Kayla Taylor Jazz - You'd Be Surprised

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 40:43
Size: 93,7 MB
Art: Front

(4:50)  1. Good Morning Heartache
(4:28)  2. Just One of Those Things
(3:21)  3. You'd Be Surprised
(2:28)  4. Our Love Is Here To Stay
(4:55)  5. I Only Have Eyes For You
(2:18)  6. You're Driving Me Crazy (What Did I Do?)
(3:05)  7. Treat Me Rough
(3:01)  8. Where Or When
(2:49)  9. It's De-Lovely
(3:10) 10. Devil May Care
(6:13) 11. Blues Stay Away from Me

Though her early forays were more rock and pop, in recent years Atlanta’s Kayla Taylor has, in partnership with guitarist Steve Moore, found her musical focus with jazz standards. There’s a slight, if persistent, twang to Taylor’s voice that reveals her Southern roots. But the effect, like an amalgamation of dewy Sophie Milman with fellow Canadian k.d. lang, is thoroughly enticing pert, yet a wee bit pouty. It serves her well on an opening “Good Morning Heartache,” more gently regretful than maudlin, and is equally effective on a bossa-swung “Just One of Those Things” and a flirty “You’d Be Surprised.”  

Moore and his piano-less band drummer-percussionist Michael Dana, bassist Justin Owen-Head and saxophonist Will Scruggs draw on the Flamingos’ classic 1959 version to shape “I Only Have Eyes for You,” with Taylor ably following their shimmering lead. The lesser-known Gershwin gem “Treat Me Rough” is delivered with showgirl sauciness and, kudos to all four players, a shadowy “Devil May Care” finds her dancing among undulating flames. But the closing track, a Moore-led “Blues Stay Away From Me,” seems plucked from an entirely different album. Taylor’s vocal, though powerfully mournful, feels neither down nor dirty enough, particularly when measured against the cut-loose wail of lang’s “Honky Tonk Angels’ Medley” version from 1988’s Shadowland. 

~ Christopher Loudon  http://jazztimes.com/articles/29396-you-d-be-surprised-kayla-taylor

You'd Be Surprised

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Eddie Thompson Trio - Ain't She Sweet

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 66:49
Size: 153,3 MB
Art: Front

(6:02)  1. The Surrey With The Fringe On Top
(5:18)  2. Cool Blues
(5:53)  3. Ain't She Sweet
(5:43)  4. You Are My Sunshine
(4:26)  5. Easy Does It
(5:31)  6. One Morning In May
(5:40)  7. Nancy (With the Laughing Face)
(4:21)  8. There Is No Greater Love
(3:51)  9. Just Friends
(4:59) 10. I've Got the World On a String
(4:40) 11. Wave
(4:49) 12. Why Don't You Do Right?
(5:31) 13. When Lights Are Low

Eddie Thompson was born in Shoreditch, London on May 31, 1925. Blind from birth he first attended Linden Lodge School for the Blind, Wandsworth (as did George Shearing) and then, during the war, at Dorton House, Seal, Sevenoaks. He had been introduced to jazz through listening to the family radio and was awestruck by such greats as Fats Waller, Earl Hines, and especially Art Tatum.  His strong personality and love of jazz eventually led to a curtailment of his formal education and by 1947 he was part of the London jazz scene and playing in the company of Vic Ash, Tony Crombie, Ronnie Scott, and Carlo Krahmer. He was able to supplement his jazz income, always precarious, with a career as a piano tuner. One of his first recordings was made in February 1948 with the Johnny Dankworth quartet which had teenage Vic Feldman on drums.

Throughout the fifties he consolidated his reputation playing with top London musicians and was at home playing mainstream or bop. In 1962 he decided to try New York as he felt he needed that challenge that only New York, then as now, can give jazz musicians. He secured a residency at the Hickory House between 1963-67 and made many musical friendships including Duke Ellington, Erroll Garner, and Thelonious Monk. In spite of a growing reputation in New York he returned to London in 1972 where he was soon in demand and formed his own trio. There were regular BBC Jazz Club gigs, he recorded for the German BASF label and Doug Dobell's 77 label, and as visiting American soloists proliferated he became one of the first call accompanists.

Eddie's strength other than his prodigious technique was that he knew literally hundreds of tunes with a preference for Gershwin. He also had the ability, when he felt it necessary, to drop into the style of his heroes Garner, Peterson, and Nat Cole. In the late seventies and early eighties he made a series of recordings for HEP as soloist and as equal musical partner along with Roy Williams and tenor saxist Spike Robinson. These are generally regarded as his finest work. Although blind he fearlessly travelled to evening work in London clubs by the Underground, and also to clubs throughout the UK often accompanied by his faithful guide dog, Maida. Sadly, due to a lifelong smoking habit, he developed emphysema which contributed to his early death on November 6, 1986. Paradoxically, in the late eighties his playing enjoyed a sudden popularity in Japan. Such an irony would have caused him to smile.  Bio ~ http://www.hepjazz.com/hep_jazz_artist_biographies/eddie_thompson.html

Personnel: Eddie Thompson (piano); Martin Drew (drums); Len Skeat ( bass).

Ain't She Sweet

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Jim Snidero - Main Street

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 51:16
Size: 117,7 MB
Art: Front

(5:21)  1. Duluth at Noon
(6:39)  2. Post Time Saratoga
(6:34)  3. Las Vegas Tango
(4:33)  4. Oxford Square
(7:18)  5. Autumn In New York
(6:31)  6. Born In Redwood City
(6:05)  7. Walla Walla
(8:11)  8. The Streets of Laredo

A determinedly straightahead alto saxophonist, Jim Snidero staffs his Main Street quartet with determinedly adventurous young musicians and gets them swinging along with him. It’s no surprise to hear that pianist Fabian Almazan, bassist Linda Oh and drummer Rudy Royston have the meat-and-potatoes bop chops that a Snidero record requires; it is, however, invigorating.Those musicians sneak in bits and pieces of their own conceptions, too. Snidero’s soulful blues “Post Time Saratoga” features scorchers from Oh and Snidero, and behind them, Royston’s latticework marks him as the best decorative drummer in the business. (He continues to prove it throughout, topping himself with a reason-defying solo on the closing “The Streets of Laredo.”) Almazan matches that artistry with subtle figures and note choices that fatten up his comp lines, then bursts forth with a solo that explodes both the tune’s rhythmic and harmonic framework. He does the same on “Duluth at Noon,” “Walla Walla” and “The Streets of Laredo,” making him the album’s MVP.

