Stefania Tallini - The Illusionist

Size: 101,3 MB
Time: 43:04
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Piano Jazz
Art: Front

01. Atlantica Saudade (2:58)
02. Ics Dance (3:12)
03. Acalanto Carioca (2:58)
04. Indaco (1:13)
05. Girasoli (2:20)
06. The Illusionist (2:48)
07. Choro Cubano (4:01)
08. Over The Rainbow (5:19)
09. Lilith Dance (2:52)
10. Guinga (3:01)
11. Alobrasil (1:11)
12. A Veva (3:38)
13. Bachiana (1:02)
14. La Spiaggia (3:29)
15. Tarante' 2001 (2:54)

Stefania Tallini, a highly acclaimed pianist, composer and arranger of the Italian and European jazz panorama, has now released her fifth record: The Illusionist, an intense solo piano recording made last January for Alfamusic. Like all her previous albums, The Illusionist is based entirely on original compositions, in which the pianist exhibits the evolution of her style, which has a deep, free and mature emotional power. The choice of making a solo piano recording has allowed her to dig deeper in order to find the essence of a musical world full of rich sensibility, in terms of both expression and composition. The record varies from profoundly moving melodic pieces with strong echoes of desire (Atlantica Saudade, The Illusionist and La Spiaggia) to compelling, vital and bubbling rhythmic pieces (Ics Dance, Choro Cubano and Tarantè). The Illusionist also contains two completely improvised tracks (Indigo and Alobrasil) in which the musician plays with the idea of double and triple overdubbing of additional sound tracks using unusual sounds. Finally there is a touching arrangement of Over the Rainbow, which is the only non-original composition on the disc, re-elaborated by Stefania Tallini in a very personal interpretation, fully consistent with her stylistic aim.

The Illusionist

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Janette Mason - D'Ranged

Size: 104,5 MB
Time: 44:22
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. I Wish (3:48)
02. Got To Be Real (5:06)
03. Lady Grinning Soul (3:39)
04. How Deep Is Your Love (4:48)
05. Ashes To Ashes (This Is Not America) (4:59)
06. This House (7:43)
07. Blue Moon (4:49)
08. You Do Something To Me (3:02)
09. I Say A Little Prayer (6:22)

As the rocket fuelled gospelly soul groove fades out, with the horn section still going full throttle and Basement Jaxx vocalist Vula Malinga gliding effortlessly over the top, I settle back into my chair to pen this review with a grin on my face. Janette Mason’s arrangement of the Burt Bacharach classic I say a little prayer is a great end to this set, a series of arrangements of an eclectic mix of classic soul songs, 70’s disco and 80’s pop tunes. They’re all given a distinctive twist by arranger and pianist Mason, and performed by a stellar cast of collaborators from her wide ranging career: Claire Martin, Gwyneth Herbert, David McAlmont, Tatiana LadyMay Mayfield all contribute. They must have had great fun making this album. Sitting down at the launch party may not be an option.

After 2010’s Parliamentary Jazz Award nominated Alien Left Hand, a more overtly jazz orientated album, D’ranged marks something of a departure for the leader’s own releases. There are varied moods within the collection with the spirit of the originals sustained whilst being reshaped in Mason’s skilful hands. I wish bursts out of the speakers with a snappy left hand riff before Tatiana LadyMay Mayfield unfolds Stevie Wonder’s lyric over a rolling groove that hints at a jazzy modal feel, before switching to a more gospel like 4/4 for the hook. Blue Moon gets a repeating, haunting motif under Claire Martin’s wistful delivery that utterly transforms the Rodgers and Hammerstein standard, a standout track. Cheryl Lynn’s 70’s disco classic Got to be Real becomes a sensual, funky soul work out for Vula Malinga whilst the treatment Paul Weller’s You do Something To Me for Gwyneth Herbert, accompanied only by Mason’s piano is a haunting and affecting performance. There’s an instrumental, a take on Bowie’s Ashes to Ashes and the Bee Gees classic How Deep is your Love is a swooning ballad. After the dim the lights moments an infectious groove and a heart fluttering punchy backing vocal are never far away.

This is a set of covers, arranged (or "D'ranged") lovingly by Mason and oozing class in their delivery. ~by Mike Collins

D'Ranged

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Sophisticated Lady Jazz Quartet - Sophisticated Lady

Size: 155,4 MB
Time: 66:46
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. You Were Never Lovelier / I'm Old Fashioned (7:47)
02. Gone (2:32)
03. Isfahan (6:37)
04. For Andrew (5:20)
05. Strange Fruit (7:10)
06. Ropes Of Sand (4:51)
07. Finale (5:37)
08. Green Eyed Monster (3:09)
09. Night Night (5:53)
10. Sophisticated Lady (4:54)
11. Weightless (5:31)
12. Fields Of Kurdistan (7:19)

Sophisticated Lady’s debut album for Yarlung Records is an elegant stew of tradition-based jazz infused with some modern spice, a tasty dish sure to please the most discerning of connoisseurs. Working through a studio set of original pieces and classics, all recorded in one take, the quartet clearly demonstrates there is life in tradition yet. Innovation doesn’t have to be far out, strange, outre. Such innovation can sound “go-o-o-od,” very good.

The quartet, which met at USC where they were pursuing master’s degrees, consists of pianist Misha Adair Bigos, J.J. Kirkpatrick on trumpet and flugelhorn, Andrew James Boyle on drums, and Gary Wicks on bass. They work together like the proverbial well-oiled machine. This is an ensemble to be reckoned with.

