Sunday, November 2, 2014

Yuko Ito - Mania De Voce

Size: 106,4 MB
Time: 45:39
File: MP3 @ 320K/s
Released: 2009
Styles: Brazilian Rhythms
Art: Front

01. Berimbau (4:16)
02. Corcovado (4:48)
03. Ela E Carioca Smile (4:44)
04. Garota De Ipanema (3:37)
05. Magamalabares (3:41)
06. Mania De Voce (4:52)
07. Dindi (5:00)
08. Qui Nem Jilo (4:27)
09. Flor De Lis (4:29)
10. Agua De Beber (5:40)

Yuko Ito's new CD Mania De Você represents her profound respect and love for Brazilian music with renditions of classic works by Antonio Carlos Jobim, Djavan, Luiz Gonzaga, Rita Lee, Carlinhos Brown and Baden Powell. Mania De Você represents how a little hard work, determination, and passion can make one capable of turning a dream into a reality.
Yuko grew with her rebellious rock attitude into a mature songstress and it shows on her recent release. Yuko Ito, originally from Japan, has evolved into a born again Brazilian New Yorker.

Mania De Voce

Joey DeFrancesco - Home For The Holidays

Size: 138,4+100,6 MB
Time: 59:08+40:01
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz, Holiday
Art: Front

CD 1: The Party
01. Mistletoe And Holly (3:01)
02. Home For The Holidays (4:36)
03. Baby It's Cold Outside (4:03)
04. Have Yourself A Merry Little Christmas (4:23)
05. The Twelve Days Of Christmas (6:42)
06. What Are You Doing New Year's Eve Backup (4:16)
07. Christmas At 3 A.M (4:45)
08. Rudolph The Red Nosed Reindeer (4:48)
09. Santa Claus Is Coming To Town (3:36)
10. The Christmas Song (5:15)
11. Merry Christmas Baby (4:21)
12. I'll Be Home For Christmas (4:50)
13. Blue Christmas (4:26)

CD 2: The Tradition
01. Joy To The World (2:21)
02. O Little Town Of Bethlehem (4:09)
03. It Came Upon A Midnight Clear (4:01)
04. We Three Kings (4:46)
05. O Come All Ye Faithful (2:45)
06. Silent Night (5:12)
07. What Child Is This (5:24)
08. Away In A Manger (3:15)
09. The First Noel (3:58)
10. O Holy Night (4:05)

Keyboardist Joey DeFrancesco will release his first Christmas album, Home for the Holidays, Oct. 28 on JD Music on October 28. The recording, jointly produced by Joey and his wife Gloria DeFrancesco, is a double album featuring traditional Christmas songs such as “Rudolph The Red Nosed Reindeer,” “Merry Christmas Baby,” “Santa Claus Is Coming To Town” and “Blue Christmas” plus new, original DeFrancesco compositions: the title track, “Home for the Holidays,” and “Christmas at 3 a.m.”

On various tracks DeFrancesco performs solo, with his trio, quartet and quintet. The core Trio comprises guitarist Jeff Parker, drummer George Fludas and DeFrancesco on Hammond organ, with guest musicians in other configurations including John Webber on bass, Jerry Weldon and George Coleman Sr. on tenor saxophones, and George Coleman Jr. on drums. Two songs recorded in California, “I’ll Be Home For Christmas” and “The Twelve Days of Christmas,” feature Roman Banda (drums), Jose ‘Papo’ Rodriguez (percussion), Steve Wilkerson (flute) and Tony Banda (bass). DeFrancesco also plays piano and trumpet, and sings on “Blue Christmas” and “Merry Christmas Baby.”

Home For The Holidays CD 1
Home For The Holidays CD 2

Carmen McRae - Classics

Size: 113,8 MB
Time: 48:47
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Blue Moon (2:33)
02. Yardbird Suite (1:56)
03. How Long Has This Been Going On (4:03)
04. Invitation (2:51)
05. Bye Bye Blackbird (3:24)
06. Baltimore Oriole (3:50)
07. Summertime (2:57)
08. My Funny Valentine (4:19)
09. I Was Doing All Right (2:46)
10. Bob White (2:54)
11. Isn't It Romantic (3:01)
12. Skylark (3:00)
13. A Nightingale Sang In Berkeley Square (4:57)
14. Body And Soul (3:34)
15. You Took Advantage Of Me (2:36)

