Various - Puttin' On The Ritz: Capitol Sings Irving Berlin

Bitrate: MP3@320K/s
Time: 69:03
Size: 158.1 MB
Styles: Vocal, Traditional pop, Easy Listening
Year: 1992/2007
Art: Front

[1:11] 1. Mary Martin, John Raitt - There's No Business Like Show Business
[1:47] 2. Judy Garland - Puttin' On The Ritz
[1:59] 3. Vic Damone - Marie
[3:19] 4. Dinah Shore - The Song Is Ended
[2:31] 5. Crew Chiefs - Heat Wave
[2:32] 6. Dick Haymes - Isn't This A Lovely Day
[2:31] 7. The Starlighters - Play A Simple Melody
[3:01] 8. Nat King Cole - What'll I Do
[3:07] 9. Bobby Darin - All By Myself
[4:39] 10. Nancy Wilson - You Can Have Him
[2:27] 11. Gordon MacRae - Steppin' Out With My Baby
[3:23] 12. Kay Starr - You're Just In Love
[3:08] 13. Andy Russell - Easter Parade
[2:30] 14. Johnny Mercer - Alexander's Ragtime Band
[2:44] 15. Peggy Lee - Cheek To Cheek
[2:37] 16. The Four Freshmen - Be Careful, It's My Heart
[2:50] 17. Betty Hutton - Blue Skies
[3:23] 18. Ian Bernard - How Deep Is The Ocean
[2:23] 19. Nat King Cole - Let's Face The Music And Dance
[3:27] 20. Sue Raney - How About Me
[2:25] 21. Vic Damone - Change Partners
[2:41] 22. Dean Martin - I've Got My Love To Keep Me Warm
[3:00] 23. Jo Stafford - White Christmas
[2:33] 24. Gordon MacRae - Always
[2:43] 25. Margaret Whiting - God Bless America

The songs of Irving Berlin are I-beams in the towering edifice of 20th century popular music. This sampler of predominately pop recordings from the Capitol catalog may serve as both a grab bag of enjoyable entertainments and a useful introduction to some of this composer's nicest tunes. Each of the 25 tracks perfectly illustrates the essence of a given song, and would be especially useful for anyone seeking to learn the rudimentary contours. Jazz is only marginally represented here, in spite of the fact that jazz grew up on Irving Berlin's often jazz-inspired melodies, many of which survive today primarily as jazz standards. Certainly jazz is manifested in Nat King Cole (with both trio and big band), Nancy Wilson, Johnny Mercer and bandleaders Red Norvo and Billy May. Several ex-big-band singers are in the mix, including Peggy Lee and Kay Starr. Jo Stafford sings like an angel, Dinah Shore's gentle rendering of "The Song Is Ended" comes across as a marvel of sensitivity, and Betty Hutton's handling of "Blue Skies" is among her prettiest performances on record. The timeline represented here (1944-1963) almost exactly traces the golden age of the post-WWII, pre-Beatles star pop vocalists. The core sample contains measurable amounts of Judy Garland, Mary Martin, Margaret Whiting, Dean Martin, Bobby Darin, Gordon MacRae, Dick Haymes and Vic Damone, as well as pearly white group vocals by the Starlighters, the Crew Chiefs, the Pied Pipers and the Four Freshmen. ~arwulf arwulf

Puttin' On The Ritz: Capitol Sings Irving Berlin

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Marian McPartland - Just Friends

Bitrate: MP3@320K/s
Time: 72:29
Size: 165.9 MB
Styles: Bop, Standards, Piano jazz
Year: 1998
Art: Front

[ 4:58] 1. Jeepers Creepers
[ 6:03] 2. I've Got A Crush On You
[ 5:26] 3. Some Time Ago
[ 5:15] 4. It's You Or No One
[ 4:20] 5. Just Friends
[ 7:02] 6. Twilight World
[ 5:50] 7. Lullaby Of The Leaves
[ 4:27] 8. Chrysalis (An Improvisation)
[10:16] 9. Gone With The Wind
[ 5:31] 10. Marian McPartland
[ 4:27] 11. There Will Never Be Another You
[ 5:30] 12. Lady Be Good
[ 3:17] 13. When The Saints Go Marching In

Some jazz fans casually dismiss duo piano performances as mere novelties that all too often result in train wrecks. With hundreds of Piano Jazz sessions and a few additional multiple piano releases to her credit, plus an amazing ability to complement the style of any musical partner, Marian McPartland should have long since destroyed this musical myth. She's joined by six different pianists on this delightful date, who she has considered among her favorite Piano Jazz guests; however, these recordings were made specifically for Concord. Tommy Flanagan joins her for a joyous run through "Jeepers Creeper" and a lyrical take of "I've Got a Crush on You." Renee Rosnes sits in for a swinging version of "Some Time Ago" and a bossa nova treatment of "It's You or No One," while Geri Allen and McPartland revive the forgotten chestnut "Lullaby of the Leaves" and also create an eerie duo improvisation, "Chrysalis." George Shearing and McPartland amuse themselves with a jaunty arrangement of the title track, then play Shearing's chart of McPartland's "Twilight World." But the cream of the duets is shared with old friend Dave Brubeck. Brubeck actually composed "Marian McPartland" on the way to his second Piano Jazz appearance; their wonderful improvisations around this catchy upbeat theme find both of them at the top of their game. McPartland wraps the CD alone with the Dixieland standard "When the Saints Go Marching In," though her relaxed approach serves as an emotional elegy to her late husband Jimmy. Jazz piano just doesn't get any better than this. ~Ken Dryden

Just Friends

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Peter Bernstein Trio - Monk

Bitrate: MP3@320K/s
Time: 59:00
Size: 135.1 MB
Styles: Straight ahead jazz
Year: 2009
Art: Front

[6:34] 1. Let's Cool One
[4:36] 2. Pannonica
[4:23] 3. Work
[4:47] 4. Brilliant Corners
[5:21] 5. In Walked Bud
[2:26] 6. Monk's Mood
[7:16] 7. Well You Needn't
[6:03] 8. Bemsha Swing
[4:39] 9. Played Twice
[2:25] 10. Ruby, My Dear
[6:24] 11. Blue 5 Spot
[4:01] 12. Reflections

How and by whom a piece of music is presented profoundly influences how it's heard. This would seem to be a truism, but it is one often contradicted. Case in point: a band begins playing a Duke Ellington standard and there's recognition and approval from the audience, the "I like Duke" effect. When this happens with a singer beginning "Satin Doll" the irony is lost. Ellington disliked those Johnny Mercer lyrics so much he rarely presented a vocal version of the piece himself. Which bring us to Thelonious Monk.