Oh has tricks up her sleeve, too. When Royston and Almazan ratchet up to double time in “Duluth,” she steadfastly maintains the original tempo even as it displaces her accents. She also finds new ways to express the pulse with every bar of “Las Vegas Tango,” and offers perhaps the album’s best improvisation with her nuanced light touch on “Autumn in New York.” Snidero, meanwhile, maintains the consistent gifts that have marked his 30-plus-year career: juicy sax work crafted with soul, flawless tone and a keen sense of narrative (his solo on “The Streets of Laredo” rivals Oh for album best). His compositions are impressive, too, eking surprises out of licks in “Duluth at Noon” and building a durable melody out of a mixed meter and an R&B lick on “Born in Redwood City.” Main Street is a solid addition to his résumé.

Personnel: Jim Snidero (alto saxophone); Fabian Almazan (piano); Rudy Royston (drums).

Main Street

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Alice Groves - Whisper Down The Wind

Size: 101,6 MB
Time: 39:44
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz/Folk/Word Vocals, Adult Contemporary
Art: Front

01. Jazz Tango To Love (8:17)
02. The First Time Ever I Saw Your Face (5:13)
03. Dance Me To The End Of Love (4:32)
04. Forever And Ever (3:51)
05. Wild Is The Wind (4:01)
06. Across The Universe Of Time (4:20)
07. Windmills Of Your Mind (4:50)
08. MacArthur Park (Abridged) (4:37)

A multi-disciplinary artist and educator (formerly taught at Ottawa’s French high school for the performing arts - De La Salle), Alice Groves is a singer-songwriter, recording and performing artist who writes, co-arranges and co-produces her music at her home-base, Monkland Studios, in Ottawa, Ontario, Canada.

She performs and records both originals and covers which blend world-jazz-folk genres variously with infusions of Brazilian, Arabic arpeggios, and Celtic stylings.

Alice has performed in dozens of venues large and small, over the course of the last two decades, both at home in Canada and abroad.

Whisper Down The Wind

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Joanna Pascale - Wildflower

Size: 147,2 MB
Time: 61:35
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Forget Me (6:14)
02. Lament (4:14)
03. Will You Still Love Me Tomorrow (5:50)
04. Stay With Me (4:48)
05. Do It Again (8:14)
06. Wildflower (4:16)
07. Overjoyed (5:58)
08. I Wanna Be Loved (6:46)
09. Drown In My Own Tears (6:24)
10. I Remember You (4:56)
11. I'm Confessin' (That I Love You) (3:49)

Whether referring to the lesser-known repertoire to which she’s drawn or to the singer herself, nurtured in the concrete jungle of her native Philadelphia, Wildflower is the ideal title for Pascale’s captivating new album. Supported by an excellent band led by the session’s producer, pianist Orrin Evans, and a host of special guests including Christian McBride, Kurt Rosenwinkel, Gregoire Maret, Bilal, and Cyrus Chestnut, Pascale finally comes into full bloom, a wildflower whose beauty is emerging into the sunlight.

The recording of Wildflower coincided with the end of Pascale’s decade-long engagement at the Loews Philadelphia Hotel, which allowed her to hone her voice, style, and vast repertoire. But leaving that long-running gig also provided a newfound freedom to follow a more personal path, which she embraces on her fourth album. Each song on Wildflower is one with which Pascale feels a deep emotional connection, which shines through in the passionate feeling she conveys to the listener. “If I don't connect with a lyric, I can’t sing the song,” she says. “I love to dig into the words and find all the different shades, the stories within the story, and then try to interpret that.”

But equally important for her approach to breathing life into this material is Pascale’s interaction with her musicians. “For me,” she says, “it's the space between the words that tells the story. I love that these musicians allowed so much space for me to paint these pictures. It allowed me to get very intimate with the phrasing of the lyrics. The fun in storytelling is finding a way of phrasing so that the listener connects to your intention and all the ways you feel the subtle shades of the emotions in the story.”

Propelled by the deep, sinuous groove laid down by Evans, McBride, and drummer Donald Edwards, “Forget Me” immediately establishes that connection via Pascale’s intimate, impassioned delivery. It’s followed by the tender J.J. Johnson ballad “Lament,” featuring an original lyric penned for Pascale by Tony Haywood, which features Edwards and bassist Luques Curtis. Most of the album features bassist Vicente Archer and drummer Obed Calvaire, who luxuriate in creating space while maintaining momentum on tracks like “I Remember You” and “Stay With Me.”

Wildflower

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Svend Asmussen - Embraceable

Size: 168,0 MB
Time: 72:24
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Swing
Art: Front

01. Singin' In The Rain (5:07)
02. Sophisticated Lady (5:35)
03. Hushabye (8:26)
04. Trubbel (6:01)
05. Prelude In C-Minor (5:34)
06. Things Ain't What They Used To Be (7:57)
07. Waltz For Sonny (7:32)
08. Just A Gigolo (4:34)
09. There Will Never Be Another You (7:35)
10. Embraceable You (3:54)
11. Pent-Up House (5:48)
12. June Night (4:14)

In 1987 when he was a young man of 70, Svend Asmussen played a gig in a small club in Paris. This year, on the eve of his 100th birthday, the Danish violinist rediscovered a tape made of the evening for a Parisian radio station. He says: "I assumed it would be just another radio show which I wouldn't care to hear again. But when it was transferred to CD, it was a revelation.

