Junior Mance - Straight Ahead

Bitrate: MP3@320K/s
Time: 28:20
Size: 64.9 MB
Styles: Soul jazz, Piano jazz
Year: 1965/2012
Art: Front

[2:28] 1. In A Mellow Tone
[1:42] 2. Hannah Strikes Again
[4:51] 3. Li'l Darlin'
[2:44] 4. Diane
[2:36] 5. Happy Time
[2:07] 6. The Late, Late Show
[2:08] 7. Fine Brown Frame
[2:12] 8. Senor Mance
[2:57] 9. Stompin' At The Savoy
[2:17] 10. Trouble In Mind
[2:12] 11. The J. A. M. F

Of the three recordings Junior Mance made for Capitol, two were within a big-band format. Straight Ahead is the second of the two large-group recordings. The band is populated by some of the top studio musicians and bandmembers on the West Coast, including Don Fagerquist and Pete Candoli on trumpet, Milt Bernhart on trombone, and Shelly Manne on drums. Bob Bain fronts the group and wrote the charts. The major difference from the previous recording is that it's all brass here; no reeds are present. Combining Mance's natural blues-inflected piano with a big horn sound is a true aural treat. The result is a musical conversation with each side taking turns playing on or over the melody line. On "Li'l Darlin'," the band plays the familiar slow-drag melody while Mance improvises on top. There's a heated call and response on "Happy Time," with Mance going out swinging against blaring riffs by the brass. A similar swinging conversation takes place on "The Late, Late Show," with the band kicking off the cut with a roaring trumpet call. Usually a large-ensemble format doesn't allow for much diversion from the charts. Here it's clear that the band stayed with the charts, but Mance was allowed a good deal of leeway in his playing. He could respond to the call of the band as he saw fit. The result is a dynamic session combining the best of a disciplined brass assembly with the unfettered play of a top jazz improvisor. Some enterprising label should take the first album Mance made with this group, Get Ready, Set, Jump!, combine it with this one, and release them together on a CD. ~Dave Nathan

Straight Ahead

---

Jimmy Witherspoon - Jimmy Witherspoon With The Duke Robillard Band

Bitrate: MP3@320K/s
Time: 56:52
Size: 130.2 MB
Styles: Urban blues, Jazz-blues
Year: 2000
Art: Front

[13:59] 1. Glide On
[ 6:30] 2. Going Down Slow
[ 5:54] 3. Big Boss Man
[ 8:11] 4. Ain't Nobody's Business
[ 7:05] 5. I'll Always Be In Love With You
[ 8:22] 6. Stormy Monday Blues
[ 6:49] 7. Times Getting' Tougher Than Tough

The material on this album was recorded in concert shortly before Jimmy Witherspoon's death at age 74, and it appears that this was his last recording. The significance of that fact cuts both ways on this attractive but sometimes frustrating album. On the one hand, fans will welcome it as a last document of Witherspoon's undeniable talent and presence. On the other hand, it's hard to overlook the fact that by this point he was no longer at the peak of his powers. Although he tries gamely to generate the energy of his past work -- and occasionally succeeds, as on the electrifying "I'll Always Be in Love With You" -- for the most part his voice is phlegmy and weak, his intonation approximate at best. Duke Robillard works well with Witherspoon, goosing his band to a level of energy intended to invigorate the aging singer without overpowering him, and delivering sharp and witty solos that keep things lively and interesting. There is also a fine cameo appearance by the British blues singer Long John Baldry, whose presence also seems to give Witherspoon a shot in the arm. Overall, though, this is an album that will appeal primarily to diehard fans of the singer and to Robillard completists. ~Rick Anderson

Jimmy Witherspoon With The Duke Robillard Band

---

Smith Dobson With Bobby Hutcherson - Sasha Bossa

Bitrate: MP3@320K/s

Time: 41:15

Size: 94.4 MB

Styles: Post bop, Piano jazz

Year: 1989/1992

Art: Front

[5:34] 1. It Could Happen To You

[7:00] 2. Love's Mirror Image

[7:15] 3. Old Acquaintance

[7:28] 4. Old Devil Moon

[4:43] 5. Ottawa On

[4:24] 6. Sasha Bossa

[4:48] 7. Day In, Day Out

Smith Dobson was one of the top jazz pianists based in the San Francisco Bay area. He did not record all that often as a leader, but this somewhat obscure release is fairly definitive. Dobson teams up with vibraphonist Bobby Hutcherson, bassist Jeff Carney, and either Eddie Marshall or Vince Lateano on drums. Altoist Mark Lewis and singer Gail Dobson (Smith's wife) make two appearances apiece. The music is straight-ahead with a bit of Latin ("Sasha Bossa") included for variety. Highlights include "It Could Happen to You," "Old Acquaintance," and "Old Devil Moon." Smith Dobson brought his own personality to the straight-ahead music he played; this is one of his strongest releases. ~Scott Yanow

