The Ali Ryerson Jazz Flute Big Band - Game Changer

Size: 157,5 MB
Time: 68:11
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Big Band
Art: Front

01. Daahoud (5:27)
02. Ana Maria (5:49)
03. Stolen Moments (6:39)
04. Speak Like A Child (7:02)
05. Con Alma (8:42)
06. Girl Talk (6:53)
07. Pavane (7:41)
08. Impressions (6:26)
09. Sail Away (5:49)
10. Lil' Darlin' (7:38)

Yes, the idea seems rather implausible: a big band comprised of sixteen flutes and rhythm. Flutist Ali Ryerson is the catalyst and guiding hand behind the Jazz Flute Big Band (JFBB), which was formed in 2005 and has been performing at various events across the country ever since. Before dismissing it out of hand, give the JFBB's debut album, Game Changer, a listen; you may be in for a pleasant surprise. It's remarkable what well-written charts can do for an ensemble, even one that consists primarily of a single instrument (or five, if you subdivide the C, alto, bass and contrabass flutes nnd piccolo).

Needless to say, arranging for a nineteen-piece band sixteen of whose members are playing flute posed an enormous challenge for the half-dozen craftsmen chosen to carry out the enterprise, and each of them has come through with flying colors. Mike Wofford wrote three charts, Bill Cunliffe and Mike Abene two apiece. Mark Levine scored Clifford Brown's bop classic "Daahoud," Steve Rudolph the Herbie Hancock ballad "Speak Like a Child," Billy Kerr the classical composer Gabriel Faure's brooding "Pavane." Completing the program are Wayne Shorter's "Ana Maria," Oliver Nelson's "Stolen Moments," Tom Harrell's "Sail Away" (Wofford), Dizzy Gillespie's "Con Alma," John Coltrane's "Impressions" (Cunliffe), Neal Hefti's "Girl Talk" and "Li'l Darlin'" (Abene).

The FJBB's rhythm section (Levine, piano; Rufus Reid, bass; Akira Tana, drums) is exemplary, as are its trio of guest soloists: Hubert Laws ("Stolen Moments"), Nestor Torres ("Con Alma") and Holly Hofmann ("Girl Talk"). Ryerson (alto flute) trades with Hofmann on "Girl Talk" and solos on "Sail Away." Others who solo are Paul Lieberman on "Daahoud," Marc Adler on "Ana Maria," Jamie Baum on "Speak Like a Child," Kerr and Fernando Brandao on "Pavane," Bob Chadwick on "Li'l Darlin.'" And if you think flutists can't swing as hard as anyone, try "Impressions" (fiery solo courtesy of Andrea Brachfield).

Notwithstanding the absence of brass and reeds, Game Changer sounds much like any other well-written and superbly performed big-band album. The flutes are clearly more subdued but no less pleasing, the charts as admirable as could be envisioned for an ensemble of this kind. In other words, they are far from bland, nor is the tasteful Jazz Flute Big Band, which is off to an impressive start. ~By Jack Bowers

Personnel: Ali Ryerson: leader, C and alto flute; Marc Adler: C and alto flute; Jamie Baum: C and alto flute; Andrea Brachfeld: C and alto flute; Fernando Brandao: C, alto and bass flute; Bob Chadwick: bass flute; Richard Ford: C and alto flute; Kris Keith: C and alto flute; Zachary Kellogg: piccolo, C flute; Billy Kerr: C and alto flute; Paul Lieberman: C, alto and bass flute; Rachel Rodgers: C flute; Jonathan Royce: C and alto flute; Donna Sevcovic: bass flute; Stan Slotter: C and alto flute; Keith Underwood: bass and contrabass flute; Mark Levine: piano; Rufus Reid: bass; Akira Tana: drums, percussion. Guest Soloists — Holly Hofmann: C flute; Hubert Laws: alto flute; Nestor Torres: C flute.

Game Changer

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Bia Sion - A Levada Do Jazz

Size: 90,4 MB
Time: 38:56
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Vocals
Art: Front

01. The Man I Love (4:48)
02. But Not For Me (3:37)
03. Embraceable You (3:19)
04. Blue Moon/Moonglow (3:15)
05. Cheek To Cheek (2:32)
06. Moon River (3:03)
07. Ain't Misbehavin' (2:25)
08. Fever (3:07)
09. Someone To Watch Over Me (3:04)
10. Sway (2:50)
11. Love For Sale (4:46)
12. All Of Me (2:03)

Finalmente chega ao formato cd pelo selo Descobertas, o repertório do show "A Levada do Jazz", idealizado por Bia Sion em 2005 e levado aos palcos a partir de 2006. Amante do jazz e do swing, herança familiar, Bia acabou encontrando no contrabaixista Dôdo Ferreira a direção musical que precisava para seu show e naturalmente isso se reflete no cd de estúdio gravado sem pressa em 2008 com produção musical de Marcelo Alonso Neves. Sob sua batuta estão os sensacionais músicos Marco Tommaso (piano), Adriano Souza (piano) e João Cortez (bateria), além de canjas imperdíveis de seu primo Roberto Sion (sax) e de David Ganc (flauta).

No repertório, grandes standards americanos compostos por mestres como “The Man I Love” e “Embraceable You” de George & Ira Gershwin, “Love for Sale” de Cole Porter, “Blue Moon” de Hart & Rodgers e Cheek to Cheek de Irving Berlin. Segundo a própria Bia Sion, “A música sempre fez parte da minha vida...Contei com o fundamental apoio de profissionais de enorme gabarito (entre eles, Dôdo Ferreira, Marisa Alvarez Lima (fotos Capa), Marcelo Alonso Neves e Marcelo Fróes) que me ajudaram a realizar este cd. "A Levada do Jazz" sou eu, Bia Sion, que adora jazz, palco e um microfone”.

