The John East Project - Live At The 606

Size: 125,2 MB
Time: 53:55
File: MP3 @ 320K/s
Released: 2012
Label: First Jazz Records
Art: Front

01. Comin' Home Baby (Live) (3:01)
02. Señor Blues (Live) (5:45)
03. Here's To Life (Live) (5:15)
04. All The Way (Live) (4:48)
05. Wave (Live) (3:08)
06. Mercy, Mercy, Mercy God Bless The Child (Live) (5:54)
07. I Love Being Here With You (Live) (3:30)
08. Blues For Steve (Live) (5:11)
09. In The Wee Small Hours Of The Morning (Live) (4:16)
10. I'll Be Your Baby Tonight (Live) (3:42)
11. Vinyl (Live) (4:17)
12. Your Mind Is On Vacation (Live) (5:03)

Personnel:
John East - Hammond Organ and vocals
Mark Fletcher - drums
Neville Malcolm - double bass
Carl Orr - Guitar
Max Grunhard - alto saxophone
Scott Baylis - trumpet, flugelhorn and piano

John East’s love for the music has been evident over the many years that I have known him. Not only a great Jazz enthusiast, however, John is also a successful corporate financier, whose practical assistance to the Club has been invaluable. But he also has another string to his bow, as a Jazz Hammond organ player, which led me to suggest that he might like to do a gig at the Club sometime. John’s response was typically enthusiastic and he immediately set about organising a band. His first choice was bassist Neville Malcolm, a wonderful player who includes work with the likes of “Incognito” and Tom Jones on a stellar cv and is a musician I admire enormously. Next was Mark Fletcher, a brilliant world class drummer, as his work with the likes of Liane Carroll, Dizzy Gillespie and Michel LeGrand shows. I recommended an old friend on guitar and the John East Project was born.

The gig was excellent, everyone loved it and regular dates soon followed. Over the following months the guitarist dropped out and the terrific Carl Orr (formerly with Billy Cobham) was drafted in; shortly after that two horn players were added to complete the line up that you hear on this CD, which was recorded live at the Club. The music is swinging and compelling. John’s vocals on a mix of songs from up-tempo Blues to gentle ballads are sensitive and to the point and the playing is universally impressive. The horn section, with Max Grunhard’s searing alto sax a great counterpoint to the beautiful tone and lovely melodic lines of trumpeter Scott Baylis (who also pops up on piano) is thoughtfully crafted. Carl’s incisive guitar lines sparkle and the rhythm section swings mightily, demonstrating exactly why Mark and Neville are considered to be amongst the best in Europe. And not forgetting the Hammond organ driven by John, prodding and guiding, an ever present but never overbearing force that comes into its own most notably on the instrumental blues, highlighting the jazz credentials of this excellent band.

This is a lovely album and one to savour for the individual contributions as well as the impressive sum of the parts. So should you see a dapper, middle aged gent with a constant smile and friendly manner making his way to work in the City don’t jump to conclusions; it could be a fine Jazz organist on his way to his day job…..Enjoy. ~Steve Rubie

Live At The 606

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Pamela Hines Trio - Thrive!

Size: 120,5 MB
Time: 52:00
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Ella's Room (4:30)
02. While We Can (4:14)
03. Armory (4:35)
04. Good Change (6:06)
05. Across The Room (5:06)
06. Alteration (4:19)
07. Philippe (6:05)
08. There's More (5:45)
09. Across The Room (Vocal Version Feat. Suzanne Cabot) (6:06)
10. Groove Trip (5:11)

Personnel:
Pianist/Composer- Pamela Hines
Bass- David Clark
Drums- Les Harris, Jr.

Pianist/composer Pamela Hines has been a prolific and consistent presence in the world of jazz. Her creative stamina has established her as an artist who presents to her audiences a newness, individuality and freshness that have made her piano style and originals identifiable. She has received critical acclaim for edgy instrumental compositions and originals for jazz vocalists that are more at home in the modern American Songbook.

New release! “Thrive!” is a project of all original compositions by Hines with lyrics penned to the tune,” From Across the Room.” It features Dave Clark on bass and Les Harris, Jr. on drums and the vocal tune features Suzanne Cabot.

Thrive!

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Mitch Winehouse - But Beautiful

Size: 108,6 MB
Time: 46:47
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Label: Lioness Records
Art: Front

01. Suit & Tie (3:51)
02. The Nearness Of You (4:12)
03. Learning The Blues (3:44)
04. Once I Loved (3:58)
05. But Beautiful (4:08)
06. Never Too Far From A Song (3:07)
07. I'm A Fool To Want You (2:42)
08. Please Baby Don't (4:17)
09. Only The Lonely (2:38)
10. Wave (3:20)
11. Goodbye (4:11)
12. Meditation (2:52)
13. We'll Be Together (3:41)

Amy Winehouse’s father and swing crooner, Mitch, is releasing a new album with songs that his late daughter had helped him carve out.

It follows his debut album Rush of Love released in 2011, for which he sought the help of Amy months prior to her death.

The new instalment, But Beautiful, will include further songs they had chosen together but which didn’t make the debut’s cut. It goes on sale 29 September.

It will also raise funds for the Amy Winehouse Foundation, which was set up in the late singer’s name “to prevent the effects of drug and alcohol misuse on young people,” the charity states.

Winehouse senior said: “It's something I can do that connects with Amy's memory and raises money for what we believe in.”

“Even now it's very painful and emotional, but you just got to get on with it. If we don't, no one else will do what we do.