Sasha Bossa

---

Susannah McCorkle - Adeus: The Berlin Concert

Bitrate: MP3@320K/s
Time: 62:09
Size: 142.3 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[2:28] 1. Zing! Went the Strings of My Heart
[3:53] 2. Still Crazy After All These Years
[7:56] 3. Adeus America
[4:59] 4. Get Out of Town
[3:42] 5. That Ole Devil Called Love
[5:39] 6. Don't Fence Me In
[0:54] 7. (instrumental)
[5:33] 8. I Thought About You
[4:14] 9. Swing That Music
[5:01] 10. That Old Feeling
[4:09] 11. You Do Something to Me
[5:06] 12. P'rá Machucar Meu Coracao
[3:26] 13. (Instrumental) S'Wonderful
[3:33] 14. Bye Bye Baby
[1:27] 15. (instrumental) outro

Exceptional musical legacy of one of America`s greatest yet misunderstood songbirds: jazz singer Susannah McCorkle (1946 - 2001) and quartet live in Berlin 1996, recorded at the pinnacle of her career in front of an enthusiastic audience. “Susannah McCorkle is in the forefront!” (Tony Bennett, 1986). Some of the finest songs from her repertoire, mastered from lost tapes recently discovered in the archives of music journalist and writer Siegfried Schmidt-Joos, with Kai Rautenberg (p & arr), Walter Gauchel (ts), Dave King (b) and Ned Irving (dr) - her first live release!

Adeus: The Berlin Concert

---

Johnny Hartman - And I Thought About You

Bitrate: MP3@320K/s
Time: 33:02
Size: 75.7 MB
Styles: Standards, Vocal jazz
Year: 1959/1997
Art: Front

[2:23] 1. Mam'selle
[2:51] 2. To Each His Own
[2:15] 3. Sunday
[2:23] 4. Alone
[2:47] 5. Long Ago (And Far Away)
[3:11] 6. I Should Care
[2:59] 7. Little Girl Blue
[2:51] 8. But Beautiful
[2:05] 9. After You've Gone
[3:20] 10. There's A Lull In My Life
[2:42] 11. How Long Has This Been Going On
[3:10] 12. I Thought About You

Johnny Hartman gained posthumous fame as one of the warmest ballad singers of this century, and his deep baritone voice is well showcased on this 1958 date, which emphasizes slower tempos with a couple of exceptions ("Sunday" and "After You've Gone"). Accompanied by a subtle orchestra arranged by Rudy Traylor (the personnel is unknown), Hartman is in such fine form that it seems sad that this obscure effort was his only studio date of the 1957-62 period. Highlights of the brief (33-minute) set include "To Each His Own," "Little Girl Blue" and "There's a Lull In My Life." ~Scott Yanow

And I Thought About You

---

Ray Bryant - Hot Turkey

Bitrate: MP3@320K/s
Time: 59:18
Size: 135.8 MB
Styles: Soul Jazz, Piano jazz
Year: 1975/2007
Recorded: October 15, 1975
Art: Front

[5:17] 1. Saint Louis Blues
[4:04] 2. Take The A Train
[4:22] 3. Sophisticated Lady
[5:35] 4. B & H Blues
[5:30] 5. Hot Turkey
[7:58] 6. Li'l Darlin'
[6:26] 7. Satin Doll
[6:07] 8. This Is All I Ask
[7:41] 9. Blues In C
[6:13] 10. Broadway

This fine set is (Ray Bryant's last session before signing with the Pablo label) has three selections (two swing standards plus the pianist's "Hot Turkey") played in a trio with bassist Major Holley and drummer Panama Francis. However the main reason to search for this session is to hear Bryant uplift three familiar standards ("St. Louis Blues," "Take The 'A' Train" and "Sophisticated Lady") and a blues with his soulful and swinging solo piano interpretations. Virtually every Ray Bryant album is well worth picking up for his accessible and flexible style should appeal to fans of most jazz styles. ~Scott Yanow

Hot Turkey

---

Kate Michaels - Just Marilyn

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 35:01
Size: 80,7 MB
Art: Front

(2:20)  1. A Fine Romance
(2:56)  2. A Little Girl From Little Rock
(3:24)  3. Bye Bye Baby
(3:03)  4. Every Baby Needs A Da-Da Daddy
(3:02)  5. You'd Be Surprised
(2:38)  6. My Heart Belongs To Daddy
(2:44)  7. She Acts Like A Woman Should
(3:23)  8. Do It Again
(3:30)  9. Diamonds Are A Girl's Best Friend
(2:06) 10. I Wanna Be Loved By You
(2:26) 11. I'm Gonna File My Claim
(3:24) 12. After You Get What You Want You Don't Want It

Sexy trumpets with great singing and a new take on an American Classic sound which is sensual, classy and fun; great for dinner and business parties. Featuring hits from the rat-pack era like Diamonds are a Girl's Best Friend and My Heart Belongs to Daddy.

