Freddie Hubbard - Back To Birdland

Bitrate: MP3@320K/s
Time: 34:35
Size: 79.2 MB
Styles: Hard bop, Trumpet jazz
Year: 1982/1998
Art: Front

[5:15] 1. Shaw Nuff
[6:00] 2. Star Eyes
[5:31] 3. Lover Man (Oh, Where Can You Be )
[6:52] 4. For B.P
[5:14] 5. The Uninvited Stella By Starlight
[5:41] 6. Birdlike

This well-recorded outing (which has been reissued on CD by Drive Archive) was trumpeter Freddie Hubbard's first worthwhile studio recording (with the exception of Super Blue) since the mid-'70s.

Essentially a bebop date, Hubbard is teamed with a sextet comprised of altoist Richie Cole, trombonist Ashley Alexander, pianist George Cables, bassist Andy Simpkins and drummer John Dentz; altoist Med Flory sits in on "Byrdlike." Hubbard shows on such standards as "Shaw Nuff," "Star Eyes" and "Lover Man" that he could still play straightahead jazz with the best of them, Alexander is featured on "Stella by Starlight" and Cole is also in excellent form. ~Scott Yanow

Back To Birdland

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B.B. King - The Life Of Riley OST

Bitrate: MP3@320K/s
Time: 74:34
Size: 170.7 MB
Styles: Modern electric blues, Soundtrack
Year: 2012
Art: Front

[5:20] 1. Walking Dr. Bill
[1:27] 2. Nobody Loves Me But My Mother
[8:34] 3. To Know You Is To Love You
[2:32] 4. Paying The Cost To Be The Boss
[2:59] 5. Three O'clock Blues
[3:10] 6. Sweet Little Angel
[2:30] 7. Catfish Blues (Fishin' After Me)
[2:36] 8. Everyday I Have The Blues
[3:34] 9. How Blue Can You Get
[4:52] 10. Chains And Things
[5:23] 11. The Thrill Is Gone
[3:57] 12. Caldonia
[6:08] 13. Sweet Sixteen
[4:07] 14. Hold On (I Feel Our Love Is Changing)
[4:15] 15. When Love Comes To Town
[4:22] 16. Riding With The King
[2:32] 17. Messy But Good
[3:20] 18. Precious Lord
[2:47] 19. Think It Over

B.B. King became the very face of modern blues at the close of the 20th century, mixing his warm and weary vocals with an elegant call and response electric guitar style, bridging the old country blues with the urban elements of R&B, jazz, and soul, and all of it done with a consistent class and style. King's story, which begins as an orphaned child working in a cotton field and ends with him playing headlining shows in the best clubs all over the globe, was given a fine film treatment in Jon Brewer's bio documentary The Life of Riley, and this set is the soundtrack for that film. Following the storyline of the documentary closely, it does a wonderful job of showing King's musical development chronologically, beginning with 1951's “3 O’Clock Blues” and running all the way through to his comeback (although he'd never really been away) hit "Riding with the King" from 2000, and adding live tracks at key intervals, featuring guest spots from Eric Clapton, Ronnie Wood, Derek Trucks, and others. Assembled with care, this release makes a great introduction to the history, depth, and scope of King's iconic career. ~Steve Leggett

The Life Of Riley OST

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The Sandpipers - Misty Roses

Bitrate: MP3@320K/s

Time: 26:18

Size: 60.2 MB

Styles: Easy Listening, Folk-pop

Year: 1967/2012

Art: Front

[2:35] 1. Cuando Sali De Cuba (The Wind Will Change Tomorrow)

[3:20] 2. And I Love Her

[1:53] 3. Fly Me To The Moon

[2:44] 4. Strange Song

[2:29] 5. The Honeywind Blows

[3:30] 6. Misty Roses

[2:24] 7. Today

[2:48] 8. I Believed It All

[2:14] 9. Daydream

[2:18] 10. Wooden Heart

This is the third long-player from A&M artists' the Sandpipers. A distinction should be made from this quartet and others that have used the same name. These are not the folks whose recording of the "(Theme From) Mighty Mouse" was mimed by Andy Kaufmann on Saturday Night Live. Nor, is this the South African-originated combo -- who, apart from their moniker, seemed to share no other similarities with these Sandpipers. During an era when pop acts were becoming celebrities in their own right, the band took a backseat to their easy listening, middle-of-the-road music. A&M even went so far as to only feature members' photos on the rear of the album jackets. Which is where James Brady, Michael Piano, and Richard Shoff are seen -- minus the distinct presence of Pamela Ramcier. The reasons she was rarely (if ever) credited is vague. Yet the aural evidence remains that she was an active participant in the Sandpipers when Misty Roses (1967) hit store shelves in late 1967. The modus operandi was pretty much the same as their previous platters, blending light and affective cover versions of concurrently popular music from a remarkably wide variety of sources, and not always in English, either. As the Sandpipers had scored a Top Ten Pop hit with their interpretation of "Guantanamera," presumably it was considered a mandate to include at least one foreign-sung selection on each LP. They kicked off the affair with the heartfelt "Cuando Sail de Cuba (The Wind Will Change Tomorrow)" before turning the tables on two pop classics. The Beatles' ballad "And I Love Her" was given a poignant lyrical Spanish translation, while "Fly Me to the Moon" was refurbished into a lively Spanish language samba. On the opposite side of the interpretive coin, the reading of the Lovin' Spoonful's "Daydream" doesn't do the song -- or the singers for that matter -- any good. The title track -- a wispy and carefree update of Tim Hardin's "Misty Roses" is infinitely better, as is the folk-derived "The Honey Wind Blows," easily besting the Brothers Four and Glenn Yarborough's respective takes. Similarly, the Sandpipers weave their spacious harmonies through a well-tempered run on Chip Taylor's wistful "Strange Song." ~Lindsay Planer

