Silky Denims

Thursday, February 5, 2015

Susie McLean - 'Til The Morning Comes

Size: 102,4 MB
Time: 43:54
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz Vocals, Soul Jazz, Folk Jazz
Art: Front

01. Shelter (4:30)
02. Sing Your Song (4:07)
03. 'til The Morning Comes (4:15)
04. Make You Feel My Love (4:03)
05. Straight From The Heart (4:08)
06. Giving Up (4:14)
07. Give Me One Reason (4:21)
08. Be Here Now (5:37)
09. Falling Down (4:32)
10. Winter Snow (4:03)

Susie McLean hails from Mississauga, Ontario, with an extensive musical background and unique style described as jazz/soul with folk undertones. Many industry professionals have described her style to resemble Norah Jones and Corinne Bailey Rae. She is not only an acclaimed singer, but also a model and actress who can be seen on TV shows and National commercial campaigns throughout the U.S, Canada and Europe.

For her debut album release in May 2012, Susie worked with Juno Award winning producer, Roy Oommen, Grammy Nominee musician Pat Kilbride, and the notable drummer Mark Kelso who has shared the stage with acclaimed artists: Michael Buble, David Foster and Shania Twain. The album includes three original songs: “Sing Your Song”, “Till the Morning Comes” and “Falling Down”, along with seven cover songs. ”I never choose a song that I can’t relate to in some way. My music will always reflect a piece of me”. The album was released in May 2012. “Putting this album together has been such an amazing journey! I‘ve discovered so much more about myself and the creative process of it all".

Personnel:
Susie McLean - Singer/Songwriter
Joy Brown - Keys
Bonneville Minott - Guitarist
Dave Campbell - Bass
Doug Jones - Drums

'Til The Morning Comes

Jakob Elvstrom Quartet - The Party Ain't Over Yet

Size: 115,3 MB
Time: 49:46
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz: Smooth Jazz, Funky Jazz
Art: Front

01. Quartet, Take Off (4:26)
02. The Yeah Yeah Song (4:47)
03. Mumbo-Jumbo (3:52)
04. The Party Ain't Over Yet (4:24)
05. Lumumba (3:48)
06. Professor Bob (5:20)
07. Hard Work (3:27)
08. Funky Train (4:10)
09. Downing Strut (5:04)
10. Get Funky (4:49)
11. Habanera (5:34)

Jakob Elvstrøm has played professionally for almost two decades, always focusing on the soulful and funky side of jazz and pop music. His new album certainly reflects this.
It was not necessary to persuade friends and fellow musicians to participate on this almost entirely self-penned record, many of them being the best in the country, touring among others with "Prince" and "Michael Learns To Rock".
Almost all of the music was played live in the studio, with lots of old keyboards, real horns and percussion giving the Cd a geuine vintage-flavour. Producer Morten Eriksen has edited and fine-tuned the live-playing with subtle synth-effects, a little drum-programming and soundscapes.
A lot of effort was put in the arrangements and sound of the songs, with Danish female star rapper Miss Mukupa and Danish/American professor Richard Raskin on spoken words, making things flow in the right direction.
The songs offer a wide variety of moods and styles, from the downtempo "Lost and not Found", the tasteful smooth jazz version of Shanice's major hit "I Love Your Smile" to the happy-go-lucky "Make It Flow". The music is held firmly together by the mesmerizing sound of Jakob Elvstrøm's saxophone and strong melodic sense.
Inspired and influenced by David Sanborn, Dave Koz and Candy Dulfer, "SaxClub vol.1" is a well-produced and very personal contribution to the funky smooth jazz scene of today.

The Party Ain't Over Yet

Deborah J. Carter, Frits Landesbergen & Michael Varekamp - Dear Louis: A Tribute To Louis Armstrong

Size: 134,1 MB
Time: 57:27
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Mainstream Jazz
Art: Front

01. Ain't Misbehavin' (3:43)
02. Struttin' With Some Barbecue (4:03)
03. Do You Know What It Means (5:27)
04. Our Love Is Here To Stay (3:39)
05. Big Butter And Egg Men (4:48)
06. Someday You'll Be Sorry (4:59)
07. Summertime (5:13)
08. Basin St. Blues (5:36)
09. When It's Sleepy Time Indiana (5:10)
10. What A Wonderfull World (5:02)
11. It Don't Mean A Thing (4:05)
12. St. James Infirmary (5:36)

This the cover of the CD 'Dear Louis', 'A tribute To Louis Armstrong', recorded in October 2000. This album was recorded with a great line up to honor Louis Armstrong and his music. Deborah J Carter sings songs like 'What A Wonderful World' as if she was there when the music came into the world. Michael Varekamp not only looks like Louis Armstrong...

Deborah (Joyce) Carter, vocalist, composer, arranger; b. El Paso, TX, 29 July 1956. She was raised in Oahu, Hawaii and Okinawa, Japan. Her parents are Catherine Carter (b. 21 September 1927), a piano teacher, and Alvin Lilton Carter (b. 11 November 1929). She attended the Berklee School of Music.

