Silky Denims

Friday, February 6, 2015

Susan Comstock Swingtet - Fly Right

Size: 108,9 MB
Time: 46:20
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz/Blues Vocals
Art: Front

01. Comes Love (3:00)
02. Do You Know What It Means To Miss New Orleans (2:42)
03. Lean Baby (3:07)
04. Angel Eyes (4:42)
05. All Of Me (3:10)
06. Sway (4:10)
07. La Vie En Rose (3:13)
08. Straighten Up And Fly Right (2:34)
09. Fine And Mellow (5:05)
10. Frim Fram Sauce (3:17)
11. Hit That Jive, Jack (3:22)
12. Manha De Carnaval (4:53)
13. Flying Home (2:58)

The Susan Comstock Swingtet was formed in 2003 around its members’ collective love for the late 1940’s classic pre-bebop jazz and blues styles. It is the quintessential jazz, blues, jump, jive and swing combo. Comprised of four consummate musicians who draw from rich and eclectic backgrounds in the arts, the Susan Comstock Swingtet synthesizes a broad range of musical styles. It explores classic vocal jazz, blues, swing and Latin styles in a fresh innovative way. Whether finessing a jazz ballad, belting out a blues standard or caressing the sultry lyrics of songs in multiple languages, Susan is a solid sender who always connects deeply on a visceral level with herself, her band, and her audience. Susan’s vibrant jazz fiddle compliments her strong, expressive voice. Collaborating with Susan on vocals and guitar is John Knutson. Other band members include Dalton Dillingham, III on bass and Paul Distel on drums.

"Susan Comstock is a marvelously talented musical artist whose expressive voice and beautiful presence is matched only by her talent as a violinist. As the star of the Susan Comstock Swingtet, she weaves a seamless collaboration with master guitarist John Knutson to offer the finest renditions of jazz and swing standards and songs of love. This is an ensemble not to be missed!" Joan Marler - French Garden Restuarant and Bistro Bar, Sebastopol, CA

Fly Right

Jimmy McGriff, Lucky Thompson, George Freeman, O'Donel Levy - Friday The 13th At The Cook County Jail

Size: 93,4 MB
Time: 40:19
File: MP3 @ 320K/s
Released: 1972/1997
Styles: Soul/Blues Jazz
Art: Front

01. Freedom Suite (Part 1) ( 8:37)
02. Freedom Suite (Part 2) (15:45)
03. Green Dolphin Street ( 5:49)
04. Everything Happens To Me ( 5:39)
05. Cherokee ( 4:27)

This album contains two separate sets that were both performed before inmates at the Cook County Jail one day in 1972. Organist Jimmy McGriff and his quintet (with guitarists George Freeman and O'Donell Levy, bassist Mickey Bass and drummer Marion Booker, Jr.) performs his lengthy two-part "Freedom Suite," generating a great deal of heat. Lucky Thompson, mostly on soprano, jams on three standards with keyboardist Cedar Walton, bassist Sam Jones and drummer Louis Hayes. Thompson's hot playing (particularly on "Cherokee") makes this album worth searching for. ~Review by Scott Yanow

Friday The 13th

Mari Koga - Perfect Blue

Size: 100,9 MB
Time: 43:39
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Afro-Latin Jazz
Art: Front

01. Invitation (5:24)
02. Azul (5:53)
03. Lluvia De Lagrimas (6:00)
04. You & I (4:45)
05. You Don't Know What Love Is (5:14)
06. I Got Rhythm (4:48)
07. The Moon On The Water (6:07)
08. Volver (5:24)

A Japanese born New Yorker, Mari Koga, has been singing professionally since her early 20’s. Early on, she won first prize at the 10th Annual Jetstream Young Vocalist contest. She was soon very much in demand as a young Jazz singer in Japan.

Mari moved to New York City to immerse herself in the New York jazz scene and started performing regularly at many popular venues in NYC. Eventually she reached the stages of New York’s prestige jazz clubs such as the Blue Note, Jazz at Kitano, Zinc Bar, etc. She also appeared as a re-imported singer at Tokyo’s top jazz venues such as Body & Soul and DUG.

Mari has also performed in commercial films with clients such as the American Plastic Council and Marriot Hotels.