"It was a night with three excellent musicians who I had never played with before. It was quite a difficult gig for a 70-year-old: first set at 11pm, second at 12.30 and third at 2am. We didn't have a rehearsal. I had a few things scribbled down but I don't think anyone looked at them. They just played.

"The radio man casually mentioned, 'And by the way, the concert will be broadcast live so would you please announce the whole thing in French,' which I did."

Now, as the Asmussen centennial draws near, the rest of the world can finally listen in on the gig, shorn of most of the extraneous background noise and Asmussen's French introductions.

It's a rollicking, swinging affair, The Fiddling Viking kicking off with "Singin' In The Rain," which he first played as a 12-year-old long before the Gene Kelly musical popularized the tune.

The highspot of the evening is the Mercer Ellington number "Things Ain't What They Used To Be," which gives Georges Arvanitas a chance to strut his bluesy stuff on piano.

Then there's "Hushabye" by rock 'n' roll songsmith Doc Pomus and Frédéric Chopin's "Prelude in C-minor" to keep listeners on their toes amid such jazz staples as Toots Thielemans' "Waltz For Sonny" and George Gershwin's "Embraceable You."

Let's give Asmussen the final say: "Thirty years later, I find there is an unusually 'live' atmosphere in this recording. Honestly, I think it is the best music I've ever recorded." ~Chris Mosley

Personnel: Svend Asmussen: violin; Georges Arvanitas: piano; Patrice Caratini: bass; Charles Saudrais: drums.

Embraceable

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Andrea Braido - Dai Beatles A Jobim Passando Per...

Size: 138,4 MB
Time: 59:46
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz, Samba
Art: Front

01. Come Together (4:09)
02. Yesterday (5:14)
03. Samba De Uma Nota So (4:02)
04. Wave (4:34)
05. Here Comes The Sun (3:27)
06. Summer Samba (3:19)
07. Mas Que Nada (4:44)
08. Norwegian Wood (3:35)
09. Michelle (4:53)
10. This Guy In Love With You (4:01)
11. Tequila (4:25)
12. Orfeo Negro (3:39)
13. And I Love Her (4:41)
14. The Man I Love (4:55)

It was very difficult to think of a new work that could arouse more interest of his fans, without, however, altering the balance of his undisputed art. Hence the idea of a particular cd almost everything into two picturing acoustic music genres are diametrically opposed to the composition and execution. The Beatles have marked an era as well as Jobim, here is the reason for the title. Now, who could be able to take responsibility for a project so challenging, ambitious and complex after playing: Hendrix, Santana, the Funky, the Spanish and the Jazz? Can venture into this job only Andrea Braido! Think for a moment to be at home to have a drink or a coffee, where the music should not be played at high volume necessarily but must be engaging and delicate at the same time, then put 2 or 3 tools just to have a relaxing environment ever invasive and thick at the same time as an artist. Andrea who is a ferryman of emotions create excellent sa in this cd strong emotions, but so strong that you'll feel you close even when you are listening to only from your stereo. Needless to say once more: Andrea will amaze you and fits the most refined palates and ... giving a test of art, true art that few in the world today know how to create like him. ~automatic translator.

Dai Beatles A Jobim Passando Per...

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Gary Porter - Stone Chucker

Size: 99,1 MB
Time: 39:04
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/R&B Vocals
Art: Front

01. Stone Chucker (3:21)
02. Hesitate (4:17)
03. Can't See The Wood For The Trees (4:09)
04. Breadline (4:01)
05. Monkey (3:51)
06. The Way It Is! (3:53)
07. Steamtrain Blues (4:32)
08. Hand On My Heart (4:30)
09. When You're Gone (3:40)
10. Take Me Back (2:46)

Back in 2012 Porter, a sextet from the county of Essex, just north of London, produced the highly enjoyable Can't Keep Still (Cornerblock Records). Two years later, band leader Gary Porter has released his follow-up, Stone Chucker. Boosting the line-up to a Spinal Tap sized 11, including guests, Porter has also upped the enjoyment quotient. His old-school mix of blues, R&B, jazz and soul bursts joyfully out of the speakers.

Drummer Phil Mount and keyboardist Dave Melling also contributed to Can't Keep Still, everyone else is a new addition to Porter's band: all of them make positive contributions. Porter's vocals are strong—relaxed yet soulful, they're immediately engaging and get the listener on-side as he tells his tales of outlaws, failed romance and, in the case of "Stone Chucker," a fiend straight out of a Stephen King novel who'll "break all your bones with his pocket full of stones." Porter confines his guitar playing mostly to a rhythm section role. His lead parts and solos are relatively rare: they aren't likely to give B B King any sleepless nights, but Porter shares King's talent for understatement and confidence in leaving plenty of space.

Lisa Mills joins Porter on lead vocals for three songs. Her tough and bluesy voice works well with Porter's more soulful sound: the pairing gives added punch to "Stone Chucker" and spices up the romance of "Can't See The Wood For The Trees" (where Mills could at times pass for Scotland's legendary Lulu) and "Hand On My Heart."

Mount and bassist Geoff Conway keep the beat strong, but the heart of the band is the horn section—it is, to coin an Americanism, "badass." Saxophonists Graeme Turner and Lee Badau deliver some of the toughest sax lines anyone could wish for, aided and abetted by Sting "Ray" Davies' trombone. The screeching tenor that opens "The Way It Is!" sets the tone for one of Stone Chucker's liveliest numbers. On a quieter note, Turner's soprano sax solo adds a fragility to "Breadline" that suits this tale of a fortune lost.

