Nancy Osborne - Songs In The Key Of Love

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 50:55
Size: 117,6 MB
Art: Front

(4:22)  1. I Concentrate On You
(4:11)  2. Tenderly
(3:03)  3. My Funny Valentine
(3:36)  4. Like A Lover
(3:37)  5. Moonglow
(4:03)  6. Laura
(3:35)  7. Wichita Lineman
(3:08)  8. Old Devil Moon
(3:22)  9. That Old Black Magic
(4:25) 10. I Never Meant To Hurt You/One Less Bell To Answer
(4:57) 11. Mean To Me
(4:29) 12. Speak Low
(4:01) 13. What Are You Doing The Rest Of Your Life

Nancy Osborne seems to have that rare ability to make each song her own. Each offering sounds fresh and sparkling. And she really seems to enjoy what she's doing. Her enthusiasm is soooo infectious. As I said before, this set has a song for any and every mood and I bet that once you come to track 16, you'll be swinging....To paraphrase Cole Porter, Nancy Osborne, you're
de-lightful, you're de-licious, you're de-lirious, YOU'RE DE-LOVELY.~ Hadley Tituss, Jazz Rendezvous

Her years as lead vocalist for both the Nelson Riddle and Tex Beneke Orchestras have obviously taught Nancy Osborne a lot about making a song-listener friendly, and she applies her knowledge to the 16 tracks on "Hot Swing, Cool Jazz" for irresistibly entertaining results. ~Jeff Rossen, After Dark,  Arts & Entertainment Magazine

It sounds like much more than a debut recording as she sings with an abundance of confidence.~ D. Oscar Groomes, O's Place

What do I mean by vocally smiling? Adding little nuances such as laughing while singing, playful glissandos at the beginning and end of phrases, vocal growls and an overtone of someone singing while smiling, one knows when talking to someone on the phone if the other person is talking while smiling, and one gets that same message throughout the CD while listening to Osborne sing. ~ H. Allen Williams, Jazzreview

 Not only is Osborne infectious but her vocal delivery is superbly rich in tone and delivery. Osborne is back by a plethora of seasoned professional that make this recipe "De-Lovely" ~ Constance Tucker, All About Vocals

A big band and a swinging singer are the ingredients for a super album, and here it is for you to enjoy, from steamy ballads to up tempo rockers...So, for a hot and cool treat, this album will do the trick for you connoisseurs of swinging jazz. ~ John Gilbert, EJazz News

If you're not old enough to have experienced the "big band with a gal singer" era, this will give you an idea of what it was all about.~ George Fendel, Jazzscene

She's a talented entertainer with a gifted voice. Groove with a strong cocktail to this vocal jazz number with boisterous swing numbers abound! ~ J. Sin, Smother Magazine 
http://www.cdbaby.com/cd/nancyosborne2

Songs In The Key Of Love

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Bob Wilber And The Tuxedo Big Band - Rampage!

Styles: Clarinete And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 55:44
Size: 131,2 MB
Art: Front

(2:52)  1. Rampage!
(3:29)  2. Century Plaza
(3:13)  3. How Can You Face Me
(2:49)  4. Valley Of The Sun
(3:08)  5. Freeman's Way
(4:22)  6. The Golden Rooster
(3:13)  7. U.M.M.G.
(2:54)  8. Please Clarify
(2:17)  9. The Tender Ways Of Love
(4:15) 10. The Rabbit Jumps
(2:29) 11. Ghost Of The Blues
(3:19) 12. Chasin' The Riff
(3:41) 13. Jonathan's Way
(4:23) 14. Dreaming Butterfly
(9:13) 15. Puggles

This CD features Bob and the Tuxedos in a very special program of Wilber arrangements, mostly of his own compositions, many of them newly minted. The youthful octogenarian of course also joins in as a soloist, on not only his main voices, clarinet and the straight and curved soprano sax, but also on the rather seldom heard alto. The band and Bobby share a love for big band jazz that reflects the musical values of the Swing Era, but the conviction and enthusiasm they bring to their work makes the music sound fresh, not "retro." Thank you, Bob Wilber, for still making great music, a mere 64 years after your recording debut! From the notes byDan Morgenstern, Director of the Institute of Jazz Studies at Rutgers University.  http://www.jazzmessengers.com/en/17461/bob-wilber/rampage-with-tuxedo-big-band

Personnel: Bob Wilber, clarinet, soprano and alto sax; Nicolas Gardel, Mathieu Haage, Jerome Etcheberry, Benjamin Fernandez, trumpet; Olivier Lacherie, Cyril Dubile, Sebastien Arruti, trombone;  Paul Cheron, Stephane Lourties,Francois Penot, Stephane Barbier, Gael Pautric, Pierre-Andre Cuxac, reeds;   Henri Cheron, guitar, Didier Datcharry, piano, Pierre-Luc Puig, bass, Guillaume Nouaux, drums

Rampage!

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Joe Lovano & Gunther Schuller - Rush Hour

Styles: Clarinet And Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 64:37
Size: 150,1 MB
Art: Front

( 3:58)  1. Prelude To A Kiss
( 3:33)  2. Peggy's Blue Skylight
( 2:57)  3. Wildcat
( 5:09)  4. Angel Eyes
( 8:53)  5. Rush Hour On 23rd Street
( 5:43)  6. Crepuscule With Nellie
( 5:41)  7. Lament For M
( 4:27)  8. Topsy Turvy
( 3:11)  9. The Love I Long For
( 2:40) 10. Juniper's Garden
( 3:26) 11. Kathline Gray
(11:13) 12. Headin' Out Movin' In
( 3:41) 13. Chelsea Bridge

This is one of the most exciting jazz releases of 1995. Joe Lovano is showcased on four songs backed by a string section, is accompanied by a stringless big band filled with woodwinds and brass during four other pieces, performs Ornette Coleman's "Kathline Gray" with a chamber group, takes two songs as duets with his wife Judi Silvano (who contributes wordless vocals), plays his own "Wildcat" as an overdubbed feature for his tenor and drums, and does a straightforward version of "Chelsea Bridge" unaccompanied. Gunther Schuller's arrangements for the larger pieces (which include three of his own colorful originals: "Rush Hour on 23rd Street," "Lament for M," and "Headin' Out, Movin' In") expertly blend together Gil Evans-type orchestrations with aspects of modern classical music and freer forms of jazz, while allowing the music to swing. 