The original material includes two pieces by Boyle, “Gone” and “Green Eyed Monster,” a darkly moody gem. Wicks contributes “Night Night,” a melodic lullaby of sorts and “Weightless,” which the liner notes point out harkens back to the sound of early Miles Davis. Kirkpatrick makes the most of it.

Bigos adds a trio of tunes: “Ropes of Sand,” written while visiting his grandmother, it has something of a haunting exotic quality; “Finale” is a dramatic swinger which ironically comes in the middle of the album, and “Fields of Kurdistan” closes the album. It was written in honor of executive producer John Pruit. “For Andrew” is listed as a quartet free improvisation on a “melody kernel” by Andrew Norman.

The standards begin with a Wicks arrangement of Jerome Kern’s “I’m Old Fashioned,” the earliest piece played by the ensemble. There is also a Wicks arrangement of Duke Ellington and Billy Strayhorn’s “Isfahan.” They do an inventive free improv on “Strange Fruit,” the protest ballad most often associated with Billie Holiday. And, of course, a quartet taking its name from the Ellington classic does not omit “Sophisticated Lady.”

Sophisticated Lady has put together a debut album that will be the envy of many a veteran jazz ensemble, and certainly a tonic for anyone with an ear for mainstream jazz. This is an album to be savored. ~Jack Goodstein

Sophisticated Lady

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Rob E Thomas - Who Am I?

Size: 112,2 MB
Time: 48:29
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Swing
Art: Front

01. Who Am I (2:27)
02. Angel Eyes (3:55)
03. Make It With You (2:59)
04. Does Anybody Really Know What Time It Is (4:08)
05. (They Long To Be) Close To You (5:28)
06. On The Street Where You Live/I've Grown Accustomed To Her Face (3:41)
07. Jardin Botanico (3:04)
08. Rainy Days And Mondays (3:25)
09. (Love Is Like A) Heatwave (3:15)
10. She Was Too Good To Me (4:35)
11. Macarthur Park The Moon's A Harsh Mistress (5:15)
12. The Way You Look Tonight (2:38)
13. What A Wonderful World (3:32)

In 1963, Rob made a name performing around the 60’s pop scene in Sydney as lead vocals for The Nocturnes. 1970’s were spent touring the Variety and Club circuit with The Thomas Brothers duo and as a solo artist. Following his interest in theatre, Rob graduated as an actor from NIDA in the 80’s. He cherished his 1206 performances singing in the ensemble of Les Miserables. Rob also appeared in Aspects of Love and developed his alter ego, saloon singer Tony Delarte, performing solo in cabaret and corporate venues. Currently, Rob can be heard announcing and producing jazz radio programs on Community Radio and singing swing with Big Bands in Sydney. This new jazz-influenced album, Who Am I?, is a fine work and will have broad appeal.

Who Am I?

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Ana Gasteyer - I'm Hip

Size: 85,1 MB
Time: 36:21
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Comedy
Art: Front

01. One Mint Julep (2:34)
02. I'm Hip (3:13)
03. Cheek To Cheek (2:17)
04. Sister Kate (2:34)
05. The Book Of Love (3:22)
06. Crazy People (2:47)
07. Shopping Around (2:58)
08. A Proper Cup Of Coffee (3:15)
09. (Theme From) Valley Of The Dolls (3:38)
10. Before He Cheats (3:49)
11. I Wantcha Around (2:17)
12. Defying Gravity (3:32)

When Ana Gasteyer steps up to the mic, she evokes the swagger of an era when a lady ruled a nightclub and an audience knew they were in for good time. The patter is real, the themes adult; the lyrics are timeless, and the music swings like crazy!

From songs like One Mint Julep and Proper Cup of Coffee to a surprisingly smooth rendition of Carrie Underwood’s Before He Cheats, Gasteyer’s saucy selections tell stories with humor, heartbreak...and just a little splash of soda. Her vibe recalls that of a time when entertainers truly entertained, an era when a broad could bring home the bacon, swing a set of sultry standards and still be a gracious hostess. Ana’s heroes are those fun-loving dames who downed a cocktail, donned a dress and fronted a band of dapper gents in sharp suits wielding shiny horns—think Barbara Stanwyck in Ball of Fire as she captures Gary Cooper’s heart. And then breaks it.

A violin player from the tender age of five, Gasteyer always had an ear for music and a knack for timing. Years later, after a formal education as a classically-trained singer, she made the fateful discovery that she could get people laughing—and laugh they did every Saturday night at NBC’s Studio 8H. Audiences fell in love with Gasteyer’s flair for irony and character driven comedy on six seasons of SNL, where she unabashedly played, and often sang, at full-tilt.

Eventually, Broadway came calling and Gasteyer spent several years belting out superstar vocals in shows like Wicked and Rocky Horror. But she felt most at home crooning and chirping with a big band in a nightclub, amidst laughter and the inviting clink of ice in a glass. Her acclaimed shows, Let it Rip and Elegant Songs from a Handsome Woman earned praise from audiences and critics alike who hailed the acts as “exuberant and rollicking entertainment” with “high-octane vocals” and “a topnotch swingin’ ensemble.”

The current star of ABC’s Suburgatory (and vampy Weight Watchers spoke-singer) has teamed with producer and “New York Nightclub Supernova” Julian Fleisher to make this Moxie Jazz album with an eclectic range of covers and reimagined classics.

