John Turk - Home Grown

Size: 112,3 MB
Time: 47:59
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Blues/Funk: Hammond Organ
Art: Front

01. Somebody Luvs U (3:53)
02. He Sings To Me (Feat. Cheryl Serame) (4:44)
03. Blues For Pop (7:30)
04. Sophia (4:51)
05. Funk Dat (3:08)
06. Wade In The Water (4:25)
07. What A Friend We Have (2:33)
08. If U Want Me To Stay (6:04)
09. Days Of Wine & Roses (4:18)
10. Big P (6:27)

For those who know John Turk and his love for music, they know he is a man of few words and he chooses them carefully. Just like his communication style, his music is easily recognizable. Rich, soulful and full of history and you can never get enough of his tasty robust sound.

John grew up in a musical household and has deep roots in the church, Although they called him a musical prodigy, he was just a kid with a curiosity and passion about music with the ability to play the piano and the trumpet at the same time. So why? He said he wanted a more percussive sound and there was no one there to accompany him, so he did it himself.

JT continues to push the envelope musically. From his early days in Vallejo playing with schoolmate Sly Stone's band to recording or performing with legends such as Etta James, Jimmy McCracklin, John Lee Hooker, Charlie Musselwhite, PeeWee Ellis, Mark Isham, BB King, and more. John has been inducted into the West Coast Blues Hall of Fame and has been written up in b3 organ publications for his accomplishments. As fate would have it, John found his way to Glide Memorial Church and Reverend Cecil Williams. What started out as a temporary gig, turned into a 30 year musical ministry as the director of music leading the change band and world renowned 80 voice Glide Ensemble. Whether directing the national anthem at a major athletic event or performing for the president, John continues to rock the house with his original compositions as well as unique arrangements of well known tunes guaranteed to make even the most modest of individuals jump up and dance.

Growing up, John had the good fortune to learn the barrel house boogie from his older cousin. In the same fashion, he believes in inspiring young people to explore music using it as a form of self expression, possible path to a career in music. John leads the Gospel Choral program every other year for the ROCK program at Sir Francis Drake High School in Marin County. In addition, he teaches piano to promising artists on a very limited basis and encourages the young people at glide to try music on for size. You just might be the next Stevie Wonder, who knows? His son Miles Turk is certainly giving it his all as his most devout student on drums, piano & trumpet. You'll be hearing from him very soon.

John's latest project" Homegrown" is a very tasty b3 Hammond organ gem (released Sept. 2014). A long awaited b3 organ music project that highlights originals mixed in with well known classics all infused with that signature John Turk b3 organ swing thang. Blues, Funk, R&B, Gospel & Jazz, this project has it all. Just like a great book, it's a page turner and you won't want to miss a beat.

The crew on the CD boasts a 'who's who' list of well known artists such as Carl Lockett (Guitar), Ron E. Beck (Drums), James Levi (Percussion), Greg Crockett (Guitar/Bass) Keith Hatchell (Bass), Tim Landis (Guitar), Lorn Leber (Guitar), Cheryl Serame (Vocals) and Charles McNeil (Tenor Saxophone). All represented by well know groups such as Tower of Power, Jimmy Smith, Chuck Mangione, Herbie Hancock, Natalie Cole, The Greatful Dead, Luther Vandross, Aretha Franklin, Narada Michael Walden and more.. Bring your dancing shoes, the CD does not disappoint.

If you get an opportunity to hear the legendary John Turk live or on CD, just know you are in for a real treat.

Home Grown

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Louis Stewart, Jim Doherty - Tunes

Bitrate: MP3@320K/s

Time: 61:17

Size: 140.3 MB

Styles: Contemporary jazz

Year: 2009/2013

Art: Front

[4:57] 1. It Could Happen To You

[6:08] 2. You Go To My Head

[4:44] 3. Broadway

[7:00] 4. I Remember You

[6:04] 5. Comme Ci, Comme Ca

[4:56] 6. This Can't Be Love

[5:43] 7. Button Up Your Overcoat

[6:29] 8. I Surrender Dear

[5:29] 9. I Wished On The Moon

[5:21] 10. What Is There To Say

[4:23] 11. My Heart Stood Still

It seemed like a good idea at the time. It was a good idea at the time. Ireland's best known jazz musicians, guitarist Louis Stewart and pianist Jim Doherty have played together since the days of the famous Irish show bands in the early 1960s and have recorded together on numerous projects, but the idea to record a duo album of the jazz standards they cherish has taken fifty years to move from seed to fruition. The simply titled Tunes also represents the debut release of Daire Winston's Beechpark Records label and was recorded mostly in single takes at Beechpark Studios, Dublin.

The twelve titles are lifted lovingly from The Great American Songbook and are played at a jaunty mid-tempo for the most part, save for "I Surrender Dear" and a gorgeous and tender interpretation of "Comme Ci Comme Ca," a tune recorded by both Frank Sinatra and Ahmad Jamal. Stylistically, there's little variation throughout the album, which is maybe understandable given the limitations of the format, but such is the natural empathy between the two and so joyful the playing that the somewhat repetitive tempos and style hardly seem to matter.

The arrangements are simple enough but subtle shifts in dynamics keep things interesting; Stewart and Doherty alternate solo intros and outros, weave in and out of unison lines and pass melodies back and forth in short bursts, besides the lengthier alternate solos that pepper each composition. On "You Go to My Head," "I Remember You" and a rhythmically dancing "I Wished on The Moon" Stewart switches to acoustic guitar. Whether plugged or unplugged, Stewart shows the sort of form that induced Downbeat to label him as "one of the instrument's world class players."

Everyone will have their favorite Stewart solo here—and there are more than a few corkers to choose from—but for emotive delivery it would be hard to beat the guitarist's solo on the Harry Barris/Gordon Clifford tune "I Surrender Dear." Doherty has been Ireland's in-house pianist for visiting musicians such as saxophonist Gerry Mulligan and singer/pianist Ray Charles for decades and brings all the years of experience to bear with his intuitive comping throughout the CD. The pianist solos beautifully as well, notably on "Button up Your Overcoat" and "What Is There to Say?." On the latter, Stewart and Doherty conjure a delightful ending to their waltzing interplay.

