Trudy Kerr - My Old Flame: Remembering Chet Baker

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 56:28
Size: 130,0 MB
Art: Front

(4:35)  1. My Old Flame
(5:13)  2. I Remember April
(3:38)  3. Do It the Hard Way
(3:59)  4. While My Lady (Baby) Sleeps
(2:45)  5. Get Happy
(4:56)  6. You Make Me Feel So Young
(4:58)  7. Makin Whoopee
(4:03)  8. Tea for Two
(5:08)  9. But Not for Me
(6:08) 10. Love for Sale
(5:09) 11. My Heart Stood Still
(3:25) 12. Bernie's Tune
(2:25) 13. Look for the Silver Lining

Trudy Kerr is renowned as one of the UK's finest jazz vocalists. Mojo Magazine says of her singing "Trudy Kerr is the genuine article - She is a Joy!" All About Jazz has described her as "100% real jazz musician with fluid phrasing and a mellifluous, warm and sensuous tone." Born in Australia, Trudy moved to the UK in the early 1990's to pursue a career in Jazz. She got her big break when Ronnie Scott asked her to perform at his Club and Trudy's career grew from there. She has performed at many major venues and festivals in the UK as well as engagements in Europe, her homeland Australia and the Far East. To date Trudy has released ten albums on the Jazzizit Record Label (The Rhythm of Life 2012, Reunion 2010, Like Minds 2009, Deja Vu 2007, Jazz for Juniors 2006, Cloudburst 2005, My Old Flame 2001, Day Dream 2000, Trudy 1998 and Sweet Surprise 1997) and has collaborated both live and in the studio with world class musicians including Mulgrew Miller, Jan Lundgren, Georgie Fame, Bob Dorough, Michael Garrick, Acker Bilk, Jamie Cullum, Geoff Gascoyne (her husband), Tom Cawley, Seb de Krom, Jim Mullen plus many more. 

To celebrate her extensive discography reaching double figures, Jazzizit Records have just put the finishing touches to a Trudy Kerr Compilation called Contemplation. It consists of fifteen tracks of some of Kerr's greatest recorded moments and will be available for a Christmas release. On a live performance you'll hear "her highly skilled nimble voice" (Steve Rubie, 606 Club, Chelsea, London) deliver a diverse repertoire that could include compositions by Chick Corea, Horace Silver, John Coltrane, Wayne Shorter, Fats Waller, Bill Evans, Antonio Carlos Jobim and of course the Great American Songbook standards.

She is fast becoming a prolific lyricist having penned many vocalese (putting words to instrumental solos). Her performance of vocalese has been described by Jazzwise Magazine as "stunning and virtuosic with machine-gun fire delivery of the melodic line." Trudy's recent album with Geoff Gascoyne, The Rhythm of Life, was also full of exciting new repertoire penned by the husband and wife team. Jamie Cullum describing the songs as "new standards of today". Trudy is currently working on an original song project with pianist Andrea Vicari and hopes to release the album in the summer of next year. She is also a very successful vocal coach holding teaching posts at Trinity Laban, Guildhall School of Music and Drama, Chichester University and London Centre of Contemporary Music where she coaches the up and coming vocal stars of tomorrow in various genres. As well as performing an eclectic mix of music on her gigs, she also performs an outstanding set celebrating the music of Chet Baker and Gerry Mulligan with her regular trio, Tom Cawley (piano), Geoff Gascoyne (bass) and Sebastian de Krom (drums), alongside two of the UK's finest musicians, Dick Pearce (trumpet) and Derek Nash (tenor saxophone). 

Additionally, she has developed a Children's Show called Jazz for Juniors and has toured schools, festivals and venues around the UK. Trudy also presented The Jazz Hour weekly on BBC Radio Southern Counties alongside veteran presenter Roger Day. ~ Bio  http://www.trudykerr.com/profile/biography

My Old Flame

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Cyrus Chestnut Quartet - Cyrus Chestnut Quartet

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:51
Size: 123,6 MB
Art: Front

(7:38)  1. No Problem
(7:06)  2. Annibelle Cousins
(5:54)  3. Dream
(4:31)  4. What's Happening
(5:00)  5. Waltz For Gene and Carol
(7:06)  6. Solace
(7:59)  7. Indigo Blue
(8:33)  8. Mustard

A certain naturalism and hard-earned grace run through the compositions and playing of Cyrus Chestnut, the Baltimore-bred modern-mainstream player best known for his work as a resourceful solo pianist and dynamic leader of trios. But those qualities shine through again on The Cyrus Chestnut Quartet , his first recording as a leader in that format. Joined by recent triomate Dezron Douglas on bass, tenor and soprano saxophonist Stacy Dillard and drummer Willie Jones III, Chestnut unveils a half-dozen new tunes that make worthy additions to his impressive body of originals. Gospel-blues shades color several pieces, notably “Annibelle Cousins,” its laidback groove driving a slinky melody sounded by Dillard’s tenor and tagged with a seeming nod to the spiritual “Joshua Fit the Battle of Jericho.” The piece, one of the album’s highlights, proceeds with a long open section for Douglas’ melodic solo, punctuated with slides and galloping figures, before opening up for sprawling turns by Dillard and Chestnut. 

Blues textures also liven the medium-tempo groover “Indigo Blue,” featuring another subtle-to-splashy piano turn, and the slow-moving closer, “Mustard,” characterized by a Kind of Blue feel. Douglas’ contribution, “What’s Happening,” is a zippy bop gem with well-utilized space for Jones, while Barney Wilen’s opening “No Problem” features a catchy head attached to rhythms that switch from Latin-tinged to swing. Chestnut’s other tunes here the lovely ballad “Dream,” the soprano-led charmers “Waltz for Gene and Carol” and “Solace” are similarly invigorated with the help of a group of accomplished players whose sensibilities mesh nicely with the leader’s approach. 

~ Philip Booth  http://jazztimes.com/articles/54424-the-cyrus-chestnut-quartet-cyrus-chestnut

Personnel: Cyrus Chestnut (piano); Stacy Dillard (soprano saxophone, tenor saxophone); Willie Jones III (drums); Dezron Douglas (bass).

Cyrus Chestnut Quartet

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Torben Westergaard - Tangofied II

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 38:23
Size: 88,4 MB
Art: Front

(2:40)  1. Waltz Me
(4:14)  2. Don't Leave Any Thoughts Behind
(6:06)  3. Minor Me
(3:48)  4. Chacarera
(3:47)  5. Året Rundt
(3:13)  6. No Man Is an Island
(4:30)  7. Dinamargentina
(4:19)  8. Huayno
(2:05)  9. S.W.A.N.
(3:36) 10. Earth Matters (Katrine Ring remix)

On Tangofied II, bassist Torben Westergaard blends two seemingly contradictory influences of Nordic jazz and Argentinean tango.  But by deftly finding the commonalities in the folk music inherent to both forms, Westergaard unites the two as one, and what begins as an odd curiosity is transformed into something that comes off as a natural, an almost pragmatic form of expression.“Waltz Me” leads right out with the ensemble’s blending formula of the two, disparate influences.  The fluid grace of tango meshes nicely with a Nordic sensibility, as spurts of motion twist around the calm heart of the song, each leaving the other undisturbed while sounding perpetually in synch.  