Misty Roses

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Rebecca Kilgore - Sure Thing: Sings The Music Of Jerome Kern

Bitrate: MP3@320K/s
Time: 58:44
Size: 134.5 MB
Styles: Contemporary jazz vocals
Year: 2009
Art: Front

[2:54] 1. Why Do I Love You
[4:20] 2. Dearly Beloved
[4:33] 3. Bill
[3:48] 4. I've Told Ev'ry Little Star
[4:15] 5. Long Ago And Far Away
[4:16] 6. Look For The Silver Lining
[3:12] 7. The Folks Who Live On The Hill
[3:17] 8. You Couldn't Be Cuter
[4:28] 9. A Fine Romance
[3:44] 10. Nobody Else But Me
[4:01] 11. I'm Old Fashioned
[4:24] 12. Make Believe
[3:52] 13. Remind Me
[4:01] 14. Who
[3:33] 15. Sure Thing

15 track collection of Rebecca Kilgore singing the classic music of Jerome Kern. Becky is at her tender, witty best with this repertoire. there is the palpably beautiful sound of her voice but, more than that, her subtle understanding of the lyrics, her willingness to become one with the song rather than attempting to overpower it. Hers is the deepest art in that it appears conversational, but sounding so casual is the hardest task of all. Although she is poised before a microphone, it sounds as if she is singing just for the listener.

Sure Thing: Sings The Music Of Jerome Kern

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Hot Club De Frank - Sugar And More

Bitrate: MP3@320K/s
Time: 44:00
Size: 100.8 MB
Styles: Gypsy swing
Year: 2010
Art: Front

[1:43] 1. Sheik Of Araby
[3:17] 2. Jeepers Creepers
[2:09] 3. Sweet Sue
[2:59] 4. Marie
[2:32] 5. Montagne Saint Genevieve
[2:16] 6. Shine
[2:34] 7. I'se A Muggin'
[2:40] 8. Fantasie
[2:59] 9. Gypsy Swing '92
[1:57] 10. Serdze
[3:20] 11. I Can't Give You Anything But Love
[2:43] 12. Flat Foot Floogie
[4:04] 13. Lilly Belle
[2:34] 14. It Don't Mean A Thing
[2:09] 15. Sugar
[3:14] 16. Chez Jaques
[0:42] 17. Laughing At The Rhythm

Sugar and More is a lovely album by Jazz / Swing sensation Hot Club De Frank. 17 beautiful slow and up tempo acoustic songs ranging from gypsy, klezmer, jazz, and swing Muzet. Both vocal and instrumental numbers continue to intrigue from beginning to end. Truly a fantastic band, recommended to fans of Gypsy and hot club du France music.

Sugar And More

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Charlie Byrd - Mr. Guitar

Bitrate: MP3@320K/s

Time: 40:06

Size: 91.8 MB

Styles: Guitar jazz

Year: 1962/1998

Art: Front

[2:57] 1. Blues For Felix

[2:52] 2. Gypsy In My Soul

[3:10] 3. In A Mellow Tone

[4:40] 4. Prelude To A Kiss

[2:31] 5. Travelin' On

[3:34] 6. Play Fiddle Play

[2:46] 7. Funky Flamenco

[2:40] 8. My One And Only

[3:10] 9. Mama, I'll Be Home Someday

[3:39] 10. How Long Has This Been Going On

[2:11] 11. Who Cares

[5:51] 12. Lay The Lily Low

A delightful trio outing with an adroit and light feel, also featuring Keter Betts on bass and Bertell Knox on drums. Byrd's playing combines jazz swing with influences from both Spanish guitar and classical music on a session comprised of both Byrd originals and covers, usually of Gershwin and Ellington tunes. Betts and Knox are both nimble players who flesh out Byrd's arrangements without encumbering them, Knox exhibiting a deft touch on the snares in particular. Byrd swings pretty hard on numbers like "Gypsy in My Soul," and gets more into the Spanish sound on the original "Funky Flamenco"; there is one chance for the musicians to stretch out into more space, on the six-minute "Lay the Lily Low." It sounds like this album was a substantial influence upon the noted eclectic British folk guitarist Davy Graham, whose debut LP from the early '60s, Guitar Player, has arrangements that are similar to much of what's on Mr. Guitar. ~Richie Unterberger

Mr. Guitar

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Randy Brecker With DR Big Band - The Jazz Ballad Song Book

Styles: Straight-ahead/Mainstream, Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 69:58
Size: 160,8 MB
Art: Front

(7:52)  1. All Or Nothing At All
(7:48)  2. Round Midnight
(5:16)  3. Cry Me A River
(6:56)  4. Someday My Prince Will Come
(6:24)  5. Foregone Conclusion
(5:19)  6. Goldfinger
(7:35)  7. Skylark
(6:20)  8. I Talk To The Trees
(8:14)  9. This Is All I Ask
(8:10) 10. The Immigrant/ Godfather

On The Jazz Ballad Song Book, trumpeter Randy Brecker, the Danish Radio Big Band and Danish National Chamber Orchestra approach the slow, wistful side of this repertoire as one dimension among others. They expand their view outside of standards to include film works, lesser-known tunes and original compositions. As featured soloist, Brecker displays the colossal tone, impeccable chops and searching impulses that have gifted bands from those led by pianist Horace Silver to singer Bruce Springsteen. His drive makes "All Or Nothing At All" a demand rather than a lament. He stretches out harmonically on his own tunes, with a funky bridge on "Foregone Conclusion" and a spacious theme for "I Talk To The Trees." More traditional ballad settings on "Cry Me A River" and "Skylark" showcase tenderness without sentimentality especially on "Skylark," where Brecker recasts the melody in disillusioned long tones. 