He never employed or recorded with a guitarist (save early bootlegged jam sessions with Charlie Christian and a big band with Howard Roberts) and his piano playing and arranging can hardly be called guitar-like. Hearing guitar play Monk's music is like hearing an orchestral version of a Wagner opera aria; it reveals a wholly different aspect of the music. While Monk's own versions put emphasis on the disjointed angularity and idiosyncrasies of the music, guitar interpretations bring out their lyrical, melodious side. Howard Alden is good at this, but until this CD, the only other guitarist with a knack for bringing out that side of Monk who devoted a whole album to it was Joshua Breakstone. Peter Bernstein's trio approach can be encapsulated in the title of the opening track: "Let's Cool One."

Like Ben Riley's Monk Legacy Band, which also employs a guitar (and no piano), this trio brings out the strong melodicism inherent in Monk's music. And Bernstein is a graceful guitarist who polishes the rough pianistic edges Monk gouged into his tunes, as can be heard on his solo version of "Monk's Mood." The trio pieces remain largely true to the tempos, an important part of Monk's conception, but bassist Doug Weiss and especially drummer Bill Stewart rile up the surface just enough to save these interpretations from being obsequiously polite. ~George Kanzler

Peter Bernstein: guitar; Doug Weiss: bass; Bill Stewart: drums.

Monk   

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Sonny Clark - The Best Of The Blue Note Years

Bitrate: MP3@320K/s
Time: 64:17
Size: 147.2 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[ 6:42] 1. Shoutin' On A Riff
[ 7:23] 2. Dial S For Sonny
[ 6:46] 3. Speak Low
[13:26] 4. Sonny's Crib
[ 6:30] 5. Softly, As In A Morning Sunrise
[ 9:19] 6. Cool Struttin'
[ 7:26] 7. Junka
[ 6:41] 8. Deep In A Dream

It took awhile, but Blue Note has finally seen fit to honor one of its best with a best-of disc. And thanks to rabid fans like John Zorn and hard bop fanatics the world over, pianist Sonny Clark has also gotten the kind of reissue program such label cohorts as Hank Mobley, Wayne Shorter, and Lee Morgan have been blessed with for some time. Culled from Clark's short but potent prime of 1957-1961, the first five sides here (out of nine) come from his particularly fertile first year, when such classic LP's as Dial "S" for Sonny, Sonny's Crib, and Sonny Clark Trio were cut. Besides an urbane slice of Clark's single note style ("Softy, As In a Morning Sunrise"), this batch features two of his marquee originals (the Far Eastern-tinged, noirish blues swingers "Sonny's Crib" and "Dial S For Sonny") and an exquisite early Coltrane vehicle ("Speak Low"). Things get even better with the title track to his hard bop masterpiece, Cool Struttin', and the Ike Quebec feature, "Deep In A Dream," from the equally fine Leapin' and Lopin' album. Add to that an all-star list of hard boppers like Mobley, Curtis Fuller, Donald Byrd, Art Farmer, Charlie Rouse, Paul Chambers, and Philly "Joe" Jones, and you have a very classy way of staving off the Clark shopping spree that is sure to come. ~Stephen Cook

The Best Of The Blue Note Years

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Lori Johnson - A Class Act

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 39:15
Size: 94,0 MB
Art: Front

(3:55)  1. If I Only Had A Heart (From "The Wizard Of Oz")
(1:42)  2. I Need A Man
(1:37)  3. Judy Garland Medley: Smile
(1:23)  4. Rock-A-Bye Your Baby
(2:12)  5. Over The Rainbow
(5:14)  6. Someone To Watch Over Me
(2:53)  7. Use What You've Got (From "The Life")
(4:11)  8. Good Morning Heartache
(3:38)  9. My Body (From "The Life")
(2:44) 10. Little Girl Blue
(3:48) 11. Bewitched
(1:33) 12. Children's Medley: Animal Crackers
(2:14) 13. Too Ra Loo Ra Loo Ra
(2:06) 14. Swinging On A Star

Pop jazz by a female singer/pianist. Smooth Jazz Category for radio programing.  Great vocals and band. ~ Joey Welz

Lori Johnson is a class act. One listen to her music and you'll know why she is Canadian American’s newest smooth jazz female star. ~ Joey Welz  http://www.cdbaby.com/cd/ljohnson

Personnel: Lori Johnson (vocals); John McDuffie, Jim Lum, Tom Bethke (guitar); Dave McKelvey (harmonica); Rob Kyle, Ray Hermann (flute,saxophone); Steve Weingart, Frank Josephs (piano); Dave Stone, Kirk Smith, Trey Henry (acoustic bass); Kurt Walter (drums, percussion); Kristina Hamilton, Linda McCrary (background vocals).