Tunes is a relaxed, highly enjoyable session that captures two of Ireland's great jazz musicians in fine form. Hats off to Winston for backing the recording in the first place and for delivering an appropriately historic debut for the new label. Stewart and Doherty should perhaps have made their first duo recording years ago, but then again these classy performances are the results of some fine tuning about half a century's worth, no less. ~Ian Patterson

Louis Stewart: electric and acoustic guitar; Jim Doherty: piano.

Tunes

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Junior Walker & The All-Stars - The Definitive Collection

Bitrate: MP3@320K/s
Time: 56:17
Size: 128.9 MB
Styles: Pop-soul, R&B
Year: 2008
Art: Front

[3:17] 1. Shotgun
[2:43] 2. Shake And Fingerpop
[2:58] 3. How Sweet It Is (To Be Loved By You)
[2:39] 4. Cleo's Mood
[2:30] 5. Cleo's Back
[2:43] 6. (I'm A) Road Runner
[2:55] 7. Pucker Up Buttercup
[2:21] 8. Do The Boomerang
[2:58] 9. Come See About Me
[2:55] 10. Hip City, Pt. 2
[2:56] 11. Home Cookin'
[2:25] 12. What Does It Take (To Win Your Love)
[3:34] 13. These Eyes
[3:32] 14. Gotta Hold On To This Feeling
[3:28] 15. Do You See My Love (For You Growing)
[3:59] 16. Take Me Girl, I'm Readyeo Promo Version]
[4:07] 17. Way Back Home
[4:08] 18. Walk In The Night

While not as revered as Motown legends Smokey Robinson, Stevie Wonder, or Marvin Gaye, vocalist/saxophonist Junior Walker recorded some of the label's grittiest R&B songs, while also delivering heartrending tracks like "What Does It Take to Win Your Love." The Definitive Collection delivers 18 essential tracks by Walker & His All-Stars, spanning six years on the Motown/Soul label. Though the songs aren't in chronological order, all of the hits from that era are represented, from the first chart entry, "Shotgun" in 1965, through the last "Do You See My Love (For You Growing)" in 1970. Also included are a few singles of equal quality that didn't get as much radio play upon initial release: "Home Cookin'," "Cleo's Mood," and "Way Back Home." While there are other, more exhaustive compilations, such as the 25-track set Ultimate Collection, this is the best concise overview of Junior Walker & the All-Stars' career, containing the most hits on a single disc. ~Al Campbell

The Definitive Collection

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Marilyn Scott - Take Me With You

Bitrate: MP3@320K/s

Time: 45:02

Size: 103.1 MB

Styles: Soul-jazz vocals

Year: 1996/2001

Art: Front

[5:14] 1. Let Me Be The One

[4:35] 2. I'm Calling You

[4:35] 3. Close Enough

[4:04] 4. Take Me With You

[4:29] 5. Bird Of Beauty

[3:14] 6. The Summer Knows

[4:18] 7. Modern Man

[5:39] 8. I'm In Love Once Again

[4:12] 9. That's The Way It Should Be

[4:36] 10. Just To See You Again

After a number of years paying her dues as a backup singer and recording for a number of indie labels with mixed success, Marilyn Scott finally brings her crisp, romantic vocal stylings to Warner Bros. on Take Me With You, a stylish potpourri of pop, soul, jazz and Brazilian influences tailor made to fit the definition of the finest in Adult Contemporary music. While Scott's powerful yet subtle and smoky voice ties all the loose threads together, the collection's strengths lie in its frolicsome diversity. Scott changes moods depending on the producer du jour. George Duke elicits cool, straightforward pop, while longtime cohorts Russell Ferrante and Jimmy Haslip forge her range from standard to hip-hop influenced jazz. Ironically, the most exciting track, a percolating Brazilian treatment of Stevie Wonder's "Bird of Beauty," is also the least commercial from a corporate marketing standpoint. Without the radio typical sheen, producer Dori Caymmi allows Scott to romp through a loping playground where even elegant Kevyn Lettau-like Portuguese is within the realm. Perhaps the reason it's taken Scott so long to break through on a higher level is the type of stunning diversity typified here. It's been worth the wait. ~Jonathan Widran

Take Me With You

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Ralph Bowen - Standard Deviation

Bitrate: MP3@320K/s
Time: 51:50
Size: 118.7 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[5:32] 1. Isn't It Romantic
[5:22] 2. No Moon At All
[5:14] 3. Yesterdays
[7:28] 4. You Don't Know What Love Is
[7:08] 5. You Stepped Out Of A Dream
[7:30] 6. Spring Is Here
[8:14] 7. Dream Dancing
[5:19] 8. By Myself

Tenor saxophonist Ralph Bowen (Out Of The Blue, Horace Silver, Michel Camillo) is a highly regarded New York-based artiste and an idea man who can stand with the best of them. With his fifth solo venture for Posi- Tone Records Bowen tackles standards, and as the title intimates, he often deviates from the norm.

Jerome Kern's "Yesterdays" receives a Latin uplift, sparked by venerable pianist Bill O'Connell's topsy-turvy opening statements and bristling unison choruses with the rhythm section. From this point onward, they spring into a buoyant romp as Bowen stokes the coals via a ferocious series of choruses. He adds enough bite to impart a distinct edge, yet interweaves his melodic flair into ultra-fluid lines and improvises within the lower to medium registers. But he doesn't waste any notes and injects a few emphatic honks and squeaks into the upper-registers to raise the pitch with a stirring climatic assault while also infusing brevity into O' Connell's flavorful arrangement. Ultimately, Bowen and his first-class ensemble ruffle a few feathers and take matters into their own hands by not tendering literal readings of these rather shopworn works. (Zealously recommended...) ~Glenn Astarita

Ralph Bowen: tenor saxophone; Bill O’Connell: piano; Kenny Davis: bass; Donald Edwards: drums.