Drop into any one of these songs and there's likely to be something going on that immediately grabs attention. Steve Weston's raw harmonica gives "Steamtrain Blues" an edgy Delta blues feel. Melling's piano intro to the slow blues of "Hand On My Heart" moves things briefly in a classical direction. Backing vocals from Amarra Smith and Shanice Smith sweeten the pop-ska of "When You're Gone": Davies' trombone and organ give it a richness and warmth. Melling's "Riff Raff" was Can't Keep Still's dance floor filler. His optimistic "Take Me Back" does the job on this album, giving every band member the chance to stretch out and blow.

The blues has been around for 100 years or so and continues to inspire songwriters and musicians. In one form or another it inspires each and every one of the songs on Stone Chucker, a great addition to the Porter resumé. ~Bruce Lindsay

Personnel: Gary Porter: vocals, guitar; Steve Weston: harmonica; Graeme Turner: tenor saxophone, soprano saxophone; Lee Badau: baritone saxophone, tenor saxophone; Dave Melling: organ, piano; Geoff Conway: bass; Phil Mount: drums; Lisa Mills: vocals (1, 3, 8); Amarra Smith: backing vocals (3, 9); Shanice Smith: backing vocals (3, 9); Sting "Ray" Davies: organ (5, 6, 9), piano (6, 9), trombone.

Stone Chucker

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Albert Nicholas & Herb Hall - Clarinet Duets With The John Defferary Jazztet & The Trevor Richards New Orleans Trio

Size: 140,2 MB
Time: 59:55
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Bugle Call Rag (2:47)
02. Moonglow (6:15)
03. Jazz Me Blues (3:39)
04. Winin' Boy Blues (4:48)
05. Dear Old Southland (3:15)
06. Stack O' Lee Blues (4:15)
07. Love Me Or Leave Me (5:24)
08. Wadsworth Mill Grind (4:26)
09. Mood Indigo (4:35)
10. Blue Skies (4:42)
11. What Is This Thing Called Love (3:31)
12. Creole Love Call (4:11)
13. Oh Baby (5:01)
14. Soho Jump (2:59)

Tracks 1 to 9: Albert Nicholas & The John Defferary Jazztet
ALBERT NICHOLAS, clarinet
JOHN DEFFERARY, clarinet
PAT HAWES, piano
PAUL SEALEY, guitar
BILL COLE, bass
TREVOR RICHARDS, drums
Recorded 1969

Tracks 10 to 14: Herb Hall & The Trevor Richards New Orleans Trio
HERB HALL, clarinet
JOHN DEFFERARY, clarinet
BOB BAERTON, piano
ALYN SHIPTON, bass
TREVOR RICHA, drums
Recorded 1981

Albert Nicholas (May 27, 1900, New Orleans, Louisiana – September 3, 1973, Basel, Switzerland) was an American jazz reed player.

Nicholas's primary instrument was the clarinet, which he studied with Lorenzo Tio in his hometown of New Orleans. Late in the 1910s he played with Buddy Petit, King Oliver, and Manuel Perez. He spent three years in the Merchant Marines and then joined up again with Oliver in Chicago from 1925 to 1927. After time in East Asia and Egypt, he returned to New York City in 1928 and played with Luis Russell until 1933, playing there with Red Allen, Charlie Holmes, and J. C. Higginbotham. Later he played with Chick Webb, Louis Armstrong (with Russell) and Jelly Roll Morton (recorded 1929, 1939).

The Dixieland jazz revival of the late 1940s reinvigorated his career; he played with Art Hodes, Bunk Johnson, and Kid Ory, and had a regular gig with Ralph Sutton in 1948. In 1953 he moved to France; except for recording sessions in the U.S. in 1959-60, he remained there for the rest of his life.

Nicholas's uncle was Wooden Joe Nicholas.

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Herbert "Herb" Hall (March 28, 1907 – March 5, 1996) was an American jazz clarinetist and alto saxophonist.

Herb was the brother of Edmond Hall and the son of clarinetist Edward Hall. He began on banjo with the Niles Jazz Band (1923–25), then settled on reeds. In 1926 he played with Kid Augustin Victor in Baton Rouge, and moved to New Orleans the following year. He played briefly with Sidney Desvigne, then played for many years with Don Albert (1929–40), moving to San Antonio with him and remaining there until 1945.

After this he moved to Philadelphia, where he played with Herman Autrey; a few years later he was in New York, working with Doc Cheatham (1955) and did a European tour with Sammy Price (1955–56). He played often in the New York clubs of Jimmy Ryan and Eddie Condon in the late 1950s and 1960s. In 1968-69 he toured with Wild Bill Davison's Jazz Giants, and then a stint with an off-shoot band of The Jazz Giants, called "Buzzy's Jazz Family" which included Herman Autrey, Benny Morton, Sonny Drootin, Eddie Gibbs and leader Buzzy Drootin on drums. He did work with Don Ewell in the 1970s. He also appeared in Bob Greene's Jelly Roll Morton revue show that decade.

Clarinet Duets

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Allison Crowe - Sylvan Hour

Size: 132,1 MB
Time: 56:36
File: MP3 @ 320K/s
Released: 2015
Styles: Pop/Rock
Art: Front

01. Darling Be Home Soon (SH) (5:13)
02. Effortless (SH) (4:32)
03. A Case Of You (SH) (5:03)
04. There Is (SH) (3:06)
05. Phoenix (SH) (4:29)
06. Running (SH) (5:29)
07. This Little Bird (SH) (3:24)
08. Skeletons And Spirits (SH) (2:52)
09. These Words (SH) (4:16)
10. I Never Loved A Man (SH) (The Way I Love You) (3:50)
11. Silence (SH) (6:10)
12. Now (SH) (4:42)
13. Circular Reasoning (SH) (3:24)

Recorded live in a log-cabin in the Canadian wilderness during a cross-country journey, Allison Crowe’s new album, Sylvan Hour, may be her best yet. The private, one-hour performance at a friend’s home in 2006 includes raw, solo takes of songs that would be re-recorded in group sessions for This Little Bird. The recording was lost for nearly a decade and was rediscovered this winter. What a find it was! Allison’s extraordinary voice is in its purest state accompanied only by guitar and piano.