“Don’t Leave Any Thoughts Behind” doesn’t shake the developing trend, shifting between sharp bursts of propulsion and long effortless glides with the same fluid grace as the opening track. It’s interesting to hear how the Nordic and Argentinean influences adapt to those times when their opposite takes on a stronger role for a particular song.  The moody, drifting piece “Minor Me” speaks from the streets of Copenhagen, but guitarist Ernesto Snajer’s guitar works in some sounds of the Rio de la Plata, providing a valuable, intermittent shift in perspective.  “Dinamargentina” dishes out the tango cadences, and while the song is dominated by an unqualified exuberance, Westergard slips in passages of a deeper serenity informed by the Nordic influence.

“Chacarera” and “Huayno” illustrate the diversity of Argentinean folk and tango musics.  Westergaard’s ensemble embraces the regional traits corresponding to both chacerera and huayno while sticking to the album’s winning formula.  The guest vocal on “Året Rundt” allows Westergaard to mute the predominant influences on this album and simply craft a pretty song for the ensemble members, comprised of both Danish and Argentinean musicians, to just let their musicianship flow. A curious album with a curious sound that reveals the facets to its beauty slowly, patiently, and fully over time. “Chacarera” and “Huayno” illustrate the diversity of Argentinean folk and tango musics.

Westergaard’s ensemble embraces the regional traits corresponding to both chacerera and huayno while sticking to the album’s winning formula.  The guest vocal on “Året Rundt” allows Westergaard to mute the predominant influences on this album and simply craft a pretty song for the ensemble members, comprised of both Danish and Argentinean musicians, to just let their musicianship flow. A curious album with a curious sound that reveals the facets to its beauty slowly, patiently, and fully over time. http://www.birdistheworm.com/torben-westergaard-tangofied-ii/

Your album personnel:  Torben Westergaard (bass), Ida Nørholm (cello), Anders Banke (bass clarinet), Alejandro Sancho (guitar), Ernesto Snajer (guitar), and guests:  Mariano “Tiki” Cantero (percussion, voice), Victor Carrion (quena, sikus), Jacob Andersen (percussion), Adi Zukanovic (sonics), and Andrea Pellegrini (vocal).

Tangofied II

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Barbara Higbie - Scenes From Life

Size: 125,2 MB
Time: 53:33
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Irreducible Mind (4:33)
02. Walking (3:17)
03. West On County D (3:15)
04. Emma And Esi (3:22)
05. Bella (4:22)
06. Vw Bug (3:32)
07. Variations On A Happy Ending (5:24)
08. Ewe Tune (3:33)
09. Michael's Song (3:49)
10. Duet (4:21)
11. Lena's Dream (2:52)
12. Resurrection (2:37)
13. Neptune (8:28)

Pianist Barbara Higbie is not only a historied keyboardist but her early work with Darol Anger on the hallowed now-defunct Windham Hill label is one of the reasons for that imprint's early success and continuation. Considering WH was one of the few indy startups that became something of a household word without having breathed life as a sub-label in one of the mainstream's perpetual attempts to capture and co-opt whatever new wrinkles happened to appear as genres arose and fell, that's saying quite a bit. She also has worked with artists as near and familiar as Bonnie Raitt and Cris Williamson and then as eccentric and brilliant as Terry Riley and the Kronos Quartet. Quite a spread. You don't gain those kinds of alliances by having the simplistic chops of, say, a Steven Halpern. Of course, it also helps that Higbie's a bit of an instrumental allsorts and in other ventures sings, plays violin (does so on half the cuts here as well), and slings a guitar...besides her Grammy-nominated composing skills.
The focus in Scenes from Life is clearly on Higbie and her work via a Yamaha CFIIIS Concert Grand, a Steingraeber Concert Grand, and one other unnamed keyboard, all of which emit full, rich, well defined sonorities. The 13 tracks to Scenes were created following a film score assignment for an abandoned movie based upon the Tucker Malarkey novel Resurrection. You won't get pyrotechnics in Higbie's work, she's not the sort of person to score an Arnold Schwarzenegger or Jean-Claude Van Damme movie, but instead here underscored by strings by the acclaimed ex-Kronos cellist Joan Jeanrenaud and Aryeh Frankfurter (violin, viola, cello) spunky or contemplative pastorales, classicalist-oriented ditties, comps with rag or Celtically influenced airs, and so on, everything very much agreeable to cinema and atmospherics.
My favorite track is VW Bug, which favors a bright, animated, repetitive structure larking about on a sunny summer's day. It's followed, however, by the equally interesting Variations on a Happy Ending in which an autumnal shading is discernable, that interim in September in which the air cools, leaves turn, and the last hoorah is had before snow approaches from just over the horizon. Then there are the puzzlers, as in Irreducible Mind, a zen concept well embodied in floating minimalist succinctness, an exercise in austere beauty and gentle enigma, but is it really a zen gig? Or is it just philosophical? A statement of isolated aesthetics? And what do we make of the arch overtones popping up amid the Satie-vian picturesqueness? I'm not saying, neither is Higbie, and that's one of the games we play with art. Sometimes the meaning is as plain as the nose on our collective face; other times, it seems we're watching ourselves from a distance and wondering who we are. More than a little of both occurs in this release. - Mark Tucker --FAME Review

A Grammy-nominated composer/pianist/violinist, Berkeley-based Barbara Higbie returns with a new album. And that's certainly cause for applause. Higbie has recorded with many top artists, including Carlos Santana. She hadn't released a full-length studio project since she gave birth to a daughter 12 years ago. The listener is drawn in immediately by "Irreducible Mind." There's a reflective, cinematic quality to "Variations on a Happy Ending." "Ewe Tune" has a Vince Guaraldi jaunty feel. "Michael's Song" offers emotional depth. Kronos Quartet's cellist Joan Jeanrenaud adds another special musical texture. "Lena's Dream" is another moving number. "VW Bug" chugs merrily along. The project was initially inspired by an assignment for Higbie to score a film based on Tucker Malarkey's historical novel, "Resurrection." The movie has yet to be made, but the composition of that title has a power all its own. And we have an immersive album that tells its own dramatic story. Higbie plays the SF Jazz Center with Will Ackerman, Liz Story, Lewis Patzner and Todd Boston on Friday. --Paul Freeman from Mercury News

Scenes From Life

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Deborah Latz - Sur L'Instant

Size: 81,6 MB
Time: 35:04
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Love Theme (From 'Spartacus') (4:05)
02. Throw It Away (5:32)
03. Weep No More (4:51)
04. All The Things You Are (4:53)
05. Four (2:22)
06. Blue Monk (3:07)
07. Mr. P.C (1:39)
08. Nature Boy (4:55)
09. Over The Rainbow (3:36)

New York-based jazz singer, songwriter, arranger, and actress Deborah Latz is brimming with musical discoveries and brings a fresh sound to every performance. Displaying a wide ranging talent, Deborah can move from a deep and soulful ballad, to scatting on a bebop tune, to trading fours with a hip hop artist, all the while delighting audiences with her personal warmth and consummate musical skill.