Standard Deviation

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Bobby Darin - It's You Or No One

Bitrate: MP3@320K/s
Time: 33:00
Size: 75.5 MB
Styles: Pop-rock, Vocal
Year: 1963/2004
Art: Front

[3:20] 1. It's You Or No One
[2:36] 2. I Hadn't Anyone Till You
[2:06] 3. Not Mine
[2:21] 4. I Can't Believe That You're In Love With Me
[1:57] 5. I've Never Been In Love Before
[2:12] 6. All Or Nothing At All
[3:55] 7. Only One Little Item
[2:47] 8. Don't Get Around Much Anymore
[2:54] 9. How About Me
[2:44] 10. I'll Be Around
[2:40] 11. All I Do Is Cry
[3:24] 12. I Guess I'm Good For Nothing But The Blues

It's You or No One is a strange album in Bobby Darin's catalog. For some reason, the record was recorded in 1960 but held for three years before its June 1963 release. It is another concept record for Darin, with one side filled with upbeat songs arranged by Torrie Zito and the other with more moody tunes done by Bobby Scott. The "up" side contains tracks written by Johnny Mercer and Frank Loesser, while the "down" side has tunes by Duke Ellington, Irving Berlin, and Libby Holden. Like Love Swings, It's You or No One is upbeat first and melancholy "the morning after." This record was actually recorded before Love Swings but released after it, making it a follow-up to its own follow-up. Either way, the two make a great pair of conceptual love albums. Six songs from It's You or No One are unavailable on CD, and most of the ones that are can only be found on the hard-to-find Readers Digest CD box bet. Thus, It's You or No One is a must own for collectors. Standout tracks include "I Can't Believe That You're in Love With Me," "Don't Get Around Much Anymore," and "I've Never Been in Love Before" (which will excite fans of "More"). Familiar territory for Darin, but filled with moving, solid interpretations. ~JT Griffifth

It's You Or No One

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Archie Shepp - Black Ballads

Bitrate: MP3@320K/s

Time: 65:23

Size: 149.7 MB

Styles: Saxophone jazz

Year: 1992

Art: Front

[7:09] 1. Do You Know What It Means To Miss New Orleans

[5:18] 2. I Know About The Life

[4:56] 3. Georgia On My Mind

[4:39] 4. Embraceable You

[5:16] 5. Smoke Gets In Your Eyes

[5:23] 6. How Deep Is The Ocean

[8:31] 7. Lush Life

[5:06] 8. Deja Vu

[7:54] 9. Angel Eyes

[5:53] 10. All Too Soon

[5:13] 11. Ain't Misbehavin'

Bass – Wayne Dockery; Drums – Steve McRaven; Piano – Horace Parlan; Tenor Saxophone, Alto Saxophone – Archie Shepp. Recorded at Studio 44, Monster, Holland, 13 January 1992.

Tenor saxophonist Archie Shepp, who was one of the enfant terribles of the free jazz generation in the 1960s, once said, seemingly uncharacteristically, "You can hear every minute of every hour of every day of every year a player puts into practicing his horn when he plays a ballad." He was being prophetic, of course, as this date from 1992 suggests. Teamed with pianist Horace Parlan -- with whom he recorded the magnificent duet of spirituals Goin' Home -- bassist Wayne Dockery, and drummer Steve McCraven, Shepp leads the quartet through an astonishing series of ballads that are as revelatory for their understatement as they are for their musical aplomb. Shepp takes the Ben Webster approach on these 11 sides and comes off as a singer of songs (he is not singing) rather than as a saxophone player. His readings of "Angel Eyes," "All Too Soon," and "Smoke Gets in Your Eyes," and his souled-out cover of "Georgia on My Mind," are stunning for the restraint and nuance they contain. Parlan's comping slips toward fills of uncommon texture and dimensionality in the bridges of these tunes, and on Shepp's own "I Know About the Life," he reinvents the tune itself. The high point of this glorious record is Shepp's own "Déjà Vu," as it comes out of an uncommonly long "Lush Life," where the lyric of both compositions becomes a kind of recitation on the blues in stretched time. Issued on the Timeless label, this is a must-have for all Shepp fans, but more importantly, it is for all followers of the development in harmonic thinking about the ballad form in jazz. ~Thom Jurek

Black Ballads     

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José James - While You Were Sleeping

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 50:46
Size: 117,3 MB
Art: Front

(4:12)  1. Angel
(4:12)  2. U R The 1
(6:17)  3. While You Were Sleeping
(5:50)  4. Anywhere U Go
(4:01)  5. Bodhisattva
(5:12)  6. 4 Noble Truths
(4:21)  7. Dragon (Feat. Becca Stevens)
(0:56)  8. Salaam
(3:14)  9. Without U
(3:29) 10. Every Little Thing
(4:01) 11. XX
(4:53) 12. Simply Beautiful (Feat. Takuya Kuroda)

José James is one of the most fascinating singers to appear in popular music over the last decade. On five previous recordings he's tackled jazz standards, hip-hop, neo-soul, funk, and even Moroccan gnawa. He claims that While You Were Sleeping is a synthesis of everything he loves about music citing Nirvana, Frank Ocean, Radiohead, and Junip in his list. He shifts directions yet again here, this time bringing his take on rock and pop into his musical arsenal. New guitarist Brad Allen Williams adds immeasurably to this ambition, joining a veteran band that includes keyboardist Kris Bowers, bassist/vocalist Solomon Dorsey, and drummer Richard Spaven.

"Angel" is just one tune where Williams openly references the Jimi Hendrix of Band of Gypsys and Cry of Love. On "Angel," the band weaves fluid, silvery, wah-wah guitar distortion, jazzy Rhodes piano, dropped funky bass, and rolling, shuffling snares and breaks under his dark, sensual baritone. The title track (which briefly quotes from Neil Young's "Heart of Gold") weds folky psych pop to cosmic soul with a killer lead guitar break. The quiet drama in James' voice exudes elegance and earthiness. "Anywhere U Go" employs an aggressive bassline, shimmering Rhodes, and skittering, propulsive breaks against a guitar vamp that makes use of Nirvana's clipped melodic aesthetic. 