A Levada Do Jazz

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Emi Takada - I'm All Smiles

Size: 112,0 MB
Time: 48:25
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. I'm All Smiles (4:14)
02. So In Love (4:06)
03. It's All Right With Me (4:23)
04. Do Nothing 'til You Hear From Me (5:06)
05. Night And Day (4:19)
06. We'll Be Together Again (6:17)
07. You And The Night And The Music (4:22)
08. Come Rain Or Come Shine (5:55)
09. Agua De Beber (4:11)
10. Never Let Me Go (5:27)

First of all, I would like to thank all the musicians, Bob Henschen, Aric Nitzberg and Tim Solook, who helped me to record this debut jazz CD album with their creative input of ideas, elegant playing and warm support.

I was born and raised in Japan, but I am now living in Houston, and I firmly believe that all things happen for a reason. I believe everyone is connected to each other in this life. Music binds people together because it is the universal language, cutting through all differences and separations which come from ethnicity, language, belief system and economic status. I feel this bond very strongly because singing is my life, my heart, my passion and my love. Every time I sing, I am telling a story with music, and I sing my true heart out. That’s all I can do. My desire is that my feelings touch and connect with people’s true hearts when they listen to my singing.

I always respect the lyricist and the composer who created such masterpieces, so most of time I try to sing a song as written for the first chorus, because I don’t want to break a beautiful melody line or alter the meaning of the lyrics. I simply deliver them with deep feeling and emotion.

When I first heard Cole Porter’s song, “So in Love”, I cried. He is so honest and brave to expose his true heart. He really knows what love is. He is a very special person for me, which is why I chose three of his songs, “So in Love”, “It’s All Right with Me” and “Night and Day” for this album.

“I’m All Smiles” expresses my own happiness and gratitude for my precious family, beautiful friends and my music. Life is never simple, but whatever happens in my life, “I’m All Smiles”. .

I'm All Smiles

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Brian Lynch & Emmet Cohen - Questioned Answer

Size: 164,8 MB
Time: 71:28
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Bebop, Modern Jazz
Art: Front

01. Dark Passenger ( 7:29)
02. How Deep Is The Ocean ( 8:21)
03. Buddy ( 9:05)
04. Distant Hallow ( 8:29)
05. I Wish I Knew ( 7:17)
06. Petty Theft (11:17)
07. Just In Time ( 6:03)
08. Questioned Answer ( 7:37)
09. Blues By Four ( 5:45)

Four highly regarded musicians from three different age groups come together for a two-leader session resulting in one terrific album. That's Questioned Answer by the numbers, but there's a lot more to the story than basic numerics.

The partnership between veteran trumpeter Brian Lynch and rising star pianist Emmet Cohen was born out of serendipity and mutual appreciation. Lynch first heard Cohen when they were both working the 2011 Jazz Cruise—the former as a featured soloist and the latter with his trio from the University of Miami's Frost School of Music. Not too long after, Lynch took on the title of Professor of Jazz Trumpet at that fine institution, putting him in a position to work with Cohen—then finishing his undergraduate work—on a regular basis. That's when the seeds of this album were sown.

The album itself is split between duo and quartet performance. The six originals—three from each leader—feature the quartet of Lynch, Cohen, bassist Boris Kozlov, and drummer Billy Hart. Together, that group makes its way through uncertain scenarios ("Petty Theft"), lets a simple and hip groove carry the day ("Buddy"), and swings along with aplomb. Hart always keeps things interesting, alternately adding sounds of stability and surprise; Kozlov provides pointed bass lines that provide architectural undergirding; Cohen comps, locks riffs in with Kozlov, and tosses off imaginative solo statements; and Lynch floats, flies, and bounds along.

The three classics on the program—"How Deep Is The Ocean," "I Wish I Knew," and "Just In Time"—provide a clear look at the musical relationship between Cohen and Lynch as they deliver personalized interpretations of the material sans drums and bass. A wonderful sense of urgency develops during "How Deep Is The Ocean," "Just In Time" proves to be highly playful in nature, and "I Wish I Knew" shows Lynch at his most melodious. Cohen and Lynch may be decades removed from one another, but this album is firm proof that they're on the same page when it comes to music. ~Dan Bilawsky

Personnel: Brian Lynch: trumpet; Emmet Cohen: piano; Boris Kozlov: bass; Billy Hart: drums. .

Questioned Answer

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Charlie Wood - New Souvenirs

Size: 119,2 MB
Time: 50:38
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. No Repose (4:06)
02. Music Is My Monkey (2:42)
03. Promised Land (3:58)
04. Angel Of Despair (4:29)
05. Detache (2:33)
06. Don't Think (6:21)
07. Until The Fall (4:23)
08. Mercy (4:18)
09. Tube (5:40)
10. The Tide (5:00)
11. Ghost Town (4:13)
12. Winter Song (2:49)

Charlie Wood’s first ever UK studio album ‘New Souvenirs’ was released 3 November 2014 on Perdido Records. Featuring 12 brand new, self-penned tracks, the album is his strongest and most personal so far. The singer / pianist has crafted an eclectic set of songs that reflect his own upbringing in Memphis, where he was steeped in jazz, blues and R&B soul – and where he was recently honoured with a Brass Note on Beale Street bearing his name, the Memphis music equivalent of a star on the Hollywood Walk of Fame.

Whilst the songs on New Souvenirs wear their diverse influences proudly, they are melded into a cohesive whole by Charlie’s impressive lyrical élan, drawn perhaps from his academic background – Wood was pursuing a degree in English Literature when he got the call from legendary blues guitarist Albert King to join his touring band back in 1989. The album was co-produced by Wood and his wife, renowned jazz vocalist Jacqui Dankworth.

Wood chose musicians who could interpret the sentiment of his work, but who were also versatile enough to just follow the muse and were happy to stray across musical genre in order to do so. Musicians featured include Chris Allard (guitar), Dudley Phillips (bass), Nic France (drums), Tom Walsh (trumpet), Ben Castle (sax) and Mark Nightingale (trombone). Three tracks also include a string section featuring members of the Britten Sinfonia, led by violinist Magnus Johnston.