On her fourth album, sur l’instant, vocalist Deborah Latz enjoys the company of two superb musicians, the pianist Alain Jean-Marie and the bassist Gilles Naturel. Gone are the drummers, guitarists and horn players that fleshed out the striking performances on her previous recordings. Yet by reducing the instrumentation, the focus is drawn ever more closely to the fine points of Latz’s evolving art. Set in relief against her compatriot’s sensitive and open-eared accompaniment, Latz displays the expressive depth and masterful interpretive skills that mark her as one of the most gifted singers of her generation.

The instinctive nature of the project reflects Latz’s stated goal: to produce an album that demonstrates her deeply felt affinity for swing and the elemental three B’s of jazz: Blues, Bebop and Ballads. A straightforward notion perhaps, but Latz has brought a distinct sense of personal wisdom to the game. Drawing on classics composed by, or associated with, jazz masters, nodding only occasionally to familiar American Songbook standards, Latz exhibits a rare understanding of what makes jazz vocalizing so powerful. As the album’s title asserts, the ability to pinpoint and make use of what’s happening ‘in the moment’ remains the key to her vibrant and emotive performances.

Sur L'Instant

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Steve Torok - Eye To Eye

Size: 150,1 MB
Time: 64:47
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Funky Jazz, Saxophone Jazz
Art: Front

01. Sister Sadie (6:09)
02. Summertime (5:20)
03. Nature Boy (5:31)
04. Ommetaphobia (5:52)
05. Ben (5:50)
06. Blue Skies (4:05)
07. The Haunting (7:35)
08. Star Wars Suite: Main Theme Mambo (5:25)
09. Star Wars Suite: Imperial Funk (4:07)
10. Star Wars Suite: Cantina Swing (3:30)
11. Gita (5:50)
12. Nature Boy (Live) (With Elephant Percussion) (5:26)

Southern California saxophonist, arranger, composer Steve Torok has performed with Stevie Wonder, Usher, The Temptations, Four Tops, Sheila E, O'Jays, Brian Bromberg, Pete Escovedo, Dan Siegel, Taj Mahal, and many others. His saxophone playing or arrangements have been featured on numerous national recordings including the hit TV shows The Voice and American Idol. Notable jazz artists including funky trombonist Fred Wesley, saxophonists Ernie Watts, Tom Scott, and Kenny G, vocalist Carmen Bradford, and klezmer violinist Yale Strom have performed his arrangements.

Eye to Eye, co-produced by Dan Siegel, represents an eclectic array of Steve’s works: original tunes, arrangements of standards, jazz arrangements of Star Wars music (created for Lucasfilm, Ltd. and premiered at Star Wars Celebration III), and music with elephant percussion. See below for a note from Steve regarding both the Star Wars and Elephant music. The recording features some of the best Los Angeles studio musicians. See below for full credits.

Steve is a professor at MiraCosta College in Oceanside, CA where he chairs the department, teaches saxophone, improvisation, music theory, and history, and directs both MOJO (MiraCosta Oceanside Jazz Orchestra) and the Jazz Collective. MOJO was awarded a 2015 Downbeat Magazine Student Music Award for Outstanding Large Jazz Ensemble. Steve was also selected as a clinician and ensemble director for the 2015 Jazz Education Network Conference in San Diego. Past teaching positions include the University of Southern California, University of Alabama at Birmingham, Birmingham-Southern College, Idyllwild Arts Academy, and Mount San Jacinto College.

Steve holds a BFA in saxophone performance from Carnegie Mellon University, an MM in Jazz Studies from the University of Southern California, and has achieved ABD status in the music education doctoral program at Boston University.

Musicians:
Tenor Sax: Steve Torok
Acoustic and Rhodes Piano: Llew Matthews
Acoustic Piano and Synth: Dan Siegel
Electric and Acoustic Bass: Reggie Hamilton
Drum Set: Rayford Griffin
Electric Guitar: Carmen Grillo
Acoustic Guitar (The Haunting): Allen Hinds
Vocals: Yvette Cason
Percussion: Lenny Castro (Main Theme Mambo, Ben, The Haunting, Nature Boy)
Congas: Nelson Guzman (Blue Skies, Summertime, Ommetaphobia, Imperial Funk)
Rain Stick: Lori Craig Torok (The Haunting)

Horn Section (Summertime, Ommetaphobia, Blue Skies, Main Theme Mambo, Imperial Funk)
Alto and Tenor Sax: Steve Torok
Trumpet 1: Dan Fornero
Trumpet 2: Brandon Shaw
Trombone: Jacques Voyemant

Horn Section (Cantina Swing)
Alto and Tenor Sax:
Steve Torok
Trumpet: Harry Kim
Trombone: Jacques Voyemant

Eye To Eye

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Josephine Arthur - Break Free

Size: 100,7 MB
Time: 37:48
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Take Time (Feat. Ben Bastin, Matt Fisher, Kristian Borring & Nick Malcolm) (2:45)
02. Don't Fight It (Feat. Rebecca Nash, Ben Bastin, Matt Fisher & Amelia Tucker) (3:41)
03. If You Love Me (Feat. Rebecca Nash) (3:22)
04. It Grows (Feat. Rebecca Nash, Ben Bastin, Matt Fisher & Kristian Borring) (3:30)
05. Twists And Turns (Feat. Rebecca Nash, Matt Fisher & Ben Bastin) (3:14)
06. On The Sunny Side Of The Street (Feat. Rebecca Nash, Matt Fisher & Ben Bastin) (3:19)
07. Stuck (Feat. Rebecca Nash, Ben Bastin, Matt Fisher & Kristian Borring) (2:56)
08. I Know You (Feat. Barry Green, Kate Stephenson & John Steel) (3:21)
09. Bygones (Feat. Rebecca Nash, Ben Bastin & Matt Fisher) (4:08)
10. Under Paris Skies (Sous Le Ciel De Paris) [Feat. Ben Bastin, Kristian Borring, Matt Fisher & Rebecca Nash] (3:29)
11. Break Free (Feat. Rebecca Nash, Ben Bastin, Matt Fisher, Kristian Borring & Nick Malcolm) (3:58)

Josephine Arthur is a West London-based Jazz singer. She started in musical theatre twelve years ago and fell in love with all the old tunes from the 1950's. Her main influences are Ella Fitzgerald, Sarah Vaughan and Nina Simone, and she is continually inspired by modern singers. Her voice is warm and sweet and has been described as "like bathing in chocolate". She sings a mixture of jazz and modern standards, with swing, latin and funk rhythms.