Silvano's voice is also an asset on three of the orchestra performances, and trumpeter Jack Walrath briefly makes his presence felt. However, this very well-conceived release would not have succeeded were it not for the talent, versatility and risk-taking of Joe Lovano. His improvisations (mostly on tenor) push the boundaries of this already adventurous music and his sound (which occasionally hints a little at Clifford Jordan) is quite original; on the basis of this date alone, Lovano must rank as one of the top tenors of the 1990s. ~ Scott Yanow  http://www.allmusic.com/album/rush-hour-mw0000125302

Personnel: Joe Lovano (bass clarinet, soprano saxophone, tenor saxophone, drums); Judi Silvano (soprano); James Chirillo (guitar, acoustic guitar, electric guitar); Gloria Agostini (harp); Eric Wyrick, Geoff Nutall, Joel Smirnoff, John Pintavalle, Charles Libove, Paul Peabody, Matthew Raimondi (violin); Toby Appel, Cynthia Phelps, Ronald Carbone (viola); Fred Sherry (cello); Richard Oatts (flute, tenor saxophone); Charles Russo (clarinet, bass clarinet, alto saxophone, tenor saxophone); Michael Rabinowitz (bass clarinet, bassoon); Dennis Smylie (contrabass clarinet); Robert Botti (English horn); Jack Walrath (trumpet); Julie Landsman, John Clark (French horn); James Pugh (trombone); David Taylor (bass trombone, tuba); Mark Belair (vibraphone, percussion); George Schuller (drums). 

Rush Hour      

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Barbara Leah Meyer - Comes Love

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 62:34
Size: 144,6 MB
Art: Front

(3:19)  1. Just One of Those Things
(5:49)  2. Crazy He Calls Me
(4:59)  3. Born to Be Blue
(3:56)  4. Comes Love
(5:46)  5. My One and Only Love
(4:27)  6. I'm Old Fashioned
(5:14)  7. Get Out of Town
(4:46)  8. Blame It On My Youth
(6:04)  9. Lush Life
(3:02) 10. Taking a Chance On Love
(5:58) 11. Spring Can Really Hang You Up the Most
(4:47) 12. That's All
(4:21) 13. Ev'rytime We Say Good-Bye

This European-based Canadian vocalist presents an emotion-laden collection of love songs with a pretty much straightahead delivery. She conveys a sultry, albeit near threatening message in "Get Out Of Town" and sings a stunning "Blame It On My Youth." She also romps through "I'm Old Fashioned" and "That's All." Meyer is obviously well trained, with a particularly appealing lower register. Her choice of standards, and use of her assorted musicians, especially bassist Andre Lachance, are impeccable. ~ Sunsh Stein  http://jazztimes.com/articles/8596-comes-love-barbara-leah-meyer

Comes Love

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John McLaughlin And The 4th Dimension - Now Here This

Styles: Jazz Fusion
Year: 2012
File: MP3@320K/s
Time: 49:59
Size: 114,5 MB
Art: Front

(7:16)  1. Trancefusion
(7:02)  2. Riff Raff
(6:07)  3. Echos From Then
(6:27)  4. Wonderfall
(5:53)  5. Call And Answer
(6:17)  6. Not Here Not There
(7:08)  7. Guitar Love
(3:46)  8. Take It Or Leave It

Guitarist John McLaughlin and his 4th Dimension group's studio debut, To The One (Abstract Logix, 2010), mined the past for inspiration. The spirit of saxophonist John Coltrane's A Love Supreme (Impulse!, 1965) drove McLaughlin's most charged electric playing in years, proving he'd lost none of his fire. Two years on, and McLaughlin's 4th Dimension returns another energetic set of strong compositions, less specifically inspired than To The One, but inspired nonetheless. McLaughlin's electric guitar and guitar-synthesizer swing between biting edge and a lyricism more in line with the sublime Floating Point (Abstract Logix, 2008). Ranjit Barot replaces Mark Mondesir, and the Indian drummer brings another dimension (a 5th dimension?) to the band. On pulsating tracks like "Riff Raff" and "Call and Answer," drummer and guitarist go flat out in thrilling passages and it's difficult to think of any drummer driving McLaughlin this hard since Billy Cobham in the early Mahavishnu Orchestra days. Barot's polyrhythmic bustle, bass bombs and the snap and crackle of his cymbals greatly inform the mood of the music, and he forms a formidable rhythm team with bassist Etienne Mbappe. 

The modal jazz, jazz-rock, fusion and the ever-present blues that has largely defined McLaughlin's unique five-decade musical adventure are all in the mix, though artfully distilled to maximize melody and lyricism. The bouncing blues bass line of "Echos of Then" evokes trumpeter Miles Davis' A Tribute to Jack Johnson (Columbia, 1971), though there's more of grooving funk vibe here. McLaughlin, at 70, sounds even more fired up than he was on that essential Davis session forty years ago. Keyboardist Gary Hush ever-present in the 4th Dimension since 2007 and Barot take short, lively solos, but melody and groove win the day outright. The slower, more spacious compositions are arresting. M'Bappes' purring fretless bass, McLaughlin's tender guitar-synth lines and Husband's spare piano playing combine beautifully on the soothing "Waterfall." It's impossible not to be seduced by the joyful guitar melody of "Not Here Not There" or pulled along in the undertow of M'Bappe's quietly spun funk. Husband's subtly emotive playing provides the perfect accompaniment to McLaughlin's more expansive though caressing phrasing. Balladic, and lovingly playful, this gem ranks among McLaughlin's most lyrical compositions. 

The delicate arpeggio into to "Guitar Love" has just a hint of Mahavishnu Orchestra, though the band shifts up a gear with McLaughlin unleashing an inspired extended solo. Husband rises to the occasion with an untethered Hammond-style solo that burns, accompanied by McLaughlin's buoyant, floated chords. The short but explosive funk of "Take It or Leave It" provides a stirring finale. Stoked by M'Bappe's funk and Barot's in-the-pocket groove, McLaughlin's gradually intoxicating synth-guitar and Husband's understated counterpoint both evoke keyboardist Joe Zawinul's wicked charms. 