A Class Act

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Pete And Conte Candoli - "Two Brothers"

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 65:34
Size: 150,5 MB
Art: Front

(8:24)  1. A Night In Tunisia
(7:56)  2. Stompin' At The Savoy
(9:34)  3. Jitterbug Waltz
(8:58)  4. Willow Weep For Me
(6:59)  5. (Back Home Again In) Indiana
(7:10)  6. My Funny Valentine
(6:35)  7. I Can't Get Started Without You
(9:55)  8. St. Thomas

The elder of the trumpet-playing Candoli brothers, Pete initially made the greater impact of the two in Woody Herman's First Herd at the tail end of the swing era. A powerful, flamboyant soloist, his big moment came toward the end of "Apple Honey," where he would appear in a Superman costume and cut loose scorching, dissonant flurries of high notes. Pete started with the Sonny Dunham band in his 17th year (1940-1941) and passed through the bands of Will Bradley, Benny Goodman, Ray McKinley, Tommy Dorsey, Freddie Slack, and Charlie Barnet before settling into the Herman band from 1944 to 1946. He worked for Tex Beneke (1947-1949) and Jerry Gray (1950-1951) before moving to Los Angeles, where he became immersed in studio work with side trips into the Les Brown (1952) and Stan Kenton (1954-1956) bands. From 1957 to 1962, he co-led a group with Conte and later fronted his own band, while recording on his own for Columbia, Warner Bros., Kapp, and Somerset. He has been married to singers Betty Hutton and Edie Adams; with the latter, he formed a nightclub act in 1972 in which he sang, danced, led the orchestra, and played. He would continue to perform with Conte off and on into the 1990s. Although Pete's profile had been low and his trumpet technique slipped in later years, he could still burn in a swing-grounded manner in the '90s. ~ Richard S. Ginell, Rovi  https://itunes.apple.com/us/artist/pete-candoli/id1098927#fullText

Personnel:  Trumpet – Conte Candoli, Pete Candoli;  Bass – Wilbur Campbell;  Drums – Danny Shapera;  Piano – John Young; 

"Two Brothers"

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Randy Johnston - Homage

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 51:42
Size: 119,2 MB
Art: Front

(6:02)  1. All Or Nothing At All
(6:34)  2. Pat and Wes
(4:16)  3. The Cooker
(5:52)  4. Angel
(6:52)  5. Cedar's Place
(7:06)  6. Ruby
(5:14)  7. Lyresto
(6:08)  8. Society Red
(3:34)  9. Loco 47

Beginning with 1991’s Walk On and continuing through two more Muse dates (all of which are currently out-of-print), a few sets for High Note and then 1998’s Riding the Curve, guitarist Randy Johnston has championed his own take on the mainstream jazz guitar tradition, doing so with not much of any fanfare whatsoever. But with his second effort for Cincinnati’s J Curve label, Homage, things just might start to change for the better. Johnston believes it to be his best effort yet and I’d be hard pressed to argue. The premise here is quite simple- pick a few tunes and write a few more that have something to do with some of your influences as a player, gather a top-notch rhythm section, and then add a brassy horn section. Furthermore, hire a capable arranger in the guise of Rich Shemaria to put together the charts and you’ve got yourself a frontrunner. Johnston is, of course, the main soloist here and he carries the show with a warm and burnished tone and a coherent improvisational style that sagaciously uses space and patterns of tension and release. Also taking a few well-placed solos here and there are trumpeter Jim Rotondi, tenor man Eric Alexander, pianist Xavier Davis, and baritone saxophonist Nick Brignola.

The material is particularly strong and just a bit out of the ordinary to boot. For instance, Jimi Hendrix’s “Angel” acquires new life in a sweet version that barely resembles the original, while George Benson’s “The Cooker”, Kenny Burrell’s “Lyresto” and Dexter Gordon’s “Society Red” all benefit from the fact that they haven’t been performed to death in the past. Johnston’s own “Pat & Wes”, dedicated to Pat Martino and Wes Montgomery, features those mellow octaves endemic to both saluted players’ arsenals and “Cedar’s Place” has a beguiling structure and chord progression akin to Cedar Walton’s own aesthetic. Throughout it all however, Johnston maintains his own identity utilizing the tunes as a mere starting point. A more superior homage one couldn’t ask for, wouldn’t you say? ~ C.Andrew Hovan  http://www.allaboutjazz.com/homage-randy-johnston-j-curve-records-review-by-c-andrew-hovan.php

Personnel: Randy Johnston- guitar, Jim Rotondi- trumpet, Eric Alexander- tenor saxophone, Nick Brignola- baritone saxophone, Wayne Coniglio- trombone, Xavier Davis- piano, Nat Reeves- bass, Kenny Washington- drums

Homage

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Laurence Alison - Claro

Styles: Latin, Vocal
Year: 2015
File: MP3@320K/s
Time: 51:35
Size: 118,6 MB
Art: Front

(4:02)  1. Na Minha Canção
(3:23)  2. Corrida de Jangada
(4:06)  3. O Último Pássaro
(5:53)  4. Claro!
(5:13)  5. Somente uma Vez
(4:23)  6. Beatriz
(4:01)  7. Candeias
(4:03)  8. Canto Triste
(6:38)  9. Do Lado de Edu
(5:29) 10. Choro Bandido
(4:18) 11. Frozen Bones

Laurence Allison, singer, lyricist, librettist, studied the piano at five, entered the recording field at nine and sang in the Paul Kuenz Baroque choir, then, turned to Jazz music at eighteen. She performed in clubs and theaters (Elysée Montmartre, Chaillot Theater, Gaveau, Wagram, Rond-Point Theater, Méridien, Bataclan etc... and also in Germany and England). She recorded and participated in many festivals as a side woman with Warren Bernhart, Steve Grossman trio, Dave Burrell, Georges Arvanitas, Franck Wess, Reggie Johnson, French contemporary music composer André Mouret, Marc Steckar, world-electro-jazz group Alata, Herve Krief funk-electro group, Afro-Cuban orchestra Salsa y boogaloo. Many big bands as Gerard Badini or Laurent Mignard Duke Orchestra invited her. She has recorded with her own quartet and sextet. , she played and recorded with Alain Jean-Marie, Laurent Coq, Benoît Sourisse, Jean-Marie Ecay, Niels Lan Doky, Didier Lockwood, Marcel Azzola.
http://www.juste-une-trace.com/en/artists/laurence-allison.html