Jo performs regularly as part of a duo or with a trio, with the following musicians:

Rebecca Nash – Piano
Paul Jefferies - Bass
Matt Fisher – Drums

Break Free

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Aimee Allen - Matter Of Time

Size: 131,1 MB
Time: 56:12
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Matter Of Time (Feat. Romero Lubambo) (3:31)
02. Soul Cargo (4:25)
03. My Romance (4:24)
04. The Island (Feat. Romero Lubambo) (5:23)
05. Close Your Eyes (3:11)
06. New Day (4:41)
07. Sometimes You Just Know (4:17)
08. Out Of Nowhere (3:27)
09. Qu'est-Ce Qu'on Est Bien Ici (Feat. Romero Lubambo) (5:05)
10. In The Name Of Love (4:57)
11. Corcovado (Feat. Romero Lubambo) (4:35)
12. The Space Between (4:14)
13. Matter Of Time (Reprise) (3:56)

Matter of Time is a collection of highly original music about love and other transformations. Aimée’s talents as a composer and lyricist are matched by dynamic arrangements, and the album goes from new takes on the familiar, to fresh vistas in uncharted territory. With Aimée’s warm voice and soulful phrasing as the guide, this is not just any jazz vocal album.

After Aimée’s critically acclaimed Winters & Mays (Azuline Music) in 2011, this project formed, deformed, and reformed over a year and a half. It was neither effort nor circumstance that determined the contours of the album, but time. When the time was right, Aimée’s new compositions came together seamlessly with those of masters like Jobim, Ivan Lins, and Rogers and Hart, and those of her contemporaries, master bassist François Moutin, and guitarist David Allen (Aimée’s brother), to create a cohesive whole.

Aimée is accompanied by an incredible cast of musicians, including special guest Romero Lubambo, the Grammy nominated master of Brazilian rhythm. With Romero on four selected tracks, bassist Scott Ritchie on one of them, and a rhythm section comprised of François Moutin, Toru Dodo, and Jacob Melchior on nine other tracks, vocal jazz is taken on new journeys, soulful original compositions deliver depth of meaning, and standards that are given new life.

Matter Of Time

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Mingus Big Band - Que Viva Mingus!: Largely Latin

Bitrate: MP3@320K/s
Time: 73:30
Size: 168.3 MB
Styles: Post bop, Experimental big band
Year: 1998
Art: Front

[17:26] 1. Cumbia & Jazz Fusion
[ 6:04] 2. Tijuana Gift Shop
[ 4:09] 3. Moods In Mambo
[10:09] 4. Los Mariachis
[ 6:34] 5. Far Wells, Mill Valley
[ 4:58] 6. Dizzy Moods
[ 3:51] 7. Slippers
[ 6:23] 8. Love Chant
[ 3:22] 9. Eat That Chicken
[10:28] 10. Ysabel's Table Dance

Que Viva Mingus! is an album dedicated to Mingus' considerable output of Latin-influenced jazz. The selections here include well-known Mingus compositions like "Los Mariachis," "Dizzy Moods," "Ysabel's Table Dance," and "Cumbia and Jazz Fusion," as well as some more obscure titles like "Slippers" and "Moods in Mambo," the album's oldest number, dating from 1949. Among the standout soloists are Randy Brecker on trumpet, John Stubblefield on tenor sax, Steve Slagle on soprano and alto saxes, Ronnie Cuber on baritone sax, and Dave Kikowski on piano. This is exciting, joyous, raucous, and still modern-sounding music, as fresh and challenging as the day it was written. And you can even dance to some of it. ~Joel Roberts

Que Viva Mingus!: Largely Latin

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Pete Mills - Fresh Spin

Bitrate: MP3@320K/s
Time: 60:08
Size: 137.7 MB
Styles: Saxophone jazz
Year: 2007
Art: Front

[6:00] 1. Straight Up
[6:12] 2. Eddie
[5:21] 3. Fossil
[4:53] 4. Too Close To Call
[5:00] 5. Schlooze
[6:54] 6. Diggin' On Dexter
[6:04] 7. Crooked Cheese
[5:21] 8. Talkin' With The Tubs
[6:36] 9. Winter Rain
[5:18] 10. For A Beginning
[2:23] 11. A Flower Is A Lovesome Thing

Tenor saxophonist Pete Mills doesn't chart new musical frontiers on this 2007 release. On the contrary, he just gets it done the good old fashion way via lots of gusto, oomph and up-tempo grooves, performed with his estimable band-mates. Mills regenerates the jazz organ combo vibe here, complete with soul/funk, swing and meaty underpinnings provided by the rock solid and fluidly moving rhythmic unit.

With Hammond B-3 ace Tony Monaco and guitarist Pete McCann onboard, the musical climate here is loaded with zestful motifs amid the soloists alternating exchanges. On "Eddie, Monaco embarks upon a vengeful tear by slamming his organ into overdrive. And in other spots, the musicians comp, dart and weaver around each other's often-torrid dialogues that tend to project a multi-layered and harmonious group-centric vibe.

"Crooked Cheese is a quirky funk romp, where Mills' edgy sax lines nicely contrast Monaco's silvery chord progressions. Nonetheless, the musicians mix it all up rather vibrantly. No doubt, a good time was had by all. And check out Mills' warmly penetrating choruses on the quiet duet with McCann on Billy Strayhorn's "A Flower is a Lovesome Thing.

In sum, the ensemble merges the best of many conceivable worlds. Chops-heavy, yet compositionally sound and focused, the artists' jovial camaraderie transcends the norm. Brimming with the essence of good cheer, Mills and crew communicate a distinct sense of musical merriment during the entirety of this impacting and irrefutably entertaining jaunt. ~Glenn Astarita

Pete Mills: tenor sax; Tony Monaco: Hammond B-3 organ; Pete McCann: guitar; Jim Rupp: drums; Andy Woodson: bass.