Brecker stays extroverted, even as the intimacy of trumpeter Miles Davis' 1961 Columbia recording looms over "Someday My Prince Will Come" (down to Wynton Kelly's piano solo, orchestrated for strings and woodwinds). After a clear melody statement, Brecker opens up with packed runs and dejected crushes of dissonance. Per Gade's milky guitar is an effective foil, taking as much pleasure dipping into the lower register as it does sailing into higher, Wes Montgomery-inspired territory. Jesper Riis' arrangement also explores contrasts between bitter undertones in the strings and some Nelson Riddle-style shouting from the band. Textured charts surround the trumpet heavyweight, flawlessly interpreted by the Danish groups and rarely settling into predictable accompaniment. Several soloists from the DR Big Band also get their own impressive say. Icy violins, biting sax counterpoint and a hard-edged swing on trombonist Peter Jensen's setting of "All Or Nothing At All" torch any sentimental associations of the tune. Pelle Fridell's baritone sax is heard in both half-time and double-time passages, along with allusions to modernist composers during an ominous deconstruction in triple meter. Occasionally some arrangements rely upon cliché, for example the syrupy, vibrato-laden violins of "The Immigrant/Godfather" or the rhythmic but otherwise generic introduction to "Goldfinger," where John Barry's theme proves better suited for screen heroics than studio improvisation. Yet these moments are few and far between original touches such as a chirpy piccolo leading the elephantine ensemble on "The Immigrant/Godfather," the sleek surfaces of "I Talk To The Trees" or trombonist Vincent Nilsson's arrangement of the little heard but affecting "This Is All I Ask." Following Henrik Gunde's piano, two tightly muted trumpets weave around Brecker's open horn, with dark tuba and tapping triangle underneath. 

The effect is uncluttered, silken but strong, and builds beautiful tension, before the release of lush strings. When Brecker steps back from double-time for a few halting notes, the effect is similarly arresting. Peter Fuglsang's smooth alto sax dueting with Brecker makes an ideal coda. Thelonious Monk's beloved "Round Midnight" is a fitting end to any collection of ballads. Here it sports the slowest tempo on the disc, as well as the catchiest swing. The massive, transparent ensemble and Brecker's subtle yet dynamic reimagining also sum up this album's strengths (even if the superfluous Latin feel also points to its occasional excesses). The Jazz Ballad Song Book strikes a satisfying balance between re-imagined standards, tasteful explorations and straightforward big band brawn. ~  Andrew J.Sammut  http://www.allaboutjazz.com/randy-brecker-with-dr-big-band-the-jazz-ballad-song-book-by-andrew-j-sammut.php

Personnel: Randy Brecker: trumpet; The Danish Radio Big Band; The Danish National Chamber Orchestra.

The Jazz Ballad Song Book

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Alexis Cole - A Kiss in the Dark

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 53:27
Size: 132,9 MB
Art: Front

(4:04)  1. Ain't We Got Fun
(4:32)  2. Whip-poor-will
(3:47)  3. Do You Ever Think Of Me?
(3:46)  4. Limehouse Blues
(3:16)  5. Chicago, that Toddlin' Town
(5:00)  6. Bimini Bay
(2:47)  7. Nobody Knows when You're Down and Out
(3:44)  8. After You've Gone
(4:33)  9. There's a Broken Heart for Every Light on Broadway
(2:36) 10. A Kiss in the Dark
(4:10) 11. Indian Summer
(3:37) 12. Turn Back the Universe and Give Me Yesterday
(3:40) 13. Let the Rest of the World Go by
(3:54) 14. Till We Meet Again

With a voice praised as “a deep contralto as smooth and dark as the richest espresso” (Jazz Times, November 2007,) award-winning jazz vocalist Alexis Cole has made an impressive impact on audiences ever since she first took the stage as a teenager. Yet it is impossible to understand Alexis’s power to touch listeners with her music without recognizing the influence that her devotion to a full spiritual life has played throughout her career. This holiday season, Alexis’ spiritual and musical interests once again coincide to miraculous effect as she offers The Greatest Gift to the world. A touching Christmas album with a jazzy twist that benefits a terrific cause, The Greatest Gift was inspired, says Alexis, “by Jesus’ love for humankind” as well as by her father, composer/arranger Mark Finkin. Sales of the CD will benefit World Bicycle Relief, an organization which provides sustainable access to healthcare, education, and economic opportunities in developing nations through The Power of Bicycles©. One specific event from Alexis’ youth resonates through the years to find a fitting echo in The Greatest Gift. 

While in high school, she collided with a car while riding her bicycle. Her recovery from the experience led to the beginning of her Christian Journey. It makes sense, then, that Alexis decided that the profits from the sale of The Greatest Gift would be donated to World Bicycle Relief, as the organization’s mission resonated with her own love of bicycles and her ongoing desire to make an impact on the world. Raised in Florida, Alexis came from a musical family, so it was only natural that she had begun to perform at the South Beach Hotel when still in high school, rapidly earning a reputation as one of the most talented young singers in town. She went on to enroll in the University of Miami's Jazz Studies program with the help of a Young Arts Scholarship. She transferred to finish her degree at William Paterson University, later integrating her musical studies with work that satisfied a spiritual calling at churches in New Jersey and North Carolina. Eventually, she relocated to New York City, where she worked as the music minister at the Jan Hus Presbyterian Church, leading the congregation with a blend of historic hymns and popular songs, music from the Taize tradition and Christian folk. Alexis released her first CD in 1999, a duet project with pianist Harry Pickens, titled Very Early. In 2005, she earned her Masters degree in music, and began to perform frequently at clubs throughout New York City, including The Oak Room, Dizzy's Club Coca Cola, The 55 Bar, The Zinc Bar, Smoke, Smalls and Sweet Rhythm. That same year, she released a second CD. 