Having cut his teeth in Memphis – where he even had the honour of having an official ‘Charlie Wood Day’ declared! – Charlie spent many years there performing nightly with his Hammond organ trio in a long-standing residency at King’s Palace on Beale Street. The gig became known to touring musicians and locals alike, attracting impromptu sit-ins from B.B. King, Georgie Fame, Joey DeFrancesco, George Coleman, Mulgrew Miller, Alvin Batiste, and many others.

Charlie had already received stellar reviews for his previous original releases, including “Southbound” and “Who I Am” on Ben Sidran’s GoJazz label and “Flutter and Wow” on Memphis-based Archer Records. He’s also becoming recognised as a talented and original arranger (he wrote all the horn and string arrangements on this album), with recent scores performed by the RTÉ Concert Orchestra, the Brodsky Quartet, the Liverpool Philharmonic, MYJO, and numerous others.

New Souvenirs

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Duke Pearson - On Green Dolphin Street

Size: 196,9 MB
Time: 84:48
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Say You're Mine (5:24)
02. Exodus (5:45)
03. Angel Eyes (2:39)
04. Le Carrousel (4:47)
05. I'm An Old Cow Hand (4:42)
06. Le Carrousel (Alternate Take) (4:14)
07. Say You're Mine (5:27)
08. I'm An Old Cow Hand (Alternate Take) (4:29)
09. Say You're Mine (Alternate Take) (5:27)
10. Jeannine (5:28)
11. Bags Groove (4:59)
12. When Sunny Gets Blue (5:05)
13. I'm A Fool To Want You (5:21)
14. I Love You (4:30)
15. The Golden Striker (5:25)
16. On Green Dolphin Street (6:43)
17. Bluebird Of Happiness (4:16)

Duke Pearson was an accomplished, lyrical, and logical — if rather cautious — pianist who played a big part in shaping the Blue Note label's hard bop direction in the 1960s as a producer. He will probably be best remembered for writing several attractive, catchy pieces, the most memorable being the moody "Cristo Redentor" for Donald Byrd, "Sweet Honey Bee" for himself and Lee Morgan, and "Jeannine," which has become a much-covered jazz standard. Pearson was introduced to brass instruments and the piano as a youth, and his abilities on the latter inspired his uncle, an Ellington admirer, to give him his nickname. Dental problems forced Pearson to abandon the brass family, so he worked as a pianist in Atlanta and elsewhere in Georgia and Florida before moving to New York in 1959. There, he joined Donald Byrd's band and the Art Farmer-Benny Golson Sextet, and served as Nancy Wilson's accompanist. In 1963, he arranged four numbers for jazz septet and eight-voice choir on Byrd's innovative A New Perspective album; one of the tunes was "Cristo Redentor," which became a jazz hit. From 1963 to 1970, Pearson was in charge of several recording sessions for Blue Note, while also recording most of his albums as a leader. He also led a big band from 1967 to 1970 and again in 1972, hiring players like Pepper Adams, Chick Corea, Lew Tabackin, Randy Brecker, and Garnett Brown. Pearson continued to accompany vocalists in the 1970s, such as Carmen McRae, but he spent a good deal of the latter half of the decade fighting the ravages of multiple sclerosis. ~Richard S. Ginell

On Green Dolphin Street

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Bev Zizzy - Woman In Black

Size: 100,5 MB
Time: 41:51
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Blues Vocals
Art: Front

01. Woman In Black (2:53)
02. Rock Bottom (5:00)
03. I Think Of You In Colors (2:44)
04. What About The Children (4:40)
05. Kissin' Snakes (1:59)
06. She Was Fire (2:26)
07. Because Of You (2:47)
08. It's Not Those Special Days (3:48)
09. Brand New Day (2:20)
10. I'm Movin' On (2:46)
11. I Don't Wanna Do It No More (2:58)
12. The Right Attitude (2:00)
13. If My Life Were A Song (2:24)
14. Let Go And Love Completely (3:00)

Bev is passion. Powerful singer/songwriter, sultry jazz singer, award winning language teacher, world traveller, and lifelong yogi dedicated to the power of giving, her third CD Woman in Black.

Bev uses her music to create connection and compassion, always in a concerted effort to make the world a better place. In the 80’s she performed Delta blues. In the 90’s she experimented with African rhythms, then later led a retro-rock band. In 2003, she developed her own “acoustic soul” act, a blend of powerful originals and creative interpretations of covers. Since 2006, in addition to her solo performances, she has been regularly performing as jazz vocalist in her prairie hometown of Regina. Bev began to take herself seriously as a writer when songwriting became for her a means of dealing with life’s challenges: first, the slow loss of her mother to Alzheimer’s disease, followed by the tragic death of her 18 year old daughter, Tess, in 2002. She has channeled her talents into creating songs that help others find their lost smiles, as she has been able to do. Her CD, WOMAN IN BLACK, is dedicated to the memory of her daughter, Tesalyn.

Although a distinct Joni Mitchell influence is apparent, Tracy Chapman also resonates in her vocal dynamics, and she can deliver a wicked Etta James cover, Bev has evolved her own distinct blend of acoustic jazz, soul, and blues. Her stories are real; her vocally compelling delivery is intense, innovative, and passionate; and her lyrics, like a good story, stay with you long after the music is over.