Fresh Spin

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Wynton Marsalis - Goin' Down Home

Bitrate: MP3@320K/s

Time: 65:31

Size: 150.0 MB

Styles: Trumpet jazz, Vocal jazz

Year: 2008

Art: Front

[1:25] 1. Takin' A Chance On Love

[6:18] 2. But Beautiful

[3:05] 3. Poor Butterfly

[6:17] 4. Poor Some More

[6:06] 5. Stormy Weather

[9:10] 6. Wynton 2

[2:34] 7. Blue Skies

[2:27] 8. Solitude

[7:18] 9. Wynton 3

[5:10] 10. Confessin'

[3:09] 11. Pennies From Heaven

[5:13] 12. Lover Man

[3:48] 13. East Of The Sun (And West Of The Moon)

[3:26] 14. Smiles

Released in 1999 by the German West Wind label, Goin' Down Home documents some of singer Pearl Brown's live performances with trumpeter Wynton Marsalis in the Canadian province of British Columbia. This CD, which also contains some studio recordings that don't feature Marsalis, is decent and enjoyable but not mind-blowing. Brown isn't a remarkable singer, but she's a pleasant, likable one whose main influences include Billie Holiday and Dinah Washington. She is not a belter or a screamer; like Holiday, Brown favors subtlety and restraint. Nonetheless, she gets her points across on familiar standards like "Lover Man" (a gem that Lady Day defined in 1944), "Stormy Monday," and "Blue Skies." Marsalis, who provides his share of noteworthy solos, is the only American musician on the CD. The other players are Vancouver residents such as Oliver Gannon (guitar), Lorne Kellet (piano), Torben Oxbol (bass), and John Nolan (drums). Whenever Marsalis solos, one is reminded of his progress. There was a time when Marsalis sounded like a poor man's Miles Davis, but by 1991 he had blossomed into a very recognizable and expressive player. Though one can cite influences ranging from Louis Armstrong to Clifford Brown, the Marsalis heard on this CD is very much his own man. Similarly, Pearl Brown is her own person despite her obvious admiration for Billie Holiday. Goin' Down Home isn't a masterpiece, but it's respectable. ~Alex Henderson

Goin' Down Home

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Carol Saboya - Belezas: The Music Of Ivan Lins and Milton Nascimento

Styles: Brazilian Jazz, Bossa Nova
Year: 2012
File: MP3@320K/s
Time: 54:11
Size: 124,4 MB
Art: Front

(4:08)  1. Bola De Meia, Bola De Gude (Sock Ball and Marbles)
(4:12)  2. Who Is in Love Here (a Noite)
(4:26)  3. Abre Alas (Open the Way)
(4:35)  4. Tristesse
(4:33)  5. Beleza E Canção (Beauty And Song)
(4:21)  6. Anima
(3:53)  7. Soberana Rosa (She Walks This Earth)
(4:26)  8. Doce Presença (Sweetest Presence)
(5:37)  9. Tarde (Evening)
(4:50) 10. Tres Pontas (Tres Pontas Town)
(4:23) 11. Velas Içadas (Hoisted Sails)
(4:42) 12. Estrela Guia (Oh, Shining Star)

Brazilian vocalist Carol Saboya's previous recording with her father, pianist Antonio Adolfo La e Ca: Here and There (AAM Music) was one of the highlights of 2010. She returns as headliner on Belezas: The Music of Ivan Lins and Milton Nascimento again, supported by Adolfo and his very fine quartet. Composers Lins and Nascimento represent a late '60s answer to bossa nova, which had dominated Brazilian (and a good bit of American jazz) in the late 1950s and early '60s. Called MPB (Musica Popular Brasileira), this music was less a musical genre and more a combination of original songwriting and updated folk themes. 

The twelve-song recital is sung in Portuguese and English with splendid musical direction by Adolfo and accompaniment by guitarist Claudio Spiewak, whose clean lines and elastic chording properly dress up- tempo pieces like "Tres Pontas" and ballads like "Doce Presenca," which features the excellent Hendrik Meurkens working his Latin harmonica magic. Providng soprano ("Tristesse") and tenor saxophone ("Tarde"), Dave Liebman proves a master of musical barometric pressure, manipulating a song's humidity to effect just the proper sensuousness to complement Saboya's well-balanced soprano.

In what seems an endless flood of Latin jazz, excellence always finds its way and is properly manifested in Saboya and Adolfo. The pair's specific choice of such a narrow wedge of Brazilian music tightens the focus of the disc, making it intelligent and aesthetic entertainment. There is much to be learned and enjoyed about Belezas: The Music of Ivan Lins and Milton Nascimento, and we are lucky to have it to enjoy. 

~ C.Michael Bailey  http://www.allaboutjazz.com/belezas-the-music-of-ivan-lins-and-milton-nascimento-carol-saboya-aam-music-review-by-c-michael-bailey.php
 

Personnel: Antonio Adolfo: piano; Claudio Spiewak: acoustic and electric guitars; Jorge Helder: double bass; Rafael Barata: drums and percussion; Dave Liebman: soprano and tenor saxophones (4, 9); Hendrik Meurkens: harmonica (8).

Belezas: The Music Of Ivan Lins and Milton Nascimento

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Shelly Manne - Daydreamer

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 78:20
Size: 180,0 MB
Art: Front

( 7:00)  1. How Could It Happen to a Dream
( 6:37)  2. Cabu
(13:33)  3. Bag's Groove
( 7:44)  4. Poinciana
( 6:53)  5. What's New
( 8:28)  6. Straight, No Chaser
( 4:29)  7. Ev'ry Time We Say Goodbye
(12:31)  8. If I Were A Bell
( 2:41)  9. A Gem From Tiffany
( 8:20) 10. Yesterdays

Shelly Manne made a countless number of records from the 1940s into the '80s but is best-known as a good-humored bandleader who never hogged the spotlight. Originally a saxophonist, Manne switched to drums when he was 18 and started working almost immediately. He was with Joe Marsala's band (making his recording debut in 1941), played briefly in the big bands of Will Bradley, Raymond Scott, and Les Brown and was on drums for Coleman Hawkins's classic "The Man I Love" session of late 1943. Manne worked on and off with Stan Kenton during 1946-1952, also touring with Jazz at the Philharmonic (1948-1949), and gigging with Woody Herman (1949). After leaving Kenton, Manne moved to Los Angeles where he became the most in-demand of all jazz drummers. He began recording as a leader (his first session was cut in Chicago in 1951) on a regular basis starting in 1953 when he first put together the quintet Shelly Manne & His Men. 

Among the sidemen who were in his band during their long string of Contemporary recordings (1955-1962) were Stu Williamson, Conte Candoli, Joe Gordan, Bob Enevoldsen, Joe Maini, Charlie Mariano, Herb Geller, Bill Holman, Jimmy Giuffre, Richie Kamuca, Victor Feldman, Russ Freeman, Ralph Pena, Leroy Vinnegar, and Monty Budwig. Manne, who had the good fortune to be the leader of a date by the André Previn Trio that resulted in a major seller (jazz versions of tunes from My Fair Lady), always had an open musical mind and he recorded some fairly free pieces on The Three and the Two (trios with Shorty Rogers and Jimmy Giuffre that did not have a piano or bass, along with duets with Russ Freeman), and enjoyed playing on an early session with Ornette Coleman. 