In the summer of 2010, she formed the Afro-Latin influenced jazz band “Afronaughtica”, with her long time best friend and pianist, Chiemi Nakai as co-leader. The band debuted to a packed audience at the Creole as part of its Afro-Cuban jazz series in July 2010. They’ve also played at Zinc bar, Tutuma Social Club and many other music events. They had a successful tour performing in five major cities in Japan.

Afronaughtica was nominated as the Best Next Generation Artist and Mari was nominated as the Best Latin Jazz Vocalist at the Latin Corner, the popular website of the Latin Jazz fan community.

Mari also performed as a back up singer for salsa star, Jimmy Bosch’s “La Orquesta de Jimmy Bosch” and appeared at various clubs and jazz festivals, including SOB’s and Savanna Music festival, etc.

Audiences have been delighted by her unique repertoire, which includes original songs and unusual arrangements of jazz standards with a touch of Afro-Latin, and by her throaty horn-like improvisational scatting style.

Perfect Blue

The New Orleans Swamp Donkeys Traditional Jass Band - Swamp Donkey

Size: 110,9 MB
Time: 47:31
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: New Orleans Jazz, Dixieland
Art: Front

01. Swamp Donkey (4:34)
02. Maple Leaf Rag (2:46)
03. Saint James Infirmary (6:43)
04. Buddy Bolden's Blues (4:01)
05. After You've Gone (3:47)
06. Charleston (3:20)
07. Careless Love (6:20)
08. Whispering (3:05)
09. Back Home Again In Arizona (2:47)
10. Royal Garden Blues (3:45)
11. B. D.'s (2:47)
12. Avalon (3:31)

The Swamp Donkeys are an extremely versatile group of young musicians who play traditional jass, blues, vaudeville, original music, modern jazz adaptations, and many other jazz and New Orleans-derived styles. They have beginnings and educations in the authentic, New Orleans, grassroots music scene, playing local festivals and second lines, then transitions into world-class music education programs, playing in concerts all over the globe. Their sound is enormously accessible with their frontmen, the Louis Armstrong-sounding, soulful and sweet James Williams, and the audience-wooing, banjo-strumming, song-writing extraordinaire Sam Friend. (Though James does plenty of audience-wooing himself!)

Swamp Donkey

Trudy Kerr - Contemplation: The Best Of Trudy Kerr

Size: 162,5 MB
Time: 69:41
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Glad To Be Unhappy (Feat. Mulgrew Miller & Geoff Gascoyne) (4:57)
02. Tea For Two (Feat. Derek Nash, Geoff Gascoyne & Sebastiaan De Krom) (4:04)
03. Poppies (Feat. Tom Cawley, Geoff Gascoyne & Matt Home) (4:38)
04. They Say It's Wonderful (Feat. Jan Lundgren, Geoff Gascoyne & Steve Brown) (4:41)
05. Go Away Little Boy (Feat. Nick Weldon, Andy Hamill & Mark Fletcher) (5:01)
06. Moment's Notice (Feat. Tom Cawley, Sam Burgess, Steve Brown & Alan Skidmore) (5:43)
07. Seconds (Feat. Geoff Gascoyne, Graham Blevins, Jim Mullen & Seb De Krom) (4:26)
08. Sweet Surprisee (Feat. Phil Peskett, Andy Hamill & Mark Fletcher) (5:11)
09. Makin Whoopee (Feat. Dick Pearce, Geoff Gascoyne & Seb De Krom) (4:58)
10. My Foolish Heart (Feat. Phil Peskett, Andy Hamill & Mark Fletcher) (6:16)
11. Save Me (Feat. Tom Cawley, Geoff Gascoyne, Matt Home & Ashley Slater) (4:38)
12. Two Kites (Feat. Jan Lundgren, Geoff Gascoyne & Steve Brown) (5:03)
13. Ruby My Dear (Feat. Tom Cawley) (2:52)
14. Happy Talk (Feat. Tom Cawley, Geoff Gascoyne & Seb De Krom) (2:54)
15. In A Sentimental Mood (Feat. Michael Garrick & Paul Moylan) (4:12)

Subtitled The Best Of Trudy Kerr, Contemplation is a retrospective of the singer's career through selections from her ten album discography.

