Tanja Siebert - Small Day Tomorrow: A Tribute To David Frishberg & Bob Dorough

Size: 103,3 MB
Time: 44:22
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz Vocals
Art: Front

01. Better Than Anything (4:12)
02. My Attorney Bernie (4:49)
03. Baby You Should Know It (4:22)
04. Small Day Tomorrow (5:47)
05. I've Got Just About Everything (3:45)
06. Peel Me A Grape (4:24)
07. Blizzard Of Lies (4:37)
08. But For Now (4:21)
09. The Message (4:08)
10. I'm Hip (3:53)

Ingenious, ironic and witty music by jazz greats Bob Dorough and Dave Frishberg. Without a doubt nobody sings these songs more charmingly, humourously and pleasurably than Tanja Siebert with her refreshing quartet.

You don´t know Tanja Siebert?
Well, maybe that is because you live on the other end of the earth...Tanja is a singer from Berlin, who just recently released her first record. It is a tribute to two of the great song writers in jazz Bob Dorough and David Frishberg.

You don´t know Bob Dorough or David Frishberg?
Bob Dorough after an almost 50-year career as a pianist, singer and composer was inducted into the jazz hall of fame in his homestate Arkansas. American audiences do not only know him as a unique jazz musician but also as the musical head of the Schoolhouse Rock series.

David Frishberg (singer, pianist and composer as well) has also played with the jazz greats (e.g. Zoot Sims, Gene Krupa) since the sixties. The London Daily Telegraph has called him the "Woody Allen of Song". It´s a special treat to see Bob Dorough and David Frishberg perform together, yet impossible to decide who is more ingenious, ironic and witty.

Without a doubt, nobody sings these songs more charmingly, humorous and pleasurably than Tanja Siebert with her refreshing quartet.

Small Day Tomorrow

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Jan Lundgren - A Retrospective

Size: 153,4 MB
Time: 66:09
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Shorty George (3:30)
02. Swedish Pastry (5:43)
03. If You Could See Me Now (4:59)
04. On Green Dolphin Street (8:14)
05. Restless (5:10)
06. Rockin' Chair (7:26)
07. Barney Goin' Easy (6:02)
08. Doxy (4:58)
09. I've Never Been In Love Before (5:09)
10. You Stepped Out Of A Dream (5:44)
11. Angel Eyes (5:23)
12. Spring Isn't Spring Anymore (3:46)

Personnel:
Jan Lundgren, piano, with
Track #1: Bill Perkins (ts), Dave Carpenter (b), Paul Kreibich (d). Sage & Sound Studio, 1995
Track #2: Dave Carpenter (b), Paul Kreibich (d). Recorded at Sage & Sound Studio, 1996
Track #3-4 & 6: Chuck Berhofer (b), Joe La Barbera (d). Recorded at The Jazz Bakery in Los Angeles (#3), Sage & Sound Studio (#4), 1996; Capitol Studios (#6), 1999
Track #5: Herb Geller (ss).
Recorded at Sage & Sound Studio, 1997
Track #7: Arne Domnérus (cl).
Recorded at Entourage Studios, 2000
Track #8: Andy Martin (tb), Tom Warrington (b), Paul Kreibich (d). Entourage Studios, 2001
Track #9-10: Pete Jolly (p), Chuck Berhofer (b), Joe La Barbera (d). Entourage Studios, 2001
Track #11-12: Tom Warrington (b), Joe La Barbera (d). Recorded at Entourage Studios, 2003

Besides some CDs and LPs produced in Sweden and Japan, our own master pianist Jan Lundgren has recorded sixteen albums – nine of them under his own name – on the superb and very ambitious Spanish Fresh Sound label, today distributed all over the world. All but one were produced in Los Angeles by the legendary Dick Bank. The exception, Stockholm Get-Together from 1994, was produced by Jan himself.

Lundgren retrospective Mr. Bank has now put together an excellent and varied Lundgren compilation. He has chosen twelve selections from ten of his own Fresh Sound productions, recorded between 1995 and 2003, and he presents them chronologically. He lets us listen to Jan entirely on his own, with his American trios and together with jazz celebrities like Bill Perkins, Conte Candoli, Herb Geller, Andy Martin and, last but not least, Arne Domnérus and Pete Jolly.

To mention any particular selections seems unnecessary since all original albums from which Mr. Bank has made his choices have already been reviewed. But the duo version of “Barney Goin´ Easy”, or “I´m Checkin´ Out Go´om Bye” as the Ellington/Strayhorn composition is also named, with Domnérus on clarinet is really something very special. It is drawn from Dompan!, the album that Arne himself considered his very best ever. The playful collaboration with Jolly is also something that will make you shout with joy— if you love high-quality piano jazz.