In addition to his jazz work, Manne appeared on many film soundtracks and even acted in The Man with the Golden Arm. He ran the popular club Shelly's Manne-Hole during 1960-1974, kept his music open to freer sounds (featuring trumpeter Gary Barone and tenor saxophonist John Gross during 1969-1972), played with the L.A. Four in the mid-'70s, and was very active up until his death. Throughout his career Shelly Manne recorded as a leader for Savoy, Interlude, Contemporary, Jazz Groove, Impulse, Verve, Capitol, Atlantic, Concord, Mainstream, Flying Dutchman, Discovery, Galaxy, Pausa, Trend, and Jazziz, in addition to a few Japanese labels. Bio ~ https://itunes.apple.com/us/artist/shelly-manne/id269437#fullText

Daydreamer

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Freddy Cole - Merry-Go-Round

Size: 130,7 MB
Time: 56:07
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz Vocals
Art: Front

01. Watching You, Watching Me (6:45)
02. It's Impossible (4:49)
03. Merry-Go-Round (5:49)
04. I Remember You (5:10)
05. Forgive My Heart (4:07)
06. Through A Long And Sleepless Night (4:14)
07. If You Went Away (5:34)
08. Take A Little Time To Smile (4:09)
09. I Realize Now I Miss You So (5:46)
10. Smoke Gets In Your Eyes (4:09)
11. You're Sensational (5:31)

Personnel:
Alto Saxophone, Flute – Lou Marini
Baritone Saxophone – Gary Smulyan
Bass – George Mraz, Herman Burney (tracks: 4, 5, 8, 9, 11)
Drums – Curtis Boyd
Guitar – Jerry Byrd (2)
Piano – Cedar Walton (tracks: 1 to 4, 6, 7, 10)
Piano, Vocals – Freddy Cole
Tenor Saxophone – Eric Alexander
Trombone – Steve Davis (7)
Trumpet – Lew Soloff

Freddy Cole is a songwriter's dream, able to impart his own distinct personality to a song while remaining faithful to its lyric and melody. He surrounds a song with the warm presence of his voice, but within that breathy glow, he's capable of the subtlest inflection, from irony to wary satisfaction and the most wistful sense of loss. He's also able to swing masterfully at medium tempos, as he does on "I Remember You" and the relaxed rendition of "It's Impossible." While Cole can stamp his own identity on a familiar tune, he can also bring out the best in an unexpected song. "Merry-Go-Round," by the team of Bobby Scott and Herb Martin, stands out here, as does a medley of lesser-known songs recorded by Cole's brother Nat, "I Realize Now" and "I Miss You So." The settings are always apt, whether it's Cole's own piano and rhythm section contributing to the intimacy of "Forgive My Heart" and the ebullient swing of Cole Porter's "You're Sensational," or Cole's ceding the piano chair to Cedar Walton, adding a horn section, and sharing several songs with distinguished soloists. Trombonist Steve Davis adds a crisp solo to "Watching You, Watching Me," a Bill Withers song that readily adapts itself to the light-bop groove, and tenor saxophonist Eric Alexander complements Cole's voice with some thoughtful fills on "It's Impossible." Stuart Broomer

Merry-Go-Round

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Chris Vadala - Eastern Standard Time

Size: 116,0 MB
Time: 49:27
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. My Secret Love (4:33)
02. Doxy (4:54)
03. Gentle Rain (7:00)
04. Waltz For A Lovely Wife (3:36)
05. It's A 'U' (2:37)
06. Indian Summer (4:02)
07. Footprints (6:30)
08. In A Mellow Tone (4:08)
09. B'bye (7:48)
10. Caravan (4:14)

Following up on his debut release "Out of the Shadows", Art of Life Records is pleased to present, "Eastern Standard Time", a new quartet recording by Chris Vadala and guitarist Rick Whitehead featuring Barry Hart on drums and John Previti on acoustic bass. Recorded at Bias Studios in Springfield, Virginia in January of 2015, "Eastern Standard Time" features songs composed by Sonny Rollins ("Doxy"), Luiz Bonfa ("Gentle Rain"), Phil Woods ("Waltz for a Lovely Wife"), Chris Vadala ("It's a "U"), Wayne Shorter ("Footprints"), Duke Ellington ("In a Mellow Tone" & "Caravan") and Chuck Mangione ("B'Bye"). 24-bit Digital Mastering by Paul G. Kohler at Art of Life Studios in Charleston, South Carolina in March 2015.

Liner Notes:
This recording project is the result of my collaboration with the Rick Whitehead Trio. This session is essentially a live studio date recorded at Bias Recording Studio in Springfield, VA and reflects the music that we would customarily use as an opening set in the various venues where we perform. The repertoire selection is based on our usual mix of three up-tempo swing tunes, two medium tempo swing tunes, three Latin Jazz tunes, a ballad and a Jazz waltz. "B'Bye" is a nostalgic ballad that flugelhornist Chuck Mangione wrote when he was just 16 years old and included on his second Grammy Award-winning recording, "The Children of Sanchez". In contrast, "Indian Summer", by Victor Herbert, is an uplifting and spirited piece played in the 1920's style of the great soprano saxophonist, Sidney Bechet. "Waltz for a Lovely Wife" was written by the eminent saxophonist Phil Woods, one of my heroes and former teacher. "Footprints", written by another heralded saxophonist, Wayne Shorter, takes on a different treatment and meter from its original conception in my arrangement. Since we're all based in the DC Metro area it's fitting that we record a couple of pieces, "Caravan" and "In a Mellow Tone", by the local icon, Duke Ellington. "Gentle Rain", by Brazilian composer Luiz Bonfa, is one of our set list regulars as are "Doxy" by Kennedy Center Honoree saxophonist Sonny Rollins and the opening piece on this recording, "My Secret Love" by Mitchell Parish and Bobby Sherwood. Finally "It's a "U", a contrafact on the standard "There Will Never Be Another You", is based on the Sesame Street TV feature in which the characters introduce individual letters of the alphabet. ~Chris Vadala

Eastern Standard Time

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Michele Holland - A Table For Two

Size: 110,9 MB
Time: 47:37
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz Vocals
Art: Front

01. 'Round Midnight (5:02)
02. What's Going On (5:00)
03. Table For Two (5:36)
04. I Can't Help It (6:59)
05. Love On The Beach (5:18)
06. Dindi (Intro) (1:39)
07. Dindi (5:06)
08. Sacred Kind Of Love (4:46)
09. Ooo Baby Baby (4:24)
10. What's Going On (Reprise) (3:44)

On one beautiful sunny day last spring, I noticed my wife, Michele sitting at a table that overlooks the patio of our home in Orlando, Fla. That table had become a symbol to us as a private place in our bedroom, where over a cup of coffee or glass of wine, we would discuss important matters, make decisions, dream of the future or just contemplate the beginnings of the universe. The table was only for two, yet sort of a forum for our sharing of ideas, feelings and communication. As I observed Michele on this particular day, with earphones on and a notebook and pen in hand, I realized that the table for two had now taken on an additional yet new functional role.