Carmen McRae always had a nice voice (if not on the impossible level of an Ella Fitzgerald or Sarah Vaughan) but it was her behind-the-beat phrasing and ironic interpretations of lyrics that made her most memorable. She studied piano early on and had her first important job singing with Benny Carter's big band (1944), but it would be another decade before her career had really gained much momentum. McRae married and divorced Kenny Clarke in the '40s, worked with Count Basie (briefly) and Mercer Ellington (1946-1947), and became the intermission singer and pianist at several New York clubs. In 1954 she began to record as a leader' and by then she had absorbed the influences of Billie Holiday and bebop into her own style. McRae would record pretty steadily up to 1989 and, although her voice was higher in the '50s and her phrasing would be even more laid-back in later years, her general style and approach did not change much through the decades. Championed in the '50s by Ralph Gleason, McRae was fairly popular throughout her career. Among her most interesting recording projects were participating in Dave Brubeck's the Real Ambassadors with Louis Armstrong, cutting an album of live duets with Betty Carter, being accompanied by Dave Brubeck and George Shearing, and closing her career with brilliant tributes to Thelonious Monk and Sarah Vaughan. Carmen McRae, who refused to quit smoking, was forced to retire in 1991 due to emphysema. She recorded for many labels including Bethlehem, Decca (1954-1958), Kapp, Columbia, Mainstream, Focus, Atlantic (1967-1970), Black Lion, Groove Merchant, Catalyst, Blue Note, Buddah, Concord, and Novus. ~Biography by Scott Yanow

Classics

Charlie Rouse - Yeah!

Bitrate: 320K/s
Time: 57:12
Size: 131.0 MB
Styles: Saxophone jazz, Hard Bop
Year: 1961/2010
Art: Front

[6:26] 1. You Don't Know What Love Is
[5:59] 2. Lil Rousin'
[6:14] 3. Stella By Starlight
[8:39] 4. Billy's Blues
[4:41] 5. Rouse's Point
[6:21] 6. (There Is) No Greater Love
[5:48] 7. When Sunny Gets Blue
[5:49] 8. Quarter Moon
[7:11] 9. I Should Care

Tenor saxophonist Charlie Rouse is best known for his work with Thelonious Monk, playing with the enigmatic pianist and composer during Monk's Columbia years from 1959 until 1970. Rouse's sound with Monk was so fluid and smooth that's it's easy to forget how many eccentric, jagged turns he had to navigate night after night, and that Rouse did it with quiet, steady grace is a testament both to his sax playing and to the space Monk built into his puzzle box compositions. Rouse headed up few sessions on his own as a bandleader, but as this calm, workmanlike set, recorded in 1960 and originally released in 1961 on Epic Records, clearly shows, he could rise to the occasion. Working with a rhythm section of Dave Bailey on drums, Peck Morrison on bass, and Billy Gardner on piano (this was actually Gardner's debut in a recording studio), Rouse's sax lines seem to float effortlessly over the top of things, feeling less urgent and angular than his work with Monk. Highlights include the opener, "You Don't Know What Love Is," the Gardner composition "Billy's Blues," and the pretty ballad, "(There Is No) Greater Love," that closes things out. It's all very pleasant, falling to the easy side of the hard bop spectrum with very few rough edges or surprises. Rouse arguably was at his best as a solid supporting player, but this session has its moments, and it shows a more romantic, gliding side to Rouse than was usually on display with Monk. Everything here on this Japanese reissue was included in Epic's Unsung Hero release, which also added three additional tracks, making it a marginally better purchase than this one. ~Steve Leggett

Yeah!

Judy Carmichael - I Love Being Here With You

Bitrate: 320K/s
Time: 54:07
Size: 123.9 MB
Styles: Jazz vocals
Year: 2013
Art: Front

[5:47] 1. I Can't Give You Anything But Love
[3:17] 2. If Dreams Come True
[4:32] 3. I Don't Know Enough About You
[5:58] 4. Say It Isn't So
[8:48] 5. Why Can't You Behave
[2:44] 6. This Can't Be Love
[6:19] 7. Do Nothing Till You Hear From Me
[3:43] 8. I Love Being Here With You
[5:26] 9. The Lamp Is Low
[2:53] 10. Somebody Loves Me
[4:35] 11. Talk To Me

Judy’s first all-vocal CD and her first time giving the piano duties to someone else, in this case the great Mike Renzi, who played for Mel Tormé, Peggy Lee, Liza and all those wonderful Muppets, as Musical Director for Sesame Street.

As Judy says in the liner notes: “People who know my music, think of me as the gal who plays upbeat, energetic, stride piano. A few of my close pals know I’m also a fan of juicy ballads, early musicals, cheeky lyrics and swinging’ standards. This recording gave me a chance to connect with these other areas of my musical passions.”

Judy Carmichael: Vocals; Mike Renzi: Piano; Harry Allen: Tenor Sax; Jay Leonhart: Bass.