With the notable exception of Shakti, McLaughlin's projects have burned fiercely and relatively briefly before new adventures beckon. After more than half a decade, the 4th Dimension has evolved to a point where, to coin a phrase, the sky's the limit. This blend of musical personalities has a balance and dynamism that's all too rare. In concert? Surely unmissable. ~ Ian Patterson  http://www.allaboutjazz.com/now-here-this-john-mclaughlin-abstract-logix-review-by-ian-patterson.php
 

Personnel: John McLaughlin: electric guitar, synthesizer-guitar; Gary Husband: keyboards; Etienne M’Bappe: electric bass; Ranjit Barot: drums.

Now Here This

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Alissa Sanders - Beginning

Styles: Vocal Jazz, Bossa Nova
Year: 2012
File: MP3@320K/s
Time: 46:01
Size: 106,9 MB
Art: Front

(4:50)  1. Estrada do Sol
(4:59)  2. Tenderly
(5:20)  3. Dindi
(4:01)  4. Heaven Sound
(5:19)  5. Prelude to a Kiss
(4:21)  6. Rosa Morena
(4:12)  7. Dunas
(2:47)  8. Come Rain or Come Shine
(4:13)  9. Lonesome Day
(5:54) 10. My Funny Valentine

Alluring songstress Alissa Sanders ties worlds together with her eclectic, multilingual mix of jazz, samba, and bossa nova, linking two countries with profound, prolific musical traditions: Brazil and the United States. Born in Hollywood, California, Alissa took some of that hometown glamour with her to Brazil, where she lived for 13 years, studying music under mentors such as Neto Costa (vocal coach to Gilberto Gil and Ivete Sangalo), honing her vocal skills and perfecting the fusion of Brazilian rhythms with their American cousins like jazz and roots blues. Through a soft, intimate, enchanting sound that traverses borders, Alissa embodies the magical, musical place where culture, art, tradition, and spirit come together.

Currently splitting her time between São Paulo and Los Angeles, Alissa considers Brazil to be her spiritual home, especially the country's musically-rich Northeast. It was also in Brazil where she recorded her first album, Beginning, in 2011, with jazz and Brazilian standards in English and Portuguese. SESC Theatre appearances, presentations at events in São Paulo and Santa Catarina compliment her live performances at Barreto, famed piano bar at São Paulo's luxurious Fasano Hotel, where she has sung for Coldplay's Chris Martin and socialite Paris Hilton.

With a voice reminiscent of a young Ella Fitzgerald and a cosmopolitan look and style all her own, Alissa has been featured on Brazil's Rede Globo television network the world's fourth-largest and has recorded in India with electro-ambient musicians Espiritualistas and in Los Angeles with pianist Ron Bishop. In 2012, she will be touring the tropical-jazz flavored "Beginning" in the United States with her band, an international group of top Brazilian jazz musicians: Michelangelo Pagnano (guitar), Marcos Romera (piano), Sidiel Viera (bass) and Rodrigo Digão Braz (drums/percussion). http://www.cdbaby.com/cd/alissasanders

Beginning

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Eric Alexander & Vincent Herring - Friendly Fire

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 62:47
Size: 143,9 MB
Art: Front

(8:17)  1. Pat 'n' Chat
(9:50)  2. Sukiyaki
(8:46)  3. Inception
(8:41)  4. Dig Dis
(4:59)  5. You've Changed
(8:42)  6. Here's That Rainy Day
(4:14)  7. Mona Lisa
(9:14)  8. Timothy

There is a long tradition of "saxophone battles" in jazz with duos such as Dexter Gordon and Wardell Gray or Sonny Rollins and John Coltrane performing together in a kind of sporting joust of abilities, a gentleman's contest for who is the better player. On the 2012 concert album Friendly Fire: Live at Smoke, tenor saxophonist Eric Alexander and alto saxophonist Vincent Herring join in this tradition with a swinging, passionate set of standards recorded live at the respected N.Y.C. venue. The album is actually a re-pairing of the duo, who first sparred on 2005's Battle: Live at Smoke. This time around they spar over such numbers as Hank Mobley's "Pat 'N' Chat," McCoy Tyner's "Inception," the standard "You've Changed," as well as Herring's own "Timothy," among others. Backing the saxophonists here are pianist Mike LeDonne, bassist John Webber, and drummer Carl Allen. This is a lively and exciting session of adventurous and old-school straight-ahead jazz. ~ Matt Collar  http://www.allmusic.com/album/friendly-fire-live-at-smoke-mw0002295152

Personnel: Eric Alexander (tenor saxophone); Vincent Herring (alto saxophone); Mike LeDonne (piano); Carl Allen (drums).

Friendly Fire

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Eric Marienthal - It's Love

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 53:23
Size: 123,0 MB
Art: Front

(4:27)  1. Get Here
(5:18)  2. In A Sentimental Mood
(5:47)  3. Can't Buy Me Love
(5:50)  4. It's Love
(6:19)  5. Two In One
(5:18)  6. Costa Del Soul
(4:39)  7. Babycakes
(5:58)  8. Cafe Royale
(5:22)  9. St. Moritz
(4:21) 10. When I Found You

Saxophonist Eric Marienthal is among contemporary jazz's busiest talents. On the day that It's Love was released, Marienthal also played a starring role on the Jeff Lorber Fusion entry Galaxy. The two albums reflect Marienthal's varied talents, as both a creative improviser and a lover of groove-oriented popular music. It's Love was produced by guitarist Chuck Loeb, who also appears throughout the set. Also in this studio band are Yellowjackets' keyboardist Russell Ferrante, drummer Gary Novak, and bassist Tim Lefebvre. Marienthal's love of pop-soul is displayed on the album's opening number, a cover of Brenda Russell's iconic "Get Here." Introduced by Ferrante's piano and spare percussion and guitar, Marienthal's alto moves right into the melody and sticks close while digging deep into his horn's grain for emotion. When the key change happens, he syncopates the lyric flow and allows the melody to guide him. While this track has been covered by many singers, pulling it off in a contemporary jazz setting isn't easy. The temptation to show off one's chops at the expense of the tune is everywhere; Marienthal's discipline keeps him honest and he lets its original intent flow right through to the listener. 