I'm Hip

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Nicki Parrott - Autumn Leaves

Bitrate: 320K/s
Time: 65:53
Size: 150.8 MB
Styles: Jazz vocals
Year: 2013
Art: Front

[3:44] 1. Autumn Leaves
[5:09] 2. Early Autumn
[5:21] 3. Autumn In New York
[5:13] 4. Autumn Nocturne
[4:28] 5. Autumn Serenade
[4:10] 6. Autumn In Rome
[5:09] 7. Tis Autumn
[4:27] 8. September Song
[4:39] 9. Lullaby Of The Leaves
[5:41] 10. Willow Weep For Me
[3:40] 11. Maybe September
[4:29] 12. September In The Rain
[5:04] 13. When October Goes
[4:31] 14. Stormy Weather

Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15. After graduating high school she moved to Sydney to study jazz at the New South Wales Conservatorium of Music where she began to play with Australian musicians such as Mike Nock, Dale Barlow, Paul Grabowsky, Bernie McGann, and Ten Part Invention. She also toured Australia with Russian musicians Daniel Kramer and Alexander Fischer and American trumpeters Bobby Shew and Chuck Findley. She continued her studies with various bassists including visiting artists Ray Brown and John Clayton.

Nicki was the recipient of two awards, a scholarship to Pan Pacific Music Camps at the age of 16, and first place in the 1992 Jazz Action Society’s Annual Song Competition for her composition “Come and Get It”, which is the opening track of Nicki and her sister Lisa’s debut CD, “Awabakal Suite”. She was also nominated for the annual Australian Young Achievers Award by the Arts Council of Australia who granted her the funds to come to New York to study with Rufus Reid. Nicki came to New York in May 1994.

In June 2000, Nicki began performing on Monday nights at the Iridium Jazz Club with the legendary guitarist and inventor, Les Paul. As part of the Les Paul Trio, Nicki worked side-by-side with guitar greats from Paul McCartney, Slash, Steve Miller to fellow Aussie, Tommy Emmanuel. Since then she has performed with such notable musicians as Michel Legrand, Joe Wilder, Randy Brecker, Clark Terry, Jose Feliciano, Bucky Pizzarelli, John Pizzarelli, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Harry Allen, Warren Vache, Marlena Shaw, David Krakauer, Ken Peplowski, Ann Hampton Callaway, Bill Mays, Scott Hamilton, Lillian Boutte, Larry Carlton and Houston Person, to name a few.

Nicki is joined in this release by John Di Martino (piano), Harry Allen (tenor sax), Paul Meyers (guitar), Tim Horner (drums), Lisa Parrott (bariton sax) and James Greening (trombone).

Autumn Leaves

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Eddie Daniels - Blue Bossa

Bitrate: 320K/s
Time: 48:18
Size: 110.6 MB
Styles: Post bop
Year: 1973/1997
Art: Front

[3:23] 1. Blue Bossa
[4:13] 2. Wistful Moment
[3:25] 3. Emily
[3:41] 4. Samia
[3:55] 5. Etude No. 14 In F Minor, Opus 25, No. 2
[1:28] 6. Variations On An Autumn Theme
[3:22] 7. As Long As I Live
[3:10] 8. Shine
[1:34] 9. Two For The Road
[3:36] 10. Entr'acte
[5:01] 11. Afterthought
[3:51] 12. Samia, 2nd Version
[4:15] 13. A Flower For All Seasons
[3:17] 14. Blue Bossa, 2nd Version

Originally released in 1973 by Gerry Macdonald's independent Choice label, this intimate 1972 duo date puts the spotlight on Eddie Daniels' flutes and clarinets and the nuanced comping of guitarist Bucky Pizzarelli. In addition to the title track featuring Daniels' bass clarinet and a brilliantly bossafied take on Les McCann's "Samia" with the leader's sterling flute, there are surprises such as Daniels' fluted variations over a theme by Chopin. In all, a consummately musical and simpatico session featuring two masters at the height of their interactive powers. ~Chuck Berg

Blue Bossa

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The Ray Kennedy Trio - The Ray Kennedy Trio Plays The Music Of Arthur Schwartz

Bitrate: 320K/s
Time: 65:51
Size: 150.8 MB
Styles: Piano jazz
Year: 2007
Art: Front

[5:27] 1. By Myself
[3:37] 2. That's Entertainment
[3:56] 3. Where Do I Go From You
[4:11] 4. A Shine On Your Shoes
[4:28] 5. The Dreamer
[3:31] 6. You And The Night And The Music
[4:25] 7. Something To Remember You By
[3:22] 8. I Guess I'll Have To Change My Plan
[5:11] 9. Make The Man Love Me
[5:22] 10. Rhode Island Is Famous For You
[3:24] 11. If There Is Someone Lovelier Than You
[4:34] 12. A Rainy Day
[6:01] 13. Alone Together
[3:08] 14. Haunted Heart
[5:08] 15. Dancing In The Dark

Ray Kennedy is probably best known for his long association with John Pizzarelli. He and the other players here—brother Tom Kennedy on bass, Miles Vandiver on drums and guest Joe Cohn on guitar—have internalized the elegant, civilized melodic world of Arthur Schwartz. On most of these 15 tunes, Ray Kennedy delineates the theme gracefully and definitively in single treble note lines while Tom Kennedy and Vandiver make everything glide. Cohn interweaves counterpoint or makes concise, fully rounded statements of his own. It is orderly music, everything in its assigned place including disciplined improvisation. It is all eminently pleasant.

Except that Arthur Schwartz’s son Jonathan makes a provocative statement in the liner notes. He says, “The music my father composed was unusual for its frequent melancholy with occasional bursts of ebullience. The darker elements are often discarded by pianists of lesser perception than Ray Kennedy, but they are here on this album.”