The spiritually resonant "4 Noble Truths" is introduced by strummed acoustic guitar in a minor key and a cracking snare. They are fleshed out provocatively by an expressionistic string quartet and a spiraling B-3. Becca Stevens makes one of her duet appearances on her haunting original "Dragon." Its Eastern-tinged slow groove is adorned by spacious guitar effects and elliptical keyboards atop a hushed rhythm section. Soul informs everything here. Check the stretched Madlib meets Flying Lotus beats in the sexy, tender "U R the 1." The minor-key melody in "XX" is one of James' better belly-to-belly love jams. His steamy croon is elevated by his lyrics, which are as poetically cognizant as they are carnally aware. The contrasting elements of pointillist rock guitars and warm indie electronica bump against the interlocking rhythm section. Al Green's "Simply Beautiful," features guest trumpeter and labelmate Takuya Kuroda delivering a fine solo. It's no ordinary cover. 

James recombines jazz, soul, and blues in a compelling arrangement that frames his trademark phrasing with tender yet sultry delivery. It underscores how provocative While You Were Sleeping is. With James' voice and nearly iconic harmonic sensibility as a guide, these genres flow into, rub against, and ultimately redefine one another. His creative reach, at least at this juncture appears to be boundless. ~ Thom Jurek  http://www.allmusic.com/album/while-you-were-sleeping-mw0002639674

Personnel: Jose James: vocals; Kris Bowers: organ; Solomon Dorsey: bass; Takuya Kuroda: trumpet; Brad Allen Williams: guitar; Richard Spaven: drums.

While You Were Sleeping

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John Pisano & Billy Bean - Makin' It & Take Your Pick

Styles: Guitar Jazz
Year: 1958
File: MP3@320K/s
Time: 78:59
Size: 209,6 MB
Art: Front

(3:51)  1. Ill Wind
(3:41)  2. Cirrus
(3:53)  3. Indian Summer
(3:42)  4. Little Old Lady
(4:12)  5. When I Fall In Love
(2:18)  6. Our Waltz
(3:44)  7. Flute Cocktail
(3:57)  8. The Song Is You
(3:31)  9. I See Your Face Before Me
(4:21) 10. Crazy Head
(4:02) 11. Take Your Pick
(3:04) 12. Ev’ry Time We Say Goodbye
(2:18) 13. Pixie
(4:10) 14. Pastorale
(2:52) 15. Fat Feet
(3:55) 16. Dingle Bird
(2:28) 17. Billy’s Beanery
(4:43) 18. Pottsville, U.S.A
(4:07) 19. Half Breed
(4:01) 20. Memento
(3:13) 21. Motivation
(2:44) 22. Linger Awhile

Duetting beautifully in a variety of settings, West Coast based guitarists John Pisano and Billy Bean display their versatility on Makin It and Take Your Pick , two late-1950s albums they made for Decca s Mood Jazz in Hi-Fi series. Both albums were marked by some excellent supporting groups and a well-balanced, expertly played set of tunes with a predominantly jazz feeling. Standards like Ill Wind are coloured by the pastel shades of arranger Fred Katz; others, such as Linger Awhile and Little Old Lady, by the brassily forthright hand of arranger Calvin Jackson. But they also include simple blowing things like Pixie and Billy s Beanery, featuring the flowing vibes of Gene Estes, or The Song Is You, in which Pisano and Bean mesh with inventive fluency over the bass support of Hal Gaylor. 

Bill Potts, the talented Washington, D.C. arranger / composer, contributes three tunes, including the remarkable Pottsville U.S.A.. The sole departure from the jazz approach is Pastorale, by Fred Katz, a study in neo-modern, moody impressionism, where the musical values stressed are collective rather than individual. ~ Editorial Reviews  http://www.amazon.com/Johnny-Pisano-Billy-Bean-Makin/dp/B009V7C47U

Featuring: John Pisano & Billy Bean (g), Paul Moer, William Green, Chuck Gentry (fl, saxes), Abe Most (cl), Calvin Jackson, Fred Katz (p), Gene Estes (vib), Hal Gaylor, Red Callender (b), Chico Hamilton, Larry Bunker (d)

Makin' It & Take Your Pick

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Various Artists - Oh Boy (Original Motion Picture Soundtrack)

Styles: Soundtrack
Year: 2013
File: MP3@320K/s
Time: 37:49
Size: 87,4 MB
Art: Front

(3:34)  1. Oh Boy
(2:07)  2. Eye Candy
(1:02)  3. The Birth Of The Elephant
(1:35)  4. Taxi Driver
(3:48)  5. Teenage Dreams
(0:36)  6. Kanga and Rue
(1:52)  7. Don't Run Away
(2:51)  8. Waggling
(2:25)  9. Look At The Mess I've Made
(1:52) 10. Clickin'
(1:09) 11. Kanga and Rue (Reprise)
(2:54) 12. Woody Sugarloaf
(2:26) 13. Strangers
(1:11) 14. Look At The Mess I've Made (Reprise)
(2:55) 15. Gwisdek
(2:40) 16. Mo(u)rning
(2:43) 17. Fischer's Song

"You know the feeling that you people seem strange around you? And the longer you think about it, the more you will, it is not the people, but you're the problem yourself? " Niko is in his late twenties and has said goodbye to his studies some time ago. Since then, he lives from day to day, sleepless drifts through the streets of his city, and wonders about the people around him. Niko is a flaneur and listeners, which people tell their stories. With quiet curiosity he observed them in coping with daily life. Up to this turbulent day: His girlfriend drawing a line, his father turns him the money supply to a psychologist and certified him "emotional imbalance". 

A strange beauty named Julika confronted him with the wounds of the shared past, his new neighbor showered him with liquor and meatballs his heart out and around the city, there seems to be no "normal" coffee more. If Niko after that day really leave his "comfort zone" and change his life? He gets at the end maybe Julika? And even the long-awaited cup of coffee? Oh Boy is the ironic portrait of a young man and the city in which he lives Berlin. In haunting black-and-white aesthetic Oh Boy oscillates between melancholy and humor, and displays the search of the protagonist for his place in the world where everything is actually possible. ~ Translate by google  https://www.jpc.de/jpcng/poprock/detail/-/art/Cherilyn-OST-The-Major-Minors-Macneil-Oh-Boy/hnum/2520346

Oh Boy (Original Motion Picture Soundtrack)

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Marica Hiraga - Sings With The Duke Ellington Orchestra

Size: 101,5 MB
Time: 43:05
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz Vocals
Art: Front

01. I'm Beginning To See The Light (2:17)
02. Drop Me Off In Harlem (3:03)
03. It Don't Mean A Thing If It Ain't Got That Swing (2:40)
04. In My Solitude (4:17)
05. Caravan (4:02)
06. In A Mellow Tune (3:13)
07. I Didn't Know About You (4:48)
08. I'm Gonna Go Fishin' (4:11)
09. In A Sentimental Mood (4:05)
10. Just A Settin' And A Rockin' (3:26)
11. Take The A Train (2:50)
12. Dance In Harlem (4:06)

Marica Hiraga is Japan’s leading jazz vocalist with a rich talent both in expression and technique. Her professional career began in 1981 after she was awarded the Asia Music Award in Hong Kong. She has acquired her understanding and feeling of jazz by performing and traveling between Tokyo and New York.