He switches gears on a 21st century reading of Irving Mills' "In a Sentimental Mood," which doesn't resemble any instrumental version out there -- Loeb's solo guitar intro evokes Wes Montgomery before Ferrante and Marienthal enter and return what has long been a vehicle for jazz improvisation back into a lyric song. The title track is a haunting ballad co-written by Marienthal and Loeb, while the latter's "Two in One" is a midtempo groover with Marienthal soloing on soprano. "Babycakes" and "St. Moritz" were co-composed by the saxophonist with Lorber. The former evokes the Crusaders circa 1969 and 1970 as Marienthal uses Wilton Felder's soulful phrasing in a gospelized groove while Loeb plays tasty fills à la Larry Carlton. Lorber contributes keyboards and additional guitar, too. On "St. Moritz," Till Brönner's trumpet adds depth, density, and an added lyricism to the breezy Caribbean atmosphere until the midway point, where it gets nocturnal and funky. It's Love is a (mostly) laid-back offering, yet it's solid: beautifully arranged and executed, its silky production and emotive undertones, make it a perfect Valentine's Day soundtrack to boot. ~ Thom Jurek  http://www.allmusic.com/album/it

It's Love

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Joey DeFrancesco - Wonderful! Wonderful!

Styles: Soul Jazz
Year: 2012
File: MP3@320K/s
Time: 58:20
Size: 133,9 MB
Art: Front

(7:07)  1. Wonderful! Wonderful!
(6:01)  2. Five Spot After Dark
(8:47)  3. Wagon Wheels
(7:13)  4. Solitude
(8:49)  5. Joey D
(6:36)  6. Love Letters
(5:22)  7. Old Folks
(8:21)  8. JLJ Blues

The organ trio is one of the most time-tested aggregations in jazz, and the men who form said grouping on Wonderful! Wonderful! are three of the most treasured musicians to ever play their instruments. Organ giant Joey DeFrancesco, guitar hero Larry Coryell and swinging drum stalwart Jimmy Cobb all set the bar impossibly high on their respective axes and now, they're joining forces on the organist's tenth album for the HighNote label.This high profile threesome references everybody from saxophonist Sonny Rollins ("Wagon Wheels") and pop singer Johnny Mathis ("Wonderful! Wonderful!") to Duke Ellington ("Solitude"), putting its own stamp on this format in straightforward fashion. This date is essentially a blowing session with solos aplenty, but these guys never phone it in. They clearly delight in exploring the material, playing off one another and, in the case of DeFrancesco and Coryell, letting their envious chops off the leash.The title track kicks things off with DeFrancesco's rise-and-fall organ melody, accompanied by single cymbal utterances, but it turns into a cooker in an instant. 

Benny Golson's "Five Spot After Dark" is completely straight-ahead, yet differentiates itself by focusing more attention on Coryell, while the clacking, triplets-on-rims groove that underscores the melody on "Wagon Wheels" gives way to a swing foundation for some sizzling solos. Back-to-back organ cadenzas at the end of Ellington's lovely "Solitude" and the start of Coryell's waltzing "Joey D" give pause to admire DeFrancesco's flights of freedom as he paints complex pictures in inimitable fashion. He picks up his trumpet on a single occasion ("Old Folks") and conjures thoughts of his former employer Miles Davis as he delivers an expressive, mute-in-horn statement that's built around emotion rather than chops. The final swing salvo on the date comes in bluesy form ("JLJ Blues") and gives DeFrancesco and Coryell an opportunity to bat solos back and forth as Cobb lays down the law beneath them. These musicians all play up to their respective reputations on this date and don't really touch on anything unexpected, but that's beside the point. The real treat is having the opportunity to hear these three legends in action together. ~ Dan Bilawsky http://www.allaboutjazz.com/wonderful-wonderful-joey-defrancesco-highnote-records-review-by-dan-bilawsky.php

Personnel: Joey DeFrancesco: organ; Larry Coryell: guitar; Jimmy Cobb: drums.

Wonderful! Wonderful!

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Joan Chamorro & Andrea Motis - Feeling Good

Styles: Vocal, Trumpet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 61:24
Size: 141,2 MB
Art: Front

(4:05)  1. Feeling good
(2:48)  2. Between the devil and the deep blue sea
(3:39)  3. How insensitive
(3:48)  4. Lover come back to me
(3:48)  5. Moon River
(4:18)  6. Love me or leave me
(5:48)  7. Lover man
(5:04)  8. In my solitude
(3:34)  9. Allelujah
(2:44) 10. Easy Livin
(3:17) 11. My funny valentine
(4:00) 12. Bésame Mucho
(4:39) 13. Sophisticated Lady
(2:24) 14. Gee baby, ain't I good to you
(4:29) 15. Lover man
(2:52) 16. Lullaby of birland

Feeling Good is well named: the feelgood vibe is strong and the love of music that reaches out from this album is pretty much guaranteed to leave listeners with a similarly good feeling. It's the second album from Joan Chamorro bassist, saxophonist and director of Barcelona's Sant Andreu Jazz Band and the band's star member, the teenage singer and instrumentalist Andrea Motis. Chamorro's name may come first, but it's Motis' personality that shines through most strongly on Feeling Good. Chamorro can take much of the credit for this he's mentored Motis and other members of the Sant Andreu Jazz Band for some years, creating a band with the talent and maturity that belies the ages of its members (who are between 9 and 20 years old). Chamorro and Motis recorded this album at a series of live concerts between February and August 2012, when Motis was 16. Although Motis plays trumpet on a few songs (her trumpet solo on "Solitude" is charming) it's her singing that gets featured here. Motis' Sant Andreu bandmates appear on a couple of songs, including "Feeling Good" with the great Scott Robinson on tenor and trumpet.