Nearer the Sun, which renowned jazz critic Scott Yanow lauded as “a particularly strong effort from a jazz singer well worth discovering.” As her performing career took wing, Alexis traveled across Europe, Asia and South America. She also taught at a Berklee College of Music in Quito, Ecuador, and has entertained audiences during several three-month-long residencies at clubs in Tokyo. Despite her penchant for globetrotting, Alexis managed to release a third CD, Zingaro, in 2007, which Time Out New York praised as a “disc that will please purists and more adventurous listeners alike.” True to Alexis’ eclectic nature, the tracks on The Greatest Gift span genres. Selections include jazz and classical instrumentals, children’s chorale arrangements, Indian classical and overtone singing, straight ahead jazz, and bluesy pop. Alexis reinvents the Christmas favorites “Hark! The Herald Angels Sing,” “God Rest Ye Merry, Gentlemen,” and “Have Yourself a Merry Little Christmas,” and she contributes a heart-warming new song, “The Call,” to the lineup of Christmas standards. Mark Finkin, Alexis’ father, pens an uplifting, catchy, and sure-to-become holiday classic for the album, “Jesus Is the Best Part of Christmas,” and also delivers perhaps the most blues-y version of “God Rest Ye Merry Gentlemen” ever on record. 

Born into fascinating circumstances as a child of two deaf parents determined to give their child what they couldn’t have, Mark was introduced early on to the piano, and remains a passionate and prolific composer and performer. Finkin’s unique story, in part, inspired Alexis to record The Greatest Gift. In 2007, as Alexis sat in the audience of her father’s long-awaited college graduation recital, where he performed original compositions and unique arrangements of hymns, she reached a musical and personal epiphany. She decided to collaborate with her father on a Christmas benefit album, reinvesting herself in their relationship, and in her relationship to the church. A winner of the 2007 Jazzmobile competition and an award recipient at the Montreux Jazz Voice Competition, Alexis was cited as “a rising star in the jazz world” by Hot House Magazine. She continues to perform regularly at jazz clubs in her home base of New York City, as well as throughout the world. A dedicated educator, Alexis teaches privately and has also served on the faculty of at the 92nd St. Y in New York City and Berklee College of Music in Quito. Most recently, she’s also added the position of lead vocalist for the West Point Jazz Knights, the U.S. Army’s big band, to her always eclectic resume. http://musicians.allaboutjazz.com/alexiscole

Awards & Grants 2007 New York City Jazzmobile Vocal Competition 1st Place Winner 2004 Montreux Jazz Festival Shure Vocal Competition, 3rd Prize Winner 2003& 2005 Montreux Jazz Festival Shure Vocal Competition finalist 2004 Council for Arts and Humanities on Staten Island Emerging Artist Grant 1998National Endowment for the Arts Charles Cinnamon Grant 1994 National Endowment for the Arts A.R.T.S. Scholarship

Personnel:  Alexis Cole – vocals;  Dan Block - saxophone, clarinet;  Saul Rubin – guitar;  Pat O'Leary – bass;  Phil Stewart - drums

A Kiss in the Dark

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Ragan Whiteside - Evolve

Styles: Jazz, Vocal, Soul, R&B
Year: 2012
File: MP3@320K/s
Time: 44:32
Size: 104,5 MB
Art: Front

(0:27)  1. Intro
(4:18)  2. Eight Thirty Seven
(3:52)  3. Feelin' Free
(4:09)  4. Off Kilter
(4:14)  5. Memories of You
(3:42)  6. Livin' Lovin'
(3:11)  7. On the Dance Floor
(4:18)  8. Sweet Sticky Thing
(3:37)  9. Sun Up in My Sky
(3:37) 10. Mean to Me
(4:38) 11. Until Next Time
(4:23) 12. Evolve

If versatile vocalist and urban jazz flutist Ragan Whiteside had emerged about two decades earlier, her soulful melodies, pocket grooves, and spirited improvisations would have been huge in the emerging smooth jazz format. But somewhere along the way, even during the time when the genre was at its peak, the flute fell out of flavor as a lead instrument and artists like Whiteside and Althea Rene could only find traction going the independent route. Timing aside, Whiteside who picked up steam as a solo artist after winning the New Artist Competition at the Capital Jazz Festival in the mid-2000s delivers a hot mix of infectious R&B-funk-jazz tunes on her sophomore disc. Though there's little doubt that her strong songwriting and colorful playing style (and her ability to weave in dreamy backing vocals) could have made this collection an artistic triumph on its own, it make sense to namedrop because a few of the genre's biggest names are vibing with her. 