Woman In Black

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Melani L. Skybell - Just A Chase Away

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 46:10
Size: 106,3 MB
Art: Front

(4:16)  1. Just A Chase Away
(3:18)  2. I'm Just A Lucky So And So
(4:01)  3. Nothing Is Too Wonderful To Be True
(3:55)  4. Days Like This
(4:35)  5. Let's Get Away
(4:26)  6. Got You On My Mind
(5:01)  7. The Stars In Your Eyes
(4:56)  8. Dreamflight
(3:44)  9. It Could Happen To You
(4:15) 10. Simple Life Worth Living
(3:38) 11. The First Time

Melani l. Skybell has earned her reputation as a gifted vocalist and jazz pianist,known for uplifting her audiences with her unique interpretations of classic jazz and original material, delivering her signiture great piano technique, rich vocal nuances and her personal charm. Although, Ms. Skybell originated from a classical piano background, her love of jazz, swing and latin rhythms, and her pop influenced lyrical and instramental writing has culminated in her 4th jazz influenced CD "Just A Chase Away." Besides being an entertaining soloist, Melani is known for featuring seasoned and well-known jazz musicians in her live preformances, as well as on her CD's. Her 2nd CD, My Heart Sings, included her remake of "Papa Loves Mambo," which was picked up by a VH1 movie,for the opening scene of "40 Days Until I'm Famous." Despite her various tour engagements, Ms. Skybell continues to be in demand at Dallas' hottest clubs, finest hotels and most popular restaurants. Whether she is swinging hard on her up tempos, or warming your heart with her intimate ballads, Melani L. Skybell is an exciting talent. Her musical training is extensive, her performances are exciting, and her talent is unsurpassed. She possesses "breakthrough" qualities that appeal to old and new generations of music lovers. http://www.cdbaby.com/cd/skybell4

Just A Chase Away

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Peter Zak - The Disciple

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 64:28
Size: 147,9 MB
Art: Front

(6:28)  1. The Loop
(6:55)  2. The Disciple
(5:47)  3. Montserrat
(7:15)  4. Barfly
(5:59)  5. Nutville
(4:04)  6. Prelude Op. 35 #2
(7:24)  7. Requiem
(6:31)  8. Jackie
(7:21)  9. Criss Cross
(6:41) 10. Nightfall In Kandy

Peter Zak has put out one strong trio affair after another, yet his work is often overlooked. Maybe it's due to the fact that he hasn't settled on one lineup for an extended period of time, preferring to try out different combinations for his trio recordings; or maybe it's because he doesn't stray far from the straight-ahead path; or maybe it's simply dumb (bad) luck. Regardless of the root cause of said overlooking, it's a real shame that Zak doesn't get more ink, for there's no doubting his skills as a pianist, composer, and musical communicator. Zak's latest trio affair finds him working with first-call bassist Peter Washington, who's making his fourth consecutive appearance on a Zak trio release, and drummer Willie Jones III, a longtime colleague who first connected with Zak when both men were playing in trumpeter Ryan Kisor's band in the late '90s.

Together, these three make magic without resorting to garish displays of skill and unnecessary shows of musical athleticism. They simply play music, and they play it well. While Zak contributed a few originals for this album, including the title track and the calming "Nightfall In Kandy," the majority of the music seven of the ten songs come from other pianistic points of origin. There's a Chick Corea-penned waltz ("The Loop"), a Latin-to-swing classic from Horace Silver ("Nutville"), and a calmly emotive solo piano nod to Russian composer Alexander Scriabin ("Prelude Op. 35 #2"). 

But that's not all there is to admire. Zak and company also bring out the charm in Elmo Hope's music ("Barfly"), deliver a slow-ish and sly swing reading of a Donald Byrd-associated Herbie Hancock piece ("Requiem"), tap into the blues spirit of Hampton Hawes ("Jackie"), and visit in on Thelonious Monk ("Criss Cross"). All the while, Jones provides gentle support or momentum, Washington works all the angles, supporting from below and stepping out front, and Zak mans the controls, showing strong instincts and skills in every setting. ~ Dan Bilawsky  http://www.allaboutjazz.com/the-disciple-peter-zak-steeplechase-records-review-by-dan-bilawsky.php

Personnel: Peter Zak: piano; Peter Washington: bass; Willie Jones III: drums.

The Disciple

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Russell Malone - Look Who's Here

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 58:01
Size: 133,3 MB
Art: Front

(5:50)  1. The Angle
(4:07)  2. Be Careful, It's My Heart
(6:00)  3. Look Who's Here
(6:53)  4. Alfie
(7:02)  5. The Odd Couple
(7:43)  6. Soulful Kisses
(7:25)  7. Get Out Of Town
(3:47)  8. You Will Know
(3:13)  9. The Heather On The Hill
(5:55) 10. An Affair To Remember

A Wes Montgomery for the new millennium, this flashy yet honest hollow body guitarist captures all the exuberance and intimacy of the legend in the '60s, but with a certain modern attitude that makes this contemporary rather than just retro jazz. He and his quartet (pianist Anthony Wonsey, bassist Richie Goods, drummer Byron Landham) swing hard and high on the staccato punches of "The Angle," then smooth out just a bit for the heavy swaying blues of "Look Who's Here" (both Malone Originals). Malone has an amazing chemistry with Wonsey in particular, as their unique call and response, melody and harmony interplay on an upbeat twist on "The Odd Couple" makes abundantly clear. The best kinds of jazz albums feature a healthy mix of hard grooving jam sessions with plenty of improvisation, along with a few more intimate treasures. 

While there's a tender intimacy between guitar and steady percussion on Stevie Wonder's romantic "You Will Know," Malone's gentlest graces are saved for the sweet and wistful turn on Lerner and Loewe's "The Heather on the Hill." Before long, however, he's moving to the up groover category on "An Affair to Remember," which finds a happy medium between the exciting madness of the first few tracks and the eloquence of the ballads. With capable young lions like Malone on the scene, traditional jazz will stay healthy through the first years of the new century. ~ Jonathan Widran  http://www.allmusic.com/album/look-whos-here-mw0000672422

Personnel: Russell Malone (vocals, guitar); Anthony Wonsey (piano); Richie Goods (bass); Byron Landham (drums).