“We don't have the luxury of thinking we can stop. It's not sexy, it's people struggling with drug addiction, it's homeless kids, people who don't get chance otherwise.

Mitch has previously said that his childhood was full of “Jazz, swing, lots of Sinatra,” where his relatives would belt out tunes all day while his mum and aunt would waltz around the family-owned barber shop in east London.

He also said that being able to make his own music brings him closer to Amy, who died in July 2011 at the age of 27 of alcohol poisoning.

“It's just great to be able to get out and sing, it's something I love to do. I feel that when I'm on stage, Amy's on stage. She wouldn't let a little thing like not being here stop her from jumping on stage.”

“She’s in here now saying, ‘Just get on with it, Dad’. I’m always speaking to her, all day, every day,” he said in an interview.

But Beautiful

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Anna Wilson - Jazzbird/Songbird

Size: 100,9 MB
Time: 43:31
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Little Jazzbird (4:31)
02. Champagne (3:22)
03. Show Me Love (3:51)
04. On A Summer's Day (4:32)
05. The Shadow Of Your Smile (4:31)
06. Inconsolably Blue (5:19)
07. Polaroid (4:32)
08. How Do You Measure A Life (4:20)
09. While The Music's Still In Me (4:38)
10. Songbird (3:49)

Among the many recent jazz-vocalist recordings I've heard, jazz singer/songwriter Anna Wilson's new album stands out for its mingling of classic jazz sensibility with skillful songwriting. Its title, Jazzbird/Songbird, in addition to naming the Gershwin and Fleetwood Mac songs that bookend the 10-song set, accurately reflects Wilson's musical identity on this disk and the nature of her art.

In a velvety, breathy voice both girlish and sophisticated, Wilson lives the songs, standards and originals alike, more like a cabaret singer than a cooler-than-thou jazz cat. The way she slides up to the second syllable of the word "champagne" in the song by that title, one of the six originals on the disc, is a small thing of beauty. "On a Summer's Day," another original, is a little bit Billy Joel and a little bit Marvin Hamlisch (the melody echoes the latter's "What I Did For Love" in jazzier style). And Wilson's understated take on the standard "The Shadow of Your Smile" demonstrates her way of putting her own interpretive stamp on a good melody without bending it all out of shape.

The original, vintage-style ballad "Inconsolably Blue," a gem of accessible pop-jazz songwriting, forms the centerpiece of the album. "While the Music's Still In Me," Wilson's declaration of the preeminence of music in her life, sounds like sophisticated 1970s pop in a jazz setting. It leads into a slim, airy, tasteful version of one of that era's loveliest songs, Christine McVie's "Songbird" from Fleetwood Mac's legendary Rumours album. Wilson sings the hit fairly straight, proving, as if this needed further proof, that a great song remains a great song in any era.

Jazzbird/Songbird

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Bobby Jaspar - Clarinescapade

Bitrate: 320K/s
Time: 51:12
Size: 117.2 MB
Styles: Post bop, Saxophone jazz
Year: 2007/2011
Art: Front

[3:06] 1. Clarinescapade
[4:19] 2. How Deep Is The Ocean
[3:43] 3. What's New
[2:44] 4. Tutti Flutti
[4:51] 5. I Remember You
[3:35] 6. Spring Is Here
[6:24] 7. Wee Dot
[3:54] 8. I Won't Dance
[3:36] 9. In A Little Provincial Town
[5:30] 10. The Lock Alike
[5:00] 11. Barry's Tune
[4:25] 12. Minor Drop

Belgian multi-instrumentalist Bobby Jaspar was hitting his stride in 1956, with great recognition in Europe and a budding reputation in the U.S. via his membership in the J.J. Johnson combo. This CD, a Fresh Sound compilation derived from French Columbia Records LP and EP releases, shows why he was a well-liked and respected cool-to-bop post-Lester Young-influenced tenor saxophonist. The seven tracks where he emphasizes tenor show him breaking away from his influences and exercising voicings of his own, quite similar at that time to peers Stan Getz and Zoot Sims. He ably extrapolates on melodies of the standards "How Deep Is the Ocean" and "I Remember You," and Johnson's hard bopper "Wee Dot," while circling the wagons around the line in an unusual rendition of "I Won't Dance." His fluidity and innate melodic sense are impeccable. The numbers on flute, "Tutti Flutti" and "In a Little Provincial Town," also demonstrate his abilities as a composer, the former bright and sunny with clean unison playing astride masterful Detroit pianist Tommy Flanagan, the latter a near third stream ballad with shining, shimmering modal voicings courtesy of Barry Galbraith. The opener is the title track, a nice bop romp on clarinet, the only tune where he plays the black woodwind, making the title of the CD misleading. Drummer Elvin Jones cements the Detroit connection on the first eight tracks in a more popping, heady, restrained (for him) rhythmic fashion, and it's a rare chance to hear the legendary Nabil Totah on bass in an extended setting. The first ten tracks (eight by quintet and two by quartet formations) were originally on LP, and the last two bop quintet numbers were on EP only. One always wonders if the Manny Albam counterpoint-infused composition "They Lock Alike" was/is misspelled. Shouldn't it be "They Look Alike?" At any rate, this is a first-class date from unsung jazz hero Jaspar, sonically a very well-recorded and remastered effort, and highly recommended. ~Michael G. Nastos

Clarinescapade

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Boz Scaggs - Speak Low

Bitrate: 320K/s
Time: 52:16
Size: 119.7 MB
Styles: Adult contemporary
Year: 2008
Art: Front