However, it's a core group of excellent Spanish players Chamorro, pianist Ignasi Terraza, guitarist Josep Traver and drummer Esteve Pi (with bassist David Mengual joining in when Chamorro plays tenor) that provides the crucial instrumental accompaniment for the singer. Motis' voice has been likened to Norah Jones,' a reasonable comparison but one that doesn't do justice to Motis' vocal range. "Bésame Mucho" shows that she can swing, "Gee, Baby, Ain't I Good To You" suggests that she's a blues singer in the making. On "The Devil And The Deep Blue Sea" and "Lover Come Back To Me" she displays a knowing cheekiness reminiscent of R&B singer Julia Lee. Cut to the fragile cover of "Moon River" with just her core quartet for company, Terraza and Traver playing with exceptional delicacy and taste she makes Audrey Hepburn sound like Janis Joplin. Comparisons don't retain their validity for too long when they refer to a teenage singer who's developing at speed. Two versions of "Lover Man," recorded just a couple of months apart, show how quickly things move. On the first, a lushly orchestrated '40s style version featuring a string quartet, Motis' voice has a naive, child-like, quality rather at odds with the lyrics' sentiments. 

On the second, Chamorro and Traver providing a sympathetic bass and guitar backing, Motis sounds more mature, more wordly it's far easier to believe that she's lived the story. Motis is already a big name in Spain, selling out major concert halls. She's still learning, still gaining confidence, but her talent is undoubted. Feeling Good is a fine album, but it's almost certainly just the beginning. ~ Bruce Lindsay  http://www.allaboutjazz.com/feeling-good-andrea-motis-temps-records-spain-review-by-bruce-lindsay.php

Personnel: Andrea Motis: vocals, trumpet; Joan Chamorro: double bass, tenor saxophone; Ignazi Terraza: piano; Josep Traver: guitar; David Mengual: double bass; Esteve Pi: drums; Eva Fernández: clarinet, alto saxophone; Alba Esteban: soprano saxphone, alto saxophone; Iscle Datzira: clarinet, tenor saxophone; Joan Marti: alto saxophone; Eduard Ferrer: baritone saxophone; Marçal Perramon: tenor saxophone; Alba Armengou: trumpet; Carles Vázquez: flute; Èlia Bastida: violin; Edwine Vila: violin (6, 7, 13); Marc Ormengol: violin (6, 7, 13); Joan Ignasi Ferrer: viola (6, 7, 13); Esther Vila: cello (6, 7, 13); Carla Motis: guitar (14); Scott Robinson: tenor saxophone, trumpet (1).

Feeling Good

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Big Bad Voodoo Daddy - Rattle Them Bones

Styles: Retro Swing
Year: 2012
File: MP3@320K/s
Time: 43:55
Size: 160,4 MB
Scans:

(0:35)  1. The Adventures Of...
(4:15)  2. Diga Diga Do
(3:14)  3. The Jitters
(3:20)  4. Let It Roll Again
(4:08)  5. It Only Took A Kiss [featuring Meaghan Smith]
(3:26)  6. She's Always Right (I'm Never Wrong)
(3:34)  7. Why Me?
(4:33)  8. Devil's Dance
(3:22)  9. It's Lonely At The Top
(5:09) 10. Still In The Mood
(2:55) 11. Gimme That Wine
(5:18) 12. 5-10-15 Times

Since hitting it big in the '90s during the swing revival, Big Bad Voodoo Daddy have stuck to their retro-guns while finding ways to explore new ground. To these ends, 2003's Save My Soul found the band delving into New Orleans rhythms and R&B, while 2009's How Big Can You Get?: The Music of Cab Calloway featured the music of the legendary Hi-De-Ho man. That album brought them deeper into a hardcore jazz sound and most likely helped them in signing with the Savoy Jazz label for 2012's similarly jazz-inflected Rattle Them Bones. Once again centered around the sweet and lyrical lead vocals of guitarist/songwriter Scotty Morris, the album features a mix of new material, jazz covers, and even an unexpected take on Randy Newman's "It's Lonely at the Top." These are crisply produced, urbane, and always swinging tunes that often have an old-school big-band sound. 

This impressive large ensemble sound comes via the longtime core rhythm section of pianist Joshua Levy, bassist Dirk Shumaker, and drummer Kurt Sodergren, as well as such featured players as trumpeter Glen "The Kid" Marhevka, and saxophonists Karl Hunter and Andy Rowley. With all arrangements by Levy, the band is also complemented by a bevy of stellar studio musicians who round out several cuts here. Also featured here is vocalist Meaghan Smith, who duets with Morris on the romantic midtempo ballad "It Only Took a Kiss." Longtime fans of the group’s neo-crooner jazz sound, as well as anybody who digs solidly crafted and always swinging traditional jazz and pop, should find much to enjoy here. ~ Matt Collar  http://www.allmusic.com/album/rattle-them-bones-mw0002409480

Personnel: Scotty Morris (vocals, guitar, banjo); Andy Rowley (vocals, baritone saxophone); Dirk Shumaker (vocals, acoustic bass, upright bass); Karl Hunter (clarinet, soprano saxophone, alto saxophone, tenor saxophone); Glen "The Kid" Marhevka (trumpet); Joshua Levy (piano); Kurt Sodergren (drums).

Rattle Them Bones

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Joseph Lamb - A Study In Classic Ragtime

Styles: Jazz, Ragtime
Year: 1960
File: MP3@320K/s
Time: 40:46
Size: 95,7 MB
Art: Front

(3:14)  1. Cottontail Rag
(3:02)  2. Excelsior Rag
(3:18)  3. Cleopatra Rag
(3:16)  4. The Meeting With Scott Joplin
(2:43)  5. Sensation - A Rag
(0:50)  6. Arthur Marshall, Artie Mathews, James Scott
(3:19)  7. Topliner Rag
(3:17)  8. The Alaskan Rag
(1:46)  9. The Composition of "Nightingale"
(3:38) 10. The Ragtime Nightingale
(3:30) 11. American Beauty Rag
(2:26) 12. The Naming of "Contentment"
(2:51) 13. Contentment Rag
(3:29) 14. Patricia Rag

This is a very historic LP (not yet reissued on CD) that was recorded just in the nick of time. Along with Scott Joplin and James Scott, Joseph Lamb was one of the "big three" of classic ragtime composers. Joplin and Scott never recorded, but Lamb lived into the early 1960s and was tracked down by Rudi Blesh in the late 1940s in time to be interviewed for his classic They All Played Ragtime book.