Look Who's Here

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Joe Sullivan - Joe Sullivan Plays Fats Waller

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 22:04
Size: 51,0 MB
Art: Front

(3:25)  1. If You Can't Be Good, Be Careful
(2:02)  2. Can't We Get Together
(2:17)  3. Never Heard of Such Stuff
(2:23)  4. There'll Come a Time When You'll Need Me
(3:32)  5. Breezin'
(2:58)  6. An Armful of You
(2:27)  7. What's Your Name
(2:57)  8. Solid Eclipse

Michael Joseph “Joe” O’Sullivan’ (November 4, 1906 – October 13, 1971) was an American jazz pianist. Sullivan was the ninth child of Irish immigrant parents. He studied classical piano for 12 years and at age 17, he began to play popular music in a club where he was exposed to jazz. He graduated from the Chicago Conservatory and was an important contributor to the Chicago jazz scene of the 1920s. Sullivan’s recording career began late in 1927 when he joined McKenzie and Condon’s Chicagoans. Other musicians included Jimmy McPartland, Frank Teschemacher, Bud Freeman, Jim Lanigan and Gene Krupa. In 1933, he joined Bing Crosby as his accompanist, recording and making many radio broadcasts. After suffering for two years with tuberculosis, he briefly rejoined Bing Crosby in 1938 and the Bob Crosby Orchestra in 1939. By the 1950s, Sullivan was largely forgotten, playing solo in San Francisco. Marital difficulties and excessive drinking caused Sullivan to become increasingly unreliable and unable to keep a steady job, either as band member or soloist. Bio ~ http://www.last.fm/music/Joe+Sullivan/+wiki

Joe Sullivan Plays Fats Waller

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Marina Xavier - When The World Was Young

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 39:48
Size: 91,7 MB
Art: Front

(3:42)  1. Tenderly
(2:20)  2. Everytime We Say Goodbye
(5:25)  3. When the World Was Young
(3:44)  4. I Fall in Love Too Easily
(3:37)  5. You Turned the Tables On Me
(4:14)  6. I Love Paris
(6:12)  7. The Nearness of You
(4:08)  8. As Long As I Live
(2:36)  9. Thanks for the Memory
(3:45) 10. Angel

Her choices make for an interesting track listing including the cabaret camp of 'Thanks for the Memory' and the Euro-broodiness of the title track 'When the World was Young'. As far as jazz inflections go Xavier's right mix of lazy smokiness and syncopated swing is on the money, with plenty of help from her cast of stellar sideman (including pianist Jeremy Monteiro).  

http://www.cduniverse.com/productinfo.asp?pid=8706702&style=music

When The World Was Young

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Oliver Jones Feat. Josee Aidans - Just for my Lady

Styles: Piano And Violin Jazz
Year: 2013
File: MP3@320K/s
Time: 57:16
Size: 131,5 MB
Art: Front

(4:13)  1. Josée's Blues
(5:45)  2. When Summer Comes
(4:26)  3. The Windmills of my Mind
(5:04)  4. Lady Be Good
(7:22)  5. You Look Good To Me
(4:38)  6. Lights of Burgundy
(4:54)  7. The Angel and Mr. Jones
(2:06)  8. The Saskatchewan Suite: Prince Albert Sunrise
(5:18)  9. The Saskatchewan Suite: Regina Sky
(3:15) 10. The Saskatchewan Suite: Saskatoon Spirit
(6:02) 11. Just For My Lady
(4:07) 12. In The Key of Geoff

Pianist Oliver Jones has become something of a national treasure on the Canadian jazz scene over the past three decades. That's all the more remarkable considering the fact that this soon-to-be eighty year old didn't start making jazz recordings until he was in his 50s. In many respects, as his recording career has evolved, Jones has become the poster boy for the Justin Time imprint; he's released about twenty records on this label over the past thirty years and, though most of those recordings have put his Oscar Peterson-esque chops and pianistic savoir-faire on display, none really tread over the exact same ground. Sure, he often favors the piano trio format, but he isn't averse to trying something different. He demonstrated that openness on Pleased To Meet You (Justin Time, 2009), a four-handed piano feast pairing him with the late, great Hank Jones, and it serves him well here; Just For My Lady finds Jones at the head of a fine foursome a piano trio augmented by violinist Josee Aidans. The mechanics, mannerisms, and musical choices Jones makes on Just For My Lady are par for the course he's set for himself in the past, but fairly predictable pathways can still lead to pretty damn good destinations. 

He has a surprise or two in store for the ears, like the brief foray into swing territory on "The Windmills Of Your Mind," but those surprises are rare. In the end, when it comes to a player like Jones, the unexpected turns just don't matter that much. When he plays, every turn of a phrase and tickle of a key touch the soul, and few can make a piano sparkle through the speakers like Jones does.. Blues, ballads and straight-up swingers surface during this twelve song affair. Aidans takes the lead role on the bookends her Jones-penned namesake tune at the top of the program ("Josee's Blues") and a lovely-to-lively Gershwin number ("Lady Be Good") at the bottom but she isn't always the center of attention; bassist Eric Lagace uses his bow in the service of beauty and keeps things moving along in livelier places; drummer Jim Doxas powers the group and provides gentle percussive coloration in softer environs; and Jones gets plenty of opportunities to let loose on the 88s. Just For My Lady isn't more of the same from Jones, but it is another sterling set from one of the most accomplished pianists north of the 49th parallel. ~ Dan Bilawasky  http://www.allaboutjazz.com/just-for-my-lady-oliver-jones-justin-time-records-review-by-dan-bilawsky.php

Personnel: Oliver Jones: piano; Josee Aidans: violin; Eric Lagace: bass; Jim Doxas: drums.