[5:24] 1. Invitation
[3:51] 2. She Was Too Good To Me
[5:23] 3. I Wish I Knew
[3:42] 4. Speak Low
[4:03] 5. Do Nothing Till You Hear From Me
[4:03] 6. I'll Remember April
[5:14] 7. Save Your Love For Me
[5:33] 8. The Ballad Of The Sad Young Men
[4:01] 9. Skylark
[3:26] 10. Senza Fine
[3:51] 11. Dindi
[3:39] 12. This Time The Dream's On Me

From his late 1960s days as the lead singer of the Steve Miller Band, Boz Scaggs has always had an undercurrent of jazz influence in his phrasing. Therefore, SPEAK LOW should come as no surprise to longtime fans. No mere raid on the Great American Songbook in the manner of Rod Stewart's adult contemporary albums, SPEAK LOW is a personal, canny follow-up to 2003's collection of standards, BUT BEAUTIFUL. These 12 tracks offer less familiar tracks like Duke Ellington's "Do Nothing Till You Hear From Me" and Chet Baker's "She Was Too Good To Me," given abstract, cerebral arrangements in the manner of 1950s Gil Evans charts. ~Charity Stafford

Speak Low

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Urbie Green - All About Urbie Green: His Quintet And Big Band

Bitrate: 320K/s
Time: 71:00
Size: 162.5 MB
Styles: Trombone jazz, Big band
Year: 2011
Art: Front

[3:15] 1. Reminiscent Blues
[3:18] 2. Thou Swell
[4:19] 3. You Are Too Beautiful
[2:59] 4. Paradise
[2:45] 5. Warm Valley
[1:48] 6. Frankie And Johnny
[2:44] 7. One For Dee
[2:02] 8. Limehouse Blues
[3:02] 9. Am I Blue
[2:43] 10. Dirty Dan
[3:09] 11. Too Late Now
[2:51] 12. Sleep
[6:28] 13. Soft Winds
[3:09] 14. With The Wind And The Rain In Your Hair
[3:30] 15. I Ain't Got Nobody
[3:03] 16. Stella By Starlight
[3:05] 17. Little John
[3:20] 18. Home
[2:36] 19. Cherokee
[3:20] 20. 'round Midnight
[3:15] 21. Springsville
[4:11] 22. Plain Bill From Bluesville

Featuring: Urbie Green (tb, v-tb), Joe Wilder, Johnny Carisi, Phil Sunkel (tp), Chauncey Welsh, Jack Satterfield, Lou McGarity, Rex Peer (tb), Hal McKusick, Al Cohn, Sol Schlinger (saxes), Dave McKenna (p), Jimmy Raney (g), Percy Heath (b), Kenny Clarke (d)

This CD presents Urbie Green, one of the most versatile of all top-ranking trombonists in two facets. On the first quintet recordings we hear him playing relaxed, modern mainstream jazz with strong roots in the blues. His tone is full, his ideas personal and imaginative, and his beat equal to that of his gassing rhythm section.

Urbie’s role on the remaining tracks is that of the leader of a big band. He had often expressed a desire to front a large dance band of his own before he had this opportunity. His choice of Johnny Carisi as chief arranger and unofficial musical director was made because of a rather mutual agreement between the two about the purposes of a band of this kind and the methods of achieving them. Johnny was among the group of writers—like Gil Evans, Gerry Mulligan, Tiny Kahn, et al.—who were setting new stepping-stones in band and small-group arranging. Carisi’s writing in this set is clean and functional— achieving the prime purposes of providing a good jazz and dance-band style and setting a foundation upon which Urbie can project himself as leader-soloist.

All About Urbie Green: His Quintet And Big Band

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Andrew P Done - She Moves

Bitrate: 320K/s
Time: 44:09
Size: 101.1 MB
Styles: Blues-Jazz
Year: 2014
Art: Front

[4:11] 1. Signs
[4:25] 2. Birthday Call
[3:37] 3. Midnight Train
[6:31] 4. Sun Face
[3:19] 5. Different Kind
[3:31] 6. Meadows
[6:36] 7. She Moves
[3:49] 8. On The Road
[1:28] 9. Momma
[4:57] 10. Hey Momma
[1:38] 11. Stones

Andrew has spent the last year gigging this material. It was after 12 months he decided to record. The Album was recorded and produced in August 2014 by Mr "M" at 3legg Birmingham England.

"In the past i have kinda written the songs in the studio then gigged..this time its different we have totally nailed the live set, when we recorded we did not do any drop ins. Each tune was played from start to finish so we could achieve that live sound as much as possible."Sonic UK Rated the Album 5 Stars. "Great Guitar and Voice Almost Rockabilly in Places, then Switches to melodic Blues Folk Fusion with some Awesome Harp Playing, Recommended"

She Moves

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Eileen Joyce - Life Is Too Short

Styles: Vocal Jazz

Year: 2013
File: MP3@320K/s
Time: 31:42
Size: 73,0 MB
Art: Front

(2:54)  1. Life Is Too Short
(3:45)  2. No Time At All
(3:53)  3. Ain't It Sad Sister
(3:08)  4. Just Me and the Boys
(3:57)  5. He's Got the Power
(3:25)  6. When You've Fallen Out of Love
(4:01)  7. Tired of Daydreams
(3:08)  8. I'm Not Coming Back
(3:28)  9. One Vision