Jonathan Schwartz in effect issues a challenge in how to listen. When you hear the hesitancy in Kennedy’s melodic portrayal of songs like “A Rainy Day” and “Haunted Heart”—when you hear the shadows of poignancy that Kennedy discovers in Schwartz’s bright music—then you can’t stop hearing those “darker elements,” and this album gets more interesting. ~Thomas Conrad

The Ray Kennedy Trio Plays The Music Of Arthur Schwartz

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Eiji Taniguchi - The Sweet Sound Of Bossa Nova (feat. Eden Atwood)

Bitrate: 320K/s
Time: 50:13
Size: 115.0 MB
Styles: Easy listening, Vocal jazz
Year: 2010
Art: Front

[5:27] 1. No More Blues
[4:32] 2. Samba Do Aviao
[3:38] 3. Don't Ever Go Away [por Causa De Voce]
[3:37] 4. The Sweetest Sounds
[4:05] 5. Wave
[4:37] 6. Struttin' With Some Barbeque
[6:22] 7. Dindi
[3:07] 8. You've Changed
[5:13] 9. Lamentos
[5:15] 10. Brigas, Nunca Mais
[4:16] 11. Quiet Nights Of Quiet Stars [corcovado]

The Sweet Sound Of Bossa Nova

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Dave O'Higgins Quintet Feat. Eric Alexander - Sketchbook

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 55:17
Size: 127,3 MB
Art: Front

(5:42)  1. Why Don't I?
(7:20)  2. Inner Glimpse
(6:02)  3. Frith Street Blues
(6:06)  4. Estate
(6:49)  5. Ow!
(2:14)  6. I Can't Give You Anything But Love
(9:09)  7. Sketch Book
(5:04)  8. I'm Gonna Laugh You Right out of My Life
(6:48)  9. Water Jug

Derby born Dave O’Higgins has matured into one of Britain’s finest tenor saxophonists. Always busy but generally underrated O’Higgins has pursued a varied career and is at home in a number of contexts. He has led his own small groups, a ten piece “big band” and has recorded in various styles with the best UK musicians plus Americans of the calibre of Joe Locke, Joey Calderazzo,James Genus and Adam Nussbaum.  A prolific sideman and session musician plus a respected educator his is a major talent. I’ve been lucky enough to see O’Higgins in a live context on several occasions and have always found him to be an able and amiable musician who always delivers the goods. O’Higgins playing has always been rooted in the bebop tradition but with an agreeably contemporary edge. ”Sketchbook” is arguably his most “old fashioned” album to date being an old style two tenor blowing session in the company of American saxophonist Eric Alexander. Alexander has emerged as one of America’s leading straight ahead tenor players. 

Born in Washington State his career took off when he moved to Chicago in the early 90’s. He has since relocated to New York where he is an in demand freelance musician. The idea for this album came from Danish drummer Kristian Leth who had worked with both horn men. O’Higgins was working with the Ronnie Scott’s House Band at the time and organised a three night stint at the club for a band featuring himself, Alexander and Leth plus pianist James Pearson and bassist Arnie Somogyi. The results were so successful that the quintet immediately went into Derek Nash’s Clown’s Pocket Studio recording this album in a single afternoon in a “live in the studio” setting. The result is a breezy, good natured album that features some great playing from all five musicians. As O’Higgins’ informative liner notes explain the programme consists of a mixture of standards, items associated with other tenor giants such as Sonny Rollins and Johnny Griffin, plus a couple of excellent O’Higgins originals that fit superbly into the mood of the album.  

The quintet start as they mean to go on with Sonny Rollins’ fifties classic “Why Don’t I”with the two tenors soloing either side of the excellent Pearson. Alexander brought McCoy Tyner’s masterly composition “Inner Glimpse” to the band and features as the principal tenor soloist. Pearson shines again as he does throughout the whole album with Somogyi and Leth providing a rhythmic pulse that acts as a fine springboard for the soloists. O’Higgins gets to trade eights with the drummer in the tune’s closing stages. Great stuff. Equally fine is O’Higgins’ “Frith Street Blues”. With it’s memorable theme and propulsive groove this number would sit comfortably on any of the classic Blue Note hard bop recordings of the 50’s and 60’s. Interestingly it’s the track that’s been chosen to represent the album on the BBC’s specialist jazz programmes. The two tenor men trade choruses, Pearson continues to impress and the rhythm team swings prodigiously. A joy from start to finish. Alexander drops out for “Estate”,a bossa flavoured ballad that acts as a feature for the gentler side of O’Higgins’ playing. His smokily seductive tenor is sympathetically supported by the trio. Somogyi contributes a fluently lyrical solo on the bass. The quintet’s take on Dizzy Gillespie’s “Ow!” was inspired by a version recorded by Johnny Griffin and Gene Ammons.  Gillespie’s tricky bebop theme is the vehicle for some full on tenor blowing as the group raise the energy levels again. 

And that man Pearson is rather good again too. “I Can’t Give you Anything But Love” features the two horns operating in tandem as well as soloing individually. Somogyi’s wondrously springy playing is again featured in a solo context. O’Higgins’ title track is a twelve bar blues that switches to ¾ in it’s closing stages plus in the composer’s words “somewhere on the way it gained a bridge”. In any event it’s a vigorous workout and at a little over nine minutes is the lengthiest track on the album. Another strong theme gives the saxophonists the chance to play in tandem, in counterpoint and as soloists. The rhythm section lays down another terrific groove and the magnificent Pearson holds it all together. Like O’Higgins’ other credit here this is another tune in the mighty Blue Note tradition.