In 1959, at the age of 72, Lamb made his one and only record (although an obscure cassette of him playing from the same year was also recorded), and this is it. In addition to performing ten of his rags (including "Sensation Rag," "Ragtime Nightingale," "American Beauty Rag" and his then-recent "Cottontail Rag") in sometimes hesitant but quite listenable form, Lamb is heard talking about four different topics, including remembrances of his first meeting with Scott Joplin and his favorable opinions of the other ragtime composers. Although there should have been so much more of Joseph Lamb on record, one is grateful that this priceless document exists, forever immortalizing one of the giants of ragtime. ~ Scott Yanow  http://www.allmusic.com/album/a-study-in-classic-ragtime-mw0001044128

A Study In Classic Ragtime

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Art Farmer - When Farmer Met Gryce

Styles: Trumpet Jazz
Year: 1954
File: MP3@320K/s
Time: 42:09
Size: 100,5 MB
Art: Front

(5:09)  1. A Night At Tony's
(5:01)  2. Blue Concept
(5:48)  3. Stupendous-Lee
(4:23)  4. Deltitnu
(6:08)  5. Social Call
(5:02)  6. Capri
(5:19)  7. Blue Lights
(5:16)  8. The Infant's Song

When Farmer Met Gryce features trumpeter Art Farmer, altoist Gigi Gryce and two rhythm sections with either Horace Silver or Freddie Redd on piano, Percy Heath or Addison Farmer on bass, and Kenny Clarke or Art Taylor on drums. The early hard bop music is highlighted by "Social Call" (one of Gryce's best-known compositions), "Capri," "A Night at Tony's" and "Blue Concept" but all eight numbers will easily be enjoyed by straight-ahead jazz fans. ~ Scott Yanow  http://www.allmusic.com/album/when-farmer-met-gryce-mw0000234769

Personnel: Trumpet – Art Farmer; Alto Saxophone, Bass – Addison Farmer (tracks: 5 to 8), Percy Heath (tracks: 1 to 4); Drums – Arthur Taylor (tracks: 5 to 8), Kenny Clarke (tracks: 1 to 4); Piano – Freddie Redd (tracks: 5 to 8), Horace Silver (tracks: 1 to 4)

When Farmer Met Gryce

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Morgan James - Hunter

Styles: Vocal, R&B
Year: 2014
File: MP3@320K/s
Time: 44:01
Size: 101,0 MB
Art: Front

(4:16)  1. Hunter
(3:15)  2. Heart Shake
(3:08)  3. Bring Yourself To Me
(4:02)  4. I Want You
(4:18)  5. I Don't Speak You
(4:13)  6. You Never Lied
(5:01)  7. Say The Words
(4:02)  8. The Sweetest Sound
(3:23)  9. Drown
(3:07) 10. Fed Up On You
(5:11) 11. Let Me Keep You (Feat. Robert

The sophomore album from Morgan James, 2014's Hunter, features the Broadway vocalist's mix of retro-R&B and '70s-influenced singer/songwriter soul. Ostensibly James' debut album, Hunter actually follows up her 2012 Nina Simone tribute concert recording, Morgan James Live from Dizzy's Club Coca-Cola. That said, Hunter is James' first recording of all-original material and, in that sense, a much more personal statement than her live debut. Produced by jazz and bluegrass guitarist Doug Wamble, Hunter finds James delving deeply into a collection of tunes that, while not show tunes in any sense, still make clever use of her stage-honed chops. It also doesn't hurt that Wamble, an experienced musician with a wealth of musical skill and cross-genre knowledge, has assembled a backing band that features a bevy of heavyweight jazz artists, including acclaimed pianist Robert Glasper, saxophonist Ron Blake, trumpeter Ravi Best, and others. However, rather than having James focus on jazz standards or even jazz-influenced pop songs, Wamble helped the vocalist craft an R&B-inflected album that brings to mind classic artists like Carole King and Hall & Oates as well as more contemporary singers including Beyoncé and the late Amy Winehouse. James, who made her Broadway debut in 2010 alongside Nathan Lane in The Addams Family, has a big, resonant voice with a ton of flexibility, perfectly suited for suc crisp, soulful cuts as "Heart Shake" and "Bring Yourself to Me." Elsewhere, she delves into several equally compelling bluesy midtempo numbers, including "You Never Lied" and "Drown." Ultimately, it's that voice  matched with Wamble's superb musical vision  that creates the soulful, exuberant vibe of Hunter. ~ Matt Collar  http://www.allmusic.com/album/hunter-mw0002662522

Hunter

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Avishai Cohen & Nitai Hershkovits - Duende

Styles: Straight-ahead/Mainstream
Year: 2012
File: MP3@320K/s
Time: 34:05
Size: 78,6 MB
Art: Front

(2:59)  1. Signature
(3:50)  2. Criss Cross
(3:54)  3. Four Verses / Continuation
(3:57)  4. Soof
(4:29)  5. All Of You
(4:47)  6. Central Park West
(4:09)  7. Ann's Tune
(3:25)  8. Calm
(2:29)  9. Ballad For An Unborn

Avishai Cohen is a distinctive player: his raw energy, deft and fluid fretting style and tough, forceful right hand combine in one of the most readily recognizable double bass sounds in contemporary music. He's brought this sound to collaborations with many leading musicians including pianists Chick Corea and Brad Mehldau, and drummer Mark Guiliana, and has produced a dozen albums as leader. Duende, Cohen's third album for Blue Note, is something of a new departure: a duo record with up-and-coming pianist Nitai Hershkovits. In current terms it's short at just under 34 min utes, but every tune indeed, every note counts.Cohen first heard Hershkovits playing in a Tel Aviv bar when the pianist was only 20 years of age. Hershkovits was still in his early-20s when the duo recorded Duende, but his style and confidence demonstrate a mature talent and sensibility. The album title is derived from a Spanish word for artistic soul or spirit; according to Cohen, "It's a feeling that nurtures music." The music that's nurtured on this album is a mix of Cohen's own tunes and some classic jazz compositions. Cohen's tunes tend to be gentle, pretty, ballads or mid-tempo numbers. Whether it's the waltz-time feel of "Ann's Tune" or the rolling, fluid, lyricism of "Signature" or "Soof," the duo performs exquisitely, sharing lead and rhythm roles with equanimity.