From the opening cover of The Lovin’ Spoonful’s “Darling, Be Home Soon” to originals like “Effortless” and the fierce rendition of Aretha Franklin’s “I Never Loved a Man (The Way I Love You),” Allison’s vocal prowess and control is on astonishing display.

Among the album’s many standout tracks are “Phoenix,” “These Words” and “Skeletons & Spirits.” These “stripped down” versions are even more powerful and clear than their This Little Bird counterparts.

Allison’s supernaturally agile and exquisite voice is especially stunning, even shocking, as she bends and stretches every note in the haunting, truly chill-producing ballad “Silence.”

The music seems to rise from deep with her chest, sometimes ripping out of her throat in full roar, other times being restrained and shaped with the skill of a master sculptor. Sylvan Hour is truly a masterpiece.

Sylvan Hour

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Sandy Hill - Tickled Pink

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 35:52
Size: 83,0 MB
Art: Front

(1:47)  1. I'm Tickled Pink
(2:48)  2. It's All Over
(4:23)  3. Walk Right Back
(3:27)  4. Amour Défendu
(2:56)  5. Autumn Leaves
(2:58)  6. London's Not Too Far
(3:26)  7. I'll Fly Away
(4:08)  8. Slipping Through My Fingers
(2:54)  9. Way Back Home
(3:24) 10. Stardust
(3:34) 11. Your Long Journey (duet with Steve Balsamo)

Sandy Hill launches her debut album with a smile. She's 'Tickled Pink' in fact, and who can blame her! Produced by the wonderful Sam Brown, 'Tickled Pink' captures the feeling and emotion of someone releasing their first studio album with the help of some of the UK's most respected and legendary musicians. Sandy's introduction to recording studios began at the age of just 17 when she walked through the doors of Abbey Road Studios in the early 1970's to work in place that she had heard so much about. A place of dreams, that for her became a second home. Surrounded by some of the greatest musicians and performers of all time she witnessed first hand the daily realities of creating such iconic music. The Beatles, Cliff Richard, The Hollies and Pink Floyd were just some the daily occupants of Sandy's world and the track 'London's Not Too Far', written by The Shadows’ Hank Marvin, echoes her own journey into this very special world from her love of music as a small child.

After living and performing around the world, Sandy's life brought her back to England and back to the recording studio, with a collection of songs that have a uniquely personal story to tell. Sam Brown, the album’s producer, describes the sound she was trying to achieve. “With ’Tickled Pink’ we’ve concentrated on the quality of the music, choosing only the best songs from many different eras, exquisitely played by outstanding musicians in a way that gently wraps the sound around Sandy’s lovely voice.” 'Walk Right Back', written by Sam and featuring Jools Holland on piano, gave Sandy the opportunity to record an original song and she's delighted with the outcome "It was certainly the most exciting track to record as I had the freedom to take the song where I wanted and Jools added such a fantastic piano sound, it really rocks along."

Intriguingly familiar is the track 'Amour Defendu', originally recorded by Mirielle Matthieu, Sandy first heard it while living in Paris in the '90's. "The melody is the classic Spanish guitar piece 'Romance Anonimo' with lyrics added by Eddy Marnay. This is such a wonderful piece and it helped me to learn French at a time when I would explore Paris with my Carte Orange bus pass in my hand, so it is truly wonderful to have the chance to record this song and Richard Durrant's guitar playing on it is just sublime." Less well known but equally evocative is the duet 'Your Long Journey' sung with Steve Balsamo. "It's such a moving song between a couple that you can't help but feel the depth of sentiment in it" says Sandy. "When Steve and I recorded the track I think we really captured something very special, and Steve’s voice brings a beautiful warm quality to the song."

A very different arrangement of Abba's 'Slipping Through My Fingers' marks Sandy's admiration for the work of the Swedish supergroup. "I love the power of their lyrics that blend so well with their beautiful melodies and this, though it’s hard to choose as they all mean something special to me, is possibly my favourite track. So, when Sam arranged the harmonies so magically, I knew we had to record it. I do hope that Benny & Bjorn like it!" A highlight of the time in the studio was the day Joe Brown, legendary British singer, joined Sandy & Sam to play the banjo on 'I'll Fly Away '. It's a classic piece of bluegrass banjo that Joe relished. So much so that the last few bars captured Joe's spirit of irreverent fun and that laugh you hear at the end of the track is none other than Joe Brown (MBE) himself. The creation of this album was truly the experience of a lifetime for Sandy, with friends from the past like Herbie Flowers and new collaborations with Pete Brown, Dave Arch and of course, ‘The’ Sam Brown!  To say that Sandy's 'Tickled Pink', is putting it mildly. http://www.cdbaby.com/cd/SandyHill1

Tickled Pink

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Bill Watrous - Time For Love : Plays The Music Of Johnny Mandel

Styles: Trombone Jazz
Year: 1993
File: MP3@320K/s
Time: 50:34
Size: 117,2 MB
Art: Front

(5:33)  1. Low Life
(5:51)  2. The Shadow of Your Smile
(4:16)  3. A Time For Love
(9:04)  4. Close Enough For Love
(5:48)  5. Emily
(3:59)  6. Where Do You Start
(5:55)  7. The Shining Sea
(6:16)  8. Zoot
(3:47)  9. Not Really the Blues

Bill Watrous has long had one of the prettiest tones of any trombonist, especially in his impressive upper register. It is Watrous' beautiful sound that is emphasized during the nine Johnny Mandel compositions that comprise this CD. Watrous is accompanied by a big band and on some selections a string section but; other than pianist Shelly Berg (who along with Sammy Nestico contributed all of the arrangements), the backup crew is never allowed to rise above its anonymous supportive role. Watrous tries to vary the program a little with the inclusion of some earlier (and hotter) Mandel pieces such as the swinging "Low Life" and "Not Really the Blues" but otherwise this is a ballad showcase, highlighted by "Emily" and "The Shadow of Your Smile." ~ Scott Yanow  http://www.allmusic.com/album/time-for-love-mw0000126583

Personnel: Bill Watrous (trombone); Phil Feather, Sal Lozano, Bill Liston, Bob Carr, Bruce Eskovitz (saxophone); Wayne Bergeron, Dennis Farias, Ron Stout (trumpet); Doug Inman, Richard Bullock, Bob McChesney (trombone); Shelly Berg (piano); Randy Drake (drums).