“I’m Gonna Laugh You Right Out Of My Life” is Alexander’s solo ballad feature as O’Higgins takes his turn to drop out. It’s a gorgeous piece of controlled tenor playing, full of emotion, sympathetically supported by a top quality rhythm section. Pearson’s thoughtful and lyrical contribution adds greatly to the success of the piece.  A good natured take on Frank Wess’ “Water Jug” closes the album on a high note. O’Higgins comments that this has become the band’s signature tune and it’s certainly a great way to finish. By it’s own admission there’s nothing particularly profound about “Sketchbook” but it’s one of those albums you just can’t help enjoying. A well chosen programme (in which the originals stand up particularly well) houses infectious grooves and some great soloing not only from both tenor players but also from the impressive Pearson.  The quintet’s obvious enthusiasm quickly communicates itself to the listener. This is jazz played with great technical facility but which also has a smile on it’s face. Good quality, unpretentious “serious fun”. http://www.thejazzmann.com/reviews/review/dave-ohiggins-quintet-featuring-eric-alexander-sketchbook/

Sketchbook

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Bebel Gilberto - Tudo

Styles: World, Jazz, Bossa Nova
Year: 2014
File: MP3@320K/s
Time: 45:01
Size: 107,4 MB
Art: Front

(4:09)  1. Somewhere Else
(3:04)  2. Nada Não
(2:37)  3. Tom de Voz
(3:24)  4. Novas Idéias
(5:03)  5. Harvest Moon
(3:11)  6. Tudo
(2:56)  7. Saudade Vem Correndo
(3:50)  8. Areia
(3:44)  9. Tout est bleu
(3:34) 10. Lonely in My Heart
(2:38) 11. Vivo Sonhando
(3:39) 12. Inspiração
(3:05) 13. It's All Over Now

World renowned multi-Grammy®-nominated singer/songwriter Bebel Gilberto releases her first studio album in five years, "Tudo." Gilberto, daughter of bossa nova immortal Joao Gilberto, is one of the most internationally famous and beloved of Brazilian musicians. "Tudo," which means "everything" in English, showcases Bebel's ethereal vocals and wistful, dreamy songwriting in each of the CD s 12 tracks. Bebel reunites with Mario Caldato Jr. who produced her first landmark album, "Tanto Tempo." 

With Bebel singing in French, English and Portuguese, "Tudo" is a shimmering, sweet summery collection that includes original songs along with songs by her father, Antonio Carlos Jobim, Neil Young and John Michel-Jarré as well as soulful duet with Seu Jorge. The gorgeous melodies are shaped by touches of electronica and Bebel’s intimate vocals hint at a fantastical Rio de Janeiro, a style that has earned her a devoted fanbase worldwide. ~ Editorial Reviews  

http://www.amazon.com/Tudo-Bebel-Gilberto/dp/B00K6J7KSA

Tudo

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Cedar Walton (Feat. Ron Carter & Billy Higgins) - Cedar Walton Plays

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 61:19
Size: 140,8 MB
Art: Front

( 9:24)  1. Willow Weep For Me
( 5:36)  2. Hallucinations
( 4:18)  3. Bremond's Blues
(10:44)  4. Kiss Me, Kate: So In Love
( 6:31)  5. Book's Bossa
(11:14)  6. Out Of The Past
( 6:32)  7. He's A Real Gone Guy
( 6:58)  8. Something In Common

Pianist Cedar Walton heads a medium-size group on this 1986 Delos CD, a rhythm section with bassist Ron Carter and drummer Billy Higgins plus a five piece horn section: trumpeter Don Sickler, altoist Kenny Garrett, the obscure tenor Lou Orensteen, baritonist Charles Davis and trombonist Steve Turre. Unfortunately the horns mostly stick to ensemblework (except for an extended version of Benny Golson's "Out of the Past") but Walton and his trio are in top form on such numbers as Bud Powell's "Halluncinations," a lengthy rendition of Cole Porter's "So in Love," Nellie Lutcher's "He's a Real Gone Guy" and the leader's "Something in Common." ~ Scott Yanow  http://www.allmusic.com/album/cedar-walton-plays-mw0000188877

Personnel: Cedar Walton (piano); Kenny Garrett (alto saxophone); Charles Davis (baritone saxophone); Steve Turre (trombone); Don Sickler (trumpet); Ron Carter (bass); Billy Higgins (drums).

Cedar Walton Plays

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Billy Higgins - 3/4 For Peace

Styles: Jazz
Year: 2010
File: MP3@320K/s
Time: 70:29
Size: 161,6 MB
Art: Front

( 8:31)  1. 3/4 For Peace
( 5:23)  2. In The Trenches
( 7:12)  3. Together With Love
( 7:38)  4. Short Subject
(10:43)  5. Dark Mood
( 7:54)  6. What's New
( 9:15)  7. Step Right Up To The Bottom
( 7:45)  8. Someday My Prince Will Come
( 6:04)  9. Something For Juno

Billy Higgins (October 11, 1936 – May 3, 2001) was an American jazz drummer. He played mainly free jazz and hard bop. He played on Ornette Coleman’s first records, beginning in 1958. Higgins played on such important Coleman albums as Something Else!!!!:The Music of Ornette Coleman (1958), The Shape of Jazz to Come (1959), Free Jazz (1960) and Science Fiction (1971). In 1961 a drug bust stripped Higgins of his cabaret card, prompting him to exit from Coleman’s band. He focused on studio work, becoming the unofficial house drummer at Blue Note Records and working extensively with hard bop and other post-bop players, including Donald Byrd, Dexter Gordon, Joe Henderson, Milt Jackson, Jackie McLean, Pat Metheny, Hank Mobley, Thelonious Monk, Lee Morgan, David Murray, Art Pepper, Sonny Rollins, Mal Waldron, and Cedar Walton. He played on over 700 recordings, including recordings of rock and funk. 