She tours with her own and has performed at many jazz festivals, seminars, jazz clubs, and radio- and TV-shows in European countries like the Netherlands (including the North Sea Jazz Festival), Germany, Belgium, England, Spain, Latvia, etc. During her years in Spain she collaborated on cd's with Max Sunyer, Carles Benavent and Salvador Niebla adding vocals to their typical brand of Mediterranean jazz.

Besides working with her own group, which performs her personal choice of contemporary jazz, Deborah is frequently invited as a guest artist with a number of established European jazz orchestras to sing the great jazz classics. Some of these are: the Timeless Orchestra, the HR (Frankfurt Radio) Big Band, Mike Mossman's Sedavi Big Band, The American Songbook Orchestra, the Ruud Bos Big Band, the Metropole Orchestra, the Berlin Jazz Orchestra and the Dutch Swing College Band. With the latter she did a theater tour featuring a "Duke Ellington Tribute" in 1999. In 2000 and 2001, she toured the Dutch theaters with Scott Hamilton, Michael Varekamp, Frits Landesbergen with a "Tribute to Louis Armstrong" show.

Dear Louis

Anna Webber - Simple

Size: 128,2 MB
Time: 55:25
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Avant-Garde
Art: Front

01. Carnophobia ( 9:55)
02. Emoticon ( 7:37)
03. 1994 (10:42)
04. Simplify Simplify ( 7:13)
05. Washington ( 7:31)
06. I Don't Want To Be Happy ( 4:58)
07. Zigzag ( 7:26)

Simple (Skirl 2014) , New York based composer/saxophonist Anna Webber's follow up to her 2013 release "Percussive Mechanics (Pirouet 2013) finds her exploring the expressive capabilities of a trio setting. While the compositional sensibilities introduced in her first album remain, her affinity for polyrhythms being a good example, the new texture provides her the ability to play with more freedom and subtle intricacy alongside her tight arrangements. Of course, her phenomenal bandmates contribute a lot in this respect.

Joining Webber on this outing are pianist Matt Mitchell, known as an in-demand sideman who has played with such luminaries as Dave Douglas and Dan Weiss, and renowned drummer John Hollenbeck, her teacher from her time at the Jazz Institut Berlin. Both collaborators are excellent musicians in their own right and their duo playing is a joy to listen to in itself. Add Webber's inimitable inventiveness and sense of melody and time to the mix and the result is something uniquely special.

The music for the album was written on Bowen Island in British Columbia, where Webber enjoyed the opportunity to isolate herself from the busy bustle of her home in Brooklyn and allow the music to develop organically. The peaceful seclusion is evident in many of the tracks, "Washington" being a beautiful instance of what such opportunities can lead to. The beautiful colors and textures were inspired by the far off mountains of Washington state; anyone familiar with the pacific northwest can hear the picturesque landscape being evoked. Likewise "1994" suggests a calm solitude with its subdued tempo and energy and its, at times, intense use of space. The alternation of dense and open voicings in the piano accompaniment suggest the beautiful struggle of removing oneself from contemporary life, as does Webber's sometimes lyrical, sometimes dissonant melodies.

Conversely, Webber's distinctively percussive and rhythmic compositional and playing style are very much evident throughout the album. A highlight among these compositions is "I Don't Want To Be Happy." With a driving, complex rhythm at the outset leading into a much freer section with wonderful interplay, this song is less obviously connected to the quietude of an island in the pacific ocean. Yet the reality of living with oneself, and only oneself, is not always as charming as a quaint island overlooking a beautiful ocean view. "Simplify, Simplify" is far from simple; the incessant rhythm suggests the ever present struggle of being honest with oneself in such a situation. Aside from these philosophical considerations, these songs groove and have compelling melodies, rhythms and forms.

Fans of avant-garde jazz, small group interplay and unique and driving compositions will all find something to love on this record. The group featured on the album will be performing at ShapeShifter Lab in Brooklyn, NY on Thursday, September 25. ~Paul Naser

Personnel: Anna Webber: Saxophone/Flute; Matt Mitchell: Piano; John Hollenbeck: Drums

Simple

Irit Dekel & Eldad Zitrin - Last Of Songs

Size: 136,5 MB
Time: 58:18
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop/Folk Fusion
Art: Front

01. Bye Bye Love (8:10)
02. No More Blues (4:48)
03. Your My Thrill (4:44)
04. Get Happy (6:37)
05. Blues In The Night (4:27)
06. You Don't Know What Love Is (4:14)
07. Guess Who I Saw Today My Dear (3:12)
08. Willow Weep For Me (4:44)
09. The Rose (5:27)
10. Good Morning Heartache (5:42)
11. Skylark (4:46)
12. More Than You Know (1:22)

Last Of Songs – by Irit Dekel & Eldad Zitrin offer a unique and enchanting collage of jazz, contemporary folk and traditional vocal pop managing to weave arrangements that recall grandiose early 20th century compositions with modern recording techniques. Their debut self-titled LP is the kind of album that is filled to the brim with elegant melodies that remain with you long after they have been heard. Imagine seminal jazz legend Billie Holiday jamming with French maestros AIR.