Her first Jazz standard album, My Shining Hour, was released in 2001, and won the Best Singing Techniques award at the 19th Japan Jazz Vocal Award hosted by Jazz World magazine in 2003. Her 2nd album, Faith, released in 2006, was recorded with Eric Alexander and Harold Mabern Trio. Faith was selected as “ Swing Journal Gold Disc” and became her breakthrough album.

She then worked with the legendary jazz combo, the Manhattan Jazz Quintet, lead by David Matthews, on 3rd album, Close to Bacharach, which was highly praised as the new Bacharach standards. The album was again selected as “ Swing Journal Gold Disc” and she received the Best Vocal award at the 41st Jazz Disc Award, hosted by Swing Journal, one of the most prestigious awards for jazz music in Japan.

In May 2008, she released a collection of mature love songs as 4th album, More Romance, and in November, she released 5th album, BATUCADA-Jazz‘ n’ Bossa, on which she worked with many prominent musicians including the genius Gil Goldstein, the leading AOR musician Michael Franks, Marcos Valle, Phil Woods, Kenny Garrett and Randy Brecker, as a celebration album for bossa nova’s 50th anniversary. BATUCADA was again selected as“ Swing Journal Gold Disc” and won her the Best Vocal award at the 42nd Jazz Disc Award.

Sings With The Duke Ellington Orchestra

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Rex Richardson - Pandora's Pocket

Size: 165,4 MB
Time: 71:30
File: MP3 @ 320K/s
Released: 1997
Styles: Jazz: Trumpet Jazz
Art: Front

01. Pandora's Pocket (8:22)
02. Murray's Mead (6:32)
03. One Finger Snap (6:35)
04. Allegations & Recantations (9:02)
05. While I Wait (6:48)
06. Mobius (7:30)
07. Pasiphae's Spawn (2:03)
08. Monk's Dream (7:54)
09. The Claim Of The Ideal (9:52)
10. Hymn To The Mother Of The World (6:49)

Personnel: Rex Richardson (trumpet, flugelhorn); Kurt Elling (vocals); Michael Pendowski (soprano saxophone, tenor saxophone); Rudresh Mahanthappa (alto saxophone); Paul McKee (trombone); Sam Struyk (piano); Paul Wertico (drums).

Renowned international trumpeter Rex Richardson is a Yamaha Performing Artist and a veteran of the acclaimed chamber group Rhythm & Brass, the Brass Band of Battle Creek, and jazz legend Joe Henderson’s Quintet and Sextet. He teaches trumpet, jazz improvisation and chamber music at Virginia Commonwealth University and hold the title of International Tutor in Trumpet at the Royal Northern College of Music in England. He tours throughout the year as a clinician, recitalist, and soloist with orchestras, wind ensembles, big bands, and brass bands.

Pandora's Pocket

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Randa - Subtle Thrills

Size: 106,9 MB
Time: 46:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Softly As In The Morning (3:55)
02. Whatever Lola Wants (3:11)
03. Insensatez (How Insensitive) (3:44)
04. La Belle Dame Sans Regrets (3:13)
05. Get Out Of Town (3:46)
06. Fragile (4:40)
07. Why Don't You Do Right (3:23)
08. So In Love (5:25)
09. All The Things You Are (3:54)
10. Trust In Me (6:40)
11. Blue Moon (4:07)

Following collaboration with the Dizzy Gillespie All Star Big Band, during which Randa sang in trio before joining the Big Band, the idea of this trio recording emerged between her, pianist Cyrus Chestnut, drummer Lewis Nash and Bassist John Lee.

The recording session was engineered by John Lee at his own Alleycat Studio in New Jersey, whilst Dezron Douglas replaced him on double bass. Fellow talented guests Antonio Hart, Freddie Hendrix and Roger Squitero joined to drop wonderful solos on a few tracks.

Randa had previously worked with Cyrus Chestnut, recording the album Moon Breeze in Montreal in 2011. The duo shared ideas and reached arrangements signed by the talented pianist that enhanced Randa’s subtle, velvety voice. A much thrilling session ensued that offered acoustic "Subtle Thrills," as Randa described it when leaving the studio!

Subtle Thrills

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Frank Catalano & Jimmy Chamberlin - God's Gonna Cut You Down

Size: 100,4 MB
Time: 40:55
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Shakin' (6:11)
02. Karma (5:02)
03. Expressions (8:36)
04. Tuna Town (7:43)
05. God's Gonna Cut You Down (5:56)
06. Big Al's Theme And Soul Dream (7:25)

Personnel:
Frank Catalano - Tenor Sax
Jimmy Chamberlin - Drums
Demos Petropoulos - Hammond B3 Organ
Scott Hesse - Guitar
Eddie Roberts - Guitar (Track 1, 6)
Mike Dillon - Vibes (Track 5, 6)

Frank Catalano has quickly emerged as one of the leading saxophone players in Chicago. In addition to touring with artists ranging from Tony Bennett to Ministry, Catalano has performed and/or recorded with Louis Bellson, Charles Earland, Clark Terry, Johnny "Hammond" Smith, Kenny Loggins, Jimmy McGriff, Randy Brecker, and Arturo Sandoval. Catalano has increasingly drawn attention for his own talents. His debut solo album, Cut It Out, released in February 1988, was included on lists of the year's best mainstream albums compiled by Jazz Times, Los Angeles Weekly, and the Chicago Tribune. His second effort, Pins 'n' Needles, featured accompaniment by trumpet player Randy Brecker, trumpet and reeds player Ira Sullivan, drummer Paul Weilico, pianist Larry Novak, and bassist Eric Hochberg. He continues to perform with his own quartet, featuring guitarist Kirk Hunter, Hammond B-3 organist Vijay Tellis-Nayak, and drummer Don Leali, as well as with John Burnett and His Orchestra and Lenny King's Chicago Metropolitan Jazz Orchestra. Playing tenor saxophone since the age of eight, Catalano sharpened his playing skills as a student at DePaul University and launched his professional music career while still a teenager. After playing with jazz drummer Louis Bellson and avant-garde jazz organist Charles Earland in 1991, he accepted an invitation to join pop vocalist Tony Bennett's group.