After being featured in filmmaker Bertrand Tavernier’s 1986 jazz film ‘Round Midnight with Dexter Gordon, Higgins then reunited with Ornette Coleman’s classic band, which featured Don Cherry on trumpet and Charlie Haden on upright bass, resulting in a new studio album for Coleman. The following year Higgins teamed with poet Kamau Daaood to found World Stage, a cultural center in Los Angeles which hosted creative workshops, community activities, and live performances. He regularly used his extensive professional network to lure many of the biggest names in jazz to the World Stage site both as performers and as tutors, and ultimately Higgins turned his attention to teaching in a formal setting as well, serving on the jazz faculty at UCLA. Higgins spent much of the remainder of his life battling liver disease, a manifestation of a hepatitis contraction from decades earlier in his life. In March 1996, he underwent a liver transplant and when his body rejected the new organ, he was forced to submit to a second procedure just 24 hours later. 

Higgins nevertheless returned to music a few months later, traveling to New York to renew his collaboration with Coleman. However, by 2001 his new liver began to fail, and while waiting to find a donor, he succumbed to pneumonia on May 3. Higgins was just 64 years old at the time of his death. Higgins was divorced from wife, Mauricina Altier; and had four sons: William, Joseph, and David, and a step-son Jody. He also has a son, Benjamin. ~ Bio http://www.last.fm/music/Billy+Higgins/+wiki

Personnel: Billy Higgins (drums); Harold Land (soprano & tenor saxophones); William Henderson (piano); Jeff Littleton (bass).

3/4 For Peace

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Alan Jones & François Theberge - Another View

Size: 137,9 MB
Time: 58:36
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. The Better Question (2:56)
02. Another View (3:54)
03. Movin' On (3:54)
04. Little Candel (2:41)
05. The Fighter (3:36)
06. Muted (6:08)
07. One More Time Around (6:08)
08. Blue (4:16)
09. I Will Be There (5:12)
10. South (4:09)
11. Refuge (5:58)
12. Sweets (6:00)
13. What's It Gonna Be (3:38)

Performers:
Alan Jones - Drums, Voice (7)
Francois Theberge - Tenor & Soprano Saxes, Recorders, Wood Flute, Trombone
Marilyn Keller - Voice
Rebecca Kilgore - Voice (9), Whistle (4)
Dan Tepfer - Piano, Fender Rhodes
Tom Wakeling - Bass
Glen Moore - Bass
Ja'tik Clark - Tuba
Dan Balmer - Guitar
John Gross - Tenor Saxophone
Lars Campbell - Trombone
Tim Bryson - Bass Clarinet
John Moak - Trombone
Jon Ramm-Gramenz - Trombone
Matt Warming - Trombone
Ian Kerr - Percussion
Erin Winemiller - Cello
Mattie Kaiser - Viola (Portland)
Jeremy Genet - Viola
Anne-Sophie Libra - Cello (Paris)

First meeting & playing together in Paris in the early '90s, Portland-based drummer Alan Jones knew he had found a life-long musical partner in the Montreal-born, Paris-based saxophonist, François Theberge. After multiple tours, recordings and musical discussions over the years, their decision to devote an album to all original music - with lyrics - came from one of those discussions. Noting how beautiful and intregal the human voice is to music, they wrote new compositions expressing miniature impressions, souvenirs, and feelings, while blurring the line between improvised and written moments. Rooted in jazz, they stroll seamlessly through other neighborhoods with a wide-range of accompanying master musicians, yet retain an intimate musical space for vocalists Marilyn Keller and Rebecca Kilgore to shine.

Another View

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Bob Barnard & John Sheridan - Thanks A Million

Size: 163,0 MB
Time: 69:32
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz: Trumpet Jazz, Dixieland
Art: Front

01. You're Lucky To Me (3:47)
02. Thanks (4:39)
03. Jalousie (4:10)
04. Samantha (4:08)
05. The Skeleton In The Closet (5:45)
06. Thanks A Million (3:40)
07. Black Moonlight (5:51)
08. When It's Sleepy Time Down South (4:15)
09. That Old Girl Of Mine (4:23)
10. Was I To Blame (For Falling In Love With You) (3:54)
11. I've Got A Crush On You (4:47)
12. I'm Shooting High (4:15)
13. Arkansas Lullaby (3:20)
14. Please (3:34)
15. The Day You Came Along (4:38)
16. Sidewalk Blues (4:16)

Veteran Australian cornetist Bob Barnard and stride pianist John Sheridan (best known for his 23 years playing with Jim Cullum) team up for this exciting duet set. Most of the songs on their collaboration were associated with Louis Armstrong or Bing Crosby, although there are some exceptions (such as Jelly Roll Morton's "Sidewalk Blues"). Both of the musicians are heard in prime form, inspiring each other and coming up with witty and swinging ideas within the genre of pre-bop jazz. One does not miss other horns when Barnard plays, and Sheridan is a full rhythm section by himself. With such highlights as "You're Lucky to Me," "The Skeleton in the Closet," "I'm Shooting High," and "Please," this CD is easily recommended to fans of small-group swing and hot jazz. ~Review by Scott Yanow

Thanks A Million

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Sonia Johnson - Le Coeur A L'Endroit

Size: 128,2 MB
Time: 55:04
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Des Diamants Sur La Ville (3:38)
02. Comme Sur Une Toile De Lemieux (5:24)
03. Je Reve (4:04)
04. Mon Coeur Est .. (4:02)
05. Toi, Mon Amour (4:06)
06. Rue Liverpool (4:42)
07. Elle Court (3:31)
08. Le Coeur A L'Endroit (4:14)
09. Si J'Avais (5:50)
10. Nomades (3:42)
11. Combien D'Automnes (3:25)
12. Le Miroir De Zapata (4:33)
13. L'Infini Droit Devant (3:46)

Lauréate d’un prestigieux prix Juno, Sonia Johnson fait partie de l’élite des chanteuses jazz canadiennes. Son parcours éclectique, jalonné de rencontres formatrices et inspirantes, en témoigne éloquemment. Parmi ces expériences marquantes, il faut rappeler les scènes qu’elle a foulées en compagnie de pointures comme Vic Vogel, François Bourassa, Roberto Lopez, Karen Young et autres Dawn Tyler Watson. Au cours de l’été 2014, elle a eu le bonheur de partager l’affiche avec Diane Tell au Festival Pully-Lavaux à l’heure du Québec, en Suisse.