The band and vocal arrangements of "Just Marilyn" will knock your socks off. These songs are in the new retro-contemporary style featuring music from the 40's and 50's. "Just Marilyn" is wonderful and upbeat. It is dedicated to all lovers of big band and all those who love and admire the inimitable Marilyn Monroe and enjoy remembering her era.

American singer Kate Michaels emerged internationally as an engaging and captivating artist, performing established favourites with cotemporary flair that has been described as classy, humorous, and elegant. Just Marilyn is also a principle component along with other projects produced by Kate's production company, New Arts Paradigm, gmbh of concerts and touring shows in Europe, the UK, and North America.

"Putting together the music from one of last century's most cherished eras is the most fun I had all year. It was wonderful to research this amazing music and I'm very thankful that this project was presented to me by such fabulous musicians. It's great that Big Band continues to be loved and appreciated in the new retro-contemporary style."  http://www.cdbaby.com/cd/katemichaels

Just Marilyn

---

Marco Confalonieri Trio - Jazz Class

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 63:23
Size: 145,5 MB
Art: Front

(4:50)  1. Corcovado
(4:22)  2. How Insensitive
(3:39)  3. Triste
(2:59)  4. Days of Wine and Roses
(3:44)  5. Green Dolphin Street
(4:12)  6. A Foggy Day - Take Two
(4:26)  7. How Insensitive - Violin Version
(4:53)  8. My Foolish Heart
(3:51)  9. St. Thomas
(2:57) 10. How High is the Moon
(4:30) 11. My One and Only Love
(3:44) 12. All the Things
(4:58) 13. Wave
(6:00) 14. Over the Rainbow
(4:11) 15. Yesterdays

If anyone knows any information about this excellent pianist, Please put in comments. Thank you!

Jazz Class

---

Billy Eckstine - Mr B & The Band: The Savoy Sessions

Styles: Jazz, Big Band
Year: 1995
File: MP3@320K/s
Time: 77:39
Size: 178,8 MB
Art: Front

(2:45)  1. Lonesome Lover Blues
(3:06)  2. Long, Long Journey
(2:32)  3. I Only Have Eyes for You
(2:44)  4. You're My Everything
(2:53)  5. The Jitney Man
(2:58)  6. Blue
(2:55)  7. Second Balcony Jump
(2:54)  8. Tell Me, Pretty Baby
(2:20)  9. Love Is the Thing
(2:50) 10. Without a Song
(2:50) 11. Cool Breeze
(2:46) 12. A Cottage for Sale
(2:53) 13. Don't Take Your Love from Me
(3:01) 14. Oop Bop Sh'bam
(2:58) 15. Oop Bop Sh'bam - Alternate Version
(2:51) 16. In the Still of the Night
(3:16) 17. Jelly, Jelly
(2:48) 18. My Silent Love
(3:18) 19. Time On My Hands
(2:35) 20. All the Things You Are
(2:48) 21. I Love the Rhythm In a Riff
(3:02) 22. Last Night
(2:52) 23. Prisoner of Love
(2:50) 24. It Ain't Like That
(2:53) 25. I'm In the Mood for Love
(2:59) 26. You Call It Madness (But I Call It Love)
(2:48) 27. All I Sing Blues

Unlike other big-band singers who regarded the other musicians in the orchestra as little more than backup to their generally sugarcoated stylings, Billy Eckstine was a man with wide-ranging tastes and a musicality he brought to everything he lent his honeyed baritone voice to. When it was time for him to start his own band to capitalize on his growing fame, he didn't settle for hiring some hacks to read charts framed around his vocals. Instead, he put together what is now, in hindsight, the first big band to feature almost exclusively young, emerging bop players. Both "Bird" and "Diz" did time in the band and, at one time or another, Eckstine featured Sonny Stitt, Dexter Gordon, Wardell Gray, Lucky Thompson, Fats Navarro, Miles Davis, and Kenny Dorham on his bandstand. The band was far, far ahead of its time, appealing more to musicians than white America, but making extraordinary music nonetheless. 