Just for my Lady

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Richard Galliano & Gabriele Mirabassi - Coloriage

Styles: Accordion And Clarinet Jazz
Year: 2014
File: MP3@320K/s
Time: 55:12
Size: 126,7 MB
Art: Front

( 4:57)  1. Beritzwaltz
( 5:43)  2. Reflections
( 8:09)  3. Spleen
(10:04)  4. Il Viaggio
( 5:28)  5. Tea For Toots
( 7:16)  6. Giselle
( 4:54)  7. Coloriage
( 5:25)  8. Ballade Pour Marion
( 3:12)  9. Chiquilin De Bachin

Accordionist Richard Galliano did for European folk specifically, the early 20th century French ballroom dance form known as musette what his mentor Astor Piazzolla did for the Argentinian tango. Galliano reimagined and revitalized a musical tradition, expanding its emotional range to reflect modern sensibilities, opening it up to improvisation learned through American jazz. In fact, Galliano was more of a jazz musician than a folk one, although he blurred the lines so much that distinctions were often difficult to make. Born in France of Italian stock, Galliano began playing accordion (as his father had) at a young age. He later picked up the trombone, and studied composition at the Academy in Nice; he also fell in love with jazz as a teenager, particularly cool-era Miles Davis and Clifford Brown, and had made it his primary focus by the late '60s. Making a living as a jazz accordionist naturally proved difficult; fortunately, after moving to Paris in 1973, he landed a position as conductor, arranger, and composer for Claude Nougaro's orchestra. 

He remained there until 1976, and went on to work with numerous American and European jazz luminaries, including Chet Baker, Joe Zawinul, Toots Thielemans, Ron Carter, Michel Petrucciani, and Jan Garbarek. After meeting Astor Piazzolla, Galliano refocused on his European heritage and set about reviving and updating musette, widely considered antiquated at the time. He signed with Dreyfus in 1993, and the label gave him enough exposure to cause a stir first in his home country, then among international jazz and world music fans. Regular recordings followed; some with clarinetist/soprano saxophonist Michel Portal, some with guitarist Jean Marie Ecay, and some with his favorite rhythm section of bassist Jean-François Jenny-Clark and drummer Daniel Humair (after Jenny-Clark's untimely death, Rémi Vignolo took his place). In 2001, Dreyfus released Gallianissimo, a compilation drawing from his seven albums for the label and a new recording, Face to Face, a duet recording with French pianist and vocalist Eddy Louiss. In 2004 after several global tours and reissues of some of his earlier albums, Blues Sur Seine, a duet offering with cellist Jean-Charles Capon, was released on La Lichere; he also appeared as a soloist with Josefine Cronholm on Blue Hat by Søren Siegumfeldt's String Swing and Concerts with Portal. 

This was followed by 2005's Ruby, My Dear by the New York Trio: Galliano, bassist Larry Grenadier, and drummer Clarence Penn. In 2007, Galliano delivered Solo on Dreyfus as well as Mare Nostrum, co-headlined with Paolo Fresu and Jan Lundgren, and Luz Negra, a tango album by his own sextet. By all accounts, Galliano, in his touring, composing, and recording appearances, had become prolific on both sides of the Atlantic. The accordionist recorded with Charlie Haden, Mino Cinelu, and Gonzalo Rubalcaba on 2008's Love Day: Los Angeles Sessions, and back in Europe with the Brussels Jazz Orchestra on Ten Years Ago; both were issued on Milan. Galliano signed to Deutsch Grammophon, where he cut a trilogy of classically themed recordings: J.S. Bach in 2010, Nino Rota in 2011, and Antonio Vivaldi in 2013. The tango and bal-musette accordionist returned to jazz in 2014. Sentimentale was recorded for Resonance and produced by its founder, George Klabin. The studio band consisted of pianist-arranger Tamir Hendelman, guitarist Anthony Wilson, bassist Carlos Del Puerto, and drummer Mauricio Zottarelli. It was released in September. ~ Steve Huey & Thom Jurek, Rovi  Bio ~ https://itunes.apple.com/us/artist/richard-galliano/id41914533#fullText

Personnel: Richard Galliano (accordion); Gabriele Mirabassi (clarinet).

Coloriage

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Girlyman - Remember Who I Am

Size: 101,2 MB
Time: 43:12
File: MP3 @ 320K/s
Released: 2004
Styles: Folk Pop
Art: Front

01. Viola (3:49)
02. Hey Rose (3:02)
03. Say Goodbye (4:17)
04. Fall Stories (2:43)
05. The Shape I Found You In (3:28)
06. Maori (3:23)
07. Montpelier (3:53)
08. Even If (3:24)
09. David (4:32)
10. My Sweet Lord (3:42)
11. Postcards From Mexico (2:40)
12. Amaze Me (4:13)

So who's behind the irresistible moniker of Girlyman, a trio that fits the bill for swirling styles and gender roles, both individually and collectively? Doris Muramatsu and Tylan Greenstein, whose 2002 debut as The Garden Verge received an Outmusic Award for Best New Recording by a duo, make up two-thirds of Girlyman. Rounding out the group is former Bostonian and Boston Music Award winner Nate Borofsky.

The accolades don't stop there, however. In 2002, Girlyman was voted "Most Wanted to Return" by fans at the prestigious Falcon Ridge Folk Festival; surprisingly, the trio had formed as a musical unit only a few months before the event. One listen to the 12 tracks on Girlyman's first studio project, "Remember Who I Am," and you'll understand why they snagged an audience-favorite nod so effortlessly.

Their resonant sound is one that you're almost guaranteed not to expect. Equal parts Alison Krauss & Union Station and REM, Girlyman's mellow, rootsy atmospherics feel right at home in an intimate acoustic venue like Harvard Square's Club Passim, where the trio recently performed. The group members trade songwriting responsibilities on most numbers, though their techniques flow together as smoothly as their electric harmonies.