Claro

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Peter Herbolzheimer Orchestra - Toots Suite

Styles: Trombone Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 40:35
Size: 93,7 MB
Art: Front

(2:22)  1. After You've Gone
(3:16)  2. I Won't Dance
(3:48)  3. Teach Me Tonight
(2:03)  4. Love Is Just Around the Corner
(3:23)  5. Fat Man Boogie
(4:06)  6. Early Autumn
(2:51)  7. It Don't Mean a Thing (If It Ain't Got That Swing)
(2:40)  8. New York Special
(3:45)  9. Jumpin' At The Woodside
(3:29) 10. Mood Indigo
(2:44) 11. South of the Border
(2:49) 12. Hit the Road Jack
(3:13) 13. The Peach

There are no harmonicas on this 13-track CD, so why is it called Toots Suite? Well, it's not for Toots Thielemans. In 1969 Herbolzheimer founded his internationally successful Rhythm Combination & Brass. With this album, his American debut, Herbolzheimer thought, you know, brass: toot, toot. Don't make me explain it. Fortunately, his music is self-explanatory, and quite good if you're into retro, big-band instrumentals. Herbolzheimer hasn't strayed too far from some of the original charts, such as Billy May's "Fat Man Boogie," Woody Herman's "Early Autumn" and Count Basie's "Jumpin' at the Woodside." There's a track called "New York Special" that is a mild reworking of Neal Hefti's "Li'l Darlin'," and Herbolzheimer has the nerve to affix the trademark Basie postscript. No credits are given for soloists, and while John Clayton is listed among three bassists, there are no clues as to which track(s) he plays on. And in case you give a toot, the 20-piece band is disciplined and knows how to swing. ~ Harvey Siders  http://jazztimes.com/articles/16667-toots-suite-the-peter-herbolzheimer-orchestra

Personnel: Peter Herbolzheimer (trombone); Peter Tiehuis (guitar); Karl Drewo, Ferdinand Povel, Heinz Von Hermann, Ray Warleigh, John Ruocco (saxophone); Ack Van Rooyen, Allan Botschinsky, Jan Oosthof (trumpet); Otto Bredl, Roy Deuvall, Jiggs Whigham, Bart Van Lier (trombone); Rob Franken, Thomas Clausen (piano); Wolfgang Schlüter (vibraphone); Bruno Castellucci (drums).

Toots Suite

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Clifford Jordan Quartet - Live At Ethell's

Bitrate: MP3@320K/s
Time: 61:30
Size: 140.8 MB
Styles: Saxophone jazz, Hard bop
Year: 1987/2009
Art: Front

[ 9:59] 1. Summer Serenade
[ 9:13] 2. Lush Life
[ 8:51] 3. 'round Midnight
[ 6:44] 4. Blues In Advance
[10:00] 5. Little Boy For So Long Little Boy, But Not For Long
[ 9:35] 6. Arapaho
[ 7:06] 7. Don't Get Around Much Anymore

Tenor saxophonist Clifford Jordan never seemed to record an uninspired album. This Mapleshade CD, cut live at a Baltimore club, matches Jordan with pianist Kevin O'Connell, bassist Ed Howard and drummer Vernel Fournier. In addition to four standards (including "Lush Life" and " "'Round Midnight"), Jordan performs Stanley Cowell's "Cal Massey" and three of his own straight-ahead but diverse originals. Excellent advanced straight-ahead jazz from an underrated great. ~Scott Yanow

Live At Ethell's

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Various - French Gypsy Jazz

Bitrate: MP3@320K/s
Time: 41:34
Size: 95.2 MB
Styles: Gypsy jazz
Year: 2006
Art: Front

[3:25] 1. Hot Quintet De France - Nuages
[2:53] 2. Hot Quintet De France - Daphne
[2:39] 3. Jacques Montagne - X-Men
[2:25] 4. Hot Quintet De France - Dinah
[2:49] 5. Hot Quintet De France - Manoir De Mes Rêves
[3:09] 6. Jacques Montagne - Canone
[2:32] 7. Hot Quintet De France - Sweet Georgia Brown
[2:59] 8. Hot Quintet De France - Japanese Sandman
[2:52] 9. Jacques Montagne - Goldy
[2:47] 10. Hot Quintet De France - Isabelle Blues
[2:29] 11. Hot Quintet De France - Swing Gipsy
[2:21] 12. Hot Quintet De France - Sweet Sue
[2:59] 13. Jacques Montagne - Iron Man
[2:15] 14. Hot Quintet De France - Swing Gipsy
[2:54] 15. Hot Quintet De France - Les Yeux Noirs

This style of jazz is most often attributed to gypsy guitarist Django Reinhardt and violinist Stephane Grapelli who founded the all strings jazz ensemble, The Quintet du Hot Club de France, in the 1930s in Paris, France. This style is at times also referred to as “jazz manouche”, from the French term meaning “gypsy”. The style’s creation being attributed to a gypsy, the musical characteristics of the blending of gypsy musical elements with jazz and the fact that it has largely been fellow gypsies (until recently) who have carried and preserved the musical legacy of Django Reinhardt since his death in 1953, makes the term “jazz manouche” one that is quite fitting in describing this genre. ~Doug Martin

French Gypsy Jazz

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Barb Jungr - The Men I Love: The New American Songbook