This single-disc collection brings together a delightful batch of tunes that band recorded for the tiny National label between 1945 and the following year. With Art Blakey, Tommy Potter, and Leo Parker also in the lineup, this is no nostalgic "remember the big bands" anthology by any stretch of the imagination, and Eckstine's vocals on "A Cottage for Sale," "Prisoner of Love," and "I'm in the Mood for Love" are every bit as fine as the band's two takes of Gillespie's "Oo Bop Sh'Bam." Originally a 32-track, two-disc vinyl album set, the compact disc configuration lops off the last five tunes from that original collection due to time restrictions. ~ Cub Koda  http://www.allmusic.com/album/mister-b-and-the-band-the-savoy-sessions-mw0000197210

Mr B & The Band: The Savoy Sessions

---

Paul Kuhn Trio - Play It Again Paul

Styles: Vocal and Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 76:04
Size: 175,1 MB
Art: Front

(2:45)  1. More
(6:18)  2. Prelude To A Kiss
(5:03)  3. They Can't Take That Away From Me
(5:11)  4. The Nearness Of You
(0:51)  5. Toots Thieleman's Solo Improvisations On 'The Nearness Of You'
(6:37)  6. Just Friends
(5:44)  7. Polka Dots and Moonbeams
(4:18)  8. You Make Me Feel So Young
(4:36)  9. Sugar Daddy
(6:09) 10. 'Deed I Do
(4:26) 11. Falling In Love With Love
(5:06) 12. A Child Is Born
(3:42) 13. Anthropology
(5:12) 14. A Foggy Day In London Town
(4:17) 15. Don't Get Around Much Anymore
(5:42) 16. Tenderly

The "character" of the German jazz, it may not be easy. With its "old" companions Greetje field and Toots Thielemans, the trio Paul Kuhn shows Willy Ketzer on drums and Paul G. Ulrich on bass that the musical fire is far from extinguished in him. The result is a studio recording with (almost) live conditions with the audience. This makes sense: not only because the previous two albums created in the (non-public) studio and in a club. It makes even more sense if it is like at Paul Kuhn is a pianist and singer, who as an icon of German (upscale) radio / television entertainment, entertainer par excellence with the "for-musicians-only" attitude nothing but can also start anything. He not only loves the contact that he needs him. Not without ulterior motives he has chosen "his" friends for this album: Greetje field has a warm, soulful voice (and personality), is one of Europe's best jazz singers and one of the few that have worked in the USA and none other than Ray Brown Herb Ellis, Stan Getz and Phil Woods can count on her musical friends. 

And with Toots Thielemans, the uncrowned king of jazz harmonica, Paul Kuhn connects one of the longest relationships within his rich relations musician's life. It's not just her game that affection can be given to them, it is also, and just as their natural and charming way: Here the just slyly giggelnde Toots, whose eyes betray the next moment a touch of sentiment; there Pauls never acting calculated understatement, his warm-hearted wit, who need not exclude a sadness melancholy look. Experienced and wily of show business men, free from the pressure of having to hide the manchild. 

But this feeling other still carry on, those long-term relationships Kuhns, the almost daily (respectively: evening, not to say nightly) are exposed to a "stress test". Paul G. Ulrich, for five years at the side of his namesake, with full sound and perfect intonation (and so connected one of the few jazz players who know how to convince in painted solos), and Willy Ketzer, the past two decades (! ) in the service of the conductor, an absolute guarantee of the essence of this music, Swinging, almost at home in all styles and formats, someone who also knows exactly why, what specific requirements brings the trio genre with it. The sound engineer Winnie Leyh it took the opportunity to capture with his special "instrument" that mood and cast a wonderful warm sound on tape, which can participate in the special atmosphere of the handset. ~ Translate by google  https://www.jpc.de/jpcng/jazz/detail/-/art/Paul-Kuhn-geb-1928-Play-It-Again-Paul/hnum/3038314

Personnel:  Bass – Paul G. Ulrich;  Drums – Willy Ketzer;  Harmonica – Toots Thielemans;  Piano, Vocals – Paul Kuhn;  Vocals – Greetje Kauffeld

Play It Again Paul

---

Veronika Morscher - My Heart On A String

Size: 68,0 MB
Time: 29:00
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. One Way Street (4:27)
02. Broken Home (3:35)
03. Ghosts (2:59)
04. The Marionette (3:38)
05. Am I Still Facing Love (3:01)
06. Unseen (3:57)
07. Silent Flame (3:23)
08. Unseen (Radio Mix) (3:55)

Veronika Morscher is an Austrian singer-songwriter who just released her debut CD "My Heart On A String".
In April last year, she recorded her 8 song EP in Acton, MA/USA with musicians from all over the world.
Based in Cologne (Germany) and Vienna (Austria) at the moment, she performs her original music in a series of concerts around Europe.