In psychological parlance, this phenomenon was often referred to as the empty nest syndrome. Both our children, Rashida and Kiar were now away in college. Although rewarding, the challenges and responsibilities of child rearing were no longer the focal point in our lives. Yet this did not seem so devastating as anticipated. Michele seemed finally able to sense a release of her own creative energy to write and compose music. I too, having recently retired from my profession, felt the freedom to pursue my interests in writing and research in regional African-American history. So out of this, the song: TABLE FOR TWO was inspired. The feeling could not have been more succinctly expressed, than in Michele's words:" You and I alone, sitting at our private little table. No kids, No mama, No Papa, No cousins, No brothers. No Sisters. Just you and I, Not even a dog can come in tonight."

Throughout the 80s and 90s, Michele's performances increasingly accumulated an enthusiastic audience from New York (her original beginnings) to the summer vacationers in Martha's Vineyard and in the last six years in the Central Florida Area. She was fortunate to have been able to work with some of the finest musicians in the area, such as Jacqueline Jones, (a well known and talented Blues and Jazz singer); Billy Hall (a truly gifted pianist and keyboard player), both of whom have become friends as well as an inspiration. These friendships led to performances at a host of clubs around Central Florida, such as the Westin Grand Bohemian, House of Blues Blues School House at Disney World, and helped to bring her into contact with many other outstanding musicians. These include Don Black, saxophone; Robert Wawoe, bass and congas; Harvey "Lex"Marshall, drums; and Adib "Spiceman" Solaam, congas.

The song LOVE ON THE BEACH, written by Billy Hall and melodically interpreted by Michele, was reminiscent of our summer home community on Martha's Vineyard. The melody of the music reminds one of the whisper of the soft summer breezes of the Cape Cod Sound. The uniqueness of the Vineyard beaches was not only of sand and sea nor simply an abstract concept, but perhaps for some, a place where actual conception (no incriminations intended!) and life long relations began. For Michele, memories of the after-beach activities are just as poignant! Michele performed at many venues, including Lola's Restaurant and the Ale House in Oak Bluffs, The Seafood Shanty, The Black Bean in Edgartown and many community related appearances at the Old Whaling Church in Edgartown, Union Chapel or Cottager's Corner in Oak Bluffs and other appearances with the Cottagettes.

WHAT'S GOING ON was selected as an aftermath of 9/11, when we had our attention redirected to war. We entered another cycle of preoccupation with our potential for widespread conflict, death and destruction in Afghanistan, Iraq, and other places in the world. It brought back memories of the Vietnam War Era when WHAT'S GOING ON, was written, after Marvin Gaye's brother returned from Vietnam and told of his experiences there. Michele and company, were able to bring a unique and special message by doing two different renditions of this song.

Michele's arrangement of I CAN"T HELP IT, from Michael Jackson's "Off The Wall" album, seems to meld into what is most characteristically awesome and natural of her. It has elegance with the smooth sounds of Don Black on sax, and the magic of Billy Hall's artistry, tempered with the classic swing/funk beat provided by Lex Marshall on drums, Spiceman Solaam on congas and Robert Wawoe on bass. Michele revealed the shape of her unique signature in style and accompaniment.

A Table For Two

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Boney James - Futuresoul

Size: 104,2 MB
Time: 41:09
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. Drumline (4:15)
02. Vinyl (4:05)
03. A Little Attitude (3:59)
04. Watchu Gon’ Do About It (3:37)
05. Either Way (4:05)
06. Hand In Hand (3:49)
07. Fortuneteller (4:33)
08. The Moment (4:22)
09. Futuresoul (4:04)
10. Far From Home (4:16)

Title aside, there is something very familiar about Futuresoul, Boney James' follow-up to 2013's Grammy-winning Beat. With a modern production approach, there is a deliberate look back at his great inspiration, Grover Washington, Jr., in particular, the late saxophonist's groundbreaking period between 1975 and 1983. Washington, then recording for Kudu, was deeply influenced by vintage soul music and equally taken with funk. He melded them seamlessly with warm, melodic jazz in a welcoming tone and songlike phrasing that virtually created the "smooth jazz" genre. Those tropes influenced and benefited James greatly; he's continued to evolve and transform the music since his 1992 debut album, Trust. His tone here is pure retro analog, while the rest of Futuresoul's sounds derive from the current production techniques of R&B and pop. He collaborated with several co-producers, including Jarius Mozee on the slinky club floor opener "Drumline," and with Dwele on the fingerpopping summertime groove in the title track. Stokley (Williams) makes a vocal appearance on the lovely crossover tune "Either Way." While the scratchy sample at the intro to "Vinyl" is perhaps too obvious, the melody is low, sexy, and slow, with elegantly layered and harmonically staggered saxophones. Rob Bacon's chunky guitar and Nutty P Beats' loops and spacy synths are tastefully stitched into the backdrop. The ballad "Hand in Hand," with Darrell Smith's programmed loops and low-end keyboard bass, is lithe and romantic, though the earthy, Southern gospel tinge of Tim Carmon's B-3 adds roots and depth. Closer "Far from Home" features the muted trumpet of Marquis Hill as a lyric foil for James. Carmon's acoustic piano fills, Vinnie Colaiuta's impressionistic drums, and Lenny Castro's illustrative percussion add a restrained yet cinematic feel to the track. While Futuresoul may not have the outward propulsive force of Beat, it is its flip side: a more lyrical outing that tastefully and thoughtfully melds grooves from the history of smooth and contemporary jazz to modern adult R&B.

Futuresoul

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Mercedes Nicole - People Are Talking

Size: 107,4 MB
Time: 46:07
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues Vocals
Label: Mercedes Nicole
Art: Front

01. Would You Believe (5:06)
02. Moondance (4:42)
03. Touching The Sky (Radio Edit) (5:28)
04. People Are Talking (5:23)
05. Autumn In New York (4:05)
06. Dindi (4:44)
07. All The Little Ponies (Remembering Oso) (2:45)
08. I Loves You Porgy (5:21)
09. Fly Me To The Moon (3:30)
10. Chicken, Biscuits & Gravy (4:57)

Mercedes Nicole’s infatuation with music began sitting at the feet of her father at age seven as he played and replayed the warped albums he treasured of the great women in jazz, Billy Holliday, Ella Fitzgerald, and Sarah Vaughn. Seeing her complete fascination with jazz, her father began sneaking her into clubs in Los Angeles, where she spent most of her childhood and teen years, seeing and hearing greats like Nancy Wilson, Bobby Hutchinson and Cal Tjader. However, being brought up as a strict Baptist, Mercedes did not venture into music like her peers in high school or college, until age 30, when her fascination with Jazz became undeniable.

Mercedes is vocal jazz stylist who interprets standards, blues, original compositions, and New Gospel music. In 2005 she wrote, produced and performed her first tribute to Nina Simone at the 300-seat Microsoft Auditorium in the Seattle Public Library. In 2008 and 2009, she performed the treasured recordings of Dinah Washington and Sarah Vaughn at Demetrio’s Jazz Alley and she has graced the stage in a variety of top class venues.