I Love Being Here With You

Joe Carter - The Samba Rio Trio

Bitrate: 320K/s
Time: 52:37
Size: 120.5 MB
Styles: Guitar jazz, Brazilian jazz
Year: 1997
Art: Front

[4:46] 1. Insensatez (How Insensitive) (feat. Nilson Matta; Portinho)
[6:10] 2. Paraty (feat. Nilson Matta; Portinho)
[4:47] 3. Alvorado (Dawn)
[6:12] 4. Lamento No Morro (feat. Nilson Matta; Portinho)
[5:26] 5. This Is For Luisa (feat. Nilson Matta; Portinho)
[5:17] 6. Samba Contente (Joyful Samba) (feat. Nilson Matta; Portinho)
[4:12] 7. Se E Tarde Me Perdoa (If It Is Too Late, Please Forgive Me)
[5:58] 8. Sonho De Marina (Dream of Marina) (feat. Nilson Matta; Portinho)
[4:26] 9. Fungi Mama (feat. Nilson Matta; Portinho)
[5:57] 10. Amor Em Paz (Once I Loved)/ Inutil Paisagem (Useless Landscape)

This set features beautiful and expertly played Brazilian jazz as performed by guitarist Joe Carter, bassist Nilson Malta, and drummer Portinho. Several Jobim songs, Blue Mitchell's "Fungii Mama," and a couple Carter originals are in the repertoire, with each of the tunes featuring strong melodies, pretty guitar, and close interplay between the musicians. All of Joe Carter's recordings are tasteful and rewarding, and this one is no exception. ~ Scott Yanow

Joe Carter (guitar); Nilson Matta (bass); Portinho (drums). Recorded at Sorceror Sound, New York, New York on November 6 & 7, 1993 and Rosewood Music, Greenwich, Connecticut.

The Samba Rio Trio

Jessica Lalonde - Spinning Daydreams

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 44:43
Size: 102,8 MB
Art: Front

(2:46)  1. Taking A Chance On Love
(3:58)  2. Imagine That
(4:34)  3. Until The Real Thing Comes Along
(4:05)  4. Isn't It Romantic
(3:42)  5. On A Slow Boat To China
(5:48)  6. It Might As Well Be Spring
(4:01)  7. Begin The Beguine
(4:21)  8. Whispering Grass
(4:09)  9. I'll Be Seeing You
(2:46) 10. Not A Care In The World
(4:26) 11. You Belong To Me

Jessica Lalonde has gone from singing since early childhood in local music festivals to making her dreams of a music career come true. With such a distinct voice, genuine natural talent and undeniable beauty, she is almost surprisingly down to earth for someone with such abilities. Leading up to the launch of her upcoming debut CD of jazz covers, she has been on a unique musical journey, making her an exceptional and already accomplished artist, who is very hard to label. A native of Midland, Ontario, Lalonde has spent her life following her passion for music, which has often led her in many different directions. She grew up with parents that listened to classic rock, yet she gravitated more towards her grandparent’s taste in music for the big band era. Soon Lalonde discovered Billie Holiday which was a very pivotal moment for her. “I literally became obsessed with her and then my musical voyage went from there,” she says. “Billie was a major influence for sheer emotional power for me.” She then also immersed herself in the music of other dynamic female artists such as Ella Fitzgerald, Jo Stafford, Helen Forrest and Nina Simone; and developed a love for opera and classical music along the way. “First and foremost, I just realized that I loved to sing,” she reflects. “Taking in a variety of genres and influences to this day keeps everything fresh for me.” While in high school an invitation from her music teacher to come do a song with the acclaimed Music Maker’s Big Band that he was part of, turned into much more than that, after the 15 year old Lalonde blew away the other skeptical band members to earn herself the permanent vocalist position. Performing with an actual big band was such a thrill and motivated her further into pursuing a life of music. 

Over the years, Lalonde has been a featured soloist at various charity venues, galas and choral concerts. She was part of the world première broadcast of Craig Galbraith’s The Spell of the Rose on CBC Radio Two’s “New Hours” and in 2006, she was the winner of the Laurier Concerto Competition, the Stratford Civic Orchestra’s Concerto Competition and the recipient of the Keith Knights Memorial Award for Performance at Laurier.Lalonde completed her Bachelor of Music in Voice Performance and attained her Opera Diploma at Wilfrid Laurier University where she studied under the direction of mezzo-soprano, Kimberly Barber. In the summer of 2007, she even traveled to Italy and participated in the renowned Centro Studi Lirica opera programme, under the direction of Joan Patenaude-Yarnell. While at Laurier, she held the title role in Puccini’s Suor Angelica and performed La Princesse in Ravel’s L’enfant et les sortilèges, Lady Billows in Albert Herring and Sarah Good in The Crucible.“It occurred to me that by studying opera I could learn to sing better and develop a fuller vocal range,” comments Lalonde. “As well, I was always drawn to artists and songs that really told stories and the world of opera is built around understanding the roles you play and stories you tell. This has definitely made me a stronger performer and more emotionally in touch with the songs I am singing.” While at Laurier, she had the opportunity to create the role of ‘Rebecca Reid’ in the première of a new Canadian opera, To Daniel, by Glenn James. “The experience was so collaborative,” Lalonde enthuses. 