It wasn’t that long ago that singer/actress Irit Dekel was seeking out an ideal collaborator who she could truly trust with the left field compositions she had been assembling for several years. Eldad Zitrin on the other hand was a jazz purist for much of his formative years before splintering off and immersing himself in a variety of rock and pop production duties at the time.

What begun as the quintessential artist/producer relationship swiftly evolved into an unexpected and wonderful musical marriage built on an unequivocal mutual admiration. This complete faith in each other’s ability meant Eldad Zitrin had total creative freedom in his process and was able to inject those same harmonies that had once been such a big part of his life into these new compositions.

Ever a consummate professional, It wasn’t long before they were both equally invested in the project and this personal and deeply spiritual material was given a heartbeat of it’s own. ‘Last Of Songs’ symbolizes these scraps of songs and long harboured melodies deconstructed and re-imagined with a luscious new vision.

No two Last Of Songs performances are alike, their tracks take on a whole new meaning live with the duo opting for different orchestral formats depending on the venue and occasion. They’ve been known to perform as an intimate 6 piece, as a string infused 10 piece and have also played legendary shows with a 30+ piece Andalusian Orchestra. The result is layer upon layer of haunting arpeggios and alluring orchestral lines acting as a wonderfully atmospheric backdrop for Irit’s sultry vocals to display their full range of emotions. Having been featured in the Tel Aviv Jazz Festival & Eilat Jazz Festival in 2013 & 14; Last Of Songs is now building momentum for an international debut- presenting at festivals world wide this Summer & Autumn 2014.

Last Of Songs

Hank Crawford - Mr. Blues

Bitrate: MP3@320K/s
Time: 32:33
Size: 74.5 MB
Styles: Saxophone jazz
Year: 1967/2005
Art: Front

[3:48] 1. Mr. Blues
[3:03] 2. On A Clear Day (You Can See Forever)
[3:25] 3. Hush Puppies
[3:28] 4. Danger Zone
[3:03] 5. Route 66
[4:12] 6. Lonely Avenue
[4:11] 7. Teardrops
[3:44] 8. Smoky City
[3:37] 9. The Turfer

JOHN HUNT, FIELDER FLOYD, trumpet; HANK CRAWFORD, alto sax; WENDELL HARRISON, tenor sax; LONNIE SHAW. baritone sax; CHARLES GREEN, bass; MILT TURNER, drums.

Hank Crawford was an alto sax sensation since he stepped out of the Ray Charles band back in 1963. A signature piercing, full bodied, blues, soul, and gospel drenched tone, sets him apart from the alto pack. He has an instantly recognizable voice, and his excellent choice of material suits his style perfectly. He is a bluesman turned preacher on the sax, and the sermon is always on time.

Bennie Ross Crawford Jr. was born in Memphis, Tennessee on December 21, 1934, began formal piano studies at age nine and was soon playing for his church choir. His father had brought an alto saxophone home from the service and when Hank entered high school, he took it up in order to join the band. He credits Charlie Parker, Louis Jordan, Earl Bostic and Johnny Hodges as early influences.

Mr. Blues

Diane Hubka - Haven't We Met

Bitrate: MP3@320K/s
Time: 55:39
Size: 127.4 MB
Styles: Post bop, Contemporary jazz
Year: 2004
Art: Front

[4:34] 1. Don't You Know Me
[3:28] 2. It's Your Dance
[5:14] 3. Lazy Afternoon
[5:07] 4. Haven't We Met
[4:50] 5. Miss Harper Goes Bizarre
[6:59] 6. Detour Ahead
[3:50] 7. My Kind Of Love
[4:55] 8. Favela
[4:06] 9. Everybody Wants To Be A Cat
[3:34] 10. Thinking Of You
[4:00] 11. Alone Together
[4:59] 12. New Cliches

Neither an innovator nor a clone of anyone, Diane Hubka combines an enthusiasm for the singers of jazz's Cool School (especially Chris Connor and June Christy) with traces of Annie Ross and Sheila Jordan on the tasteful Haven't We Met?. But while Jordan can be aggressive at times, Hubka is a vocalist who thrives on restraint. Not a belter, the Maryland native swings in a relaxed, subtle fashion on tasteful, good-natured interpretations of material ranging from "Alone Together" and "Lazy Afternoon" (which is especially Connor-minded) to Antonio Carlos Jobim's "Favela." To her credit, Hubka doesn't limit her repertoire to obvious choices. "Everybody Wants to Be a Cat" hardly falls into the warhorse category, and Johnny Carisi's "Israel" (for which she embraces lyrics by Ray Passman) hasn't been done to death by singers. Joined by alto saxman Lee Konitz (a logical choice given his Cool School membership), pianist Frank Kimbrough, guitarist John Hart, bassist Harvie Swartz and drummer Ron Vincent, Hubka makes Haven't We Met? a CD that, although not groundbreaking or fantastic, is generally pleasant and honest. ~Alex Henderson

Haven't We Met

The Bone Supremacy - Introducing The Bone Supremacy

Bitrate: MP3@320K/s
Time: 64:12
Size: 147.0 MB
Styles: Trombone jazz
Year: 2010
Art: Front