Eileen Joyce is undeniably Nova Scotia's Lady of The Blues. Eileen brings a soulful energy to her singing, songwriting, producing and performing. Her passion comes from the depths of her strength, perseverance and love of music. Born in Halifax, Eileen was inspired and encouraged by her father and brother, both jazz drummers, Lou Williamson Sr., and Lou Williamson Jr. Eileen has spread her inspiration and gifts as creator and founder of Blues East, and Ladies In Blues. Also in 2002, became co founder of The East Coast Blues Society. Eileen's fourth and strongest CD to date “Life Is Too Short” is a collection of originals, mostly co-written with her pianist Bill Harvey, and brings out the very best of her determination and abilities. Eileen also collaborate with Woody Woods from Las Vegason a few songs. She has drawn on her hearts desire and will inspire you with her energetic yet sophisticated Jazz, Blues, R&B style. Special guests include the Nova Scotia Mass Choir , Jackie Richardson, Reeney Smith Lela Coles and Lisa MacDougall.  http://www.cdbaby.com/cd/eileenjoyce3

Life Is Too Short

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Eric Alexander Quartet - In Europe

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 62:43
Size: 143,9 MB
Art: Front

( 8:58)  1. What A Difference A Day Made
( 6:50)  2. The Edge
( 6:04)  3. Stay On It
( 6:37)  4. To Be With You
(10:03)  5. Trippin'
( 8:09)  6. Spank That Pig
( 8:07)  7. Good Morning Heartache
( 7:52)  8. That's All

For a change of pace, Eric Alexander recorded this set with an organ trio. The fact that it was cut in Europe is not too relevant, since the musicians are all Americans. With stimulating backing by organist Melvin Rhyne, guitarist Bobby Broom, and drummer Joe Farnsworth, Alexander plays five originals by bandmembers (including three of his own) and a trio of standards. However, the originals all swing and mostly sound as if they could have been veteran standards, too. With the underrated Rhyne keeping the rhythm grooving and lightly funky, Alexander often tears into the pieces, while playing the ballads with a great deal of warmth. Virtually all of Eric Alexander's recordings are easily recommended. ~ Scott Yanow  http://www.allmusic.com/album/eric-alexander-in-europe-mw0000084712

Personnel: Eric Alexander (tenor saxophone); Bobby Broom (guitar); Melvin Rhyne (organ); Joe Farnsworth (drums).

In  Europe

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Jim Hall - Fame And Fortune

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 75:04
Size: 172,2 MB
Art: Front

(4:30)  1. Deep in a Dream
(5:19)  2. Romain
(3:55)  3. Stella By Starlight
(5:19)  4. Skating in Central Park
(4:43)  5. I Was Doing All Right
(5:14)  6. Thanks for the Memory
(5:06)  7. Darn That Dream
(5:19)  8. My Funny Valentine
(6:21)  9. Willow Weep for Me
(4:36) 10. I Hear a Rhapsody
(2:47) 11. This Is Always
(5:45) 12. Things Ain't What They Used to Be
(4:31) 13. Dream Gypsy
(5:03) 14. Look for the Silver Lining
(6:29) 15. When I Have You

A harmonically advanced cool-toned and subtle guitarist, Jim Hall was an inspiration to many guitarists, including some (such as Bill Frisell) who sound nothing like him. Hall attended the Cleveland Institute of Music and studied classical guitar in Los Angeles with Vicente Gómez. He was an original member of the Chico Hamilton Quintet (1955-1956), and during 1956-1959 was with the Jimmy Giuffre Three. After touring with Ella Fitzgerald (1960-1961) and sometimes forming duos with Lee Konitz, Hall was with Sonny Rollins' dynamic quartet in 1961-1962, recording The Bridge. He co-led a quartet with Art Farmer (1962-1964), recorded on an occasional basis with Paul Desmond during 1959-1965 (all of their quartet performances are collected on a Mosaic box set), and then became a New York studio musician. 

He was mostly a leader during the following years and, in addition to his own projects for World Pacific/Pacific Jazz, MPS, Milestone, CTI, Horizon, Artist House, Concord, MusicMasters, and Telarc, Jim Hall recorded two classic duet albums with Bill Evans. A self-titled collaboration with Pat Metheny followed in 1999. A flurry of studio albums, reissues, and compilations followed throughout the next few years, with the exceptional Jim Hall & Basses standing out for its bass/guitar duet format. Jim Hall died at his apartment in Manhattan on December 10, 2013; he was 83 years old. ~ Bio  https://itunes.apple.com/us/artist/jim-hall/id125367#fullText

Fame And Fortune

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Gato Barbieri - New York Meeting (Feat. Carlos Franzetti, David Finck & Nestor Astarita)

Size: 116,5 MB
Time: 49:59
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz
Art: Front & Back

01. Equinox (6:57)
02. It's Over (5:48)
03. Preparense (8:12)
04. Straight No Chaser (6:12)
05. Blue In Green (6:09)
06. Someday My Prince Will Come (7:24)
07. So What (9:15)

Gato Barbieri is the second Argentine musician to make a significant impact upon modern jazz -- the first being Lalo Schifrin, in whose band Barbieri played. His story has been that of an elongated zigzag odyssey between his homeland and North America. He started out playing to traditional Latin rhythms in his early years, turning his back on his heritage to explore the jazz avant-garde in the '60s, reverting to South American influences in the early '70s, playing pop and fusion in the late '70s, only to go back and forth again in the '80s. North American audiences first heard Barbieri when he was a wild bull, sporting a coarse, wailing John Coltrane/Pharoah Sanders-influenced tone. Yet by the mid-'70s, his approach and tone began to mellow somewhat in accordance with ballads like "What a Diff'rence a Day Makes" (which he always knew as the vintage bolero "Cuando Vuelva a Tu Lado") and Carlos Santana's "Europa." Still, regardless of the idiom in which he works, the warm-blooded Barbieri has always been one of the most overtly emotional tenor sax soloists on record, occasionally driving the voltage ever higher with impulsive vocal cheerleading.