The lighthearted, easy grooving "Feelin' Free" (featuring an inspiring lead vocal by Whiteside) features the snazzy retro-soul keys of Bob Baldwin. The crunch retro-funk piece "Off Kilter" has one of the flutist's brightest performances, backed by the electric guitar snap and a spirited solo by Chieli Minucci. She also pairs beautifully with the dreamy soprano sax harmonies of Marion Meadows on the lyrical ballad "Until Next Time." Those "all-star" assisted tracks are just the springboard for one of the most solid indie urban jazz sets of 2012. ~ Jonathan Widran  http://www.allmusic.com/album/evolve-mw0002419953

Evolve

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Eyal Vilner Big Band - Almost Sunrise

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 60:56
Size: 139,6 MB
Art: Front

(3:04)  1. The Rabbit
(3:37)  2. Centerpiece
(4:33)  3. Tee Pee Time
(5:51)  4. Almost Sunrise
(6:32)  5. Centerpiece (Bonus Track)
(4:41)  6. Stablemates
(3:29)  7. It Don't Mean a Thing
(5:58)  8. Lush Life
(5:29)  9. It Be Feeling Like the Blues
(4:12) 10. Straighten Up and Fly Right
(4:23) 11. The Gypsy
(4:26) 12. The District of the Blues
(4:34) 13. It's All Right With Me

A touch of boogie woogie threaded with strands of swing and vintage ballroom jazz and the result is Eyal Vilner Big Band’s Almost Sunrise. The saxophonist and clarinet player, Eyal Vilner takes over the role as leader exhibiting the enthusiasm of Jimmy Dorsey, administering the meticulous arranging of Artie Shaw, and demonstrating a knack to create melodic prose liken to Benny Goodman. Vilner is a bandleader whose attributes fuse the traits of his predecessors and update ballroom dance to a post-dancehall swing grade. Brass and reed filled riffs are punctuated by fiery solos in “The Rabbit” with zigzagging motifs that resemble the theme song for the TV program American Bandstand, a synthesis of Artie Shaw’s “High Society” and Charles Albertine’s “Bandstand Boogie.” Vilner captures the merriment of Benny Golson’s “Stablemates” blazing with bebop style horns and tapping drum beats that coast into the springy jive-driven rhythm of Duke Ellington‘s “It Don’t Mean a Thing” flanked in thrusting solos intermittently played by the clarinet and sax as the throaty vocals of nightclub singer Charenee Wade give the number ballroom savvy.  Glittering keys produce soft arches along “Lush Life” as Wade’s vocals stroke gently across the sequences while the sensual swagger of the saxophone in “It Be Feeling Like the Blues” is dotted in swizzling horns that shimmer and flutter against the strolling drum strikes. 

Vocalists Wade, Charles Turner, and Nadia Washington display a harmony reminiscent of the Andrews Sisters rapport in Nat King Cole’s “Straighten Up and Fly Right” giving the recording a Lindy hop atmosphere. The album treads into moonlit waters in “The Gypsy” as Wade’s vocals hug the soft curves of the horns which dive into a burlesque-tinged strut along the smoky riffs of “The District of the Blues,” a swing favorite written by Jimmy Owens. Vilner’s variations on Cole Porter’s “It’s All Right with Me” puts an upbeat pulse in the rhythmic keys which traverse into a cool jazz stride in “Centerpiece,” a signature number of Harry Edison and Jon Hendricks with horns cresting and receding at a tranquilizing pace which proceed into the floating riffs of the title track. Eyal Vilner re-creates several landmark tunes of America’s Swing Era, which stretched across the central decades of the 20th century. The fluidity of the music, navigating through romping uptempos and gently swirling ballads, is laudable liken to the melodic sensibilities of Vilner’s predecessors. The music is made to be celebrated, and incites audiences to celebrate life with its many facets. ~ Susan Frances  http://www.axs.com/album-review-almost-sunrise-from-the-eyal-vilner-big-band-40866

Personnel:  Eyal Vilner - Alto Sax;  John Mosca – Trombone;  Max Seigel – Trombone;  Nick Finzer – Trombone;  Charenee Wade – Vocalist;  Charles Turner – Vocalist;  Nadia Washington – Vocalist;  Tadataka Unno – Piano;  Jennifer Vincent – Bass;  Joe Strasser – Drums;  Dan Block – Clarinet;  Matthew Jodrell – Trumpet;  Bryan Davis – Trumpet;  Wayne Tucker – Trumpet;  Lucas Pino - Tenor Sax;  Asaf Yuria - Tenor Sax;  Andrew Gould - Alto Sax ;  Eden Bareket - Baritone Sax

Almost Sunrise

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VA - 10 Years Neuklang

Size: 183,1 MB
Time: 78:25
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Label: Neuklang Records
Art: Front

01 Christoph Stiefel - Isorhythm #4 (4:53)
02 Heiri Kanzig Quintet - Beyond Time (4:06)
03 East Drive - Tea Master (4:21)
04 Barbara Burkle Band - Look For The Silver Lining (6:33)
05 Bruno Bohmer Camacho Trio - Recuerdos (4:10)
06 Tian Et Al - Echo From The Past (3:59)
07 Clemens Potzsch & Slavicon - Dresden (5:41)
08 Christian Meyers Quintet - A Glimpse Of Past Events (5:36)
09 Simin Tander - Becoming (5:27)
10 Cologne Saxophone Quintet - Recorda Me (3:17)
11 Olivia Trummer Trio - Nobody Knows (5:24)
12 Tobias Becker Bigband - Independent Blue (5:27)
13 Torque Trio - Stories To Be Told (5:31)
14 Mo' Blow - Endless Escape (4:32)
15 Eyot - The Crest Of The Wave (5:00)
16 Kalima - There (4:21)

10 Years Neuklang

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Lily Frost - Too Hot For Words

Size: 68,9 MB
Time: 29:25
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Jazz Rockabilly
Art: Front

01. It Ain't Right (3:10)
02. Swing Brother Swing (1:57)
03. You're My Thrill (3:11)
04. Don't Explain (4:34)
05. What A Little Moonlight Can Do (3:51)
06. All I Can Do Is Cry (2:47)
07. Long Gone Lonesome Blues (3:18)
08. One Never Knows, Does One (2:45)
09. Was It Something I Said (1:57)
10. It's Too Hot For Words (1:51)

Lily Frost is back with her follow up record Too Hot For Words (Marquis Classics/Universal 2015) to the critically acclaimed Lily Swings.