My Heart On A String

---

Bill McBirnie & Bruce Jones - Grain Of Sand

Size: 143,6 MB
Time: 61:04
File: MP3 @ 320K/s
Released: 2015
Styles: Brazilian Jazz, Bossa Nova
Art: Front

01. Grain Of Sand (Instrumental) (4:46)
02. Se Eu Fico Com Voce (If I Stay With You) (With Voice) (4:59)
03. Quando A Chuva Cai (As The Rain Falls) (Instrumental) (4:39)
04. Izabel (Isabel) (With Voice) (4:03)
05. Lembrando Paul Horn (Remembering Paul Horn) (Instrumental) (2:04)
06. Breque Trio A Trez (Break Samba Trio For Three) (Instrumental) (4:38)
07. Carnaval Blue (Blue Carnival) (With Voice) (3:23)
08. Vai Bem Devagar (Proceed With Caution) (Instrumental) (5:21)
09. Ce Ta Com Tudo (You Are Everything) (With Voice) (4:41)
10. A Ponte Para Carlton (The Carlton Bridge) (Instrumental) (4:31)
11. Na Quinta Esquina (On The Fifth Corner) (Instrumental) (4:04)
12. Motel Ce Que Sabe (Who Knows Motel) (Instrumental) (5:05)
13. Com Ou Sem Voce, Meu Amor (With Or Without You, My Love) (With Voice) (5:12)
14. Grao De Areia (Grain Of Sand) (With Voice) (3:32)

Bruce Jones and I first collaborated about 15 years ago on my debut album, Desvio (which was subsequently nominated for a Toronto Independent Music Award). This initial recording project came about as a consequence of working regularly with Bruce’s Brazilian rock band, Da, and as a further consequence of dressing tracks for Bruce on his various Da, Amazon Dreams and other recording projects. After a while, I had done so much work with Bruce (whose songwriting I always admired) that I suggested to him, “Maybe we should try and do a flute-oriented project.” To my surprise, Bruce was more than happy to oblige and that suggestion evolved into our first album, Desvio, which he dubbed “extrema flauta” (and which we anglicized as “Extreme Flute”).

Our musical paths diverged thereafter but, about a year ago, Bruce asked me to do some dressing for a couple of tracks he was working on. This went really well and, in the course of doing so, I learned that Bruce had a lot of material in various stages of completion on his hard drive. Once again, I suggested to him, “Maybe we should extend ourselves and do another flute-oriented project.” Yet again, Bruce was happy to oblige and Grain of Sand is the result. As fate would have it, this project has evolved into another incarnation of Extreme Flute!

Bruce is—and always has been—enormously talented, on multiple dimensions. Musically, what he does is ostensibly Brazilian (in no small measure because he was raised in Brazil). However, he combines that rich musical heritage with many other influences, ranging from rock & roll and hip-hop to new age. For me, the big draw in working with Bruce has always been both the diversity of his material and his openness to improvisation (which is what I like to do most of all). These features of his work have always provided us with a solid basis for collaboration—both then and now.

A project of this nature—involving just the two of us—takes considerable time to complete and so it inevitably proceeds in stages. Each track starts with Bruce writing, playing and recording whatever idea he has in mind. After Bruce has laid down what is often a fairly complete track, we then overlay any flute melodies he has in mind. In addition, we conjure up shots and harmony parts and overdub these. After that, we go back and I improvise over the entire track. Finally, we take whatever we have (…which is typically far too much…) edit it and mix it down. Of course, we “subtract” far more than we “add” as the process unfolds until sooner or later (…usually later…) we find what we’re after.

The end result of this most recent collaboration, Grain of Sand, is both a fitting theme and title, because there always has been—and there always will be—a lot more from wherever this came. ~by Tomas Peña

Bill McBirnie – flute, alto flute (tracks 3 & 14) & piccolo (track 9)
Bruce Jones – guitar, vocal, percussion & synths

Grain Of Sand

---

Edith Van Den Heuvel & Frank Harrison - Beneath The Blue

Size: 104,8 MB
Time: 44:49
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Answer Me, My Love (4:41)
02. Caravan (5:28)
03. Emily (4:18)
04. The Summer Knows (5:34)
05. Invitation (5:09)
06. In The Wee Small Hours Of The Morning (4:36)
07. Everybody's Song But My Own (5:25)
08. Lucky To Be Me (3:14)
09. Both Sides Now (6:20)

THE INTIMACY and openness of the vocal and piano duo concept requires creative focus, confidence and, above all, a deeply shared empathy with the music in order for it to succeed – no hiding place, yet a fascinatingly laid-bare opportunity to express, shape and personalise the nuances of well-crafted song.

Capturing that essence is a new collaboration between Dutch singer Edith van den Heuvel and British pianist Frank Harrison which sees them exploring and interpreting both familiar and lesser-known gems from the repertoire, recording a moment in time (across a couple of days in the studio) in an album which glistens with warmth and emotional sincerity. The vocal range and clear English annunciation of van den Heuvel are impressive, frequently with an appealing ‘woody’ timbre (not unlike June Tabor), and certainly well matched to Harrison’s highly-regarded pianistic sensitivity as he produces typically lush, complex and sometimes left-field chordal constructions. Indeed, rather than ‘singer with accompaniment’, this project is very much a mutual partnership.