Aptly titled, "Remember Who I Am" is a stirring collection of remembrances -of friends, of lovers, of ways of life. "Viola," the disc's lovely opening elegy, dips and soars more gracefully than many songs of its kind ("I drowned myself tonight in sangria/ Made with sliced up fruit and cheap marsala"). Other ballads such as "Say Goodbye" and "The Shape I Found You In" move deeply and deliberately courtesy of Joe Dye's pedal steel guitar, which floats through the songs like a somber ghost. The dreamy "Maori" boasts a gorgeous melodic finesse as it contemplates the faraway natives of New Zealand, while "Amaze Me" tells a quirky tale of love for America in a dark time. Each song hooks into what's visceral and true. -Jason Roush, Bay Windowsy.

Remember Who I Am

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Luciano Invernizzi - The Other Side Of Luciano Invernizzi

Size: 149,6 MB
Time: 64:57
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: New Orleans Jazz, Blues Jazz
Art: Front

01. Loose Blues (5:02)
02. When My Dreamboat Come Home (4:33)
03. Rosetta (6:30)
04. Saint James Infirmary (6:56)
05. When Your Hair Has Turned To Silver (5:58)
06. Too Marvelous For Words (7:30)
07. Linger Awhile (6:31)
08. Backwater Blues (5:43)
09. More Rain More Rest (4:47)
10. Love Letters In The Sand (5:53)
11. S'posin (5:29)

Since I was a kid is dedicated to listening to and studying jazz music enjoying executions of Louis Armstrong, King Oliver, Jelly Roll Morton and the traditional jazz in General drawing, to trombone players such as Kid Ory, Jim Robinson, Vick Dickinson.

In Milan in the 1960s with a group of enthusiasts founded the "Bovisa New Orleans Jazz Band", a complex that is inspired by the New Orleans style, which, in forty years of activity, accompanied in their tour in Italy several New Orleans musicians among which we mention: Louis Nelson, capt. John Handy, Don Ewel, Albert Nicholas, Thomas Jefferson, Alvin Alcorn, Emanuel Sayles, Wingy Manone Freddie Kohlmann, and many others.

Numerous jazz events to which the "Bovisa New Orleans jazz Band" participate: wins first prize at the "Italian festival" review of Foligno in ' 63; Represents Italy at the "New Orleans Festival" in Frankfurt in ' 64; at the Jazz Band Ball "in Paris in ' 67 and ' Grand Parade du Jazz" in Nice in ' 74 and ' 75, in almost all editions of the "New Orleans Music Festival" of Lugano and Ascona before then. He has participated in more editions of "Umbria Jazz" and, over the years, almost all national and European jazz festival, ... Unable to list them all.

Invernizzi has also had the pleasure of accompanying LOUIS ARMSTRONG in a television broadcast and, in addition to guiding the orchestra he founded, he also plays with other Italian and European complex of traditional jazz. In one of his frequent trips to New Orleans, he performed at "Presenvation Hall" with Percy Humphrey and his band.

Invernizzi and is also a component of Jambalya six "by Vittorio Castelli, and was among the founders of the" Pegasus Brass Band ", and regularly collaborates with Barry Martyn Sammy Rimington, Doc Houlind, Keith Smith, Walter Weber, Rudy Balliu and other leading European band

The Other Side Of Luciano Invernizzi

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Sweet Lu Olutosin - Sweet Lou's Blues (With Antonio Ciacca Quintet)

Size: 106,6 MB
Time: 46:03
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Swing
Art: Front

01. Malcolm's Song (Theme For Malcolm) (7:40)
02. Every Day I Fall In Love (6:21)
03. Those Lagos Blues (Lagos Blues) (6:33)
04. Call Him Blackjack (Blackjack) (3:25)
05. Let's Go Driftin' (Driftin’) (5:22)
06. Nancy With The Laughing Face (4:23)
07. The Baron (Baron 5) (3:49)
08. Be My Mamacita (Mamacita) (3:31)
09. Sweet Lou's Blues (Sweet Lou) (4:56)

After 35 years in the Military as a Police Officer and achieving the rank of Colonel, Lutalo Olutosin aka ' Sweet Lu’ Olutosin found that his calling to be a Jazz Vocalist was still as strong as it was the day he entered Military Service.

Today Lu is a bandleader, featured Soloist, and Recording artist. His freshman release achieved status on the US Jazz Charts in 2011. Lu has received Critical acclaim and Glowing reviews in industry standard publications like All About Jazz, Jazz USA, Jazz Times and Others.

Sweet Lu has just completed his most recent work in New York City entitled “Sweet Lou’s Blues” where he teamed with Antonio Ciacca’s quintet of esteemed Jazz musicians including Jeremy Pelt, Jerome Jennings, Tivon Pennicott, and Mike Karn. The CD is already receiving Great reviews in Jazz industry publications.

Here is what people are saying about “Sweet Lou’s Blues”

“as the title tune came to a close I unabashedly shouted “Applause, Applause!” to Lutalo Olutosin for a vision that unquestionably hit the sweet spot on the mark” ....... Carl Anthony, Notorious Jazz

“My personal favorite of the nine tunes offered up for true jazz listeners to enjoy (now & for a long time to come) was “Those Lagos Blues“… this one alone makes the purchase of the CD well worth it! I give Lu & his excellent crew a MOST HIGHLY RECOMMENDED, with an “EQ” rating of a (perfect) 5.00; which means that this one also gets the “PICK” of this issue for “best jazz vocals”.

Sweet Lou's Blues

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Geoffrey Aymar - The Trio Vol. 1

Size: 99,2 MB
Time: 42:57
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Mainstream Jazz, Piano Jazz
Art: Front

01. It Could Happen To You (3:50)
02. Minor Memories (4:47)
03. How Long Has This Been Going On 4 (6:01)
04. You Are My Sunshine (4:20)
05. I Fall In Love Too Easily (4:37)
06. Summertime (4:24)
07. Green Dolphin Street (8:39)
08. Our Love Is Here To Stay (6:14)

Los Angeles based pianist, Geoff Aymar, has digitally released (for the first time) his first two trio CD’s recorded in the late 1990’s. The Trio--Volume One and Volume Two. The two volumes were recorded in one long session with bassist and legendary producer/engineer, Malcolm Cecil and drummer Johnny Kirkwood (Louis Jordan, Dinah Washington, Plas Johnson). The trio worked together regularly at a hotel in Marina Del Rey when this was recorded which made them a cohesive and finely-tuned musical ensemble.