Lily Swings (2007) was received so well by radio and audiences alike that a follow up was inevitable. Both Zoomer and Jazz FM Toronto have been playing the album for 6 years straight without solicitation!

Too Hot For Words features again the repertoire of Billie Holiday using clarinet and lap steel but this time Lily chose to cover some of her favorite songs from the repertoire of Ray Condo himself. Lily Swings was an ode to the late western swing singer Ray Condo who loved Billie Holiday but had a charismatic style of his own. The selections Lily has chosen from Ray’s repertoire move into a rockabilly domain revealing an undeniable energy leading most audiences to the dance floor.

Lily delivers with drama, delicacy and an undercurrent of strength and edge. It is apparent that the material moves her deeply. An old soul.

Featuring both fresh interpretations and classic songs from the great American songbook, Lily’s concert is a jazz show for veteran jazz fans and contemporary audiences alike. Her latest project delivers the promise of a very fun and energetic album — pairing rockabilly with surf and vintage swinging jazz. Too Hot For Words was produced and engineered by Jose Contreras the acclaimed Toronto (Chilean) producer (By Divine Right, Hey Ocean and Lily Frost ) who has a passionate flair for live recordings and a deep understanding of Lily and her artistic vision.

Too Hot For Words

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John Fedchock Quartet - Fluidity

Size: 163,7 MB
Time: 70:55
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Small Combo Jazz, Trombone Jazz
Art: Front

01. East Of The Sun (8:59)
02. Havana (8:19)
03. I Hear A Rhapsody (7:09)
04. Make Someone Happy (6:18)
05. Under The Radar (9:30)
06. Weaver Of Dreams (6:50)
07. The Days Of Wine And Roses (7:41)
08. I've Never Been In Love Before (8:58)
09. Homestretch (7:07)

Documenting a momentous live performance with his dynamic quartet, critically acclaimed trombonist John Fedchock showcases unique treatments of familiar standards coupled with two new Fedchock originals in this sensitive small group session. Beautifully played and wonderfully recorded, this recording captures the flow and interaction of a seasoned group of veterans in a remarkably intimate setting.

Featured Artists:
John Fedchock: trombone/John Toomey: piano/Jimmy Masters: bass/Dave Ratajczak: drums

Fluidity

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Emily Saunders - Outsiders Insiders

Size: 112,1 MB
Time: 48:27
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Brazilian Rhythms
Art: Front

01. You With Me (2:27)
02. Reflections (6:15)
03. Metronomic (7:02)
04. Descending Down (6:16)
05. Summer Days (4:16)
06. Moon (5:28)
07. Outsiders Insiders (5:04)
08. You Caught Me (5:19)
09. Residing (6:17)

It’s a delight occasionally to hear something that sounds genuinely new. Better still when it’s cool, sophisticated, full of space and light, and beautifully performed. Singer Emily Saunders’ second album falls into that rare category. Her music is hip and up-to-date, and even though you can hear her influences, it sounds highly distinctive. She also wrote, arranged and produced the album, which comes out in March, four years after her well-received debut Cotton Skies.

Not surprisingly, given its earworm quality, the title track has been getting airplay lately. Why wouldn’t it be a hit single, with that wonderful syncopated The Beat Goes On riff? There’s an android vocal, followed by a sweet harmony answering vocal; however the bridge is probably too challenging for the charts, featuring Byron Wallen’s squeaky trumpet over a broken rhythm and then a super-cool electric piano solo from Steve Pringle.

If you’re looking for vocal comparisons, you will hear echoes of Gretchen Parlato and Lauren Desberg here, and certainly Bebel Gilberto in Saunders’s glissando style – so apparently effortless as to be Teflon-coated. Yet what she’s singing is often extremely difficult, soaring through rapid chord changes on Brazilian-influenced tunes like Residing. There’s an alien, dreamlike quality to many tracks: You Caught Me, Moon and the tautological Descending Down, with their intriguingly elliptical lyrics and slow, vibrato Rhodes backing from Bruno Heinen.

The musicians are locked into Saunders’ musical vision. She has used two different pianists, two bassists and two percussionists, but such is her control over the arrangements that you wouldn’t know it. Vocally, she does so much more than just sing the songs over a backing. Take Metronomic, which begins with a wordless, snaky improvisation on some Eastern scale before settling into a dark meditation about ‘a man who sought to control’, and ending on a brief cacophony of electronic noise. The album closes with You With Me, a gorgeous, poignant voice-and-piano ballad that’s over much too quickly. ~by Peter Jones

Everything on Outsiders Insiders is drenched in melody, and it’s this, as well as the intimate and deeply-felt quality to the recordings that lifts them above the everyday.

Personnel:
Emily Saunders: Voice
Byron Wallen: Trumpet
Trevor Mires: Trombone
Bruno Heinen: Keys
Steve Pringle: Keys (Outsiders Insiders)
Dave Whitford: Bass
Paul Michael: Bass (Residing, Descending Down)
Jon Scott: Drums
Fabio de Oliveira: Percussion
Asaf Sirkis: Percussion (Descending Down)

Outsiders Insiders

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Sha-Shaty - Brighter Day

Size: 102,7 MB
Time: 44:05
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. Dream Ride (3:35)
02. Let's Go! (3:41)
03. Song Of Hope (4:21)
04. Late On 91 (4:33)
05. My Heart Yours (3:42)
06. Mumbai (4:07)
07. A Million Miles (3:39)
08. August (3:39)
09. I'm Always Near (4:30)
10. Brighter Days (3:39)
11. Float Away (4:33)

It’s a new dawn for veteran contemporary jazz saxophonist ShaShaty, who will release his sixth album entitled “Brighter Day,” on March 3 on the newly formed A.H.I. Records. His first collection comprised entirely of original songs in more than a decade, the set showcases the artist who had a hand in writing seven of the disc’s eleven songs that were produced by guitarist-vocalist Steve Oliver, writer or co-writer of ten songs for the record. The energizing excursion “Dream Ride” bodes to illuminate radio playlists ahead of the album’s street date when the single is serviced to stations for airplay early next month. The video for the single will premiere at Universal CityWalk in Universal City, California where ShaShaty has been a featured performer over the past decade.