God's Gonna Cut You Down

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Gordon Haskell - Harry's Bar / One Day Soon

Album: Harry's Bar
Size: 122,4 MB
Time: 53:28
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz/Pop/Rock/Folk Vocals
Art: Front

01. How Wonderful You Are (3:54)
02. All The Time In The World (4:57)
03. Voodoo Dance (3:54)
04. Freeway To Her Dreams (2:44)
05. Sunshine In The Night (4:30)
06. Al Capone (5:07)
07. Feelin' Loose (4:46)
08. There Goes My Heart Again (4:26)
09. Roll With It (5:45)
10. Someone I Knew (4:57)
11. A Little Help From You (3:35)
12. All In The Scheme Of Things (4:48)

Harry's Bar was an enormous breakthrough album for Gordon Haskell, thanks to the unexpected U.K. success of the single "How Wonderful You Are." European audiences were so charmed by that catchy little ballad that the virtually unknown industry veteran suddenly hit the British Top Ten, attracted major label attention and joined Ani DiFranco and David Gray among the happy few Internet-era indie heroes to have conquered the pop world with self-released records. It's particularly astounding that after ten years of solo recordings, it was this threadbare folk-jazz record -- made for less than £200! -- that made Haskell an overnight household name in the U.K. Yet it is that very simplicity that makes "How Wonderful You Are" so irresistible. The arrangement consists of an elementary acoustic guitar chord progression played at a slow-dance tempo and backed gently with a little bass and saxophone. The lyrics are simplistic to a fault, and the melody is no more complicated. The song would probably have been thoroughly unremarkable if it weren't for the compellingly authentic cool of Haskell's vocals. Relaxed, self-assured, and smooth as silk, Haskell dresses like Johnny Cash and sings like a perfectly modulated blend of Kenny Rogers, Marvin Gaye, and (somehow) Nina Simone...all without the slightest hint of affectation. Throughout Harry's Bar, Haskell combines organic folk instrumentation with mellow jazz fluidity and a hint of R&B sass. It's bewitching as long as he keeps it simple. Whenever he gets more energetic ("Voodoo Dance") or emotionally expansive ("There Goes My Heart Again"), the spell is broken and the limitations of his often clichéd songwriting become clear. But so long as he keeps it real, Haskell keeps you hooked. ~Review by Evan Cater

Harry's Bar

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Album: One Day Soon
Size: 102,1 MB
Time: 41:26
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz/Pop/Rock/Folk Vocals
Art: Front

01. The Fools Of Yesterday (3:47)
02. Some Sins (I Should've Known By Now) (4:25)
03. Forevermore (4:19)
04. The Ways Of The World (4:20)
05. One Day Soon (3:37)
06. Wounded Tigers (5:04)
07. Good Man Down (4:32)
08. Sunshine Shoes (4:16)
09. Happy To Be (3:05)
10. The Fear Is Gone (3:56)

Gordon Haskell is usually thought of as a footnote in the history of King Crimson -- the only lead singer in the group's long list of personnel who never played a single live date with the band, though he was with them long enough to cut most of an album (Lizard) and get one performance ("Cadence and Cascade") onto its predecessor. Otherwise, he's been an enigma even to many Crimson fans.

Haskell's history with Robert Fripp goes back to the days they spent together in the mid-'60s as members of the League of Gentlemen, a band that backed various American R&B stars on tour and cut a couple of singles. Haskell was also a member of a Liverpool band called the Quotations, formed by ex-Big Three bassist Johnny Gustafson (before he joined the Merseybeats), who recorded for English Decca ("Alright Baby" b/w "Love You All Over Again") in 1964. His main group affiliation for most of the mid-'60s was the Fleur de Lys, a somewhat lightweight psychedelic band who recorded at least once under the pseudonym of Shyster. Haskell passed through the lineups of Rupert's People and Cupid's Inspiration, and, as a member of the Fleur de Lys, also played on records by Bill Kimber, John Bromley, Sharon Tandy, and Terry Durham. By the end of the '60s, he was a solo act, trying to establish himself as a singer/songwriter, and released a pair of singles in 1969 and 1970, "Boat Trip" and "Oh-La-Di-Doo-Da-Day," and one LP, Sail In My Boat, all for British CBS.

In 1970, as his former League of Gentlemen bandmate Robert Fripp was struggling to keep his current group, King Crimson, viable in some form and complete a second album, Haskell joined the band as successor to bassist/singer Greg Lake, who was leaving the lineup to join Emerson, Lake & Palmer. After singing on one song for that album, In the Wake of Poseidon, he joined a new Crimson lineup and recorded most of the next album, Lizard. As was often the case with Crimson lineups in those days, however, Haskell didn't last -- he and other members of the core band had left by the time Lizard was completed and released late in 1970, and he never worked live with the band.

Haskell cut a solo album, It Is And It Isn't, during 1973, and worked with such artists as Tim Hardin, Alvin Lee, and Van Morrison. His solo work tends to be in a folk-like, singer/songwriter vein, reminiscent of Gordon Lightfoot with something of a progressive rock edge and more humor, some of it very sardonic. Based in southern England at the end of the '90s, he concertized regularly in the Hampshire and Dorset areas, and he continued his recording career into the '90s with his albums Butterfly in China and Hambledon Hill. In 1993, he also teamed up with Mike Wedgewood (ex-Curved Air and Caravan) to tour Scandinavia. In the late '90s, Voiceprint Records' Blueprint label reissued Haskell's solo albums of the '60s and '70s on compact disc. The massively popular "How Beautiful You Are" hit British airwaves in the winter of 2001, announcing Haskell's comeback to music. Harry's Bar followed the next year, fully bringing him back into the public spotlight after years of inactivity. He later moved to a Greek island and proclaimed himself to be Greek, releasing the 2010 album One Day Soon under his newly adopted moniker of Gordon Haskell Hionides.