“To actually be able to help develop the character was incredibly liberating. It made me want to have more creative input in what I was doing and brought me back to the jazz and crooner style of music that I always seemed to relate to the most.” In late 2007, when Lalonde made the decision to move to Toronto, she re-connected with life long family friend Rob Brooks and suddenly everything just fell into place. Brooks with over 36 years of music business experience, including 30 with international music giant EMI, was quick to sign her to his company, Bloo&Wite management. Soon after he arranged for her to meet with Bill King, one of Canada’s most respected jazz musicians. The two immediately hit it off and plans to record an album of jazz styled songs with a nostalgic feel began. “Bill King has really created a flourishing environment for many young artists to find their direction and their voice,” says Lalonde. “I feel so privileged to be developing a project I’m so passionate about with people that share a similar vision and know how to make it all happen.” This extends to the musicians that she got to work with on this album, which not only includes King (who is arranging and producing the album), but also some of Canada’s other most sought after players such as: Kevin Breit (Norah Jones, kd lang, Cassandra Wilson), Davide DiRenzo (Jacksoul, Sophie Milman, Tomi Swick), Duncan Hopkins (Diana Krall, Mark Murphy, Rob McConnell and the Boss Brass) and Ann Lindsay (Blue Rodeo, Dionne Warwick, The Chieftans). Never did Lalonde expect her first proper studio and album recording experience to involve such established artists. “It was surreal,” she admits.

The album, currently scheduled for release late summer 2008, is all covers and includes such engaging classics as “Slow Boat To China,” “You Belong To Me,” and “It Might As Well Be Spring.” The approach to deciding the material comes back to great stories again for Lalonde. “These songs take you somewhere. They connect you with such universal themes and emotions of young love and longing for those who aren’t near,” she remarks. “These are stories that take you back to another time, but still very much resonate with the world we live in today.” The chance to take these songs and bring her ‘own flavour’ to them, with the help of her new creative/musical team, has been extremely inspiring. It is especially fitting for her to cover the Stafford classic “You Belong To Me” and make it her own, as Lalonde often garners similar accolades to the beloved American pop singer. She too is often admired for the purity of her voice and for being such a versatile vocalist, the way that Stafford was in her day. The studio experience itself has been an exciting new adventure for Lalonde. “It blew my mind!” she raves. “Being in the studio provides such freedom. To be able to approach things in a gentle and creative manner so that you can fully develop your own feel to a song and story is so powerful to an artist. I’m used to performing live where you’ve got only one shot to get it right.” Although now a fan of the studio, she ultimately can’t wait to take these songs on the road, as the stage is the home she knows and loves best.Lalonde is not one to just rest on her inherent talent. Her deep-rooted love and passion for music motivates her to constantly become better at her craft. Even with the launch of her debut CD still forthcoming, those that know her already can’t wait to see and hear what she will do next. Bio ~ http://music.cbc.ca/#!/artists/Jessica-Lalonde

Chihiro Yamanaka - Forever Begins

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 61:14
Size: 141,1 MB
Art: Front

(5:35)  1. So Long
(5:43)  2. Blue Pearl
(6:01)  3. Summer Wave
(6:34)  4. Cherokee
(5:47)  5. W.W.W.
(6:30)  6. Good Morning Heartache
(4:45)  7. Saudade E Carinho
(6:31)  8. Forever Begins
(4:53)  9. The Moon Was Yellow
(8:51) 10. Avance

Much better known in her native Japan (where she regularly tops the jazz charts), pianist Chihiro Yamanaka makes a strong claim to neo-bop mastery with Forever Begins, played with her trio, also featuring Ben Williams on bass and Kendrick Scott on drums. Yamanaka takes a playful tone on the original opener, ironically called "So Long," establishing that she will play lightning runs, sometimes taking up the whole keyboard, to sinuous rhythms. She acknowledges a major influence with Bud Powell's "Blue Pearl." Her "Cherokee" is a multi-part reinvention of the old swing standard, and she invests "Good Morning, Heartache" with unusual liveliness. Not surprisingly, given her energy, she particularly enjoys Latin rhythms on "Saudade e Carinho" and "The Moon Was Yellow." And she moves toward post-bop with her nearly nine-minute take on Russell Ferrante's "Avance." American mainstream jazz fans who may not be aware of Chihiro Yamanaka (even though she is based in the U.S.) would do well to seek out this album and some of the pianist's earlier work. ~ William Ruhlmann  http://www.allmusic.com/album/forever-begins-mw0002131240

Personnel: Chihiro Yamanaka (piano); Kendrick Scott (drums).