Ushering-in the album’s predominant atmospheres, yearning opener Answer Me, My Love finds van den Heuvel reaching out with a considerable depth of expression, the lyrical pain in this 1950s number reflected beautifully by Harrison’s limpid, tenuto piano. The familiar, modulating animation of Duke Ellington standard Caravan takes on a different guise in an inventive, elaborate piano arrangement over which Edith’s voice resonates strongly and deeply, as well as displaying attractive inflections; and the popular Mandel/Mercer tune Emily (also recorded this year on Frank’s trio album Lunaris) waltzes to soft, innocent vocal and equally elegant piano which recalls its favour with Bill Evans.

Arguably the most haunting of Michel Legrand’s melodies, The Summer Knows – introduced here by Harrison’s subtle, solo extemporisations on its theme – is carried superbly by van den Heuvel, portraying it’s fragile major/minor melancholy so affectingly; in contrast, there’s an earnestness to the Kaper/Webster tune Invitation (from the ’50s movie of the same name), a particularly fine melding of piano and voice; and delicately full of longing, In The Wee Small Hours Of The Morning magically suspends time.

Poignant in a year that jazz felt the loss of the great Kenny Wheeler, the characteristically modest, placid air of resignation in his ‘hit’ Everbody’s Song But My Own (words by Norma Winstone) is affectionally and lucidly conveyed. Cheerfully swinging Lucky To Be Me, from Leonard Bernstein’s On The Town, showcases Harrison’s ear for assured-though-engaging improvisation as van den Heuvel relaxes into its blithe demeanour; and finally, Joni Mitchell’s Both Sides Now is precise in its homage to one of Canada’s most revered songwriters, and affirms the enchantment of this particular musical twosome.

Beneath The Blue

---

VA - Neuklang Klangwelten Vol. 1

Size: 186,1 MB
Time: 79:34
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz
Art: Front

01 Heiri Kanzig Quintet - Pamir (5:01)
02 Olivia Trummer Trio - Nobody Knows (5:24)
03 Mo' Blow - Endless Escape (4:32)
04 Stitches Brew - There's No Courage Without Fear (4:57)
05 Alexandra Lehmler Quintett - Die Welt Von Unten Gesehen (5:37)
06 Marc Perrenoud Trio - Nax (2:49)
07 Gluecklich 1 - How Deep Is The Ocean (4:55)
08 Hellmüller Sisera Renold - Wallstreet (3:19)
09 Jazzpartout - Armando's Rumba (5:15)
10 Centerpiece - Greg's Homey Doomey (3:21)
11 Chris Geisler Trio - Toxic Waste (4:02)
12 Christoph Stiefel Inner Language Trio - Olympus Mons - Isorhythm #28 (5:55)
13 Barbara Burkle Quintett - Everything Allowed (4:51)
14 Rolf Zielke - In The Chains Of Fate (4:53)
15 Michael Kiedaisch - Triangel (2:52)
16 Julia Oschewsky - Roads (6:33)
17 FUMMQ (Ferenc & Magnus Mehl Quartett) - Flushing Boulevard Bound Nr. 7 Express Train (5:10)

Neuklang Klangwelten Vol. 1

---

Irene Kral - In The Name Of Love

Size: 147,3 MB
Time: 62:55
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Comes Love (2:32)
02. It's A Wonderful World (2:30)
03. The Night We Called It A Day (2:29)
04. Rock Me To Sleep (2:17)
05. Detour Ahead (3:40)
06. I Let A Song Go Out Of My Heart (2:42)
07. The Meaning Of The Blues (3:07)
08. It Isn't So Good (2:29)
09. Lazy Afternoon (2:51)
10. What's Right For You (2:57)
11. Guess I'll Hang My Tears Out To Dry (3:32)
12. This Little Love Of Ours (2:04)
13. Something To Remember You By (2:11)
14. Spring Can Really Hang You Up The Most (2:59)
15. I'd Know You Anywhere (2:09)
16. This Is Always (3:20)
17. Better Than Anything (2:18)
18. The Touch Of Your Lips (2:18)
19. Memphis In June (2:54)
20. Nobody Else But Me (1:52)
21. Passing By (1:50)
22. No More (3:08)
23. Everybody Knew But Me (1:58)
24. Just Friends (2:36)

Irene Kral (January 18, 1932 – August 15, 1978) was an American jazz singer who was born to Czechoslovakian parents in Chicago, Illinois, and settled in Los Angeles in the early 1960s. She died, due to breast cancer, in Encino, California.