Hershkovits sits out "Ballad For An Unborn," leaving Cohen to take over the piano fora heart felt solo rendition of his own melancholy composition.The musicians give Thelonious Monk's "Criss Cross" a stabbing, almost military, rhythm. Cohen opens and closes the tune with extended periods of arco bass, his playing powerful, with a low down growling groove. The pair's interpretation of John Coltrane's "Central Park West" is, by contrast, very down-tempo and relaxed, the interplay between bass and piano beautifully affecting. Hershkovits doesn't get a composer credit on Duende but his arrangement of Cole Porter's "All Of You" brings freshness to the standard an up-tempo, jagged, rework that switches lead roles between piano and bass with imaginative grace. Although it's Cohen's name writ large on the album cover, this is a genuine duo recording. Hershkovits is an equal partner in performance, clearly unperturbed by the bassist's experience and talent, and Cohen is happy to share the spotlight with this exciting young talent. Duende is an all-too-brief introduction to an impressive new partnership. ~ Bruce Lindsay  http://www.allaboutjazz.com/duende-avishai-cohen-blue-note-records-review-by-bruce-lindsay.php

Personnel: Avishai Cohen: double bass, piano (9); Nitai Hershkovits: piano.

Duende

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David Leonhardt Jazz Group - Plays Cole Porter

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 57:03
Size: 141,2 MB
Art: Front

(4:25)  1. Love For Sale
(5:48)  2. Every Time We Say Goodbye
(4:51)  3. Just One of Those Things
(4:50)  4. Night and Day
(5:08)  5. In the Still of the Night
(3:59)  6. You'd Be So Nice To Come Home To
(4:17)  7. I've Got you Under My Skin
(5:59)  8. I Concentrate On You
(5:04)  9. It's All Right With Me
(4:24) 10. I Love You
(4:29) 11. All Of You
(3:44) 12. Get Out of Town

A towering figure in American musical history, Cole Porter's music has been performed by countless people and groups for decades, enduring to this day. Pianist/composer David Leonhardt is the latest artist to interpret the work of the legendary songwriter with a smart and snappy presentation on The David Leonhardt Jazz Group Plays Cole Porter. With plenty of music to choose from, Leonhardt selects six compositions from the 1940s and '50s, but was wise enough to fill the balance of the repertoire with charts from the '30s, Porter's most successful songwriting decade. Usually performing and recording with trios, the pianist expands his group to a quintet with New York singer Nancy Reed who adds a touch of class to the album. Pittsburgh native Paul Wells anchors the rhythms on drums. with Matthew Parrish providing tasteful bass lines. The star in Leonhardt's band, however, is 71 year-old Philadelphia legend Larry McKenna, one of the finest tenor saxophonists on the East coast, and the dean of Philadelphia reed men. The familiar 1930s standard "Love For Sale" opens the disc, featuring the pianist in a trio format, with McKenna and Reed sitting this one out but not for long, as the two contribute to the lovely ballad of "Every Time We Say Goodbye." On "Just One of Those Things," a gem of an instrumental piece, McKenna takes over the music with his superb phrases, aptly supported by Leonhardt. Reed sparkles on the classic "Night And Day," with McKenna filling the background as the singer scats a bit. 

Leonhardt comes out of his shell on "In The Still Of The Night," making a statement with his more than appreciable piano chops. Parrish and Reed perform a brief duet on the introduction of "I've Got You Under My Skin," before the rest of the group weigh in on a lovely piece. Another outstanding instrumental number is the immortal "I Concentrate On You," a showcase for both pianist and saxophonist alike. Other warm and delicate songs, interpreted brightly, are "I Love You" and the soft love ballad, "All of You." Leonhardt ends his Porter homage with 1938's "Get Out Of Town," closing the session as it began, in a classic piano trio format highlighting his style and swagger on the instrument. The David Leonhardt Jazz Group Plays Cole Porter is devoid of weak musical moments. Leonhardt has produced another creative album conveying the themes of love at which Porter was also so good with fresh new arrangements, making old classics sound almost like new. ~ Edward Blanco  http://www.allaboutjazz.com/the-david-leonhardt-jazz-group-plays-cole-porter-david-leonhardt-big-bang-records-review-by-edward-blanco.php
 

Personnel: David Leonhardt: piano; Nancy Reed: vocals; Larry McKenna: tenor saxophone; Matthew Parrish: bass; Paul Wells: drums.

Plays Cole Porter

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Dawn Holt Lauber - Joy

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 47:43
Size: 110,3 MB
Art: Front

(3:27)  1. Joy in the Journey
(6:12)  2. Child of Wonder
(6:05)  3. Lonesome Road
(5:17)  4. How Could I Ever Know
(5:44)  5. New Song
(3:21)  6. Lift Up My Eyes
(4:30)  7. Standing in the Doorway of Life
(4:00)  8. Winter Is Past
(4:14)  9. Soon and Very Soon
(2:47) 10. Wait for You
(2:03) 11. I Pray You Love

The jazz trumpeter steps up to the microphone. Light outlines his horn. With closed eyes, he begins. The crowd settles, quiet and reflective, as the tune hangs in the air. A saxophone’s bellow enters in, then the bass’s moan, finally the pinpricks of the piano, and the steady rhythm of the drums. It’s Sunday, the song is Amazing Grace, and it’s time for church. Dawn Holt Lauber was hailed as “exquisite” by Howard Reich of The Chicago Tribune for the world premiere performance of William Russo’s Jubilatem with the Chicago Jazz Ensemble. Lauber also performed with the CJE in Russo’s Chicago Suite 2 and Duke Ellington’s Sacred Concerts. 