Bitrate: MP3@320K/s

Time: 51:34

Size: 118.0 MB

Styles: Vocal jazz

Year: 2010

Art: Front

[4:04] 1. Once In A Lifetime

[5:43] 2. I'm A Believer

[3:13] 3. Breaking Down The Walls Of Heartache

[6:04] 4. Night Comes On

[3:21] 5. Can't Get Used To Losing You Red Red Wine

[4:51] 6. The River

[3:56] 7. I Saw The Light

[5:38] 8. This Old Heart Of Mine Love Hurts

[4:01] 9. Everything I Own

[3:17] 10. You Ain't Going Nowhere

[3:38] 11. My Little Town

[3:42] 12. Wichita Lineman

Barb Jungr is more than just a great singer. She's one of the world's premiere song stylists, drawing critical acclaim both sides of the Atlantic and famed for her inspired recasting of material associated with the likes of Bob Dylan, Jacques Brel, Nina Simone and Elvis Presley. Her latest album, The Men I Love, her first for Naim documents Jungr's love of American popular song and its songwriters. And as has come to be expected with Jungr, the material displays her impressive ability to re-imagine well-known popular songs, revealing deep meanings and latent emotional content that comes to light when she dislodges the songs from their original contexts. "There is a body of great work which sits for me right inside the classic Great American Songbook, where songs both stand the test of time and also are able to be re-imagined and sometimes re-harmonised, allowing them to grow and develop beyond original recordings."

The genesis of this project was a season at the fabulous uptown venue, the Café Carlyle in New York City. The Café had become famous for a particular type of American and European song, and Jungr decided she wanted to do something a little different. She worked with pianist, arranger, producer and friend Simon Wallace in creating a new and varied programme of ‘Great American Songs' by contemporary writers. The show blew the doors wide open. The season was a huge success, and the audiences queued up to after the shows to tell Jungr how much the songs meant to them inspiring Jungr to make the show the basis of her next album.

"At that time Simon and I began to look at how to record them in a way that represented the ‘live' performance. We achieved this by recording lots of takes with just piano and voice, till we found the performances we wanted. Then we added further layers from some of Britain's greatest musicians - including bassist Steve Watts, cellist Frank Schaeffer, flute genius Clive Bell and percussionist Paul Clarvis".

The result is arguably Jungr's most complete artistic statement to date, a profound but always enjoyable examination of the ‘heart' of some of popular music's greatest song and a spellbinding collection from one of our greatest and most original voices.

The Men I Love

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Spyro Gyra - The Best Of (The First Ten Years)

Bitrate: MP3@320K/s
Time: 72:23
Size: 165.7 MB
Styles: Fusion, Smooth jazz
Year: 2006
Art: Front

[4:46] 1. Shaker Song
[3:54] 2. Morning Dance
[4:38] 3. Catching The Sun
[5:08] 4. Autumn Of Our Love
[5:00] 5. Cafe Amore
[4:15] 6. Cashaça
[6:06] 7. Freetime
[5:03] 8. Summer Strut
[6:37] 9. Old San Juan
[5:54] 10. Incognito
[5:31] 11. Conversations
[4:19] 12. Shakedown
[4:35] 13. Bob Goes To The Store
[6:30] 14. Del Corazon

This compilation covers the years 1977 to 1987, when Spyro Gyra was blazing new ground, blending jazz and pop elements in an original way that would eventually help define the emerging genre of smooth jazz. It touches on the band's Buffalo, New York, origins with "Shaker Song," recalls its first great success with "Morning Song," and documents the emergence of saxophonist Jay Beckenstein as an outstanding studio producer. Along the way, it also features the various musicians who have contributed to the group through the years. The original keyboard player Jeremy Wall contributes several compositions, including the touching "Autumn of Our Love" and the joyous "Summer Strut." There's an infectious humor to former bassist Kim Stone's "Bob Goes to the Store," while current member Julio Fernandez creates a fine setting for his own passionate guitar with "Del Corazon." Beckenstein's ability to work guest musicians into striking arrangements is apparent in Randy Brecker's trumpet with wah-wah pedal on "Catching the Sun," while bassist Eddie Gomez contributes distinctive energy to "Conversations." It's a stellar collection of tunes that will appeal to longtime fans and introduce the band's early career to recent devotees. ~Adam Rains

The Best Of (The First Ten Years)

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Monty Alexander - Uplift

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 63:01
Size: 144,7 MB
Art: Front

(6:18)  1. Come Fly With Me
(5:53)  2. One Mint Julep
(6:44)  3. Renewal
(5:34)  4. Sweet Georgia Brown
(8:58)  5. I Just Can't See for Lookin'
(7:37)  6. Django
(6:53)  7. Body and Soul
(7:07)  8. Hope
(1:45)  9. Home
(6:07) 10. Fungii Mama

Virtually everyone who plays with pianist Monty Alexander loves the challenge of keeping up with his mischievous music-making and sudden changes in direction. Then there are those quotes splashes of everything from bugle calls and nursery rhymes to Duke Ellington and "Meet the Flintstones" that challenge the listeners' repertoire, as well as adding delight and surprise to each track. Who else, for instance, would begin "Sweet Georgia Brown" with a tongue-in-cheek reference to the opera "Carmen" and make it work? Uplift is a collection of 10 tunes, three of them Alexander's own, that producer John Lee calls "a masterpiece." That's a tough call to make, given Alexander's 62 fine recordings as leader over his five-decade career; in fact, Montreux Alexander (MPS, 1976) is such a desert island disc for many jazz lovers that it was reissued in a 30th anniversary edition. Certainly there are few living pianists who can match his imaginative and joyous approach, and his harmonic risk-taking; unlike many players who shift things around just for the sake of making a change, Alexander's innovations are always respectful of the melody. Not many are able to bring such new life to well-worn standards; in his blues-infused, infectious swing, he recalls the late master Gene Harris.