Compositrice, auteure, arrangeure et productrice, Sonia Johnson récolte prix et honneurs grâce à des albums chaleureusement accueillis par le public et l’industrie, dont le tendre et maîtrisé Le Carré de nos amours, un album solide qui a décroché un JUNO dans la catégorie Album jazz vocal de l’année (2012). Une première pour un disque de créations jazz entièrement interprété dans la langue de Nougaro.

Deux ans plus tard, elle a de nouveau été mise en nomination au gala des JUNO pour l’album Triades – interprété avec ses complices chanteurs Annie Poulain et Charles Biddle Jr. Ce projet a également été retenu à l’occasion de l’édition 2013 du gala de l’ADISQ. Sonia avait été l’initiatrice de cet album concept dont elle a assuré la direction artistique en plus d’y interpréter quelques pièces seule, en duo et en trio.

Créatrice inspirée, elle propose aujourd’hui de se remettre Le cœur à l’endroit avec un opus vibrant de sincérité et d’harmonie(s). Un album entièrement original pour lequel elle s’est entourée d’un trio d’enfer formé de la compositrice et arrangeure Marianne Trudel, du bassiste Rémi-Jean Leblanc et du batteur Jim Doxas. À ces trois mousquetaires de la note bleue, se sont greffés des solistes d’envergure comme André Leroux (flûtes), Pierre Côté (guitares), Jonathan Stewart (saxophones) ainsi que le quatuor vocal les Gourmandes.

Très présente à la création, tant à l’écriture des musiques qu’à celle des textes, la pétillante rousse qui adore les échanges artistiques, s’est entourée de nouveau d’une pléiade d’auteurs et de compositeurs prestigieux dont Marianne Trudel, Stanley Péan, Anthony Rozankovic, Charly Bouchara, Claude André, Mario Peluso, Luc Beaugrand, Frédéric Alarie, Nathalie Baroud, Véronique Bellemare Brière et Amandine Paccioni. Le résultat est un collier de perles lumineuses porteuses de thèmes humanistes comme l’unité, l’amour, la beauté, le souvenir, la maternité, et la découverte de soi.

Le Coeur A L'Endroit

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Brian Charette - Good Tipper

Size: 133,8 MB
Time: 57:36
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Hammond B-3
Art: Front

01. Good Tipper (3:24)
02. Time Of The Season (4:31)
03. Spring Is Here (3:53)
04. Cuando Cuando Cuando (4:18)
05. Another Quarter (4:11)
06. Standing Still (4:08)
07. You Only Live Twice (3:55)
08. Wichita Lineman (6:28)
09. Up Up And Away (4:49)
10. One And Nine (7:17)
11. To Live In Your Life (5:24)
12. The Kicker (5:13)

Barely six months after issuing his for album for Posi-Tone Records, B3 maestro Brian Charette returns with Good Tipper, another small-combo excursion expected out October 7, 2014 from Posi-Tone Records. Returning with Yotam Silberstein (guitar) and Mark Ferber (drums) for four tracks, Charette works with another guitar/drums combo of Avi Rothbard and Jordan Young for the remaining eight.

Charette doesn’t slow down for this one, he hops to it right out the gate with his original, the title song, a lively tune with the leader playing bop sax lines on his B3. And on “Standing Still,” another one of his compositions, he takes this waltz and manages to make it groove.

Rothbard does more than play guitar, contributing two tunes (“Another Quarter” and “One And Nine”). “Another Quarter” is a 60s-style boogaloo, where Charette’s stinging tone for his solo is another instance of him doing a something a little unexpected. Joe Sucato guests on “One And Nine,” a Brazilian shuffle, and his tenor sax portrays Stan Getz’s own approach to this style. Rothbard’s guitar is no slouch, either; his clean and supple lines makes a good better (check out Richard Rodgers’ “Spring Is Here” for proof).

The covers, which comprise of more than half of the album, makes Charette’s interpretive skills a major focus on this album, and interestingly, he draws heavily from the mid-to-late 60s pop canon. Yep, “Wichita Lineman” is in here, as is another Jimmy Webb classic, “Up Up and Away.” On the former, the song begins to truly soar when Rothbard takes over in the last two and a half minutes, and Silberstein and Charette harmonize well together on the latter. The Zombies hit “Time Of The Season” was also a good choice because it’s an organ-heavy Rod Argent song. Argent is nearly as key of the development or the organ in rock as Jimmy Smith in jazz, and Charette sets himself apart from most jazz organists by drawing from that important influence in equal measure.

Charette adds pizzazz to the Al Martino Brazilian ditty “Cuando Cuando Cuando,” but Silverstein steals the show with his funky technique and comping that is very perceptive of what Charette is doing on organ. The hard swinging “The Kicker” makes it two albums in a row where Charette tips his hat to the later tenor sax giant Joe Henderson. On this one, the last track, Charette sets the place on fire with his right hand runs, and the proceedings are capped off by Young’s hard driving drum solo.