The soprano first performed Ellington’s Sacred Concerts at The Riverside Church of New York City, which ignited an interest in jazz, both secular and what has come to be known as sacred jazz, or even church jazz. Lauber’s recent recording, “Everlasting” (spirituals & hymns with jazz band) is featured on the jazz playlist of Sounds of Gospel Network radio. She performs regularly with the Chicago band, Churchjazz. Their collaborations include worship services, concerts, tours, recordings, premiere of The Jazz Passion, and numerous benefits for World Vision, World Bicycle Relief, Jimmy Carter Foundation, and the Student Global AIDS Campaign, among others. More Bio ~ http://www.dawnholtlauber.com/bio.php

Joy

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Art Farmer & Benny Golson Jazztet - Here and Now

Styles: Trumpet And Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 50:00
Size: 116,7 MB
Art: Front

(6:48)  1. Tonk
(4:26)  2. Rue Prevail
(5:10)  3. Richie's Dilemma
(5:20)  4. Whisper Not
(5:27)  5. Just in Time
(5:11)  6. Ruby, My Dear
(7:12)  7. In Love in Vain
(4:21)  8. Sonny's Back
(3:10)  9. Tonk
(2:50) 10. Sonny's Back

The Jazztet had been in existence for two years when they recorded what would be their final LPs, Here and Now and Another Git Together. The personnel, other than the two co-leaders, flugelhornist Art Farmer and tenor-saxophonist Benny Golson, had completely changed since 1960 but the group sound was the same. The 1962 version of The Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis, and drummer Roy McCurdy. It is remarkable to think that this talent-filled group wasn't, for some reason, snapped up to record even more albums together. Highlights of their excellent out-of-print LP include Ray Bryant's "Tonk," "Whisper Not," "Just in Time," and Thelonious Monk's "Ruby My Dear." A classic if short-lived hard bop group. [This is the original issue and does not include bonus tracks.] ~ Scott Yanow  http://www.allmusic.com/album/here-and-now-mw0000035390

Personnel: Art Farmer (trumpet, flugelhorn); Benny Golson (tenor saxophone); Grachan Moncur III (trombone); Harold Mabern (piano); Roy McCurdy (drums).

Here and Now

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Oliver Jones - From Lush To Lively

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 59:59
Size: 140,6 MB
Art: Front

(5:36)  1. The Way You Look Tonight
(5:42)  2. Why Think About Tomorrow
(4:33)  3. Len's Den
(4:48)  4. We Will Love Again
(5:55)  5. Swinging On A Star
(5:29)  6. Jazz Gavotte
(5:34)  7. The Very Thought Of You
(6:00)  8. Tetra Tetra
(4:44)  9. (Our) Love Is Here To Stay
(4:36) 10. Should I Love Again
(6:56) 11. Blues For Helene

Oliver Jones was already in his fifties when he was discovered by the jazz world. He had started playing piano when he was seven and at nine, he studied with Oscar Peterson's sister Daisy; the Peterson influence is still felt in his style. Jones played with show bands and worked with pop singer Ken Hamilton (1963-1980), much of the time in Puerto Rico. It was not until he returned to Montreal in 1980 that he committed himself to playing jazz full-time. Since the mid-'80s, Oliver Jones has recorded extensively for Justin Time and established himself as a major modern mainstream player with impressive technique and a hard-swinging style. Bio ~ https://itunes.apple.com/ca/artist/oliver-jones/id29498006#fullText

Personnel: Oliver Jones (piano); Marcelle Mallette, Florence Mallette, Olga Razenhofer, Denise Lupien, Alain Giguère, Hung Bang, Philippe Dunningan (violin); Marc Bélanger (viola); Céline Cléroux, Christopher Best (cello); Rick Wilkins, John Johnson , Bob Leonard, Alex Dean, P.J. Perry (saxophone); Arnie Chycoski, Guido Basso, Steve McDaid, John MacLeod (trumpet); Al Kay, Ernie Pattison, Rob McConnell (trombone); Ted Warren (drums).

From Lush To Lively

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VA - A Song For My Father

Size: 108,5 MB
Time: 46:35
File: MP3 @ 320K/s
Released: 2007/2010
Styles: Pop/Rock
Art: Front

01 Salvador Santana (Son Of Carlos Santana) - Evil Ways (3:47)
02 Gunnar & Matthew Nelson (Sons Of Ricky Nelson) - Travelin' Man (3:31)
03 A.J. Croce (Son Of Jim Croce) - Lover's Cross (3:01)
04 Jen Chapin (Daughter Of Harry Chapin) - Cat's In The Cradle (3:49)
05 Devon Allman's Honeytribe (Son Of Gregg Allman) - Midnight Rider (3:22)
06 Louise Goffin (Daughter Of Gerry Goffin & Carole King) - Up On The Roof (3:24)
07 Ben Taylor (Son Of James Taylor) - Bartender's Blues (3:02)
08 Ky-Mani Marley (Son Of Bob Marley) - Soul Shake Down Party (2:50)
09 Adam Cohen (Son Of Leonard Cohen) - Bird On A Wire (2:52)
10 Ivan Neville (Son Of Aaron Neville) - Yellow Moon (4:11)
11 Wendy & Carnie Wilson (Daughters Of Brian Wilson) - Warmth Of The Sun (2:58)
12 Chynna Phillips (Daughter Of John Phillips) - Got A Feeling (2:40)
13 Spencer Gibb & 54 Seconds (Son Of Robin Gibb) - Run To Me (4:03)
14 Sarah Lee Guthrie (Daughter Of Arlo Guthrie) - Coming In To Los Angeles (2:58)

A Song for My Father is an anthology of songs from the sons and daughters of some of pop music's most legendary artists. They each put a personal touch on a classic song made famous by their fathers, choosing songs that have a particular personal meaning for each of them. The result gives proof that sometimes musical genius runs in the family.

The album was originally released in 2007 by 180 Music, and was an exclusive US release, only available from Target stores. On June 1, 2010, it was re-released for more general availability by 429 Records.

A Song For My Father

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