Kral's older brother, Roy Kral, was a successful musician when she started singing professionally as a teenager. She sang with bands on tours led by Woody Herman and Chubby Jackson, former Herman bass player. She joined Maynard Ferguson's band in the late 1950s and sang with groups led by Stan Kenton and Shelly Manne. She then started a solo career until her death at 46 years of age. She was a ballad singer who stated that Carmen McRae was one of her inspirations. She became more famous posthumously when Clint Eastwood used her recordings in his 1995 movie The Bridges of Madison County.

Her style has been compared to that of Carmen McRae (the two singers were friends). Dana Countryman quotes from Lorraine Dahl's 1984 book on women in jazz, Stormy Weather: "Irene Kral had a lovely, resonant voice with a discreet vibrato, flawless diction and intonation, and a slight, attractive nasality and shaping of phrases that resembled Carmen McRae's. But where McRae's readings tend to the astringent, Kral's melt like butter. She was a master of quiet understatement and good taste. ~Wikipedia

In The Name Of Love

---

Alex Sipiagin - Balance 38-58

Size: 144,5 MB
Time: 62:30
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Contemporary Jazz
Art: Front

01. 38-58 ( 9:26)
02. Way To Her ( 8:30)
03. Momentum ( 9:34)
04. Echoes Of Thought (12:13)
05. Balance ( 6:26)
06. Yragon ( 8:22)
07. Trio Whale ( 7:57)

“Balance 38-58? just oozes class. And so it should one might say, but that’s not always the case when a group of stellar musicians such as we have here, get together to record. There has to be direction, unity and balance to go alongside any individual talent. We have it here, in spades. Trumpeter Alex Sipiagin’s 11th outing as band leader for Criss Cross Jazz is a well constructed affair, with excellent performances all round. Sipiagin is joined by David Binney (alto and soprano sax), Adam Rogers (guitar), John Escreet (piano), Matt Brewer (bass) and Eric Harland (drums). Together the sextet weave their majic through five Sipiagin and two Binney compositions. The opener and title track refers to Sipiagin’s recent travels in Asia and more specifically Taiwan. There are two Taiwanese drinks, one is 38 percent and the other 58 percent. As with life in general, according to Sipiagin, the important thing is finding a balance – couldn’t agree more. Sipiagin excels throughout, on both trumpet and flugelhorn, exhibiting skilful solos, subtle and energetic. The band works well as a unit, with some superb performances and harmonious playing. I particularly enjoyed the tracks “Echoes of thought” and “Yragon”; wonderful pieces brilliantly executed. My only small gripe from a cohesive album point of view is track five; “Balance”. Although the (almost rock) driven guitar-led track is excellent in itself, for me it doesn’t sit at all comfortably with the rest of the album.
There are times on this studio recording when Sipiagin is on fire. To this end I for one would love to see him perform live. Those of you in London on Wednesday night (18th Feb) will be fortunate enough to get the chance to do so. Ronnie Scott’s hosts a great line-up for this gig, led by Sipiagin’s fellow compatriot, saxophonist Zhenya Strigalev. Exciting London label Whirlwind Records present a mouth-watering evening’s entertainment. Performing with Alex Sipiagin and Zhenya Strigalev are Liam Noble, Eric Harland, Linley Marthe and Matt Penman. Collectively they are Zhenya Strigalev’s Smiling Organizm, and they will be celebrating the release of their second album “Robin Goodie”. St Petersburg born Stregalev is rapidly becoming known for his high-octane, hard swinging post bop playing. So with Alex Sipiagin alongside him, it should be a killer of a gig.

Balance 38-58

---

David 'Fathead' Newman - Time And Again

Bitrate: MP3@320K/s
Time: 78:16
Size: 179.2 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[6:35] 1. Lady Day
[4:27] 2. Hello There
[6:32] 3. Summertime
[2:24] 4. Deed I Do
[7:23] 5. Batista's Groove
[3:39] 6. Alto Sauce
[4:36] 7. Skylark
[2:48] 8. When Your Lover Has Gone
[7:04] 9. Cousin Slim
[3:05] 10. Unchain My Heart
[4:18] 11. Congo Chant
[5:37] 12. Cellar Groove
[2:32] 13. Lonely Avenue
[7:55] 14. Night Of Nisan
[5:13] 15. Scufflin'
[4:01] 16. Esther's Melody

As both a musician and man, David Newman expressed extreme elegance. His manner was understated. He was an unusually handsome man who carried himself with dignity and grace. He walked through the world with quiet confidence. His spoken voice, like his musical voice, was warm and loving. His tender soul was evident in everything he said and played.

In jazz's hard-edged culture, gentlemen are rare. David was the very model of a gentle man. By the time he had reached his late twenties, he had risen to the rank of a musical master, yet never with the slightest hint of self-congratulatory conceit. For all his humility, his storied six-decade career is a model of deep and enduring work.