Time For Love : Plays The Music Of Johnny Mandel

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Chet Baker - Chet Is Back!

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 71:36
Size: 165,8 MB
Art: Front

( 6:18)  1. Well You Needn't
( 4:52)  2. These Foolish Things
( 8:24)  3. Barbados
( 6:54)  4. Star Eyes
( 3:26)  5. Over the Rainbow
( 6:47)  6. Pent Up House
(10:00)  7. Ballata In Forma Di Blues
( 7:39)  8. Blues in the Closet
( 3:54)  9. Chetty's Lullaby
( 4:12) 10. So Che Ti Perderò
( 3:49) 11. Motivo Su Raggio Di Luna
( 5:16) 12. Il Mio Domani

The story of this reissue reads like a movie: Chet Baker, the James Dean-meets-Miles Davis trumpeter moved to Rome in 1962. He gets arrested for buying dope, learns Italian in jail, and records a jazz album with the future spaghetti western composer, Ennio Morricone. Reissued in crystal clear digital sound, Baker's wispy, Milesian trumpet tunes float over several, combo-driven renditions of several and bop standards including Charlie Parker's "Barbados," Thelonious Monk's "Well, You Needn't," and the evergreen "Over the Rainbow." But the highlight of this set are the four vocal tracks released for the first time in the U.S. Morricone's ethereal string arrangements are the perfect backdrop to Baker's effeminate, but effective vocals, delivered in charming and grammatically incorrect Italian, with lyrics by the stenographer who worked at Baker's trial! ~ Eugene Holley, Jr.  http://www.amazon.com/Chet-Is-Back-Baker/dp/B00008VGMX

Personnel : Chet Baker (vocals, trumpet); Ennio Morricone (arranger); Bobby Jaspar (tenor saxophone, flute); Rene Thomas (guitar); Amadeo Tommasi (piano); Benoit Quersin (bass); Daniel Humair (drums).

Chet Is Back !

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Daniel Stelter - Krikelkrakel

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 59:50
Size: 138,0 MB
Art: Front

(4:39)  1. Krikelkrakel
(3:37)  2. Clockticks
(5:20)  3. Mail Art
(4:59)  4. On Your Own
(3:12)  5. Pro & Country
(0:56)  6. Winter
(5:21)  7. Ferry Boat
(5:05)  8. In A Nutshell
(3:00)  9. Yellow Room
(5:31) 10. Where I'm Going To Be
(6:27) 11. Seconds, Minutes, Hours, Days
(6:50) 12. How To Catch The Wind
(4:46) 13. Ice Jam

Unlike classical jazz guitarist he is pursuing a more harmonious melody.Stelters sound meanders between jazz, pop and classical music back and forth. Stelter has since 2003 his own musical language constantly evolving, and is now a sought-after guitarist and a regular guest on German jazz stages.  Stelters passion for music starts early. At eight, he learns classical guitar and is soon influenced by his older brothers by jazz, rock and pop music. As a teenager, he spends hours with the meticulous hear and play along with plates and tapes. After initial successes at "Jugend musiziert" and "Youth jazzt" He is 17 years old Member of the National Youth Jazz Orchestra under the direction of Peter Herbolzheimer. During this time Stelter toured six weeks through Southeast Europe and occupies a CD on. After graduation, he studied jazz guitar at Norbert Scholly at the Johannes-Gutenberg University in Mainz, the classical guitar but never lose sight of. As a solo artist Stelter published repeatedly Gitarrenstücke queuing somewhere between classical, jazz and folk influences, such as on the Sampler ZYX "world of acoustic guitars".

With Ulf Kleiner (piano), Tommy Baldu (dr) and Michael Pauker (b) forming a quartet Stelter, the already published by 'Homebrew Songs' (2009) and "Krikelkrakel" (2012) his third CD. The sound of the quartet is a perfect combination of classical guitar, mixed with a touch of electronic music, backed by a sound layer of cool beats and a healthy dose of funk and soul. No sound too much, very cautious and minimalist in tone, but leaving behind a deep impression.Here the music speaks for itself. The sophisticated instrumentation is the main thing, even if Stelter like to be accompanied by great voices such as Fola Dada. Although the four musicians have found their musical recipe, they refine it from album to album to more subtle nuances.  Stelter is also a permanent member in the Ringsgwandl band, with whom he regularly tours through Germany, Austria and Switzerland. Translate by google ~ Bio  http://danielstelter.de/about/

Personnel:  Drums, Percussion – Tommy Baldu Electric:  Bass, Acoustic Bass – Michael Paucker;  Electric Guitar, Acoustic Guitar, Mandolin – Daniel Stelter; Electric Piano, Piano, Organ – Ulf Kleiner

Krikelkrakel

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Pamela Hines Trio & April Hall - Lucky's Boy

Size: 104,3 MB
Time: 44:30
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals, Mainstream Jazz
Art: Front

01. Dreamerman (5:23)
02. Where I Started (5:00)
03. Lucky's Boy (3:33)
04. Moment (5:51)
05. Twilight Joy (Winter In New England) (4:20)
06. Ilde Chatter (4:28)
07. Welcome Blues (4:30)
08. Porter Please (4:21)
09. Spectrum (6:59)

Jazz pianist/ composer Pamela Hines presents nine new vocal jazz originals that are sure to be part of the contemporary American Songbook. Soulful and Blues- oriented April Hall puts her vocal stamp on these clever, fun and inspiring tunes. John Lockwood is on bass with Les Harris, Jr. on drums. The result is and outstanding selection of jazz music that is sure to make an impact with jazz fans.
Hines has made a solid contribution to the history of jazz piano with her seventh CD on the Spice Rack label and more works on other labels. She was a guest on Piano Jazz with Marian McPartland in 2000, thanks to a critically acclaimed debut CD in 1998 with Bob Moses, Rick McLaughlin, Darren Barrett and Jaque Swarz-Bart.
Her last two combo CDs have ranked nationally at #26, 13 and 2.