Michael Carvin - Marsalis Music Honors Series

Styles: Straight-ahead/Mainstream
Year: 2006
File: MP3@320K/s
Time: 67:01
Size: 153,6 MB
Art: Front

( 5:58)  1. I'll Remember April
( 6:53)  2. The Lamp Is Low
( 9:42)  3. Prisoner of Love/ Body and Soul
( 4:57)  4. In Walked Bud
(12:42)  5. Forest Flower
( 9:11)  6. A Night in Tunisia
(11:46)  7. You Go to My Head
( 5:49)  8. Hello, Young Lovers

Other than the ability to record musicians like drummers Jimmy Cobb and the less well-known Michael Carvin, what status could allow this young label led by a lion (Branford Marsalis) to be said to honor either of these men? Actually the company is honoring itself, and doing some justice to the veteran Carvin, whose sometime partner Jackie McLean has alas just died. Those two are credited with producing one masterpiece (Antiquity, Steeplechase 1974), and Carvin himself is acknowledged with a lot of musical and especially jazz associations, coaching (a term he prefers to "teaching") and playing; and with an enormous amount of work getting this programme with this band right. Getting right not just trying to!  Like Cobb on the partner CD, Carvin performs within a quartet comprised of people he's been working with of late, notably Marcus Strickland on tenor saxophone. On the track on which "Prisoner of Love segues into "Body and Soul, Branford Marsalis himself sits in, first alternating solos, then part-choruses with Strickland.

Strickland is not intimidated, and his own ballad take on "Forest Flower, with sometimes an almost baritone sound on tenor, is a terrific performance. It also demonstrates why Carvin has of late has featured Carlton Holmes on piano. His solo following Strickland's extended opening improvisation is all you could hope for. "In Walked Bud has already demonstrated the bassist Dezron Douglas's ability to combine with Carvin in bass and drums accompaniment of a sort featured in Monk quartet performances, with the piano dropping out. The quartet does get very directly to work at the start of that Monk number. Other highlights include the rhythm section work and the drummer's celebration on "A Night in Tunisia ; and, after a great intro from Douglas's bass, a ballad performance of "You Go to My Head that's remarkable for sustaining tension over almost twelve minutes. Sonny Rollins might be given credit for pioneering the sort of paraphrase of an initial melody which adds gold to "Hello, Young Lovers (a Rollins-like choice of song, whether or not Rollins himself ever delivered improvisations on it!), but this specific example signals the high class of this quartet and its whole set. Their merits might not be loudly blatant upon first listen, but discovering them justifies many more. ~ Robert R.Calder  http://www.allaboutjazz.com/marsalis-music-honors-michael-carvin-michael-carvin-marsalis-music-review-by-robert-r-calder.php#.VFGDOslZi5g
 
Personnel: Michael Carvin: drums; Carlton Holmes: piano; Marcus Strickland: tenor saxophone; Dezron Douglass: bass; Branford Marsalis: tenor saxophone (3).

Tina Brooks - Back to the Tracks

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 38:35
Size: 88,5 MB
Art: Front

( 8:05)  1. Back to the Tracks
(10:21)  2. Street Singer
( 8:56)  3. The Blues and I
( 6:06)  4. For Heaven's Sake
( 5:05)  5. The Ruby and the Pearl


And "Street Singer," an outtake from Jackie McLean's Jackie's Bag (Blue Note, 1960) sessions, adds slots in the solo rotation for McLean's alto sax and Paul Chambers' bass. To be sure, such predictable solo rounds are far from unheard of, but the formula may have accounted, at least in part, for Blue Note's decision to leave the album in the can. After the Mosaic release, the album did eventually appear on CD and is currently available as a CD import and a 33-1/3-rpm mono LP. But thankfully, Music Matters has chosen to include it as part of its 45-rpm vinyl reissue program (with 45-rpm necessitating a two-disc format). For not only does the musicianship overcome what might seem a staid musical concept, it also brings to light (or, more precisely, to sound) a fabulous "lost" work by a musician who recorded and lived for far too brief a period (born in 1932, Brooks died in 1974). 

Three of the album's tunes are Brooks originals. They are based on simple, repetitive passages in the hard bop mode a modernist form that had no qualms broadcasting itself as a soloist's jungle gym and contain all the power of Brooks' fabulous and similarly structured numbers on True Blue (Blue Note, 1960). Brooks has a light, playful sound on most of the pieces on Back To The Tracks. His tone courses rounded hills and valleys that usually lead into sharper bop peaks with slashing angles. Shying away from the one-note R&B squawks fired at times on True Blue, Brooks' playing here is a bit more relaxed and soulful, especially on "Street Singer" and "For Heaven's Sake," the latter finding the saxophonist swooning with a deep, reedy timbre. Trumpeter Blue Mitchell, a trusty sideman who gained lesser fame up-front, largely follows Brooks' lead, fashioning bright, metal statements or antagonistic growls that echo the saxophonist's moods. The reliable Drew, a hard bop pianist perhaps best known for his work on John Coltrane's Blue Train (Blue Note, 1957), wields a light yet confident touch in tapping out quick, hard-swinging solos from the stereo's "center channel." 