Recently we ran into her latest single release, “Touching The Sky” and followed it up by browsing through some of the songs from her CD “People Are Talking”. The album contains 6 covers, 3 original songs and 1 prayer. We discovered that Mercedes is a genuine gem amongst the clutter composing today’s musical spectrum. Thank goodness she’s faithful to her remarkable vocal stylings.

Talent aplenty, Ms. Nicole’s voice and delivery strike your memory in familiar ways. Comparison to world-famous blues and jazz females are tempting, perhaps justified. Nonetheless, Ms. Nicole is never derivative but rather refreshingly comfortable in an all-new manner. Mercedes Nicole is also smart enough to work superb material. On her CD “People Are Talking”, she easily interprets standards by such great tunesmiths as Van Morrison, Vernon Duke, Antônio Carlos Jobim, and George Gershwin into her own repertoire.

The first time you hear Ms. Nicole you make the assumption: this is some legendary great from the past in some glorious newly re-mastered recording you have never heard before. You’re a little surprised when you’re wrong and more than a little intrigued – this is Mercedes Nicole, who in her own quiet, unassuming way is as much bigger than life as any of her peers.

I have a passion for female jazz vocalists and track hundreds of them, known and unknown. Simply put, Mercedes Nicole is a superb and moving singer, the real deal, with her own voice, which is as smooth and rich as aged single-malt scotch over ice. Her phrasing is dead-on and there isn’t a single clunker in her catalog.

Her songs are arranged and performed with a subtlety, restraint and intelligence that throw into marked prominence the deficiencies of modern-day poseurs who sing a variety of songs in a jazz-inflected style but embody disingenuousness with every breath. Listen beyond the superficial similarities, to Holiday, Fitzgerald and Vaughn, and you’ll hear in Mercedes Nicole a singer who is plugged into the essence of what elevates the jazz art form: simple, direct expression, and no reliance on overtly forced technique.

Ms. Nicole’s husky mellow tone elicits a tender blend of romance, vulnerability and sensuality, giving her a style of her own. And it is most evident on her original compositions like “People Are Talking”, accompanied beautifully by Alexey Nikolaev’s saxophone, and the melancholic, yet uplifting “Touching The Sky”. She has an effortless palette of notes she moves through with a pitch perfect and low resonant delectability, which can be admired on the bluesy “Chicken Biscuits & Gravy”, another original composition.

Ms. Nicole is also ably assisted by some talent musicians, including Piano – Darin Clendenin – Gregory Smith, Bass – Clipper Anderson, Drums – D’Vonne Lewis – Jamael Nance – Don Gunn, Cello – William Smith, Guitar – Steve Peterson, Vibes – Susan Pascal.

From classic standards to original compositions, Mercedes Nicole’s voice and timing of her words and music brings us a fresh clear view of life and takes us to an earlier time. If you love great female vocals, singing great songs, this lady and her CD “People Are Talking”, will stand up to anything you have ever heard…by anyone. Trust me, I know from experience. ~by Jeena Johnson

People Are Talking

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Pat Martino - We'll Be Together Again

Bitrate: MP3@320K/s
Time: 43:39
Size: 100.0 MB
Styles: Post bop, Guitar jazz
Year: 1976/1998
Art: Front

[15:54] 1. Open Road (Olee Variations And Song Open Road)
[ 4:57] 2. Lament
[ 5:01] 3. We'll Be Together Again
[ 4:43] 4. You Don't Know What Love Is
[ 4:57] 5. Dreamsville
[ 2:42] 6. Send In The Clowns
[ 5:21] 7. Willow Weep For Me

When We'll Be Together Again was recorded in 1976, a 31-year-old Pat Martino was four years away from being operated on for the brain aneurysm that would wipe out his memory. The Philadelphia guitarist was also very much at the height of his creative powers -- a fact that's hard to miss on this excellent session, which 32 Jazz reissued on CD in 1998. Forming an intimate duo with electric pianist Gil Goldstein, Martino is at his most introspective on sparse interpretations of the standards "You Don't Know What Love Is" and "Willow Weep for Me" as well as Henry Mancini's "Dreamsville," J.J. Johnson's "Lament," and Stephen Sondheim's "Send in the Clowns." Martino's lyricism was never more personal than it is on this album, which was first released by Muse and was out of print for many years. Thankfully, We'll Be Together Again finally came out on CD when 32 Jazz reissued it in 1998.

We'll Be Together Again

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Monday Orchestra - Monday Orchestra Meets Bob Mintzer

Bitrate: MP3@320K/s
Time: 76:24
Size: 174.9 MB
Styles: Big band
Year: 2015
Art: Front

[ 3:43] 1. Bouncin' With Bud
[ 8:13] 2. Havin' Some Fun
[11:42] 3. Swangalang
[ 6:52] 4. March Majestic
[ 1:57] 5. Blues For Bob Pt 1
[ 8:53] 6. San Juan Shuffle
[ 6:36] 7. Easy Living
[ 8:06] 8. My Shining Hour
[ 1:15] 9. Blues For Bob Pt 2
[ 8:40] 10. New Rochelle
[10:21] 11. Runferyerlife

Monday Orchestra is a 19-piece jazz ensemble based in Milan, formed by arranger Luca Missiti and by trumpet player Pietro Squecco in 2006. Their goal was to create a brand new orchestra in order to play many different styles, from swing to jazz standards to pop and funk tunes.

Monday Orchestra, conducted by Luca Missiti, is an ensemble formed by musicians whose experiences vary from many of Italy’s best orchestras or big bands (Orchestra Pomeriggi Musicali in Milan, Orchestra Festival di Sanremo, Demo Morselli Big Band, Jazz Company Big Band, Nick The Nightfly’s Montecarlo Nights Orchestra, Civica Jazz Band led by Enrico Intra, Civica Orchestra di fiati del comune di Milano).

In 2010 Monday Orchestra released its first cd, published by Ultrasound Records, special guests are Emilio Soana on trumpet, clarinetist Paolo Tomelleri, Dario Faiella on guitar, and Gabriele Comeglio on saxophone. Since 2006 Monday Orchestra has been performing with guest soloists such as Italian soloist and lead trumpet player Emilio Soana, clarinet virtuoso Paolo Tomelleri, Gabriele Comeglio one of the most important Italian arrangers, conductors and saxophonist, great singers such as Stefano De Maco and Simona Severini, Italian trumpet virtuoso Andrea Giuffredi and Tony Arco, one of the most important Italian drum soloists. In 2012 Monday Orchestra has been resident orchestra for the first edition of the Bflat Jazz Festival in Milan, playing with guest soloists such as the great American trumpet player Randy Brecker, in a concert dedicated to the Thad Jones’ songbook and with the great saxophonist and arranger Bob Mintzer, playing his own compositions.

Monday Orchestra Meets Bob Mintzer

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