His mentors spoke readily of his prodigious talent. "I heard him as more than a sideman," said Lowell Fulson, the great bluesman with whom Newman played in the early fifties. "I heard him as a star in his own right." Fulson's piano player, Ray Charles, hired David when he began a small band of his own in 1954. "He has one of the kindest, sweetest dispositions of anyone I'd ever known," Said Ray. "They called him 'Fathead' but I called him 'Brains' because of his keen intelligence. He had it all covered—down-and-dirty blues and high-flying bop. And he put it together with a smoothness that had me wishing I could blow sax half as good as him." ~David Ritz

Time And Again

---

Jay Hoggard - Swing 'Em Gates: A Tribute To Lionel Hampton

Bitrate: MP3@320K/s
Time: 53:20
Size: 122.1 MB
Styles: Vibraphone jazz
Year: 2007
Art: Front

[4:54] 1. Take The A Train
[6:16] 2. Flying Home
[5:24] 3. Swing Em Gates
[4:27] 4. How High The Moon
[6:09] 5. Memories Of You
[4:44] 6. Uptown Vibes
[3:56] 7. Air Mail Special
[6:06] 8. In A Mellow Tone
[5:02] 9. Stardust
[6:17] 10. Shiny Stockings

SWING 'EM GATES, is a tribute to the late vibraphone grand master Lionel Hampton. “Eight of the compositions on this recording are tunes that I played when Lionel Hampton sent me to sub for him with his band in the 1990’s…Once, when Hamp called me to play for him, I asked what tunes he wanted. He replied, ’Just swing ‘em,gates.’ ” That conversation was the inspiration for Jays’ composition of the same name as well as the direction of this musical tribute to Hampton in Hoggard’s musical voice The recording features stellar performances by top New York collaborators with a guest appearance by piano master, Dr. Billy Taylor on three tunes.

Swing 'Em Gates: A Tribute To Lionel Hampton

---

Leo Parker - Legendary Bop, Rhythm & Blues Classics

Bitrate: MP3@320K/s
Time: 23:06
Size: 52.9 MB
Styles: Bebop, Saxophone jazz
Year: 2010
Art: Front

[3:07] 1. Anything Can Happen
[3:08] 2. Tippin' Lightly
[2:55] 3. Blue Sails
[2:37] 4. Smoke Gets In Your Eyes
[2:37] 5. Smoke Gets In Your Eyes (dub in)
[3:01] 6. Candlelight Serenade
[2:56] 7. Hornet
[2:41] 8. Leo's Blues

The first jazz be-bop musician to play the baritone sax, Leo Parker was a rising force in the be-bop community of the late 1940's and might have become a huge star had not a drug addiction derailed his career and eventually claim his life at the age of 36. With a sound that wedded gospel drenched R&B with the advanced harmonies of be-bop, Parker's style and flawless technique became a prime inspiration for scores of young be-boppers to come. The first five tracks presented here were recorded in Chicago in August of 1953 with an unidentified rhythm section; the remaining tracks are from a July, 1951 Chicago session featuring Parker's baritone with Eddie Johnson on tenor sax; Claude Jones on piano (organ on "Candlelight Serenade"); Johnny Pate bass and Al Williams on drums. All selections have been newly remastered.

Legendary Bop, Rhythm & Blues Classics

---

Jackie & Roy - Spring Can Really Hang You Up The Most

Bitrate: MP3@320K/s
Time: 36:55
Size: 84.5 MB
Styles: Vocal jazz
Year: 1955/1984/1992
Art: Front

[2:29] 1. Says My Heart
[2:38] 2. Let's Take A Walk Around The Block
[4:16] 3. Spring Can Really Hang You Up The Most
[1:55] 4. Mine
[2:44] 5. Bill's Bit
[3:22] 6. Lover
[4:09] 7. Tiny Told Me
[3:10] 8. You Smell So Good
[3:19] 9. Lazy Afternoon
[2:26] 10. Daahoud
[3:32] 11. Listen Little Girl
[2:50] 12. I Wish I Were In Love Again

Among other delights, this 1955 Storyville title--reissued on Black Lion--boasts one of the first versions of Tommy Wolf and Fran Landesman's classy jazz standard, "Spring Can Really Hang You Up The Most." It's one of those songs that most jazz singers feel they must attempt at some point or other. (Norah Jones demo-ed it for her Bluenote audition, in fact.) The vaguely exotic "Lazy Afternoon" was also very popular among cabaret singers at the time. Otherwise, this is a typically fresh Jackie & Roy outing with some older standards ("Lover"), a bonafide jazz tune (Clifford Brown's "Daahoud"), and some choice novelties and unknowns ("Tiny Told Me," "You Smell So Good"!). ~Richard Mortifoglio

Spring Can Really Hang You Up The Most

---