Though Barbieri's family included several musicians, he did not take up an instrument until the age of 12 when a hearing of Charlie Parker's "Now's the Time" encouraged him to study the clarinet. Upon moving to Buenos Aires in 1947, he continued private music lessons, picked up the alto sax, and by 1953 had become a prominent national musician through exposure in the Schifrin orchestra. Later in the '50s, Barbieri started leading his own groups, switching to tenor sax. After moving to Rome in 1962 with his Italian-born wife, he met Don Cherry in Paris the following year and, upon joining his group, became heavily absorbed in the jazz avant-garde. Barbieri also played with Mike Mantler's Jazz Composers' Orchestra in the late '60s; you can hear his fierce tone unleashed in the "Hotel Overture" of Carla Bley's epic work "Escalator Over the Hill."

Yet after the turn of the next decade, Barbieri experienced a slow change of heart and began to reincorporate and introduce South American melodies, instruments, harmonies, textures, and rhythm patterns into his music. Albums such as the live El Pampero on Flying Dutchman and the four-part Chapter series on Impulse -- the latter of which explored Brazilian and Afro-Cuban rhythms and textures, as well as Argentine -- brought Barbieri plenty of acclaim in the jazz world and gained him a following on American college campuses.

However, it was a commercial accident, his sensuous theme and score for the controversial film Last Tango in Paris in 1972, that made Barbieri an international star and a draw at festivals in Montreux, Newport, Bologna, and other locales. A contract with A&M in the U.S. led to a series of softer pop/jazz albums in the late '70s, including the brisk-selling Caliente! He returned to a more intense, rock-influenced, South American-grounded sound in 1981 with the live Gato...Para los Amigos under the aegis of producer Teo Macero, before doubling back to pop/jazz on Apasionado. Yet his profile in the U.S. was diminished later in the decade in the wake of the buttoned-down neo-bop movement.

Beset by triple-bypass surgery and bereavement over the death of his wife, Michelle, who was his closest musical confidant, Barbieri was inactive through much of the 1990s. But he returned to action in 1997, playing with most of his impassioned intensity, if limited in ideas, at the Playboy Jazz Festival in Los Angeles and recording a somewhat bland album, Que Pasa, for Columbia. Che Corazon followed in 1999.

As the 21st Century opened, Barbieri saw a steady stream of collections and reissues of his work appear. A new album, Shadow of the Cat, appeared from Peak Records in 2002. ~Biography by Richard S. Ginell

New York Meeting

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Mink Stole & Her Wonderful Band - Do Re Mink

Size: 84,3 MB
Time: 36:01
File: MP3 @ 320K/s
Released: 2013
Styles: Blues, Pop, Rock, Swing
Art: Front

01. Female Trouble (3:02)
02. Bang Bang (2:33)
03. Thank You, Baby (3:39)
04. Baltimore (Feat. Jamie Wilson) (3:49)
05. Waiting For The World (2:20)
06. Born Of A Restless Spirit (Feat. Dave Chappell) (2:19)
07. God, If Any (2:42)
08. If You Were To Wake Up (Feat. John Irvine) (4:45)
09. Yours And So Am I (Feat. Michael Raitzyk & Arty Hill) (3:31)
10. What Can I Say After I Say I'm Sorry (2:17)
11. No Nose Nanook (1:56)
12. Sometimes I Wish I Had A Gun (3:04)

Swingy, bluesy, rocky, poppy, a little bit sweet, a little bit sad, and plenty of attitude: no one category completely describes this album that has taken my Wonderful Band (Walker Teret, Skizz Cyzyk, Glenn Workman) and me nearly three years to produce. It really began more than 10 years ago when I first started singing in small clubs in Los Angeles. Many of the songs on the album are reworkings of songs I performed in my one-woman cabaret show "Do Re MiNK," which is why I kept the name for the CD. Not a songwriter myself, I've been lucky to work with terrific musician/songwriters, and several cuts on the CD were written by bandmembers Kristian Hoffman and George Baby Woods from the Los Angeles incarnation of my Wonderful Band, and Skizz Cyzyk from the Baltimore incarnation. "No Nose Nanook" is a song I performed way back in the early '70s with the amazing Cockettes in a show called Vice Palace. "Female Trouble" is a cool reworking of the title song (performed by the late, great Divine) of the 1975 John Waters film, in which I played the disturbed Taffy Davenport. "Born of a Restless Spirit" is a full on rock song. The others are tunes I have fallen in love with over the years. "Sometimes I Wish I Had A Gun," written by my friend and musical mentor Brian Grillo, was previously released in 2007 on the compilation disc "A Date With John Waters."