Good Tipper is a return back to organ jazz basics for Brian Charette, who still can’t help putting a refreshingly different spin on things. Nevertheless, he demonstrates here that he’s got the fundamentals down, as he roots down for yet another satisfying outing. ~S. Victor Aaron

Good Tipper

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Maria Jacobs - Here Comes Winter

Size: 103,6 MB
Time: 44:15
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Holiday
Art: Front

01. Here Comes Winter (3:26)
02. Til' Forever Comes (5:08)
03. Fall In Love Again (2:56)
04. Never Will I Marry (2:20)
05. Time After Time (4:16)
06. Case Of You (5:13)
07. In My Room (4:46)
08. Art Of Saying Goodbye (4:36)
09. From Both Sides Now (4:47)
10. River (4:03)
11. My God Is Here (2:40)

Maria Jacobs has grown quite a bit since her earlier days when she sang jazz in Los Angeles. Born in Cleveland, she spent 11 years performing in L.A. before returning to the Midwest. Maria has since opened up her repertoire to include her own originals, folk songs (including several by Joni Mitchell), and any material that suits her interests and her voice. She has expanded her range, both vocally and in the subject matter and styles that she explores.

Maria’s previous CD, Art Of The Duo, featured her performing duets with four different musicians including guitarist Bob Fraser. Her fifth CD as a lead
er, Here Comes Winter, matches the singer with Fraser on all but one of the 11 selections. Brian Wildman or Bob Curry play bass on five numbers, keyboardist David Strieter is on one song, and Cliff Habian is heard on piano during a duet performance of “Fall In Love Again” in addition to contributing background string patches to four selections. Otherwise the music is all Jacobs and Fraser. The result is one of the singer’s most rewarding showcases to date.

On Here Comes Winter, Maria Jacobs performs three songs on which she wrote both the lyrics and the music, two others that she co-composed with Cliff Habian, three Joni Michell songs, Brian Wilson’s “In My Room,” and two jazz standards. While the emphasis is on slower tempos with close interplay between the singer and the guitarist, there is a lot of variety to the performances and they always hold on to one’s attention. Whether making high notes sound effortless, displaying quiet passion, or cutting loose like the best Broadway singer (one could imagine her “Fall In Love Again” being in a show), she is quite impressive. But in addition, Maria Jacobs often sings with quiet and restrained passion, sounding quite fetching on some of the more haunting pieces.

Among the highpoints of this excellent set are the melancholy and thoughtful original ballad “Here Comes Winter,” the modern torch song “Till Forever Comes,” and a wonderful version of the Joni Mitchell classic “From Both Sides Now.” On “Never Will I Marry,” Maria hints at Nancy Wilson a bit and expertly scats a Cannonball Adderley solo.

Here Comes Winter, a milestone in the career of Maria Jacobs, is easily recommended. ~Scott Yanow

Le Here Comes Winter

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Donald Brown - French Kiss

Bitrate: 320K/s

Time: 61:32

Size: 140.9 MB

Styles: Hard bop, Piano jazz

Year: 2010

Art: Front

[7:25] 1. Utopia

[6:47] 2. The Mcghaw's Place

[7:34] 3. Keep' Takin' Me Higher

[6:51] 4. Pomponio

[6:00] 5. All My Yesterday's

[6:19] 6. Mr Day Dream

[8:08] 7. French Kiss

[3:51] 8. A Poem For Martin

[3:56] 9. Smile

[4:37] 10. 49th Street

Donald Brown's series of recordings for the French label during the 1990s shows a continuous growth from his earlier dates for Muse. He puts his own stamp on McCoy Tyner's thunderous "Utopia" and compelling ballad "All My Yesterdays." Brown's dazzling introduction to Charlie Chaplin's "Smile" gives it an entirely new face, while he sizzles on Bill Mobley's "49th Street" in a sparkling duet with guitarist Jerome Barde. Brown's compositions were recorded by a number of other artists during the 1990s for a good reason: they stood out from the mass of new works that appeared during that time. The pianist's originals on this CD include the catchy but not overly sentimental "The McGhaw's Place"; "French Kiss," which features lively percussion by Billy Kilson and an infectious vamp that continues to inspire the musicians; and, finally, "A Poem for Martin," a somewhat dark Latin-flavored piece featuring percussionist Anga Diaz. This is yet another excellent CD by Donald Brown. ~Ken Dryden

French Kiss

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Beverly Kenney - Born To Be Blue

Bitrate: 320K/s
Time: 36:11
Size: 82.9 MB
Styles: EasyListening
Year: 1959/2013
Art: Front

[3:33] 1. Born To Be Blue
[2:21] 2. It's A Blue World
[3:06] 3. Somewhere Along The Way
[2:19] 4. Again
[3:11] 5. For All We Know
[2:45] 6. It Only Happens When I Dance With You
[2:35] 7. Go Away, My Love!
[2:34] 8. Isn't It A Pity
[2:56] 9. Beyond The Next Hill
[2:28] 10. Where Can I Go Without You
[3:00] 11. Vanity
[2:53] 12. I Walk A Little Faster
[2:24] 13. You Couldn't Be Cuter

Born to Be Blue captures Beverly Kenney at her most intimate and compelling. Created in collaboration with arrangers Hal Mooney and Charles Albertine, the music channels the emotional depth of the blues with startling clarity, employing Kenney's deep, commanding vocals to vividly poignant effect. Mooney and Albertine forgo excess and sentimentality in favor of stark simplicity, architecting taut modern jazz contexts that shift the spotlight squarely on Kenney's vocals. Her readings of familiar songs like "For All We Know" are forged from both resiliency and vulnerability, articulating an emotional depth matched by few singers of her era. ~Jason Ankeny

Born To Be Blue

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