Contemplation takes in Kerr's career from Blossom Dearie's "Sweet Surprise"—a track from her debut album (Sweet Surprise, Jazzizit Records, 1997)—through to "Poppies," from The Rhythm of Life: Ted And Gladys (Jazzizit Records, 2013), credited jointly to Kerr and her husband and bassist Geoff Gascoyne.

Across these songs Kerr is acompanied by some of the finest musicians in the UK, including Gascoyne, drummers Sebastian De Krom and Matt Home and pianist Tom Cawley. Kerr draws on a wide range of writers, from the pop stylings of Bacharach and David ("Seconds") and Gerry Goffin and Carole King ("Go Away Little Boy") to Duke Ellington ("In A Sentimental Mood," with Michael Garrick on piano) and John Coltrane ("Moment's Notice," lyrics by Kerr).

The range of writers is matched by Kerr's breadth of approaches to performance. "Tea For Two" is an up-tempo, Anita O'Day-style take on the old standard with backing from Gascoyne, De Krom and baritone saxophonist Derek Nash. "Makin' Whoopee" is a sultry, slow burn, number featuring trumpeter Dick Pearce. Kerr's moving performance of "My Foolish Heart" tears at the heartstrings, while her take on Antonio Carlos Jobim's "Two Kites" mixes bossa nova groove with the romance of the Juno String Quartet. There are also a couple of Kerr/Gascoyne originals: "Poppies" and "Save Me." Both are gentle love songs, the latter given a bit of extra edge by Ashley Slater's trombone solo.

Two of the gentler performances stand out for the beauty of both Kerr's vocals and the musical accompaniment. She gives "Happy Talk" a much more reflective arrangement than it usually gets: no forced jollity, more an acknowledgement that life isn't always like you might wish. Cawley, Gascoyne and De Krom pick up on and heighten this feeling. For the Rogers and Hart classic "Glad To Be Unhappy" she's joined by the trio of Gascoyne, De Krom and guest pianist Mulgrew Miller. The pianist fits right in, as though he's been accompanying Kerr for years.

Compilation albums can often create debate and even dissent, mostly about what's not included—for example, there's nothing here from the excellent Reunion (Jazzizit, 2010), Kerr's album with fellow vocalist Ingrid James. Such an absence is an indication of the quality of Kerr's discography: there's much to celebrate about a compilation like Contemplation that doesn't have room for every song deserving of inclusion. ~Bruce Lindsay

Personnel: Trudy Kerr: vocals; Tom Cawley: piano; Geoff Gascoyne: bass; Steve Brown: drums; Sebastiaan De Krom: drums; Matt Home: drums; Dick Pearce: trumpet (9); Derek Nash: baritone saxophone (2); Ashley Slater: trombone (11); Jim Mullen: guitar (7); Mulgrew Miller: piano (1); Jan Lundgren: piano (4); Michael Garrick: piano (15); Juno String Quartet: strings (4, 12).

Contemplation

Chris Gall - Piano Solo

Size: 136,1 MB
Time: 58:11
File: MP3 @ 320K/s
Released: 2015
Styles: Piano Jazz/Pop
Art: Front

01. My Waltz (3:01)
02. Yorke's Guitar (3:59)
03. Augmented (2:42)
04. Empty, Pale Blue Paper (7:13)
05. Straying (4:26)
06. Boedo, Cuarto Dia (2:04)
07. Rose (3:47)
08. The Story Of Mr & Mrs Ease (4:12)
09. The Little Sheperd (3:18)
10. Children's Daydream (2:28)
11. A Roundabout's Diary (3:16)
12. Moran (3:20)
13. Reminiscence (3:23)
14. Forro (5:01)
15. La Valse D'amelie (5:55)