Do Re Mink

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Malonie Carre Quartet - Forever (With Gianny Laredo)

Size: 66,9 MB
Time: 28:33
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Why (2:35)
02. Round And About (4:02)
03. Forever (3:40)
04. Do It Her Way (3:25)
05. Do I Love Him (3:17)
06. In The Sky (3:20)
07. My Heart (3:06)
08. Out Of The Blue (5:04)

Bringing a Latin sensibility to jazz vocal, Carre fuses this date with some Broadway/cabaret ideas the underscore the dramatic element in a lot of Latin music that gringos would automatically think of as cabaret. There's plenty of jazz vocal here to make the jazz vocal fan be satisfied with the proceedings, this is something a little out of the usual pale and might just be what jaded ears in the genre are looking for. Probably a good bet for urbane tastes that like to be first on their block.

“Malonie´s voice is exquisite, her interpretation of these jazz songs and the unique presence of the Gianny Laredo (piano), has created a very special energy, creative sensitivity, for this project. This Album (Forever) has tremendous quality and above all an overflow of tremendous energy.” — Joaquin Betancourt Jackman, Grammy Award Winning Producer

Forever

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Jesper Thilo Quartet - Stardust (Feat. Olivier Antunes & Bo Stief)

Size: 148,4 MB
Time: 63:27
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Cool Jazz, Trumpet Jazz
Art: Front

01. Let's Fall In Love (5:29)
02. Let's Face The Music And Dance (4:51)
03. Bewitched (6:26)
04. Hoe Down (4:45)
05. I'm Confessin' That I Love You (7:22)
06. Jessica's Day (4:39)
07. Strike Up The Band (8:50)
08. Stardust (4:59)
09. If I Could Be With You (3:50)
10. The Man I Love (5:57)
11. Soul Sister (6:14)

One of the top European straight-ahead jazz musicians from 1970 onward, Danish reedman Jesper Thilo has appeared on many records with American artists in addition to recording with his fellow countrymen. His tenor sound is reminiscent of Zoot Sims. Thilo, who has also occasionally played alto and clarinet, first recorded as a leader for Storyville in 1973, and in the 1980s and 1990s on Storyville his sidemen at various times included Hank Jones, Kenny Drew, Clark Terry, Roland Hanna, and Harry "Sweets" Edison. Thilo also appeared on Miles Davis' Aura (with compositions and arrangements by fellow Dane Palle Mikkelborg), released by Columbia in 1989. After the turn of the millennium Thilo has continued recording for a variety of labels, including several releases on Stunt Records: Remembering Those That Were (2009), On Clarinet (2010), and Scott Hamilton Meets Jesper Thilo (2011). ~Biography by Scott Yanow

Stardust

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Jerome Epps - Eclectic Fusion

Size: 104,6 MB
Time: 44:52
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz
Art: Front

01. Smooth Funk (6:16)
02. Midnight Groove (5:16)
03. Rumba Salsa Rump (3:51)
04. Too Hip 2 Hop (5:02)
05. Enigma (5:42)
06. Celebracion (4:13)
07. Bossa De Nova (4:31)
08. Awakening (9:58)

Born in Washington DC, Jerome Epps began to embrace music at a very young age. With his father being an accomplished jazz saxophonist, Jerome would listen to his dad practice for hours to the likes of Miles, Coltrane, Bird, Sergio Mendes, Antonio Carlos Jobim, and the virtual who’s who of jazz. Yet there would take a slight detour on the path to fully appreciating jazz. And that detour was called: “Jimi Hendrix”. The Jazz world was put on hold while performed in numerous rock bands, influenced by Eric Clapton (Cream), Terry Kath (Chicago), Jimmy Page (Zepplin), and the original Santana band. Later his interests would shift back towards r&b, soul and funk, only to make the ultimate migration to more progressive jazz-rock fusion artists like Chick Corea, Al Dimeola, John McLaughlin’s Mahavishnu Orchestra, and Weather Report.

Oddly enough, as a youngster Jerome’s first music teacher was Roberta Flack (of “Killing Me Softly” fame) who taught him within the D.C. public school system. Years later he studied Music Education at Howard University where he met Dizzy Gillespie at a Latin-Jazz seminar. A priceless experience indeed.

Later, after moving west, Jerome finished his education at San Jose State University where he studied classical and jazz guitar. Hence, this musical path has led to Jerome’s new CD release “Eclectic Fusion” which embraces his eclectic roots in jazz, r&b, funk, latin, rock and fusion, while blending this sound with contemporary dance beats. Hence we give you “Eclectic Fusion”. Enjoy!

Eclectic Fusion

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Yuko Ito - O Cantador

Size: 103,0 MB
Time: 44:14
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian Rythms
Art: Front

01. Mas Que Nada (4:55)
02. Samba De Verao (4:56)
03. Travessia (4:50)
04. Sina (4:49)
05. Batucada Surgiu (3:09)
06. Guerrilla (Eu Nao Sou Ninguem) (4:35)
07. Eu So Quero Um Xodo (3:14)
08. O Cantador (5:02)
09. Takeda No Komori- Uta (4:07)
10. Serrado (4:32)

New York based vocalist Yuko Ito's second Album "O Cantador" co-produced by great pianist / Composer Cidinho Teixeira. The recording is a collection of Brazilian songs by Jorge Ben, MarcosValle, Miton Nascmento, Djavan Dominguinhos, Dori Caymmi. She also recorded Japanese traditional song"Takeda No Komoriuta". She put original melody with african chant.
Also she recorded Japanese Rock Band Red Warriors's song "Guerrilla" She made Brazilian Portugeses lyrics on it.