Lucky's Boy

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Clare Fischer - Machaca

Size: 105,5 MB
Time: 45:23
File: MP3 @ 320K/s
Released: 1980/2015
Styles: Jazz: Jazz Funk, Latin Jazz
Art: Front

01. African Flutes (8:06)
02. Gaviota (6:15)
03. Suddenly (5:18)
04. Clavo (3:13)
05. Machaca (9:38)
06. Cositas (3:25)
07. Novios (2:40)
08. Gentle Breeze (6:46)

Recorded May 1979 at Capitol Records Recording Studios, Hollywood, USA. Mixing June 12, 1979 MPS Studio, Villingen.

Personnel:
Bass – David Troncoso
Congas – Poncho Sanchez
Drums – Aaron Ballesteros
Drums, Percussion – Alex Acuña
Guitar – Rick Zunigar
Keyboards – Clare Fischer
Percussion – Hector Andrade
Saxophone, Flute – Gary Foster

“I wouldn’t be me without Clare Fischer. (He) was a major influence on my harmonic concept. I was in awe of him.” The praise for keyboardist, composer, arranger Fischer stems from no less than jazz great Herbie Hancock. Fischer’s (1928-2012) influence has spanned the gamut of modern music. Nominated for 11 Grammies, Fischer arranged for the likes of Dizzy Gillespie, Al Jarreau, Paul McCartney, and Michael Jackson. In 1985 he began a many-year collaboration with pop artist Prince, writing some 40 orchestral arrangements, including music for Prince’s movies Under the Cherry Moon, Graffiti Bridge, and Batman. Fischer is also known for his playing and composing Latin music. “Pensativa” and “Morning” have become Latin jazz standards; in 1981 won a Grammy for best Latin record.

A must for fans of Clare Fischer’s Latin side, Machaca is the second of his “Salsa Picante” period. All but one of the pieces are written by Clare. He describes Machaca as “food that combines different ingredients”, and with a bevy of Latino musicians, an admixture of Latin rhythms and melodies and European-influenced harmonies, it’s one delicious musical concoction. African Flutes mixes a piano tumbao (repeated vamp) with tribal chanting and Stravinsky-influenced chords. Then there is Gaviota (seagull) with its quasi bolero romanticism and Cuban folk rhythm base. Machaca offers up Latin-rock fusion with drummer Aaron Ballesteros and company supplying the groove, and Gentle Breeze, plays over a merengue rhythm as Fischer and Co. storm through with tempestuous solos. Machaca: a potpourri of Clare Fischer pieces with a tasty salsa flavor to savor.

Machaca

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Michael Griffin - Unexpected Greeting

Size: 82,6 MB
Time: 35:10
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Saxophone Jazz, Jazz Vocals
Art: Front

01. Hotel Hollwood (2:52)
02. Almost Like Being In Love (3:26)
03. Jurado (3:36)
04. Embraceable You (4:09)
05. Flair (2:54)
06. I Didn't Know What Time It Was (3:32)
07. Shut The Funk Up (3:41)
08. Unexpected Greeting (2:40)
09. As Time Goes By (4:31)
10. The Girl Who Called Me Sunsilk (3:45)

This young musician has been making waves around the globe having embraced the Jazz tradition and mastered the craft of the alto saxophone. He’s turned heads and ears with a virtuosic style hailing directly form the masters, CharlieParker and Cannonball Adderley.

Showcasing his Debut Album "Unexpected Greeting" that was recorded and released by ABC. You’ll hear some of his best work performed by the same great cast from the album. Don't miss this extraordinary night of music!

"He was a gracious host on the microphone and his playing was full of fire and rooted in the modern jazz(bebop) tradition and certainly had you wanting more!" - James Carter (USA)

"Michael Griffin has his feet firmly rooted in tradition and his ear leaning towards the future." - Vincent Herring (USA)

Featuring
Michael Griffin- Alto Saxophone
Dane Laboyrie- Trumpet
Chris Long- Piano
Noel Mason- Bass
Tim Geldens- Drums
Briana Cowlishaw- Vocals

Unexpected Greeting

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James Hughes & Jimmy Smith Quintet - Ever Up & Onward (Feat. Phil Kelly, Takashi Iio & Nate Winn)

Size: 150,7 MB
Time: 65:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Hard Bop
Art: Front

01. Audio Culture (5:48)
02. Dots (6:08)
03. Luca's Interlude (0:58)
04. East Detroit (5:55)
05. There Is A Balm In Gilead (7:57)
06. Drum Intro (2:03)
07. Viridian (6:03)
08. Zebras, Penguins And Bunny Rabbits (5:06)
09. Keepin' It Real (6:37)
10. Transgender Fender Bender (4:18)
11. I'll Remember April (6:49)
12. I'll Close My Eyes (7:15)

The HSQ is a Detroit-based jazz quintet that performs original music. The group is spearheaded by Saxophonist James Hughes & trumpeter Jimmy Smith, the group features the rhythm section of Phil Kelly, Takashi Iio and Nate Winn.