Born in 1975 in Bad Aibling, Germany, Chris Gall is an up and coming pianist who has been gaining recognition in the international music scene. His playing crosses the borders of jazz and jumps into the vast field of contemporary world and pop music. After years of training as a classical pianist, he was awarded with several scholarships and studied at the renowned Berklee College of Music in Boston, USA. He finished his jazz studies there in 1998. Chris Gall was a permanent member of some promising international bands, including East Indian fusion band “Taalism” feat. Shakir Khan (sitar) and Kai Eckhardt (bass) or brazilian based “Giana Viscardi Group” with whom Chris Gall made his debut at the famous Montreux Jazz Festival. He has also performed with such important artists such as the New York Voices (Grammy Award Winner), Chico Cesar, Nils Landgren, Dusko Goykovic, and De-Phazz vocalist Karl Frierson etc. Chris Gall has released with his „Chris Gall Trio featuring Enik“ the two albums “Climbing Up” (2008) and follower „Hello Stranger“ (2010) on renowned jazz label ACT containing only original music. Since then he performed with his trio in great festivals such as Montreux Jazz Festival (2009), Stuttgarter Jazz Open (2010), Jazz Baltica (2011) and the Vienna Concert Hall (2012).

Piano Solo

Kenny Burrell - Stormy Monday Blues

Bitrate: MP3@320K/s
Time: 69:21
Size: 158.8 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[ 5:35] 1. Stormy Monday Blues
[ 6:55] 2. Azure Te (Paris Blues)
[ 5:42] 3. One For My Baby (And One More For The Road)
[ 5:57] 4. (I'm Afraid) The Masquerade Is Over
[ 1:54] 5. Why Did I Choose You
[ 9:44] 6. I Got It Bad (And That Ain't Good)
[ 7:38] 7. Three Thousand Miles Back Home
[10:13] 8. Kim-Den Strut
[ 8:17] 9. Habiba
[ 7:21] 10. Quiet Lady

Over the years Kenny Burrell has largely remained true to his roots. Ranked among the most revered jazz artists of his generation he’s waxed a wealth of sessions both as leader and sideman that approaches the countless. The two dates combined on this two-fer visit him in the lean years of the Seventies and suggest that even a bop disciple of Burrell’s relative purity was susceptible to encroaching trends and influences.

Stormy Monday, the first in the pair of records reissued herein, hearkens back to Burrell’s Blue Note days with only Heard’s amplified bass tipping off its later vintage. The crisp cerulean single note lines remain intact and Burrell’s emotive blues-based figures make routine forays around the melodic signposts of the standards on hand. Wyand’s sensitive comping and the light traps reinforcement of McBrowne (and Goldberg on a pair of cuts) completes the portrait of jazz men in their element spinning off riffs like smoke rings from a leisurely lit cigarette. There’s not much room for chance-taking in the arrangements, but the players seem at ease with cultivating a mood than testing the boundaries of their adopted repertoire. Burrell recognizes the date as an ensemble affair and as such his sidemen garner substantial solo space as well. Heard’s corpulent walking improvisation on “Azure Te” is but one instance where the leader’s faith is repaid. Burrell’s Ellington appreciation, which was to become even more pronounced in later recordings, is accorded space in the choice of a lengthy take on “I Got It Bad” as a closer.

As the companion date Sky Street is quite different both in terms of content and attitude. Trafficking in torpid grooves via Gilbert’s punchy bass lines and Marshall’s gentle syncopations the session is very much embroiled in fusion-tinged impulses. Burrell’s usually clean chords are dressed up in often largely submerged in Lightsey’s electric piano. Richardson, who was easily capable of injecting fervent emotion into his improvisations sounds in other settings sounds much of the time like he’s treating things as a by the numbers studio date. Despite these demerits on the jazz score card, the quintet still manages to rack up moments of musical intrigue as on the closing minutes of “Three Thousand Miles Back Home” where Richardson’s plaintive flute weaves with Burrell’s melancholy counterpoint. Lightsey’s opening on the Latin-flavored “Habiba” is likewise effective, but the piece eventually devolves into showy noodling on the part of the leader and overheated soprano excess on the part of Richardson. “Kim-Den Strut” attempts a balance between sections of contemplative reverie and fatback funk, but ultimately ends up crumpling under the collision of disparate elements. The two sessions together offer up Burrell both in his element and in the less flattering environs of more commercial fusion, but overall the music is strong enough to support recommendation. ~Derek Taylor

Kenny Burrell- guitar; Richard Wyands- piano; John Heard- bass; Lenny McBrowne- drums; Richie Goldberg- drums; Jerome Richardson- tenor & soprano saxophones, flute; Kirk Lightsey- acoustic & electric piano; Stanley Gilbert- acoustic & electric bass; Eddie Marshall- drums. Recorded: June 18-20, 1974 & January 29-30, 1975.