Here, Alexander is backed by his superb long-term bassist, Hassan Shakur, and drummer Herlin Riley, who has recorded numerous CDs with Wynton Marsalis, among others. From the bright, finger-popping opening "Come Fly with Me" (Alexander's salute to Frank Sinatra, an early fan and sponsor), they provide supple support for every detour, helping the whole trio rock like mad. Riley's killer solo on "Sweet Georgia Brown" is one of the things that make it the standout track it's nothing less than a jazz juggernaut. Or, maybe, the highlight is "Body and Soul," which Alexander hitches to a bright waltz tempo and takes to a whole new territory. Others will pick the driving "One Mint Julep," the soulful "Django," or the lush Jamaican landscape of the last three tracks. In any case, this is an exceptional collection, which also crackles with that special, open energy only a live performance can deliver. Uplift is an apt title, since that's precisely what this music does. ~ Dr Judith Schlesinger  http://www.allaboutjazz.com/uplift-monty-alexander-jazz-legacy-productions-review-by-dr-judith-schlesinger.php

Personnel: Monty Alexander: piano; Hassan Shakur: bass; Herlin Riley: drums; Fritz Landesbergen: drums (1, 6).

Uplift

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Michael Marc - Acoustic Guitar

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 72:02
Size: 166,1 MB
Art: Front

(2:32)  1. I Will Always Love You
(3:26)  2. Marry Me
(4:47)  3. The Girl from Ipanema
(4:31)  4. The Shadow of Your Smile
(3:54)  5. Old Man River
(4:31)  6. I've Got You Under My Skin
(4:09)  7. All the Things You Are
(4:35)  8. Imagine
(3:38)  9. Perfidia
(4:20) 10. Corcovado (Quiet Night of Quiet Stars)
(4:36) 11. What Are You Doing the Rest of Your Life?
(3:53) 12. Smile
(3:41) 13. Moonlight in Vermont
(3:41) 14. Days of Wine and Roses
(4:10) 15. You Don’t Know What Love Is
(3:26) 16. It Never Rains in California
(2:39) 17. San Francisco (If You're Going To)
(3:04) 18. I Can't Make You Love Me
(2:20) 19. Jesu, Joy of Man's Desiring

Michael Marc Zanabili was born in Heidelberg, Germany, where he was given his first opportunity to show his musical talent at a school performance at the age of eight, in front of an audience of 200 people. This early success led to an eager decision to become a guitarist. He made his living by performing in clubs and at private parties. Michael began to travel to Spain to attend classes with John Williams. In France he worked with such masters as Manuel Barrueco and Eduardo Falu. In 1986 Michael graduated from the prestigious "Hochschule für Musik des Rheinlandes" in Cologne, Germany and started to give concerts throughout Europe.

Michael Marc's playing is built on emotions and feelings rather than structures and tradition, something that always troubled him during his classical studies in Germany. Working with Barrueco and Falu confirmed his belief to listen to your heart first. "You can know everything about music, but if you don't feel it, the result will not be music"

On one of his many trips, Michael fell in love with San Diego, CA and decided to move there. He gave up his life in Germany and came to America with little more than his guitar in his hands. Continuing to create his own style of guitar music, which is influenced by Classical, Jazz and Flamenco, he started to record his first album: Plaza de la Libertad, a tribute to his "place of freedom".  Michael treats every string with an individual respect, to draw from its unique sound, never descending into a cloud of undefined sound waves. Instead he translates subtle feelings into music, giving importance to every single note and thus developing an intimacy with his audience. The guitar is used as an instrument to reveal every emotional phase so that no listener could resist its passionate charm. The 20th Century Guitar Magazine called it: "A stunning fusion of Acoustic, New Age, Jazz and Spanish classical guitar wizardry... Michael Marc's classical and Flamenco guitar techniques are dazzling and totally engaging." http://arrowrec.com/michael/

Acoustic Guitar

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Ray Charles - Genius & Friends

Styles: Vocal, R&B
Year: 2005
File: MP3@320K/s
Time: 57:41
Size: 132,4 MB
Art: Front

(4:00)  1. Ray Charles & Angie Stone - All I Want To Do
(3:48)  2. Ray Charles & Chris Issak - You Are My Sunshine
(5:08)  3. Ray Charles & Mary J. Blige - It All Goes By So Fast
(3:41)  4. Ray Charles & Gladys Knight - You Were There
(4:28)  5. Ray Charles With Ruben Studdard & The Harlem Gospel Singers - Imagine
(3:42)  6. Ray Charles & Leela James - Compared To What
(3:45)  7. Ray Charles & Diana Ross - Big Bad Love
(4:43)  8. Ray Charles & Idina Menzel - I Will Be There
(4:46)  9. Ray Charles & George Michael - Blame It On The Sun
(4:40) 10. Ray Charles & John Legend - Touch
(5:10) 11. Ray Charles & Patti LaBelle & The Andrae Crouch Singers - Shout
(4:13) 12. Ray Charles & Laura Pausini - Surrender To Love
(2:32) 13. Ray Charles & Willie Nelson - Busted [Live]
(2:59) 14. Ray Charles & Alicia Keys - America The Beautiful

Atlantic/Rhino's 2005 Genius & Friends is the end result of a project Ray Charles initiated a few months before his death in June 2004. According to James Austin's liner notes, Charles called Austin in December of 2003, asking if he could find the masters to an unreleased duets record Ray recorded in 1997 and 1998. Austin found the tapes, but Charles was too sick to work on them, so after his passing  and after his final studio album, the duets record Genius Loves Company, became a number one hit in August of 2004 Atlantic/Rhino decided to finish off the project, bringing in producer Phil Ramone to oversee the completion of the album. This included bringing in singers to record their parts, since apart from two tracks  a 1994 duet with Diana Ross on "Big Bad Love" and a live 1991 version of "Busted" with Willie Nelson (taken from the television special Ray Charles: 50 Years in Music) these are all studio constructions, with vocalists duetting with a previously recorded Ray. 