His harmonic solo on "For Heaven's Sake" employs classical overlays, producing a desperate yearning effect in front of Paul Chambers' dipping bass. The excellent Chambers is afforded a brief moment in the sun near the close of "Street Singer," a tune he transforms with nice, muddy lines. (Again, it is notable that the bassist was given solo light only on the McLean-led track.) Drummer Art Taylor never emerges from the rear. But his percussive support is solid throughout and he comes on with a strong, varied attack on the exotic closer "The Ruby And The Pearl." The stereo sound of this vinyl reissue is impeccable. Play it next to the True Blue CD and you'll hear the difference a warm, live tone that sacrifices none of the stereo separation nor chisels it into a series of conjoined instrumental cubicles; the group dynamic is never lost. You can almost smell the smoke swirling up from a cigarette abandoned in an ashtray at the Van Gelder Studio. The year is 1960 and the music of an extremely talented young saxophonist is blowing with all the promise of a bright future. ~ Matt Marshall  http://www.allaboutjazz.com/tina-brooks-back-to-the-tracks-by-matt-marshall.php#.VFVL78lZi5g

Personnel: Blue Mitchell, trumpet; Jackie McLean, alto saxophone; Tina Brooks, tenor saxophone; Kenny Drew, piano; Paul Chambers, bass; Art Taylor, drums.

Back to the Tracks

Saturday, November 1, 2014

Frank Morgan - Mood Indigo

Bitrate: 320K/s
Time: 53:42
Size: 123.0 MB
Styles: Bop, Saxophone jazz
Year: 1989
Art: Front

[1:30] 1. Lullaby
[6:35] 2. This Love Of Mine
[4:21] 3. In A Sentimental Mood
[9:00] 4. Bessie's Blues
[1:46] 5. A Moment Alone
[6:00] 6. Mood Indigo
[4:57] 7. Up Jumped Spring
[4:30] 8. Polka Dots And Moonbeams
[6:55] 9. We Three Blues
[5:53] 10. Round Midnight
[1:35] 11. Lullaby Ver 2
[0:35] 12. Gratitude

This ballad-oriented set features veteran altoist Frank Morgan on four duets with pianist George Cables, interacting with either Cables or Ronnie Mathews on piano, bassist Buster Williams and drummer Al Foster on the other selections, and welcoming trumpeter Wynton Marsalis to "Bessie's Blues" and "Up Jumped Spring." Every Morgan recording is well worth picking up (the altoist has been very consistent in the studio), but this one purposely has less mood variation than most and is often a bit melancholy. ~Scott Yanow

Mood Indigo

Kay Starr - Jazz Singer

Bitrate: 320K/s
Time: 31:42
Styles: Vocal
Year: 1960/2011
Art: Front

[2:42] 1. I Never Knew (I Could Love Anybody Like I'm Loving You)
[2:38] 2. My Man
[1:52] 3. Breezin' Along With The Breeze
[2:57] 4. All By Myself
[2:28] 5. Hard Hearted Hannah (The Vamp Of Savannah)
[1:56] 6. Me-Too (Ho-Ho! Ha-Ha!)
[2:47] 7. Happy Days And Lonely Nights
[3:10] 8. Not A Sweetheart
[2:54] 9. Hummin' To Myself
[2:41] 10. My Honey's Lovin' Arms
[2:45] 11. Sunday
[2:47] 12. I Would Do Anything For You

For this 1960 session, Kay Starr joined the Van Alexander & His Orchestra -- with whom she had worked on earlier recordings -- to produce an album of so-called "jazz singer songs." With her deep, husky saloon singer-type voice, Starr swings a set of 12 songs all arranged by Alexander in a variety of tempos. Helped along on such tracks as "I Never Knew" by a wailing, soulful electric organ and a singing ensemble, Starr applies her one-of-a-kind technique to these hardy standards. She brings to most of the tunes that "hillbilly"/blues inflection she developed very early in her career when she was singing on radio stations first in Dallas and then in Memphis. Her blues biases are prominent on such cuts as "My Man" and "All by Myself." Starr reminds the listener that she could swing with the best of them with up-beat romps of "Breezin' Along With the Breeze" and "Happy Days and Lonely Nights." Because of her pop hits, Starr has been underrated as a jazz singer. But with an album such as this, that underestimation is clearly undeserved and wrong, and this album helps document her place as a top-flight jazz vocalist. ~Dave Nathan

Jazz Singer

Manhattan Jazz Orchestra - Swing, Swing, Swing

Bitrate: 320K/s
Time: 53:00
Size: 121.3 MB
Styles: Swing, Big band
Year: 2006
Art: Front

[6:18] 1. Ironside
[7:24] 2. Swing, Swing, Swing
[6:37] 3. Jumpin' At The Woodside
[6:38] 4. Moonlight Serenade
[6:54] 5. Take The A Train
[6:51] 6. Ai No Corrida
[6:04] 7. Manteca
[6:11] 8. Stompin' At The Savoy

Manhattan Jazz Orchestra was created by pianist/arranger David Matthews and an accomplished Japanese producer Shigeyuki Kawashima (both GRAMMY winners) in 1989. It is one of the premier and most prolific big bands in the US, having released more than 13 CDs over the years.