Bio:
A native of Tokyo, Japan, she has been performing publicly in wide range of styles: pop, rock, R&B, jazz funk, gospel, free jazz and various forms of Brazilian music since high school. Her early musical career began when she founded the girl’s rock band Sissy Boy, which produced two CDs: Marcy’s Factory, with Vaan Media, and Kick Off Boy’s, with Crown Records Japan. Even with her early success in Japan, Yuko's musical vision was broad and she chose to move to New York in 1994. A vocal coach soon encouraged her to explore jazz and eventually this led to her receiving B.F.A degree from City College of New York in music (Jazz Vocal Performance). After a jam session Yuko attended while still in school, she was invited by jazz artist Sabir Mateen to perform with him. This encouraged her to continue to draw deeply from the jazz tradition in her work. She has performed with the Harlem Gospel Choir and appeared at Blue Note (New York), She has also performed with the Harlem Gospel Choir in Times Square on Good Morning America (ABC) and “New Yorker”( NHK BS1).

Having been lured by positive lyrics, unique beats and passionate movement, Yuko grew with her rebellious rock attitude into a mature songstress and it shows on her new album Mania De Você . Yuko Ito, originally from Japan, has evolved into a born again Brazilian New Yorker.

O Cantador

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Barrelhouse Chuck - Combo Classics

Size: 108,2 MB
Time: 43:51
File: MP3 @ 320K/s
Released: 2014
Styles: Blues, Rock
Art: Full

01. Hot & Heavy (2:53)
02. Time Is Tight (3:12)
03. Depression Blues (3:27)
04. Chuckabilly (Live) (3:00)
05. Pacific Blue (3:37)
06. My Dog Don't Bow Wow (Perry Weber Vocals) (4:47)
07. Bright Sounds Of Big Moose (3:23)
08. Walk Don't Run 69 (2:09)
09. Porchlight (Nick Moss Vocals) (4:12)
10. Wah Wah Blues (5:04)
11. Farfisa B3 Boogie For Winwood (1:05)
12. Don't Go To Dallas (Oscar Wilson Vocals) (4:22)
13. Slam Hammer (2:35)

When I was growing up a lower middle class Irish-Italian kid in New York City, few families could afford big Wurlitzer or other in home organs. Much to their chagrin, many an Italian kid who had aspirations to play something with a keyboard were awarded an accordion. But then came the combo organ. Vox, Farfisa and others took the concepts of the organ, accordion, transistors and bright colored plastic to create a portable organ that musical combos could use. Those were heady days; with the advent of the transistor replacing the old vacuum tubes, equipment and electronics got lighter and easier to move and transport. No longer would keyboard players have to rely on the old out of tune house piano at their gigs. A new age was upon us musically.

Blues musicians embraced and adopted this new fangled device as did the rockers like Steve Winwood from the Spencer Davis Group and Traffic, the Doors and others. In the liner notes Chuck comments on the fab song of his youth, ”96 Tears”, by ? and the Mysterions that he played in every juke box he saw. Later on, Otis Spann became his Farfisa role model with his recording of “Ain’t Nobody’s Business” with drummer S.P. Leary. Chuck includes a passionate and lilting version of this (with S.P. again on drums!) on this album.

Barrelhouse Chuck pays homage to that 1960’s classic instrument by packing up all his great songs featuring the combo organ and giving us this great new CD “Combo Classics”! A very 1960’s looking photo of a combo organ adorns the CD cover, and inside and on back we have a beautiful, bright red compact combo organ of Chuck’s. Behind the CD in the jewel box we have a classic advertisement for “the new Rheem stereo compact combo electronic organ.” What a cool package, but cooler yet is what’s on the silver disc inside the package. All designed by Harmonica Todd Levine!

Chuck offers up thirteen prime and classic cuts of his combo organ virtuosity. He’s got hot newer stuff along with some of his older works on the combo and they are all hot stuff. The Spann classic includes Billy Flynn on guitar along with exquisite vocals by Chuck and Bethany Thomas. He lends his unique Farfisa sound to the Ventures “Walk Don’t Run 69” where he, Flynn and Kenny Smith give us that beach classic Lake Michigan styled!

“Depression Blues” written by Sunnyland Slim gives us some relevant commentary on today’s economic woes, where Chuck laments about people being laid of by the thousands as he makes the Farfisa sing also to us. Backing him again are Flynn and Leary along with Hash Brown on guitar, Todd Levine on fat tone harp and Rick Holmes on bass. He offers up the Farfisa on two newer cuts with the Swedish Trickbag group to open the album. Earl Hooker’s “Hot and Heavy” and what I like to call an original Swedish-Chicago surf tune called “Pacific Blue” a Goering original.

Good stuff just oozes from all over this CD.

The Goering-Flynn original “Chuckabilly-Live” features two amazing instrumentals where the instruments actually seem to talk to us. Chuck’s organ and Flynn’s guitar seemingly sing out to and grab us in this cut. Chuck goes to the Lowry organ to do the “Bright Sound of Big Moose”, a super tribute to Johnny “Moose” Walker. Nick Moss joins Chuck on two tracks and sings on one of them, his own “Porchlight”. James Cotton’s “Slam Hammer" by Benny Rickun on harp” from Perry Weber & The DeVilles. Perry plays nice guitar on two cuts. Curtis Salgado’s wicked harp adds so much to these tracks, too. Lynwood Slim does the singing on the other song, the J. Haliday-Ray Charles classic “I Choose to Sing the Blues”. Chuck hits us with an R.M.I. and Rheem on the first two and a Vox on the third. Classic stuff done by a man who has exerted full mastery over the combination organ, perhaps even more so than he has the piano! Space does not permit comments on every track, but suffice it to say all thirteen are equally special. I do have to mention, though, the Barrelhouse Chuck tribute to the great Stevie Winwood that he closes with, where Chuck plays the Farfisa on his “Farfisa B3 Boogie for Winwood”; along with Jim Mckaba on B3 it's classic stuff!