While not quite the monstrosity it could have been posthumous duets albums like this always bear an unsettling ghoulish undertow Genius & Friends is also not a particularly good album either. This isn't because the pairings are ill conceived  apart from the woefully outmatched American Idol winner Ruben Studdard on "Imagine" (which boasts perhaps Ray's best vocal performance on this record), there's nobody here who doesn't hold his or her own, and Ramone has skillfully edited the new recordings with the existing tapes so it sounds like they were recorded at the same time, even if it rarely sounds as if the vocalists were in the same room together. Rather, the problem is that the productions are caught halfway between '90s adult contemporary and modern neo-soul, sounding too slick and polished to really be memorable. It's pleasant enough and it's top-loaded, too, with the duets with Angie Stone, Chris Isaak, and Mary J. Blige being among the best cuts but it's not as relaxed or appealing as Genius Loves Company, which had the feeling of being a real duets album. This feels like what it is a professional studio creation. Not a terrible thing per se, but not something that makes for a good album, either. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/genius-friends-mw0000381429

Personnel: Ray Charles (vocals, piano); Chris Isaak, George Michael, Idina Menzel, John Legend, Laura Pausini, Alicia Keys, Mary J. Blige, The Andraé Crouch Singers, Patti LaBelle, Angie Stone, Ruben Studdard, Willie Nelson, Gladys Knight, Diana Ross, Leela James (vocals); Rodney "Cortada" Alejandro, Darin "Zone" McKinney, Jamshied Sharifi, Aaron Zigman (programming).

Genius & Friends

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Anita Wardell - Why Do You Cry?

Styles: Jazz, Vocal
Year: 2008
File: MP3@256K/s
Time: 47:41
Size: 87,7 MB
Art: Front

(6:57)  1. Ive Never Been in Love Before
(4:22)  2. September in the Rain
(4:36)  3. Why Do You Cry?
(4:17)  4. Twisted
(3:05)  5. In Love in Vain
(7:09)  6. Do You Know What It Means
(4:26)  7. Bye Bye Blackbird
(3:50)  8. Oh What a Beautiful Morning
(4:22)  9. Duke Ellington s Sound of Love
(4:33) 10. Deep Purple

Jazz vocalist Anita Wardell has been acclaimed for the unique artistry she brings to scat and be-bop singing. Raves from peers and critics alike have cemented her reputation as one of Britain 's finest vocalists.

Born in Guildford, UK, Anita emigrated to Australia with her family as child. Enraptured by movie musicals on TV, she soaked up the classics by Rodgers and Hammerstein and Cole Porter. Equipped with a portable tape player, she would record the songs off the set and listen to them countless times. She often explored her father's collection of big band albums by Duke Ellington, Count Basie and many more. During her teens, works by the likes of Clifford Brown, Miles Davis and Charlie Parker exposed her to the complexities of modern jazz while she learned her vocal craft from greats like Ella Fitzgerald, Mark Murphy, Carmen McRae, Betty Carter and Jon Hendricks. Attending Adelaide University in South Australia, Anita worked toward a performance in jazz and improvised music and worked regularly on the Australian jazz circuit.

 Performing with a host of local and international artists, including American saxophonist Richie Cole at the Kiama Jazz Festival and supporting the legendary Sarah Vaughan at the Sydney Opera House, her classroom studies were supplemented by real-life experience. Her recording career began when she joined the Adelaide Connection, formed in 1979-80. Founded by Adelaide native John McKenzie, who directed the group until the early 90s, the Connection enjoyed visits from distinguished guest artists and arrangers like Dr. Kirby Shaw, Phil Mattson, Don Burrows and James Morrison. Anita joined the group at its inception and credits the experience for teaching her how to "blend in with other singers and really listen!" Adelaide Connection recorded two albums (Makin' Whoopee and Nice and Easy) and toured throughout Australia. Anita returned to London in 1989, continuing her studies at the Guildhall School of Music and Drama, completing a yearlong course in jazz and studio music. Now touring extensively throughout the UK and Europe, Anita played festival and club dates with appearances at the venerable London jazz club Ronnie Scotts, the Royal Festival Hall, National Theatre and a yearly stint at the Paradise Festival in Cyprus each September.

In 1995, Anita went into the studio with pianist Liam Noble to record an album's worth of material with the hopes of finding a label to release it. After shopping the CD around, they signed a deal with FMR Records. Why Do You Cry? was released to great praise. Pioneer Mark Murphy proclaimed Anita, "a gift from Australia", adding "what hits me is how expressive her ballad singing is. Then she has the courage to scat a ballad or two, not unlike a young lady disciple of the Ben Webster school." Singer Norma Winstone praises her "!unexpected vulnerability, which makes her reading of the ballads both beautiful and touching. Her honesty shines in this well-chosen collection of songs!" Jazzwise Magazine called her "energetic and inventive" while The Guardian proclaimed her "a model of the Jazz singer's art." Nearly universal praise was lavished for her timing, clarity, improvisational skills and emotional resonance. A BBC documentary for Channel Four found Anita in the company of Kurt Elling and Dee Dee Bridgewater in a salute to Ella Fitzgerald entitled "Jazz Heroes". "I really enjoyed working on the Ella Tribute," Anita says. "Having grown up listening and transcribing Ella solos, I felt so excited to be asked to talk about one of my great inspirations. Scat is a big part of what I do and so to be able to comment on scat syllables, style and phrasing was a great experience for me."

Anita continued to work throughout the UK with her trio: pianist Robin Aspland, bassist Jeremy Brown and drummer Gene Calderazzo. Aspland has worked with George Coleman, Bobby Watson, Steve Grossman, Van Morrison, Georgie Fame and is the pianist for Curtis Stigers when he tours England . Calderazzo hails from New York where he worked with legends Joe Henderson, Lionel Hampton and Michael Brecker. Moving to London in 1995, he has become one of the most demanded jazz drummers in Europe . Brown studied at the Royal Academy of Music and has become a very sought-after sideman throughout the UK . Anita and her trio returned to the studio in 1999 and recorded Straight Ahead, released on 33 Jazz. Critics praised her "vibrant delivery," finding in her style the "sweetness of Ella, the creativity of Mark Murphy whilst using her laughter, sadness and technique to tell a story like no other (Amazon). Japan 's most popular jazz publication, Swing Journal, gave its endorsement, writing, "!she's the real thing who can fluently scat and vocalese!" Her latest CD, Until the Stars Fade, finds Anita returning to her first love, tackling Porter, Rodgers and Hammerstein and Rogers and Hart. She and her trio deftly interpret well-known standards in a fresh way, whether it's playful scatting on an energetic "Get out of Town" or a tender reading of "Make Someone Happy". Throughout the disc, her vocalese rivals the storied lyricists in its expressiveness. It's no wonder The Guardian calls her "one of Britain 's most exciting talents."http://www.cdbaby.com/cd/anitawardell2

Why Do You Cry?