For Swing, Swing, Swing, recorded in 2006, Matthews and his big band chose as materials tunes written by and associated with Quincy Jones ("Ironside," "Ai No Corrida") and Glenn Miller ("Moonlight Serenade") for the first time. They also pay tribute to the great big bands led by Count Basie, Duke Ellington, Dizzy Gillispie and Benny Goodman. The title tune is Matthews' original that takes a nostalgic look back at the big band era. The all-star band, including star players Lew Soloff, Ryan Kisor, Randy Brecker, Jim Pugh and Chris Hunter, plays Matthews' intricate scores with technical perfection and provide inspired solos. Recommended for fans of the contemporary big band sound!

Produced by Shigeyuki Kawashima and David Matthews. Recorded February 2004, New York. Lew Soloff (trumpet); Ryan Kisor (trumpet); Walter White (trumpet; )Scott Wendholt (trumpet); Randy Brecker (trumpet); Jim Pugh (trombone); John Fedchock (trombone); Larry Farrell (trombone); David Taylor (bass trombone); Fred Griffen (French horn); John Clark (French horn); Tony Price (tuba); Chris Hunter (alto sax,flute); Aaron Heick (soprano sax,tenor sax); Scott Robinson (baritone sax,bass clarinet); Chip Jackson (bass); Terry Silverlight (drums); David Matthews (arranger,conductor,piano).

Swing, Swing, Swing

Melvin Rhyne - Kojo

Styles: Straight-ahead/Mainstream
Year: 1998
File: MP3@320K/s
Time: 60:57
Size: 139,8 MB
Art: Front

(4:27)  1. Blue Gold
(5:33)  2. Blues For Mike And Teju
(6:16)  3. End Of A Love Affair
(6:42)  4. I Wish I Knew
(5:35)  5. Blue 'n' Boogie
(8:36)  6. Loose Change
(6:43)  7. In A Sentimental Mood
(7:43)  8. Time For Love
(9:17)  9. Dorothy

Taking advantage of the cyclical nature of fads and stylistic "ins" and "outs", Melvin Rhyne is lucky to be part of the current renaissance movement involving the classic sound of the Hammond B-3 organ and the type of funky fare that was prosperous and bountiful during the ‘60s. Of course, Rhyne was around during the heydays as a member of Wes Montgomery’s touring trio. Now this Milwaukee resident has caught the other side of the upswing with a renewed interest in his particular brand of jazz organ. Added now to four previous Criss Cross dates as a leader, two as a co-leader with the Tenor Triangle and several sideman appearances for the small Dutch independent, Kojo is Rhyne’s latest offering and it serves us a savory and filling plate of grooves that are sure to please. Over the course of his many Criss Cross dates Rhyne has developed quite a simpatico relationship with guitarist Peter Bernstein and drummer Kenny Washington. 

The three function like an integrated machine, anticipating and feeding lines off of each other with the refinement of well-trained athletes. Rhyne's own style is really something out of the ordinary in that he seems to have eschewed the histrionic displays often associated with the organ and with followers of Jimmy Smith. He also has a knack for writing great hooks that stick in your mind long after the song has ceased. Just sample "Loose Change", which sports a catchy descending triplet melody over a heavy Latin groove that then gives way to a double-timed samba for the bridge. More involved than your typical organ grinder fare, but still down to earth enough to connect with the listener, Rhyne and company deliver an agreeable mix of originals and standards that nicely flow from one to the next. As for Melvin's buddies here, much has already been written regarding Peter Bernstein's lissome guitar work. His Grant Green-inspired tone fits so well with the organ trio format (just sample him with Lonnie Smith and Larry Goldings for further proof) and his lines are so sensible and tuneful that one can't help but savor every note. 

Drummer Kenny Washington, in addition to being a sagacious jazz historian and radio dee-jay, is simply one of the best drummers of his generation, with a characteristic sound and encouraging swing that can lift even the dullest session out of monotony. Taken as a threesome, Rhyne, Bernstein, and Washington can seemingly do no wrong and have come up with another winner. Thanks, guys, and keep 'em comin'! ~ C.Andrew Hovan  http://www.allaboutjazz.com/kojo-melvin-rhyne-criss-cross-review-by-c-andrew-hovan.php#.VFF3sclZi5h
Personnel: Melvin Rhyne- organ, Peter Bernstein- guitar, Kenny Washington- drums, Daniel G. Sadownick- percussion (tracks 6 & 9 only)

Kojo

Nicki Parrott - Sakura Sakura

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 65:09
Size: 150,3 MB
Art: Front

(4:18)  1. April In Paris
(4:55)  2. April Showers
(3:34)  3. Cherry Pink And Apple Blossam White
(5:39)  4. It Might As Well Be Spring
(3:24)  5. Sakura Sakura
(5:08)  6. Some Other Spring
(4:52)  7. I Love Paris
(4:53)  8. Spring Can Really Hang You Up The Most
(3:35)  9. Spring Is Here
(3:46) 10. Suddenly It's Spring
(5:24) 11. There'll Be Another Spring
(5:09) 12. They Say It's Spring
(5:53) 13. You Must Believe In Spring
(4:33) 14. I'll Remember April

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award.”  Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd. Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001). 