James is a Detroit-based saxophonist, composer and educator. He has been performing professionally for nineteen years and teaching for more than twenty. He has taught jazz the last eight years at Blue Lake Fine Arts Camp, and has recorded with the Scott Gwinnell Jazz Orchestra, Keith Vreeland, Bobby Streng's House Big Band, and Carl Cafagna's North Star Sextet. He has performed with Dave Liebman, Jimmy Heath, Lew Tebakin, Richie Cole, Arturo Sandoval, Kurt Elling, Jerry Bergonzi, Aretha Franklin, and Josh Groban. He has one recording of his own, co-lead with Jimmy Smith, titled FROM HERE ON OUT and their second album, EVER UP & ONWARD is due in May 2015.

Ever Up & Onward

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Sarah Fox & James Burton - The Cole Porter Songbook

Size: 141,6 MB
Time: 60:35
File: MP3 @ 320K/s
Released: 2015
Styles: Classical/Jazz Vocals
Art: Front + Booklet

01. Anything Goes (2:53)
02. In The Still Of The Night (3:10)
03. Thank You So Much Mrs Lowsborough-Goodby (2:13)
04. What Is This Thing Called Love (2:29)
05. You Do Something To Me (3:43)
06. My Heart Belongs To Daddy (2:48)
07. I Get A Kick Out Of You (3:05)
08. Where Would You Get Your Coat (3:04)
09. It's De-Lovely (2:47)
10. So In Love (3:42)
11. The Physician (3:09)
12. Miss Otis Regrets (2:23)
13. I've Got You Under My Skin (3:11)
14. The Tale Of The Oyster (2:57)
15. You'd Be So Nice To Come Home To (3:18)
16. Night And Day (3:41)
17. Don't Fence Me In (3:07)
18. True Love (2:33)
19. Brush Up Your Shakespeare (3:24)
20. Ev'ry Time We Say Goodbye (2:48)

The internationally renowned soprano Sarah Fox joins James Burton to perform The Cole Porter Songbook – their specially devised programme which presents the greatest songs written by Cole Porter, including In the Still of the Night, I’ve Got You under My Skin, Anything Goes and Ev’ry Time We Say Goodbye, as well as other Cole Porter Gems. The duo can present a full evening’s entertainment with interval as well as a 60-75 minute set without break. The perfect summer festival concert, the Songbook repertoire is recorded on a CD released on Signum Classics.

Sarah Fox, “a delight for the eye and heart whose voice takes your breath away” (Giornale della Musica) has sung in opera houses, concert halls and festivals all over the world. Her reputation for performing lighter repertoire was confirmed by starring in the BBC ‘MGM’ Prom, with John Wilson and his Orchestra. A regular performer at Covent Garden and other major opera houses she has also starred in a Mario Lanza tribute on BBC Radio, and performed concerts in Europe with Rufus Wainwright.

James Burton, who accompanies Sarah Fox on the piano in this programme, is renowned as a conductor with a vast repertoire including light music and jazz. Conducting credits include the OAE, RLPO and Hallé orchestras; Opera work includes ENO, ETO, Garsington and the New York Met. He has been MD for Bernstein’s Wonderful Town starring Connie Fisher, and has worked with jazz artists including Tina May and the late John Dankworth, and as orchestrator for American folk singing legend Arlo Guthrie.

The Cole Porter Songbook

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Trudy Kerr - Trudy Kerr

Styles: Vocal Jazz
Year: 1998
File: MP3@320K/s
Time: 61:13
Size: 141,5 MB
Art: Front

(5:41)  1. Just One of Those Things
(5:12)  2. Get Out of Town
(3:03) 3. I Can't Believe That You're In Love With Love
(4:04)  4. A Touch of Paradise
(6:16)  5. My Foolish Heart
(4:46)  6. The Song Is You
(4:41)  7. Stars In Your Eyes
(4:00)  8. Chega de Sandade (No More Blues)
(5:01)  9. Go Away Little Boy
(5:21) 10. Music
(3:07) 11. There's No Such Thing As Love
(6:12) 12. Since I Fell for You
(3:46) 13. As Long As Your Eyes Are Blue

Trudy Kerr is the first singer produced by the British record company Jazzizit, and their lack of experience in producing a vocal album is, regrettably, evident. The producers apparently felt compelled to make Kerr as appealing to as wide an audience as possible, including pop and rock devotees. Perhaps that's the reason why most of the instrumentalists on this album are from the rock and/or pop schools. The result is a case of musical schizophrenia with performances divided into two categories. The first is where Kerr tries to be more than she is and thus her vocalizing seems unnatural and contrived. This category is illustrated by "Just One of Those Things" where the main culprit is the soprano sax of Mornington Lockett, whose solo seems to have no musical objective other to demonstrate his fingering dexterity. "As Long as Your Eyes Are Blue" is an out of place foray into the realm of pop, which doesn't come off well. 

The second category proves the saving grace of this album. Here Kerr gets the chance to show how good a singer she is, which is quite good. This batch of tunes is typically comprised of offerings where Kerr is provided minimal accompaniment, both in terms of numbers of players and their style. Fortunately, this second set of tunes dominate the proceedings. "My Foolish Heart," "A Touch of Paradise," "Stars in Your Eyes," and Anthony Newley's "There's No Such Thing as Love" are good examples. Also in this classification is a very engaging Kerr duet with the dean of British clarinet players, Acker Bilk, on "I Can't Believe That You're in Love with Me." Bilk also contributes a chorus on his clarinet, with its very recognizable sound. Trudy Kerr has excellent diction, fine phrasing, and a very pleasant singing voice when it is allowed to be used in its natural state. She scats with intelligence and has excellent interpretive instincts. Hopefully, her next album will place grater emphases on these qualities. ~ Dave Nathan  http://www.allmusic.com/album/trudy-mw0000725774

Trudy Kerr

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