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Mark Turner, Tad Shull - Two Tenor Ballads

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 67:05
Size: 154,0 MB
Art: Front

( 9:52)  1. A Flower Is a Lovesome Thing
( 6:21)  2. Autumn In New York
( 6:28)  3. Blue in Green
( 7:11)  4. What's My Name
( 7:27)  5. I Forget to Remember
( 6:44)  6. Alone Together
( 6:19)  7. Very Early
(10:18)  8. Turn Out the Stars
( 6:20)  9. You've Changed

The two tenor battle is not a new idea, with predecessors ranging from Dexter Gordon and Wardell Gray to Eddie “Lockjaw” Davis and Johnny Griffin. However, what we have here is not so much a competition but a complimentary pairing that makes the most of the individualistic styles of Mark Turner (a distinguished disciple of Lester Young and Warne Marsh) and Tad Shull (straight out of the Webster/Hawkins school of deep-throated tenors). It’s the contrast that makes for provocative listening, Shull positively robust and burly, with Turner proving to be lighter-toned and more reasoned.

Throughout this generous set, Turner and Shull get sensitive backing from the trio of Kevin Hayes, Larry Grenadier, and Billy Drummond. Even with the preponderance of ballad material, things never bog down or become effete. The variety of material also helps in this matter, with “What’s My Name” sporting a gentle rumba beat and the waltz tempo of Bill Evans’ “Very Early” given a light bounce. Recorded in 1994 and just now seeing release, Two Tenor Ballads gives us a sumptuous early look at Turner, who has since become a leading man of great promise. Unfortunately, this “lost session” is the most recent work to feature Shull, a neglected maverick who is rarely heard from these days. ~ C.Andrew Hovan  http://www.allaboutjazz.com/two-tenor-ballads-mark-turner-criss-cross-review-by-c-andrew-hovan.php

Personnel: Mark Turner & Tad Shull- tenor saxophone, Kevin Hays- piano, Larry Grenadier- bass, Billy Drummond- drums

Two Tenor Ballads

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Milt Buckner, Hal Singer - Milt & Hal

Bitrate: MP3@320K/s
Time: 62:08
Size: 142.2 MB
Styles: R&B-Jazz
Year: 2008
Art: Front

[7:00] 1. Milt & Hal
[6:14] 2. Time For Dreams
[3:52] 3. Ghost Of A Chance
[7:12] 4. There's A Small Hotel
[4:28] 5. Nancy With The Laughing Face
[8:19] 6. The Blues Is Mine
[7:57] 7. Milt & Hal (Take 3)
[4:33] 8. Pick Yourself Up
[4:26] 9. Little Miss Maudlin
[8:02] 10. There's A Small Hotel (Take 1)

This is really an album led by tenor saxophonist Hal Singer, which accounts for the generous amount of R&B in the music. Not that Milt Buckner was moving it in the other direction because Buckner was comfortable in a number of musical settings including jazz, jump blues, and R&B. The pairing of Singer and Buckner gives this album a nice flavor as evidenced by the sound samples.

Other members of the ensemble are John Letman on trumpet and Tiny Grimes on guitar. Letman was also a session leader because his album, A Funky Day In Paris, was also being recorded during the same sessions and the entire ensemble appears on both. Having the great Tiny Grimes on guitar is pure icing on a rather delicious cake. ~Mike Tarrani

Milt & Hal

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Sara Jones - Daydream A Little

Bitrate: MP3@320K/s
Time: 59:47
Size: 136.9 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[3:49] 1. Garota De Ipanema
[2:43] 2. Aquarela Do Brazil
[4:38] 3. Overjoyed
[4:04] 4. I'll Take Romance
[5:12] 5. Les Feuilles Mortes
[4:58] 6. Some Other Time
[2:54] 7. Embraceable You
[3:30] 8. Only Trust Your Heart
[7:06] 9. The Look Of Love
[3:14] 10. Dream Dancing
[4:57] 11. Mona Lisa
[5:15] 12. At Seventeen
[4:01] 13. Tristeza
[3:20] 14. Chega De Saudade

Romero Lubambo, guitar; Nilson Matta, bass; Duduka Da Fonseca, drums; Paul Langosch, bass - tracks 4,6,7,10,12; Kevin Watt, flugelhorn - track 2,4,9;

From the first notes that Sara Jones sings on her debut CD, "Daydream A Little," it is obvious that a bright new vocalist is already making her mark on the music world. Her voice is very appealing, inviting and youthful. She revitalizes “The Girl From Ipanema” in a version that owes little to Astrud Gilberto--she swings, and her rendition is full of joy. In fact, one can easily imagine and even hear her smiling through her music.

The same qualities are heard throughout "Daydream A Little," a mixture of jazz and Brazilian standards that also includes a few superior pop songs. Teamed with guitarist Romero Lubambo, bassist-producer Paul Langosch, and the members of Trio da Paz, Sara Jones' debut is memorable, musical and infectious.

Born in Thailand and raised on the Eastern shore of Maryland, she began performing music as a pianist. “My Mom, grandmother and great aunt played piano so there was always a piano in the house,” remembers Sara. “I caught the bug when I was five. Although I mostly played classical music, I also listened to a lot of my grandparents' records and tapes of big bands.” Sara did not start singing seriously until she was in high school, winning the lead in the musical Anything Goes where she enjoying performing Cole Porter's music.

Daydream A Little

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