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It. In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention. In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. 

They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”. Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q. Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro. 

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. Bio ~ http://musicians.allaboutjazz.com/nickiparrott

Melissa Aldana & Crash Trio - Melissa Aldana & Crash Trio

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 52:38
Size: 120,7 MB
Art: Front

(4:58)  1. M&M
(5:45)  2. Turning
(5:34)  3. You’re My Everything
(5:09)  4. Bring Him Home
(6:08)  5. Tirapie
(5:49)  6. Peace, Love & Music
(4:19)  7. Perdon
(6:39)  8. New Points
(3:57)  9. Dear Joe
(4:15) 10. Ask Me Now

Chilean tenor saxophonist and composer Melissa Aldana was the first female to win the Thelonious Music International Institute's competition for saxophone. Though her two previous recordings were noteworthy as showcases for her soloing and compositions, it is with Crash Trio Chilean bassist Pablo Menares and Cuban drummer Francisco Mela (both are also composers) that she shines brightest. Save for readings of Harry Warren's "You're My Everything" and a tenor solo on Monk's "Ask Me Now," the entire program was written by the trio's various members. Aldana possesses a big, earthy, edgy tone deeply influenced by Sonny Rollins, but her phrasing is her own. While swinging post-bop is predominant, forward-thinking harmonic ideas informed by composers/musicians Kurt Rosenwinkel and Mark Turner add balance to the attack.

Aldana's "M&M" features a stellar walking bassline from Menares and a tight, hard-grooving head from the saxophonist. She explores its various individual elements, recombining them and moving them afield in her solo. The long, folk-like bass solo intro to Menares' "Tirapie" is gorgeous and gives way to a minor-key, midtempo, Latin-tinged ballad that showcases the canny interplay of the rhythm section. Aldana's solo is nearly song-like. Mela's "Dear Joe" kicks off with a bright, Caribbean rhythmic signature, and Menares and Aldana paint a knotty, joyous carnivalesque melody. The taut arpeggios in the saxophonist's solo take place in all three registers with soulful verve as Mela's accents, fills, and rimshot rolls alongside his cruising ride cymbal create an infectious, nearly danceable groove. Aldana's "New Points" is breezily and gently informed by Brazilian samba. 

On the Monk tune, she displays tremendous control and an avid imagination that keeps the composer's melody firmly at the root of her investigation. Melissa Aldana & Crash Trio is fresh, sophisticated, invigorating modern jazz that deserves notice for its fine tunes and seamless execution. ~ Thom Jurek  http://www.allmusic.com/album/melissa-aldana-crash-trio-mw0002637150 

Lucky Thompson & Tete Montoliu - Soul's Nite Out

Styles: Piano And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 42:08
Size: 96,8 MB
Art: Front

(3:56)  1. When Sunny Is Blue
(4:19)  2. Body And Soul
(3:48)  3. Spanyola
(5:26)  4. I Got It Bad
(3:04)  5. Soul Carnival
(3:56)  6. Blues 'N' Boogie
(4:46)  7. Spanish Rails
(5:17)  8. What's New
(3:31)  9. Soul's Nite Out
(4:00) 10. The World Awakes

Recorded in Barcelona on May 1 and 2, 1970 and released shortly thereafter on the Spanish Ensayo label, Soul's Nite Out was reissued in 1978 by Chuck Nessa as Body and Soul, reappeared under its original title on a second Ensayo LP in 1993, and was finally released on CD by Ensayo in 2000. On this mainstream hard bop session, Lucky Thompson blew both soprano and tenor saxophones with sympathetic support from pianist Tete Montoliu, bassist Eric Peter, and drummer Peer Wyboris.

In addition to five Thompson compositions the quartet handled ballads and standards including Duke Ellington's "I Got It Bad and That Ain't Good" and Dizzy Gillespie's "Blue 'n' Boogie" (mistitled "Blues 'n' Boogie"). Like Gene Ammons, Charlie Ventura, and Jack McVea, Lucky Thompson was always "straight-ahead accessible". This album represents only a fraction of the excellent music he recorded in collaboration with Tete Montoliu. ~ arwulf arwufl  http://www.allmusic.com/album/souls-nite-out-mw0001487598

Personnel:  Eric Peter - Bass; Peer Wyboris - Drums; Tete Montoliu - Piano; Lucky Thompson - Soprano Saxophone, Tenor Saxophone

Soul's Nite Out

Friday, October 31, 2014

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

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!

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