[3:35] 1. King Porter Stomp
[3:14] 2. Roy's Blues
[5:47] 3. The End Of A Love Affair (Feat. Ian Bateman)
[2:59] 4. That's How I Feel About You
[3:49] 5. Theme From The Pink Panther (Feat. Alistair White)
[4:34] 6. Walkin'
[5:10] 7. No More (Feat. Mark Nightingale)
[6:08] 8. Delta City Blues (Feat. Mark Nightingale & Ian Bateman)
[6:19] 9. Stardust (Feat. Adrian Fry)
[3:05] 10. Cute (Feat. Pete Cater)
[5:28] 11. Ladyless And Lachrymose (Feat. Roy Williams)
[2:43] 12. Whistle While You Work
[3:13] 13. Maxine
[1:36] 14. Not Like This
[4:13] 15. Drop Me Off In Harlem
[2:14] 16. Home

The trombone has become something of a rarity in jazz today, but this band could well revive its fortunes. Seven trombonists all told - four in the band, plus three guests - demonstrate how marvellous the instrument can sound in talented hands. You'd scarcely believe the variety of style, sound and texture revealed here. The material ranges from Michael Brecker's "Delta City Blues", featuring some impossibly agile playing, to the Pink Panther theme, ending in a concerted downhill slide. No room to list all the names - but they're the cream, from several generations.

Introducing The Bone Supremacy

Molly Johnson - Another Day

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 49:31
Size: 113,9 MB
Art: Front

(4:22) 1. Summertime
(6:12) 2. I Must Have Left My Heart
(3:45) 3. Melody
(5:42) 4. Sweet Subline
(3:39) 5. He's Got My Heart
(3:44) 6. Miss Celie's Blues (Sister)
(2:57) 7. Red Cardinal
(2:47) 8. Sleep In Late
(5:52) 9. Haunted
(3:10) 10. Another Day
(3:55) 11. Ooh Child/Redemption Song
(3:22) 12. Another Day (Radio Mix)

Jazz singer Molly Johnson has done time in both pop and art rock bands and has served as an opening act for such blues and R&B superstars as Ray Charles and B.B. King, so the stylistic range in evidence on her first album for Narada Jazz doesn't come as much of a surprise. She jumps from bracing and jazz-inflected pop/rock (the radio remix of "Another Day") to a piano-based reggae/R&B hybrid ("Ooh Child/Redemption Song") without missing a beat, and slinks her way through torchy blues numbers with equal facility. On the downside, "Celie's Blues" sounds just as anachronistic and politically forced in this version as it did popping up out of nowhere in the middle of The Color Purple, and the fact that Johnson's delivery comes across as little more than a Billie Holiday impression just makes things worse.

On the other hand, her version of "Summertime," which was an inevitable song choice given her vocal style, is given new life by the minimalist arrangement of voice, bass, and percussion, and "Red Cardinal" has a fun, jumpy Tin Pan Alley feel. Overall, this album can be confidently recommended to adventurous lovers of vocal jazz. ~ Rick Anderson http://www.allmusic.com/album/another-day-mw0000030649

Personnel: Molly Johnson (vocals); Colleen Allen (saxophone, flute, clarinet, accordion); Andrew Craig (piano, keyboards, background vocals); Mark McLean (drums, percussion).

Another Day

Monty Alexander, Ray Brown, Herb Ellis - Straight Ahead CD 1 And CD 2

Styles: Guitar and Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 40:10 (CD 1)
Size: 97,0 MB (CD 1)
Time: 44:28 (CD 2)
Size: 105,1 MB (CD 2)
Art: Front

CD 1

(4:11) 1. I'm Afraid the Masquerade is Over
(3:57) 2. You Call it Madness, I Call it Love
(5:18) 3. Blues for Junior
(5:22) 4. Sweet Georgia Brown
(2:41) 5. I Want to Be Happy
(6:02) 6. Put Your Little Foot Right Out
(3:13) 7. Captain Bill
(5:19) 8. To Each His Own
(4:05) 9. Sister Sadie

CD 2

(9:37) 1. But Not For Me
(6:00) 2. A Time For Love
(6:17) 3. Orange In Pain
(6:14) 4. F.S.R.
(7:42) 5. For All We Know
(8:34) 6. C. C. Rider

While Concord continues to release excellent mainstream jazz albums, the label also has an extraordinary back catalog from the '70s and the '80s. Straight Ahead packages two albums Trio (1981) and Overseas Special(1984) by pianist Monty Alexander, guitarist Herb Ellis, and bassist Ray Brown. The first disc captures the happy meeting of musical minds as the participants explore nine bubbly tunes. While the band can certainly cook on a piece like "I Want to Be Happy," the drummer-less trio brings a lighter touch to classics like "Sweet Georgia Brown."