Instead of limiting himself to a singular sax voice, ShaShaty’s dynamic multihued approach places him front and center on the melody-rich jazz, pop and R&B outing playing tenor, alto and soprano sax. Fellow sax player Will Donato bolsters the horn section parts on “Dream Ride” and Spyro Gyra drummer Bonny B dispenses deft beats on four cuts. Taiwanese vocalist Usay Chu makes her U.S. recording debut by gracing a pair of tunes – “Song Of Hope” and “A Million Miles” – with her ethereal wordless vocalizations. Making “Brighter Day” a standout session is the chemistry between ShaShaty and Oliver. The hornman’s impassioned and emotive play flourishes in the company of the guitarist who has a masterful command of buoyant harmony. Tracks have a robustly full sound from which potent hooks connect and enveloping melodies leave a lasting impression. The power-packed pop gems that comprise “Brighter Day” also have depth and provide a varied listening experience that audaciously ventures into funky trip hop territory (“Let’s Go!”), explores an off-kilter staccato rhythm (“Late On 91”), mines an Indian motif (“Mumbai”), serves a sublime sax and guitar call-and-response chorus (“August”), romances on amorous overtures (“My Heart Yours” and “I’m Always Near”), takes off on a whimsical flight of fancy (“Brighter Days”) and closes with a blissful meditation (“Float Away”).

Brighter Day

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Jessi Teich - Twisted Soul

Size: 109,7 MB
Time: 46:51
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop/Soul Vocals
Art: Front

01. The Haunting (4:14)
02. Think You Do (3:29)
03. Clap Hands (3:54)
04. Carnival (5:06)
05. Twisted Soul (3:51)
06. Diggin' A Ditch (3:25)
07. Lucid Lover (3:38)
08. Interlude (Saturday Night) (0:27)
09. Sunday Morning (2:29)
10. Cry Me A River (4:34)
11. Someday (3:39)
12. Ruins (5:37)
13. The Simple Life (2:23)

Jessi Teich packs a powerful punch with a harmonic intensity most vocalists can never find. ~Brent Black / criticaljazz.com

Twisted Soul is an intriguing "jazz" vocal release with a surprising pop bent that works incredible well. With the exception of the covers "Clap Hands" from Tom Waits and "Cry Me A River" from Justin Timberlake, Teich's original tunes are solid and meticulously crafted gems. The first full release since recovering what could have been a career ending operation to remove a cyst from vocal fold, Teich is in fine form and backed with a band that plays with her and not around her.

A pop bent might misrepresent this stellar offering, call it accessible. Blues infused with an improvisational base and soulful spirit. Highlights are many and include the exquisite ballad "The Haunting." The cover arrangements are tight and inventive. Other stellar tracks include the title track "Twisted Soul." Jessi Teich is that rare lyrical chameleon that can change colors and genres in a blink of an eye. A wonderful recording!

Personnel: Jessi Tech: Vocals; Thierry Maillard: Piano; Yoann Schmidt: Drums; Matyas Szandal: Upright Bass; Laurent Derache: Accordion; Dai Miyazaki: Guitar; John Morgan Kimock: Percussion.

Twisted Soul

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Johnny Otis - Blues & Swing Party Vol 1

Bitrate: MP3@320K/s

Time: 70:33

Size: 161.5 MB

Styles: R&B, West Coast blues

Year: 1998

Art: Front

[3:06] 1. It Don’t Mean A Thing

[2:54] 2. Shake, Rattle & Roll

[2:33] 3. Choo- Choo-Ch-Boogie

[2:13] 4. Louie, Louie

[6:23] 5. Mood Indigo

[3:14] 6. Hideaway

[2:20] 7. I’ve Got The Walkin’ Blues

[3:25] 8. Cleanhead’s Blues

[6:27] 9. People Will Say We’re In Love

[2:33] 10. Country Girl

[3:05] 11. Sincerely

[2:56] 12. The Honeydripper- Part 1

[3:03] 13. Misery

[2:00] 14. Don’t Start Me To Talkin’

[3:28] 15. I’ve Been Lovin’ You Too Long

[2:55] 16. Old Folks Boogie

[3:49] 17. Barrelhouse Blues

[2:30] 18. Baby, I’ve Got News For You

[2:33] 19. Stack- A- Lee

[3:28] 20. Harlem Nocturne

[2:24] 21. Please Don’t Leave Me

[3:05] 22. Bye, Bye, Baby

Charles Williams: Vocals; Richard Berry: Piano, Vocals; Louis Jordan: Saxophone, Vocals; Eddie "Cleanhead" Vinson: Saxophone, Vocals; Esther Phillips: Vocals; Plas Johnson: Saxophone; Wilton Felder: Bass; Johnny Otis: Drums, Producer, Piano, Vocals, Arranger; Big Joe Turner: Vocals; Shuggie Otis: Guitar, Bass; Joe Liggins: Piano, Vocals; Jim Wynn: Credit Not Specified; George Washington: Trombone; Delmar Evans: Vocals; Barbara Morrison: Vocals; Larry Douglas: Trumpet; Rene Bloch: Alto Saxophone; Bob Mitchell: Trumpet; Jimmy Nolan: Guitar; Clifford Solomon: Tenor Saxophone; Dan Armstrong: Trombone; Jackie Kelso: Saxophone; John Ewing: Trombone; Mack Johnson: Trumpet; Melvin Moore: Trumpet; Ron Selico: Drums; Devonia Williams: Piano; Big Jim Wynn: Baritone Saxophone; Ronald Wilson: Saxophone; Irv Cox: Saxophone; Johnnie Parket: Bass; Johnny Parker: Bass; Paul Lagos: Drums; Lucky Otis: Bass; Nicky Otis: Drums; Al Simmons: Credit Not Specified; Gene Conners: Trombone; Slim Green: Guitar; Don Johnson: Trumpet.