Geoff was a fixture for many years at the Marina Beach Marriott Hotel where he played five nights a week both solo and with small groups. As jazz critic Scott Yanow noted “Aymar plays on a much higher level than the usual hotel pianist.” The hotel gig was fertile ground for Geoff’s musical muse at the time and allowed him to play with many of the finest jazz musicians in LA. Musicians such as: guitarists Frank Potenza and Larry Koonse; bassists Eugene Wright, Andy Simpkins, Al Mckibbon, Luther Hughes; Saxophonists Rob Kyle, Jeff Clayton, Ricky Woodard among many others.

These CD’s were recorded at 29th Street Studio in Torrance, California. The studio was owned by David Benoit and recorded on David’s personal Steinway from his home that happened to be in the studio at the time of the recording. The sound quality is extraordinary thanks to Malcolm who won a Grammy award for engineering Steve Wonder’s “Innervision”. Johnny’s playing is hard swinging and tightly wound around Malcolms growling bass notes that dance between Geoff’s bluesy and melodic improvisations.

Geoff went on to play many top venues in Los Angeles after these recordings while also pursuing a direction as a composer. His last CD “Can’t Stop Now” was his first disc of all original music and once again had Malcolm Cecil at the helm as producer..working his aural magic on the sessions. Can’t Stop Now features guitarist Larry Koonse, drummer Kendal Kay and bassist David May. The CD is also available on CDbaby.com


"Aymar's style is in keeping with the Les McCann school of pianists with a due nod to Oscar Peterson. That happy feeling that comes from the music of those players is ever present on these discs" Frank Rubolino--Cadence Magazine

"Geoff's music is exactly what KLON is all about, an engaging mix of memorable original compositions and fresh
straight ahead conceptions of jazz standards". Ken Borgers -- Former program director of KLON (now KJZZ 88.1 LOS Angeles)

"..the pianist shows originality and creativity within the mainstream of jazz" "A local artist well worth supporting" Scott Yanow--Jazz critic (Downbeat, Jazz Times, LA Times)

The Trio Vol. 1

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Michele Santo - So Far

Size: 116,7 MB
Time: 50:26
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. If I Only Had A Brain (5:35)
02. Devil May Care (4:51)
03. Bein' Green (5:10)
04. Alone Together (3:58)
05. Better Than Anything (5:09)
06. It Never Entered My Mind (3:36)
07. The Rules Of The Road (3:57)
08. Heart's Desire (4:24)
09. That's All (3:13)
10. Looking Back (Reflections) (5:13)
11. The Best Is Yet To Come (5:15)

Personnel:
Michele Santo, Vocals
Marty Mellinger, Piano and keyboards
Steve Varner, Bass
Erik Johnson, Drums

I couldn't get more info about this singer. Any help will be welcome.

So Far

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Véronneau - Joie De Vivre - Joy of Living

Styles: Brazilian Jazz, Bossa Nova
Year: 2011
File: MP3@320K/s
Time: 36:49
Size: 87,3 MB
Art: Front

(4:55)  1. La Mer
(4:22)  2. The Gentle Rain
(2:58)  3. For No One
(3:27)  4. Corcovado
(3:43)  5. Cielito Lindo
(4:49)  6. The Street Where You Live
(3:53)  7. Brazil
(2:35)  8. Abertura do Verao (Opening of Summer)
(2:45)  9. One Note Samba
(3:18) 10. Blue Skies

Sweetly simple and sensual, Véronneau’s Joie de Vivre is a smooth record ideal for summer listening outside with a glass of wine or four, and some candlelight.Véronneau is the band of the marvellous French-Canadian singer Lynn Véronneau. With Ken Avis (guitar, vocals, percussion), David Rosenblatt (guitar, percussion) and Pete Walby (drums), Lynn’s outfit is sharp and dedicated to exploring the passion of music and life. The recording also features the violin of Dave Kline and the blistering, bluesy saxophone of Canadian Jeff Antoniuk. Joie de Vivre is a compilation of sorts, but it’s also a freshly original work.Véronneau presents their favourite music, delivering a selection of songs ranging from the Beatles to Rodgers and Hart. Brazilian samba, gypsy jazz and French music also reveal the band’s deep sensibilities to sampling from the jubilant palette of creativity.

More than simply singing covers and slinking away elsewhere, Lynn takes ownership of each individual piece and delivers an emotional, passionate performance every time. Her work on Lennon and McCartney’s haunting and gorgeous “For No One” takes on spectacular new meaning as Lynn emotes and phrases things elegantly. Backed by simple guitar, it’s one of my favourite tracks on the record.

The music of Antonio Carlos Jobim is given two opportunities to shine. “Corcovado” and “One Note Samba” embody the spirit of the Brazilian songwriter and composer. Lynn sails through the Gene Lees English lyrics on the former, guided all the while by Avis and Rosenblatt’s lovely playing.Whether she’s tackling the nuances of classic tunes (“La Mer”) or drawing on the pageantry of My Fair Lady (“The Street Where You Live”), Lynn is a consummate performer. Her voice packs a wallop, sure, but most importantly she sings with heart. As she pulls back on the big notes and enters into subtle patterns of expert phrasing, it feels as though she’s singing to one person at a time. Even with this intimate vibe, it’s clear that the music of Joie de Vivre is designed for big crowds and bright lights. The musical experience rendered by Lynn and co. is satisfying and bewitching, engaging in the tales it tells and the stories it leaves to mystery. The liner notes aren’t bad, either. ~ Jordan Richardson  http://blogcritics.org/i-hear-sparks-vronneau-joie-de/

Joie De Vivre - Joy of Living

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