: 1-3), Art Mardigan (tracks: 8-11), Ed Nicholson (tracks: 12-15), Max Roach (tracks: 4-7); Piano – Bud Powell (tracks: 4-7), Argonne Thornton (tracks: 12-15), Tadd Dameron (tracks: 1-3, 8-11); Tenor Saxophone – Dexter Gordon; Trumpet – Fats Navarro (tracks: 8-11), Leonard Hawkins (tracks: 4-7).

Dexter Digs In: The Young Dexter Gordon

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