The four-to-five minute length of most of these songs leaves room for extended solos while retaining the taut, intimate feel of good trio work. The live Overseas Special was recorded almost two years later at the Satin Doll Club in Tokyo, and makes a fine companion to the earlier album. Here, the fellows stretch the songs a bit, offering a nine-minute version of "But Not for Me" and eight-minute take of "C.C. Rider." Also notable are two originals, Ellis' swinging "Orange in Pain" and Brown's bouncy "F.S.R." Both albums have plenty to offer to fans of any of the participants, and Straight Ahead is an apt title for the fine music Alexander, Brown, and Ellis make together. ~ Ronnie D.Lankford,Jr. http://www.allmusic.com/album/straight-ahead-mw0000019266

Personnel: Monty Alexander (piano); Herb Ellis (guitar); Ray Brown (bass).

Straight Ahead CD 1

Straight Ahead CD 2

Joe Pass - For Django

Styles: Bop, Guitar Jazz
Year: 1964
File: MP3@320K/s
Time: 32:28
Size: 74,8 MB
Art: Front + Back

(3:23) 1. Django
(3:08) 2. Rosetta
(2:34) 3. Nuages
(2:54) 4. For Django
(3:46) 5. Night and Day
(2:57) 6. Fleur D'ennui
(3:14) 7. Insensiblement
(4:26) 8. Cavalerie
(3:49) 9. Django's Castle
(2:13) 10. Limehouse Blues

Long considered a classic, guitarist Joe Pass' fourth date as a leader finds him performing music that was composed by Django Reinhardt, was part of his repertoire, or is one of two more recent tributes (John Lewis' "Django" and Pass' "For Django").

Pass is joined by the rhythm guitar of John Pisano, bassist Jim Hughart, and drummer Colin Bailey; the quartet would reunite in the 1980s. Although Pass was actually more strongly influenced by Charlie Christian than by Reinhardt and he had already formed his own style, he has no difficulty fitting into the music. Highlights include "Rosetta," "Nuages," and "Limehouse Blues." ~ Scott Yanow http://www.allmusic.com/album/for-django-mw0000048149

Personnel: Joe Pass, John Pisano (guitar); Jimmy Hughart (bass); Colin Bailey (drums).

For Django

Wednesday, February 4, 2015

Marco Guidolotti Quartet - 'S Wonderful

Size: 101,1 MB
Time: 40:54
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. Reunion (2:55)
02. 'S Wonderful (4:13)
03. G & C (3:56)
04. Four For Three (3:43)
05. Orazio (2:56)
06. Tea For Two (3:48)
07. Night Lights (5:13)
08. Say Yes, Say No (5:54)
09. Nothing Like This (4:03)
10. Bernie's Tune (4:09)

Marco Guidolotti, excellent saxophonist, won the international competition Massimo Urbani in 2010, he’s a very active soloist in RAI, Mediaset and Sky. Here, he pays a tribute to the great music of Gerry Mulligan and especially to the quartet with the trumpeter Chet Baker. Golden years for Jazz music of the West Coast. An album full of joy and swing, that mix unreleased songs by Guidolotti and famous songs of the legendary Gerry Mulligan.

'S Wonderful

Tina May - My Kinda Love

Size: 139,7 MB
Time: 60:28
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. My Kinda Love (2:48)
02. Lazy Afternoon (5:13)
03. S'posin' (5:08)
04. Where Were You In April (5:14)
05. I Wish I Knew (4:53)
06. Si Tu Partais (6:31)
07. A Sunday Kind Of Love (6:17)
08. An Occasional Man (3:23)
09. Haunted Heart (5:18)
10. You Came A Long Way From St Louis (4:41)
11. Manhattan In The Rain (5:26)
12. I'm Through With Love (5:31)

Personnel: Tina May (vocals); Frank Griffith (tenor saxophone, clarinet); Duncan Lamont (tenor saxophone); Sammy Mayne (alto saxophone); Freddie Gavita, Janusz Carmello (trumpet, flugel horn); Nicol Thompson (trombone); Ian Laws (guitar); John Pearce (piano); Dave Green (bass); Winston Clifford (drums, vocals); Bowfiddle String Quartet

This latest release from Tina May should not be regarded so much as a follow up to the excellent Divas (also on Hep Jazz), but more a companion album. In retaining the services of Frank Griffith as arranger, as well as his instrumental prowess on both tenor and clarinet; Tina has also drafted in the arranging talents and saxophone playing of Duncan Lamont on two of his own compositions that bring another welcome highlight in a set that is brim full of such delights.

With a remit to visit some lesser known standards, Tina has brought her fresh an individual approach to the material, with a delivery that brings out the all the inherent qualities in the chosen material. The opening title track swings along with controlled gusto, as does Paul Denniker’s solitary success, ‘S’posin’ with a fine scatting duet between Tina and drummer, Winston Clifford. Another seldom heard song, a I must admit new to me, is ‘An Occasional Man’ that was featured in the 1955 film ‘Girl Rush’ that May delivers with no little wit. Trumpeter Freddie Gravita, Sammy Mayne on alto and the Spanish guitar of Ian Law make the most of Frank Griffith’s gentle calypso in their solos.