Stormy Monday Blues

Diana Krall - Wallflower

Bitrate: MP3@320K/s

Time: 45:00

Size: 103.0 MB

Styles: Easy Listening

Year: 2015

Art: Front

[3:14] 1. California Dreamin'

[3:30] 2. Desperado

[4:15] 3. Superstar

[3:50] 4. Alone Again (With Michael Buble)

[3:03] 5. Wallflower

[3:50] 6. If I Take You Home Tonight

[3:38] 7. I Can't Tell You Why

[4:09] 8. Sorry Seems To Be The Hardest Word

[3:39] 9. Operator (That's Not The Way It Feels)

[3:49] 10. I'm Not In Love

[4:19] 11. Feels Like Home

[3:41] 12. Don't Dream It's Over

The tracks on Wallflower new readings of pop classics made famous by, among others, the Eagles, the Carpenters, Elton John and the Mamas and the Papas, plus a previously unreleased tune by Paul McCartney were obviously recorded before Krall lost her dad, though they have a sense of melancholy that is "always there," Krall says, in her music. "It's what I find truthful and beautiful."

Though known primarily for her interpretations of jazz and traditional pop music, Krall wanted to record "music that I share with my peers. ... I didn't want to do a jazz record." Wallflower was produced by a pop veteran with a jazz background: Krall's fellow Canadian David Foster, who also plays piano or keyboards on most tracks.

Wallflower

Rob Parton's Jazztech Big Band - What Are We Here For?

Bitrate: MP3@320K/s
Time: 61:26
Size: 140.6 MB
Styles: Big band, Post bop
Year: 2011
Art: Front

[9:58] 1. Party Hearty
[6:30] 2. What Am I Here For
[3:24] 3. Just A Pretty Little Thing
[4:51] 4. When Sunny Gets Blue
[2:09] 5. Deed I Do
[6:07] 6. How Deep Is The Ocean
[6:34] 7. Loved One
[4:34] 8. It's Only A Paper Moon
[7:03] 9. Sail Away
[5:41] 10. My Romance
[4:29] 11. On Green Dolphin Street

Rob Parton is still considered to be one of Chicago’s busiest and versatile trumpet players. While he is well known and highly regarded as a trumpet artist, performer, educator and bandleader, he is also active within the academic side of higher education at Capital University in Columbus Ohio. Parton has been the Associate Professor of Trumpet at Capital University in Columbus Ohio since Fall 2010. Prior to this position, Parton was a tenured, Associate Professor of Jazz Studies and Trumpet in Chicago.

What Are We Here For

Zoe Gilby - Looking Glass

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 61:41
Size: 141,8 MB
Art: Front

(3:36) 1. No More Blues
(4:20) 2. Eleanor
(5:15) 3. Do Nothing Till You Hear From Me
(3:25) 4. A Song For You
(2:29) 5. Way Down In The Hole
(4:04) 6. I'm BeginningTo See The Light / When Lights Are Low
(5:37) 7. Round Midnight
(3:19) 8. On The Edge
(3:49) 9. Time After Time
(3:05) 10. May I Come In?
(3:55) 11. Take It Easy (But Take It)
(4:32) 12. I Only Have Eyes For You
(4:48) 13. Your Words
(3:31) 14. That Old Black Magic
(5:50) 15. Some Cats Know

"Deserves wider recognition and a major record deal. An excellent CD."~ Courtney Pine BBC Radio 2

"A wonderful CD"~Sheila Jordan

"Her new CD is a one that will surely see her move into the first division of jazz singers"~ Schmazz @ The Cluny

"Sparkling debut by an exuberant singer whose lively personality comes across on every track. Sheer enjoyment throughout."~ Jazz UK Magazine

"An impressive performance from a sophisticated young singer. Her voice has real character. Powerfully sultry and expertly handled"~ Jazz Journal International

"She has the bluesy versatile voice and jazz chops of a future star - and the redheaded personality and looks to go with that"~ Wakefield Jazz Club

"Modern, mature... swings like a bell."~ Carol Kidd MBE

"A wide vocal range, warm timbre and clear diction which she uses skilfully to unveil her moods. It's clear that she's already found her own voice."~ All About Jazz, USA

"A swinging album I'll be proud to play to anyone."~ Fionna Duncan

"Talent, skill and a beautiful voice."Mod Radio, Madrid Zoe Gilby is a jazz vocalist that has been making a real impression on the jazz scene today with her superb interpretations of the great American songbook. Also encompassing a wide range of more contemporary pieces with some originals. Zoe is well deserving of the respect that she has been receiving from many leading jazz musicians and publications.