One Day Soon

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Richie Hart - Blues In The Alley

Size: 125,0 MB
Time: 53:45
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz: Mainstream Jazz, Guitar Jazz
Art: Front

01. Well You Needn't (4:03)
02. Blues In The Alley (5:50)
03. Sandu (6:19)
04. The Fox (4:51)
05. Black Pearls (3:47)
06. Georgia On My Mind (5:26)
07. Autumn Leaves (6:39)
08. Fresh Air (7:25)
09. On A High Note (6:21)
10. West Side Story Medley (3:00)

Richie Hart leads a stellar band that captures the classic guitar/organ combo sound accurately with a swinging groove. His original compositions ensure that jazz and blues will find a comfortable seat every time his unit takes the stage.

With his trio, Hart interprets "Sandu" in a classic repose. His guitar brings back the song's original feeling. Swinging lightly and improvising spontaneously, he sends lyrical phrases spinning this way and that. By including a delicious bass solo and trading fours with the drummer, Hart has applied the basic concepts of modern jazz to his arrangement.

Because Hart performs without pick, his sound remains velvety smooth. Wes Montgomery and George Benson serve as his greatest influences. Hart, an Associate Professor of Jazz Guitar at Berklee College of Music in Boston, caresses a ballad melody such as "Georgia on My Mind" or Lalo Schifrin's "Theme From The Fox" with its natural essence. His seamless phrasing makes each melodic fragment shine. ~By Jim Santella

Gerry Niewood adds a colorful tenor presence on "Autumn Leaves" and John Coltrane's "Black Pearls." Hart seems to enjoy the interplay as guitar and saxophone weave their melodies spontaneously. Niewood and Hart share an adventurous nature but remain focused on their mutual respect for tone quality.

Hart's medley of songs from West Side Story , performed a cappella, includes "Somewhere" and "Tonight" in a lovely soliloquy that easily captures the heartfelt passion those songs convey. If you've never been in love before, this is the place to start. Recommended, Richie Hart's Blues In The Alley has a place for all lovers of jazz and blues.

Personnel: Richie Hart- guitar; Rick Petrone- bass; Joe Corsello- drums, percussion; Pete Levin- keyboards; Gerry Niewood- tenor saxophone on "Black Pearls" and "Autumn Leaves."

Blues In The Alley

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Jutta Hipp & Zoot Sims - Jutta Hipp With Zoot Sims

Bitrate: MP3@320K/s
Time: 53:51
Size: 123.3 MB
Styles: Hard bop, Piano jazz, Saxophone jazz
Year: 1956/1996/2008
Art: Front

[8:38] 1. Just Blues
[6:06] 2. Violets For Your Furs
[6:38] 3. Down Home
[6:12] 4. Almost Like Being In Love
[7:25] 5. Wee-Dot
[6:48] 6. Too Close For Comfort
[6:09] 7. These Foolish Things
[5:51] 8. 's Wonderful

Bass – Ahmed Abdul-Malik; Drums – Ed Thigpen; Piano – Jutta Hipp; Tenor Saxophone – Zoot Sims; Trumpet – Jerry Lloyd. Recorded at Rudy Van Gelder Studio, Hackensack, NJ; July 28, 1956.

Jutta Hipp, a talented German pianist, came to the United States in the mid-'50s and quickly gained some attention. However, she was soon criticized for sounding too close to Horace Silver and, after recording this final Blue Note album, she gradually dropped out of music. Reissued in 1996 on CD with two extra selections, Hipp's boppish music on the set is very enjoyable and swinging. Oddly enough, she does not sound at all like Silver on the date, making one wonder why she soon left the jazz world. Teamed up with great tenor Zoot Sims (who dominates the music), somewhat hesitant trumpeter Jerry Lloyd (who briefly came out of retirement), bassist Ahmed Abdul-Malik, and drummer Ed Thigpen, Hipp sounds excellent on a couple of basic originals and such standards as "Violets for Your Furs," "Almost Like Being in Love," and J.J. Johnson's "Wee Dot." This formerly rare set is well worth picking up by straight-ahead jazz collectors. ~Scott Yanow

Jutta Hipp With Zoot Sims

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Sonny Stitt, Bud Powell, J.J. Johnson - S/T

Bitrate: MP3@320K/s

Time: 50:37

Size: 115.9 MB

Styles: Bop, West Coast jazz

Year: 1950/1982/1990

Art: Front

[2:56] 1. All God's Chillun Got Rhythm

[2:19] 2. Sonny Side

[2:33] 3. Bud's Blues

[3:44] 4. Sunset

[2:40] 5. Fine And Dandy (Take 1)

[2:39] 6. Fine And Dandy (Take 2)

[3:26] 7. Strike Up The Band

[3:10] 8. I Want To Be Happy

[2:32] 9. Taking A Chance On Love

[3:03] 10. Afternoon In Paris (Take 1)

[3:01] 11. Afternoon In Paris (Take 2)

[3:03] 12. Elora (Take 1)

[3:08] 13. Elora (Take 2)

[2:41] 14. Teapot (Take 1)

[3:02] 15. Teapot (Take 2)

[3:44] 16. Blue Mode (Take 1)

[2:49] 17. Blue Mode (Take 2)

Recording Date ; October 17, 1949 - January 26, 1950, Remastered. Bass – Curly Russell, Nelson Boyd; Drums – Max Roach; Piano – Bud Powell, John Lewis; Tenor Saxophone – Sonny Stitt; Trombone – J.J. Johnson.