In Duncan Lamont’s ‘Manhattan In The Rain’ and ‘Where Were You In April’ we have two more superb songs that are in danger of being overlooked, and yet again contribute to the sheer quality of this disc notwithstanding Lamont’s stunning tenor solo on ‘April’.

In a captivating ‘Lazy Afternoon’, Tina chooses to revisit a tune that she first recorded on her debut album Never let Me Go back in 1991 in the company of Dave Newton, Clark Tracey, the incomparable Don Weller, and if memory serves Dave Green on bass, who contributes so magnificently to this recording. If that was the choice cut from the debut release, the intervening years have brought a maturity and sensitivity to May’s performance that again makes her interpretation a stand out track.

My Kinda Love quite rightly casts Tina May as one of the UKs premier vocalists, and for those that purchased Divas will wish to add this to their collection. If you have yet to acquire either of these two fine releases, as the cliché goes, prepare to want both. ~Reviewed by Nick Lea

My Kinda Love

Jakob Elvstrom - Play It Back: The Funky Sessions Vol. 1

Size: 125,7 MB
Time: 54:55
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Smooth Jazz
Art: Front

01. Go, Go, Go Feat. Lou Donaldson (4:47)
02. Pay The Bill Feat. Veronica Mortensen (4:49)
03. Black Bossa Feat. Per Gade (5:07)
04. System Failure Feat. Lasse Storgaard (4:34)
05. Downing Strut Feat. Kjeld Lauritsen (5:04)
06. Flipside Feat. Lasse Storgaard (4:01)
07. Raw Fruit Feat. Lars Daugaard (4:31)
08. Good Going Feat. Steen N. Hansen (4:25)
09. The Meat Pie Recipe Feat. Per Gade (5:09)
10. Beat Me Up Feat. Steen N. Hansen (4:07)
11. Boomtown Feat. Kjeld Lauritsen (4:18)
12. Cherokee Thunder (3:57)

Play It Back

Sarah Weller Band - Stormy

Size: 136,8 MB
Time: 59:00
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Label: Daisy Dog Productions
Art: Front

01. Stormy (5:35)
02. A Slow Hot Wind (6:02)
03. Meditation (4:52)
04. Sugar (4:23)
05. Little B's Poem (4:05)
06. Love Dance (4:37)
07. Get Thee Behind Me Satan (4:58)
08. All I Can Do (3:49)
09. Hushabye Mountain (3:44)
10. In A Sentimental Mood (3:09)
11. Stormy (Nicola Conte 'Black Spirits' Remix) (7:11)
12. Stormy ('Old Skool' Remix By Mr Mundy) (6:28)

Line-up:
Sarah Weller – vocals
Simon Golding – guitar
Arthur Lea – piano
Jules Jackson – bass
Simon Pearson – drums

The Sarah Weller Band is a new vocal-led jazz quintet combining swing, samba, bossa and fusion. 2nd March sees the release of “Stormy”, a collection of ten tracks performed by Perrier Jazz finalist Sarah Weller. The tracks are arranged by the exceptionally talented Simon Golding, and his soulful guitar can be heard throughout the album. The Brazilian influence is heard on Ivan Lin’s ‘Love Dance’, arranged by New Zealand pianist Duncan Haynes and the title track ‘Stormy’ that Sarah first heard sung by Flora Purim. Top UK musicians Ross Stanley, Jules Jackson, Arthur Lea and Simon Pearson collaborate to produce the joyful, life affirming, atmospheric and sometimes melancholic sounds. The timing of this release will suit the long winter evenings and springtime gigs that are already planned.

While Sarah’s choices are from well-known artists, they are anything but obvious. “From All I Can Do to Slow Hot Wind these are the songs that have shaped the way I listen and sing”. There is a freshness and a unity in the sound and the vocals are crisp and clear. The moody influence of the sea as seen on the artwork photographed by Carl Hyde is present throughout the album. “Sarah has the humble assurance befitting the experienced performer that she is.” (Paul Pace) There are two special remixes that take ‘Stormy’ to the dance floor: one by Italian boss nova king Nicola Conte and Quartz and Jazz Vandalls producer Paul Mundy. Sarah enjoyed success with Satoshi Tomiie remix of ‘Lover Man’ and on this occasion has scored another creative highpoint with these current remixes.

Stormy

Enrico Pieranunzi - Trasnoche / Wandering

Album: Trasnoche
Size: 105,0 MB
Time: 45:22
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz: Piano Jazz, Hard Bop
Art: Front

01. Trasnoche (5:20)
02. I Sospiri E Le Lacrime E 'l Desìo (5:16)
03. Islas (6:47)
04. A Second Thought (7:06)
05. Thiaki (5:07)
06. The Way Of Memories (3:29)
07. The Chant Of Time (5:21)
08. Narrations Du Large (4:24)
09. Clouds (2:28)