Run, do not walk, to the CD store (or even faster, run to your computer) and get this CD today. You won’t regret it. This is blues and early rock organ at its’ finest and no one- NO ONE!- does it better than Barrelhouse Chuck! ~by Steve Jones from The Crossroads Blues Society of Northern Illinois.

Combo Classics

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The Asian Jazz All Stars Power Quartet - Live At The Living Room

Bitrate: 320K/s
Time: 71:45
Size: 164.3 MB
Styles: Fusion
Year: 2012
Art: Front

[13:54] 1. Carrot Cake
[19:22] 2. African Skies
[ 8:48] 3. This Guy's In Love
[11:49] 4. Wrappin' It Up
[17:50] 5. Tiramisu (For Hino)

The name says it all; four of Asia's leading jazz musicians—Singaporean pianist/organist Jeremy Monteiro, Philippine saxophonist Tots Tolentino, Hong Kong guitarist Eugene Pao and Thai drummer, Hong Chanutr Techatana-nan—combine to produce a powerful, electro-acoustic jazz fusion which draws inspiration from the Larry Goldings/Peter Bernstein/Bill Stewart trio. Recorded at the Living Room, Bangkok during a month-long jazz festival in June 2011 to celebrate the venue's tenth anniversary, this recording captures the quartet in exuberant mood.

After thirty years at the piano, Monteiro returned to his early love, the Hammond organ, in recording Groovin' at Groove Junction (Jazznote Records, 2009)—nominated for an Independent Music Award—and his organ sound leaves a large imprint on the session. Peter Bernstein's grooving, Blue Note-flavored "Carrot Cake" opens proceedings with strong solos from tenor player Tolentino and Monteiro. Gigging with his organ trio Organamix these last couple of years has sharpened Monteiro's organ chops, and his playing is confident and imaginative. Pao in turn stretches his digits, showing the kind of tasteful attack that has seen him work with pianists Chick Corea and Herbie Hancock, guitarist Joe Pass , saxophonist Jackie McLean, and drummers Jack DeJohnette and Bill Bruford.

A nineteen-minute interpretation of "African Skies" pays homage to its creator, saxophonist Michael Brecker. Pao, Tolentino and Monteiro all performed and/or recorded with Brecker, and the quartet really cooks on this free-spirited workout. Tolentino wisely follows his own path on a rousing tenor exploration, rather than trying to emulate the foremost post-Coltrane tenorist that Brecker was. Monteiro ratchets up the intensity a notch with a searching, extended solo before the quartet shifts down a gear, setting Pao loose with the task of bringing things back to the boil, which he does with a fluid, bluesy solo with plenty of bite. Chanutr Techatana-nan's effervescent, driving rhythms are a key to the dynamism of this track, and the quartet's energy throughout the recording.

Burt Bacharach/Hal David's "This Guy's in Love" provides a beautiful oasis of slowly swinging calm, with Tolentino and Pao's lyricism to the fore. Another fine Monteiro solo opens Larry Goldings "Wrappin' it Up," before Tolentino picks up the reins with a snaking solo which gains gradually in potency. This mid-tempo number showcases more measured, though no less impressive playing from the quartet and Pao in turn shines with a mazy run.

Tolentino's swinging "Tiramisu"—dedicated to Japanese trumpeter Terumasa Hino—clocks in at almost eighteen minutes and is perhaps the most ambitious and satisfying tune of the CD. The quartet burns on this hard-grooving number for the first eight minutes. Monteiro then unfolds a vaguely spacey solo over a drone before launching into adventurous improvised waters. Pao's liveliest playing of the session sets the seal on a powerful performance.

Jazz-fusion—for want of a better term—is alive and kicking in Asia, as this excellent recording demonstrates. So far, only Asian audiences have been fortunate to see this incendiary quartet on tour. Hopefully, it will go into the studio with some original material soon and launch itself beyond Asia. ~Ian Patterson

Jeremy Monteiro: organ; Eugene Pao: guitar; Tots Tolentino: tenor saxophone; Hong Chanutr Techatana-nan: drums.

Live At The Living Room

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Charlier/Sourisse - Eleven Blues

Bitrate: 320K/s
Time: 63:43
Size: 145.9 MB
Styles: Bebop, Blues-jazz
Year: 2010
Art: Front

[5:50] 1. Congo Square
[5:12] 2. Way Back Home
[4:20] 3. Meeting At Douglaston
[4:30] 4. Mingus Street Blues
[3:11] 5. Singin'drum
[7:05] 6. Tribute To Mister H
[9:40] 7. Couleurs Nuit
[4:43] 8. Celebration Station
[5:32] 9. Two And Four Driving
[7:34] 10. Used To Be A Waltz
[6:00] 11. La Seconde Danse

THIS album demonstrates yet again the elasticity of the blues form.

Each of the French duo's compositions explores a different angle, from the pastoral Couleurs Nuit, via the stately Mingus Street Blues to the pulsating Meeting At Douglaston. Benoit Sourisse's keyboard work is nimble and imaginative throughout, while co-leader Andre Charlier's subtle and swinging playing reaches a peak on his feature, Singin' Drum. Guitarist Jean-Marie Ecay and guest saxophonist Kenny Garrett turn in superior solos.

Eleven Blues

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