Three classic Sonny Stitt sessions from 1949-50 are heard here in full. Stitt, who had been out of action due to his "personal problems," not only made a full-fledged comeback on these dates but debuted on (and stuck exclusively to) tenor rather than playing alto, where he was being assailed as a Charlie Parker imitator. He is featured on eight titles from a pair of quartet dates with pianist Bud Powell (who himself is in top form), bassist Curly Russell, and drummer Max Roach. In addition, Stitt is a sideman on a quintet outing headed by trombonist J.J. Johnson and also including pianist John Lewis, bassist Nelson Boyd, and Roach. Together the latter band performs three of Johnson's originals plus the original version of Lewis' "Afternoon in Paris"; all four titles are heard in two versions apiece. Highly recommended for all serious bop collections. ~Scott Yanow

Sonny Stitt, Bud Powell, J.J. Johnson

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Michael Dease - Dease Bones

Bitrate: MP3@320K/s
Time: 63:43
Size: 145.9 MB
Styles: Trombone jazz
Year: 2007
Art: Front

[4:38] 1. Personal Trainer
[5:03] 2. Lullaby For Rita
[5:15] 3. Wee Dot
[2:31] 4. Lament
[6:43] 5. New Blues
[4:08] 6. Sentimental Young Fool
[6:26] 7. Believe
[4:39] 8. Agrodolce
[6:05] 9. Let's Do This
[5:39] 10. It's All Right With Me
[3:27] 11. Have Yourself A Merry Little Christmas
[9:04] 12. Slide's Blues

Michael Dease: trombone; James Burton: trombone; Robert Edwards: trombone; Marshall Gilkes: trombone; Nicholas Hagen: trombone; Ryan Keberle: trombone; Marques Young; Kris Bowers: piano; Nial Djuuliarso: piano; Matt Heredia: bass; Ryland Kelly: bass; Ben Meigners: bass; Marion Felder: drums; Mark Whitfield: drums. Special Guests: Joseph Alessi: trombone; Tom Barber: flugelhorn; Vincent Gardner: trombone; David Gibson: trombone; Wycliff Gordon: trombone; Brandon Lee: trumpet.

Trombones galore are what you'll find in Dease Bones. Young musician/educator Michael Dease ardently crafted and assembled some friends and fellow 'bone players for this recording of camaraderie, immaculate sounds and swinging tempos forged in the vein of greats such as Slide Hampton and J.J. Johnson. But Dease's new framework is built upon not only the instrument's history but also its present resurgence as noted in recent efforts by seminal players: Rick Parker's New York Gravity (Fresh Sound New Talent, 2004), Alan Ferber's Scenes From An Exit Row (Fresh Sound New Talent, 2005) and Josh Roseman's New Constellations: Live in Vienna (Accurate Records, 2007). The illustrious odd-shaped instrument is audibly in good hands.

The one thing that's differentiates Dease Bones from its peers is the classic mainstream sound. Having gigged from pop (Paul Simon, Alicia Keys) to bop (Wynton Marsalis, The Lincoln Center Jazz Orchestra), Dease could easily choose a path other than straight-ahead. Yet although the influence is absent of electronics and/or a contemporary leaning; this recording is evidence that the vitality of the music is what really counts. From the very first notes of "Personal Traner, with its mellifluous chorus of seven 'bones, additional instruments and hot rhythm section; the music rings true. The timbre of the trombones can span from sweet purrs to ferocious growls and these players exploit every facet on J.J. Johnson's smooth "Wee Dot, slower tunes such as "Lullaby for Rita, and a version of "Have Yourself A Merry Little Christmas that's memorable in or out of the holiday season.

The music radiates on all fronts—solos, arranging, and special guest performances from veterans (Wycliffe Gordon) and newcomers (Marshall Gilkes) on the Slide Hampton tune "Slides Blues with everyone adding their spice. Who says this music is outdated and is best left in the past? The truth be told, the essence of swing is always in style and Dease Bones confirms that fact. ~Mark F. Turner

Dease Bones

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Ithamara Koorax & Juarez Moreira - Bim Bom: The Complete Joao Gilberto Songbook

Bitrate: MP3@320K/s

Time: 40:54

Size: 93.6 MB

Styles: Brazilian jazz, Bossa Nova

Year: 2009

Art: Front

[2:16] 1. Bim Bom

[4:57] 2. Hô-Bá-Lá-Lá

[4:07] 3. Forgotten Places

[2:26] 4. Minha Saudade

[3:04] 5. Você Esteve Com Meu Bem

[4:29] 6. Valsa (Bebel)

[2:52] 7. An Embrace To Bonfá

[2:22] 8. Glass Beads

[2:18] 9. João Marcelo

[5:08] 10. Undiu

[3:03] 11. Acapulco

[3:46] 12. Hô-Bá-Lá-Lá

Though guitarist and vocalist João Gilberto is acknowledged as the father of bossa nova, the song—“Chega de Saudade”—with which he ignited what would become a global bossa craze was created not by Gilberto, but by Antonio Carlos Jobim and Vinicius de Morares. On the flip side of Gilberto’s 1958 recording of “Chega de Saudade” was his own “Bim Bom” (inspired by a passing gaggle of washerwomen).

So it can be considered near-equally seminal—and it is with “Bim Bom” that vocalist Ithamara Koorax and guitarist Juarez Moreira open this first-ever complete collection of Gilberto’s compositions. They number a mere 11, written across two decades between the early ’50s and early ’70s. Yet together they capture a vital slice of Brazilian jazz history, defining a visionary genius who, as producer (and longtime intimate of the reclusive Gilberto) Arnaldo DeSouteiro notes, “inspired a complete revolution in Brazilian music, in terms of rhythm, melody and harmony.” Paying absolute respect to Gilberto, DeSouteiro was meticulous with regard to tempos and keys as he guided Koorax and Moreira through these 12 tracks (the 12th an English-language version of “Hô-Bá-Lá-Lá” crafted for Sylvia Telles in 1960).

Koorax, arguably Brazil’s finest contemporary jazz vocalist, and Moreira, a guitarist who can fairly be recognized as the João Gilberto of his generation, respond in kind. A better trio to pay such beautiful and integral homage to Gilberto could not likely be assembled. Bim Bom is not only an album of gloriously elegant reverence but also a recording of essential importance. ~Christopher Loudon

Bim Bom

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