Italian pianist Enrico Pieranunzi and American acoustic bassist Marc Johnson continue their generally fruitful musical relationship on this quaintly fabricated dual outing. Johnson once again demonstrates his nearly flawless execution and silky-smooth intonations throughout this affable effort. The resonant sonic characteristics serve as an enhancer to the duo's brittle passages and softly rendered balladry, with the primary focus on the musicians' continuous flow of ideas. When viewed as a whole, Pieranunzi's compositions are perhaps a tad less memorable than what he has delivered on previous efforts, regardless of the size of his ensemble. But an air of romance still prevails here, as the musicians' emotive choruses and intertwining mosaics of sound provide the winning touch. These works shine forth as lucidly enacted mini-vignettes that go straight to the heart, mainly due to the performers' strong exchanges and noticeable camaraderie. ~Review by Glenn Astarita

Trasnoche

Album: Wandering
Size: 105,7 MB
Time: 42:29
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Piano Jazz, Hard Bop
Art: Front

01. Teensblues (3:20)
02. Wandering 1 (3:43)
03. Fermati A Guardare Il Giorno (4:48)
04. Improstinato 1 (1:22)
05. Wandering 2 (3:09)
06. Foor-Fee (3:09)
07. Improvisions 1 (2:40)
08. Rosa Del Mare (5:11)
09. Dark (1:48)
10. Wandering 3 (1:31)
11. Improvisions 2 (1:28)
12. Wandering 4 (1:51)
13. Improstinato 2 (2:40)
14. For My True Love (5:43)

Not only is Enrico Pieranunzi considered the best jazz composer and pianist in Europe, he is also regarded as an amazingly prolific artist. The ideas and the music never stop. Perhaps that creative restlessness is why he named his third release of 2009, Wandering. The recording is his 14th for the acclaimed Italian jazz label, CAM Jazz, which will release the new music in the United States on October 13, 2009 in digital form only.
Pieranunzi’s release of three recordings this year presents a unique opportunity to understand his diverse influences and distinctive voice in light of these very different discs. With Enrico Pieranunzi Plays Domenico Scarlatti , the fearless Roman took on an unprecedented challenge: improvising on the sonatas of the famous classical composer Domenico Scarlatti. He followed that with the ephemeral Dream Dance, the seventh album he’s recorded with his long-time American partners, bassist Marc Johnson and drummer Joey Baron.
Now with Wandering, he returns to solo form such as on Scarlatti, but returns to his own evocative compositions and mastery of his own personal process. As always, Pieranunzi plays elegantly and with such astute technical ability that it heightens the tension for the listener. He also captures the emotional undercurrents of the music expertly, stoking our imaginations.

Wandering

Mel Searle - Serenade In Blue

Size: 115,6 MB
Time: 49:54
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Cheek To Cheek (5:09)
02. Honeysuckle Rose (3:59)
03. The Sound Of Music (6:50)
04. Just Squeeze Me (4:17)
05. Serenade In Blue (5:49)
06. I Wish You Love (4:34)
07. Better Than Anything (3:46)
08. I Only Have Eyes For You (5:45)
09. Blue Skies (4:33)
10. My Favorite Things (5:08)

Although a relative newcomer to Melbourne's Jazz scene, Mel Searle is quickly making a name for herself as a gifted and distinctive jazz vocalist. With an innate talent for vocal improvisation and a exquisite vocal warmth and depth of tone, Mel's vocals are luminescent and empathetic...

Mel's passion for singing has developed over many years, stemming from being surrounded by music as a young child and learning classical piano. She grew up singing and playing in her church, which provided a perfect environment for honing her ability to connect with the heart of a song. She moved to Melbourne as a student to complete a degree in Music Teaching at Melbourne University, and it was from her many years of teaching that she discovered that the voice was a unique and exquisite instrument. Singing soon became her main focus. She spent time as the lead vocalist of funk bank Soul Intention and began to broaden her musical interests into soul, jazz and all genres of popular music, also recording with local Melbourne artists.

A versatile performer and musician, Mel Searle performs regularly around Melbourne in a myriad of settings including weddings, corporate functions, jazz clubs, community events & festivals and of course - at church! She was recently a regular at Crown Casino's Atrium Bar with her Jazz Duo. A talented Musical & Creative Director she has also directed many ensembles over the years, including varied choral groups, her church band and for the last 10 years - the Manningham Carols by Candlelight choir and ensemble, which attracts an annual audience of around 10,000 people. She is also a featured vocalist at this event.

In her spare time Mel is also a mum of 3 growing kids, wife of 1 gorgeous husband and part time domestic goddess!

Serenade In Blue

McCoy Tyner - Today And Tomorow

Bitrate: MP3@320K/s
Time: 38:30
Size: 88.2 MB
Styles: Post bop, Piano jazz
Year: 1963/2009
Art: Front

[ 8:24] 1. Contemporary Focus
[ 5:05] 2. A Night In Tunisia
[ 4:03] 3. T 'N' A Blues
[ 6:07] 4. Autumn Leaves
[10:08] 5. Three Flowers
[ 4:41] 6. When Sunny Gets Blue