Blues & Swing Party Vol 1

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Milt Jackson - Wizard Of The Vibes

Bitrate: MP3@320K/s
Time: 51:05
Size: 117.0 MB
Styles: Bop, Vibraphone jazz
Year: 1952/2001
Art: Front

[3:25] 1. Tahiti
[3:12] 2. Lillie
[3:02] 3. Bags' Groove
[3:09] 4. What's New
[2:57] 5. Don't Get Around Much Anymore
[2:40] 6. On The Scene
[3:14] 7. Lillie
[3:07] 8. What's New
[3:00] 9. Don't Get Around Much Anymore
[2:30] 10. Evidence
[3:19] 11. Misterioso
[3:04] 12. Epistrophy
[2:43] 13. I Mean You
[2:42] 14. Misterioso
[2:55] 15. All The Things You Are
[2:59] 16. I Should Care
[3:00] 17. I Should Care

The music on Wizard of the Vibes features Milt Jackson with the Thelonious Monk Quartet in a 1948 session combined with a 1952 date with his bandmates from the Modern Jazz Quartet (at that time including John Lewis, Percy Heath, and Kenny Clarke) along with alto saxophonist Lou Donaldson, who was oddly credited as the leader of the date on the original release, though it clearly seems to be Jackson in charge. The chemistry between Jackson and Monk on classics like "Misterioso," "Evidence," "I Mean You," and "Epistrophy" is immediately apparent, although Kenny "Pancho" Hagood's vocals on the standards "All the Things You Are" and "I Should Care" remain an acquired taste. Jackson introduces three originals on the latter session, including the debut of his highly acclaimed "Bag's Groove," which has long since become one of the most celebrated and popular jazz compositions. Lewis' uncanny musical ESP is evident throughout the session, as he feeds Jackson imaginative lines for his improvisations. Donaldson is enjoyable at times but doesn't always play at a level equal to the rhythm section, resorting to rather run-of-the-mill ideas in some of his improvisations. Milt Jackson's inventive playing throughout both dates makes this an important CD in his considerable discography, so it should be a part of any bop fan's collection. ~Ken Dryden

Wizard Of The Vibes

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Linton Garner Trio - Quiet Nights

Bitrate: MP3@320K/s
Time: 75:19
Size: 172.4 MB
Styles: Piano jazz
Year: 2006
Art: Front

[7:35] 1. Days Of Wine And Roses
[8:56] 2. All The Things You Are
[8:43] 3. Blues For Jimmy Q
[8:55] 4. Corcovado
[8:21] 5. Don't Blame Me
[6:57] 6. It Could Happen To You
[8:33] 7. Just Friends
[8:52] 8. Polka Dots & Moonbeams
[8:22] 9. Things Ain't What They Used To Be

QUIET NIGHTS was recorded live November 17th, 2002 at The Cellar, a Vancouver jazz club and restaurant, the result of an impromptu recording session. You can almost place yourself in the audience during that night. You can feel the energy in the room as the audience applauds every number. The music is upbeat and joyful, and pours from the instruments like a stream. The rhythm and style come across in such a way as to capture you from the very first song. And they are not likely to let go, either.

Every element of this album fits together in its place. Linton Garner's style of piano is simple yet sophisticated, and his lifetime experience of playing jazz is heard in every note. He has played with such great artists as Art Blakey, Dizzy Gillespie, and Miles Davis, just to name a few.

Accompanied by two of his closest friends, Russ Botten on bass, and Ross Taggart on tenor sax, the songs sound natural and clear. They have a quality that makes them sound as though they have been playing together forever. The sounds are as mellow as mellow can be, and the recording quality is as good as it would have been in the studio. Simple and timeless, this is what jazz is supposed to be. ~Michael Perry

Quiet Nights

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Nicole Henry - The Very Thought Of You

Bitrate: MP3@320K/s

Time: 50:27

Size: 115.5 MB

Styles: Jazz vocals

Year: 2008

Art: Front

[4:42] 1. That's All

[4:11] 2. Almost Like Being In Love

[2:56] 3. I Can't Be Bothered Now

[3:39] 4. Waters Of March

[4:23] 5. What'll I Do

[4:24] 6. I Found You

[3:52] 7. All That I Can See

[3:41] 8. All The Way

[2:54] 9. I'm Gonna Lock My Heart

[5:09] 10. At Last

[5:17] 11. The Very Thought Of You

[5:13] 12. Make It Last

A fresh, young and inspirational jazz vocalist with a beautiful voice that is pure and soulful. Every song is gracefully executed with her own very personal touch. Simply one of the finest artists to emerge this decade.

Since her debut in 2004, Nicole Henry has established herself as one of the jazz world's most acclaimed vocalists. Ms. Henry possesses a potent combination of dynamic vocal abilities, impeccable phrasing, and powerful emotional resonance. Her repertoire includes the American Songbook, classic and contemporary jazz titles, contemporary' standards, blues, and originals; while her accompaniment ranges from a simple jazz trio to a full big band.

The Very Thought Of You

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