In Spring 2010 Zoe recorded "Looking Glass" on the jazzaction label, featuring her quintet. There will be an album launch UK tour in October with support from Jazz Services Touring Support Scheme. http://www.cdbaby.com/cd/gilbyzoe

Personnel: Zoe Gilby – Vocals; Noel Dennis - Trumpet / Flugel; Mark Williams – Guitar; Andy Champion - Double Bass; Richard Brown - Drums

Looking Glass

Jan Lundgren - Together Again... At The Jazz Bakery

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 70:42
Size: 162,5 MB
Art: Front

(0:23) 1. Introduction
(8:59) 2. Have You Met Miss Jones
(6:13) 3. Someone To Watch Over Me
(8:39) 4. Love For Sale
(5:08) 5. Tenderly
(7:01) 6. Yesterdays
(5:32) 7. I'm Old Fashioned
(7:14) 8. Blues In The Closet
(6:21) 9. I've Never Been In love Before
(7:34) 10. Everything Happens to Me
(7:34) 11. Rhythm-A-Ning

In concerts Mr. Lundgren often credits Oscar Peterson with igniting his passion for jazz. He does so again in his most recent album as he introduces his poignant, unaccompanied performance of 'Tenderly,' a song indelibly associated with Peterson. The album, 'Together Again At the Jazz Bakery', is remarkable on two counts: for the playing of Mr. Lundgren, bassist Chuck Berghofer and drummer Joe La Barbera; and for existing at all. It was not intended to become an album. In early 2008, the veteran producer Dick Bank was working with the trio on another project. For reference purposes, he captured the concert at the Jazz Bakery in Los Angeles on a two track digital audio tape recorder. After considerable remastering by an editing engineer and a mastering engineer the music was resuscitated and the result is this remarkable CD. http://www.worldsrecords.com/pages/artists/l/lundgren_jan/jan_lundgren_72962.html

Personnel: Jan Lundgren – piano; Chuck Berghofer – bass; Joe La Barbera - drums

Together Again... At The Jazz Bakery

Red Garland - Moodsville Vol.6

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 43:30
Size: 99,8 MB
Art: Front

(6:21) 1. I Love You Yes I Do
(7:45) 2. Blues For Ann
(6:34) 3. I'll Never Stop Loving You
(6:51) 4. And The Angels Sing
(8:02) 5. T'aint Nobody's Business
(7:54) 6. Bass-Ment Blues

Red Garland mixed together the usual influences of his generation (Nat Cole, Bud Powell, and Ahmad Jamal) into his own distinctive approach; Garland's block chords themselves became influential on the players of the 1960s. He started out playing clarinet and alto, switching to piano when he was 18. During 1946-1955, he worked steadily in New York and Philadelphia, backing such major players as Charlie Parker, Coleman Hawkins, Lester Young, and Roy Eldridge, but still remaining fairly obscure.

That changed when he became a member of the classic Miles Davis Quintet (1955-1958), heading a rhythm section that also included Paul Chambers and Philly Joe Jones. After leaving Miles, Garland had his own popular trio and recorded very frequently for Prestige, Jazzland, and Moodsville during 1956-1962 (the majority of which are available in the Original Jazz Classics series). The pianist eventually returned to Texas and was in semi-retirement, but came back gradually in the 1970s, recording for MPS (1971) and Galaxy (1977-1979) before retiring again. Bio ~ https://itunes.apple.com/fr/artist/the-red-garland-trio/id129755672?l=en#fullText

Personnel: Red Garland – piano; Paul Chambers – bass; Art Taylor - drums

Moodsville Vol.6

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