McCoy Tyner's fourth studio album has a split personality, with three tracks featuring an intriguing sextet of all-stars, and the rest with his trusty trio, done eight months apart. Perhaps the tracks with bassist Jimmy Garrison and drummer Albert Heath were leftovers from a prior incomplete or aborted full session, but anything Tyner played in this period was precious. The larger ensemble recordings present trumpeter Thad Jones as ostensible co-leader, composer of one selection, and lead soloist. Tenor saxophonist John Gilmore and alto saxophonist Frank Strozier join forces with Thad Jones to make what some might deem an unlikely front-line triad, but effective enough considering their established individualism. Bassist Butch Warren and drummer Elvin Jones support the six-piece band, the first and only appearance for Warren with Tyner while the pianist was still with John Coltrane. The jewel in this collection is Tyner's "Three Flowers," a keeper that his big bands played prolifically later in life. Here the sextet hits the modal 3/4 beat with a thinner harmony under the lithe, soaring, enduring, and beautiful melody line. The Thad Jones contribution "T 'N A Blues" is an easy, basic, and short 12-bar chart with a phenomenal solo from Gilmore, while "Contemporary Focus" is a down-the-Nile signature sound for the controlled modal power Tyner wields, with Thad Jones belting out his bopping solo. The trio tracks are standards done with hints of other songs to begin with. Tyner fools you into thinking he's taking off on "Impressions" when it's actually "A Night in Tunisia"; "Autumn Leaves" has an improvised modal starting point that is quite spontaneous; and the chiming, wanton ballad "When Sunny Gets Blue" drips with all the pure emotion that Tyner can wring out of a weepy piano. Because of the dual nature of this recording, even devout fans of Tyner will find this CD somewhat incomplete, especially considering that this reissue has no alternate or bonus tracks. Nonetheless, the musicianship is so strong that it's hard to deny the high quality of what is presented here. ~Michael G. Nastos

Today And Tomorow

Tivolis Big Band - Live

Bitrate: MP3@320K/s
Time: 64:10
Size: 146.9 MB
Styles: Big band
Year: 2006
Art: Front

[3:40] 1. Skyliner
[5:53] 2. Night In Tunesia
[2:51] 3. But Beautiful
[6:13] 4. In A Mellow Tone
[3:54] 5. Nobody Else But Me
[3:56] 6. Karl Bertil Johnssons Julafton
[5:18] 7. Stockholm Sweetin'
[5:54] 8. Blues Bells
[3:52] 9. Smoke Gets In Your Eyes
[5:44] 10. Stompin' At The Savoy
[4:03] 11. Black And Blue
[3:00] 12. Meetin' Time
[4:42] 13. Laura
[5:02] 14. Down By The Riverside

Der Vergnügungspark Tivoli im Herzen von Dänemarks liebenswerter Hauptstadt Kopenhagen ist seit seiner Gründung 1843 durch Georg Carstensen ein Magnet für Jung und Alt. Achterbahnen, das Riesenrad mit dem unvergleichlichen Ausblick über die Dächer der Millionenstadt, der Chinesische Turm, der Orientalische Palast und das berühmte Pantomimentheater mit den Figuren der Commedia dell´arte sind neben den attraktiven Restaurants nur einige der Attraktionen. So wie die traditionellen "Røde pølser" gehört auch der Jazz zum unveräußerlichen Kulturgut an diesem wunderbaren Ort. ~Frank Becker

Live

Bobby Short - Sing Me A Swing Song

Bitrate: MP3@320K/s
Time: 37:02
Size: 84.8 MB
Styles: Vocal
Year: 1958/2010
Art: Front

[2:49] 1. It's Bad For Me
[2:32] 2. How Can You Forget
[2:41] 3. From Now On
[3:25] 4. Some Fine Day
[2:13] 5. I'm Checkin' Out, Goombye
[2:55] 6. I Got What It Takes
[1:19] 7. For No Rhyme Or Reason
[2:29] 8. Ebony Rhapsody
[2:09] 9. Ace In The Hole
[2:52] 10. Lydia
[2:09] 11. Don't Let It Get You Down
[2:51] 12. Montevideo
[3:08] 13. Rocks In My Bed
[3:24] 14. Wake Up, Chillun, Wake Up

After three albums of piano trio music with only the occasional added instrument, Bobby Short was given a somewhat expanded budget for Sing Me a Swing Song by Atlantic Records. The label paid for a six- or seven-piece horn section, along with a four-piece rhythm section, for two-thirds of the tracks. That still wasn't a big band by swing era standards, but it made the album the most musically varied of Short's career so far. Phil Moore's arrangements didn't make extensive use of the extra musicians, restricting them mainly to background color, but the fuller sound allowed Short to step back a bit as a vocalist. On earlier recordings, he often sounded like he was still in a club trying to bellow over noisy diners, but here he often sang more smoothly. The selection of material also added to the set's diversity. There was the usual complement of Cole Porter titles, but also the bluesy Duke Ellington songs "I'm Checking Out, Goombye" and "Rocks in My Bed," and the Marx Brothers novelty "Lydia." As usual, Short sold the lyrics unabashedly, but instead of competing with the horns, he worked with them well, especially on Porter's "For No Reason or Rhyme," which really made use of them for expressive purposes. It was enough to make you wonder what Short might accomplish with strings. ~William Ruhlmann

Sing Me A Swing Song