The bassists and drummers who enrich the album—in particular the radar pair of Chuck Berghofer and Joe La Barbera—are also well worth praising. And so is Jim Mooney, who is responsible for most of the excellent sound quality. He is a member of the same league as his east coast counterpart Rudy Van Gelder. Lots of roses, also, go to the man with the great ideas, a perpetual preserver of high quality and good taste, Mr. Dick Bank. He is like a manager in the highest Spanish soccer division who knows not only the exact capacity of every player but also how to bring it forth. But the most praise goes, of course, to Jan Lundgren, who today is on the same level as his great Swedish forerunners and sources of inspiration, Jan Johansson and Bengt Hallberg. ~Jan Olsson

A Retrospective

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Renee Yoxon & Chad Linsley - Impossible: Live At Musideum

Size: 119,7 MB
Time: 51:07
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Age Of Not Believing (Live) (3:54)
02. Being Green (Live) (4:26)
03. Rip Van Winkle (Live) (4:13)
04. In My Own Little Corner (Live) (6:24)
05. Dear Bix (Live) (4:55)
06. Little Prince (Live) (5:03)
07. Mimosa And Me (Live) (4:03)
08. Wonder (Live) (5:21)
09. Never Never Land (Live) (3:43)
10. Impossible (Live) (4:27)
11. Far Away Places - My Ship (Live) (4:33)

On August 2015, Renée Yoxon & Chad Linsley released their first collaborative work, Impossible: Live at Musideum. Touching on magic, dreaming, and the urge to run away, Impossible features music from and inspired by film adaptations of children’s stories. Yoxon & Linsley’s interpretations are imaginative, intimate, vulnerable, and remind the listener of childhood – at once carefree, questioning, and melancholy.

This release marks Yoxon’s third full-length album and first live album. Never straying far from her roots in traditional jazz, Yoxon’s latest collection of songs will resonate with fans of her other works, collections of standards and standard-esque originals. She says, “In searching for the roots of the standards I know and love I found myself becoming attracted to jazz interpretation of stories from my childhood. Playing these songs with Chad has been a wonderful and unique experience because of how deeply he listens and how much he cares about this music.”

Linsley brings his years of professional experience and strong love of vocal music to the project. “One of my favourite formats is the piano-vocal duo” says Linsley, “a musically intimate setting where Renée and I can interact with the song more directly. One of my favourite things about improvising at the piano is the creation of textures and space for words. The songs revolving around the theme of childhood inspire deep feeling and memories of my earliest encounters with music, a place where anything was possible.”

Impossible: Live At Musideum

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Bucky Pizzarelli - Renaissance: A Journey From Classical To Jazz

Size: 137,4 MB
Time: 58:44
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz, Classical
Art: Front

01. Tedesco Concerto Allegretto (7:19)
02. Tedesco Concerto Andantio Alla Romanza (6:43)
03. Tedesco Concerto Ritmico E Cavalleresco (7:22)
04. Send In The Clowns (3:27)
05. Have You Met Miss Jones (3:27)
06. Laura (2:56)
07. The Bad And The Beautiful (1:48)
08. Medley: Street Of Dreams/Two Funky People (4:24)
09. Stardust (4:06)
10. Satin Doll (4:29)
11. Medley: I'm Through With Love/I'll Never Be The Same (3:19)
12. Robbins Nest (3:54)
13. Medley It's Easy To Remember - This Nearly Was Mine (3:03)
14. Goodbye (2:21)

A Classical concerto performed by the Orchestra and also American Songbook Standards performed by Bucky Pizzarelli and Ed Laub (guitar duets)

Here’s another gem from Bucky Pizzarelli and Arbors Records. It opens with a classical ensemble by Mario Castelnuovo-Tedeso: Tedesco Concerto No. 1 in D, opus 99. This work is about twenty-two minutes long and Bucky is accompanied by a ten-piece ensemble with players whose careers encompass both classical and jazz.

Remainder of the recordings on this CD are from the Great American Songbook. Most, if not all, the songs will be familiar to the average jazzfan. They include: Send in the Clowns, Laura, Stardust, Satin Doll, I’m Through with Love and I’ll Never Be the Same. The recording concludes with that great Gordon Jenkins tune, Goodbye, which was for many years Benny Goodman’s closing theme.

The jazz section of this recording features guitarist Ed Laub accompanying Bucky. Ed is a regular performer and former student of Bucky’s. They both play seven-string guitars. I called Bucky to get some background on this recording. He told me how the classical group was assembled for the recording and gave me some background on his long association with both Ed Laub and Ed Berger.

Renaissance

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Carmen Souza & Theo Pascal - Epistola

Size: 105,5 MB
Time: 45:04
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, World Fusion
Art: Front

01. Cape Verdean Blues (4:58)
02. Afro Monk (4:02)
03. Kutequatekessa Quamundos (4:00)
04. WPFL (5:15)
05. Twenty Choices (3:28)
06. Thursday (3:47)
07. Oui Ou Non (5:08)
08. Mira Me Miguel (3:03)
09. CV Railways (4:50)
10. Stratheden Road (3:12)
11. Moonlight Serenade (3:14)

„Epistola“ is the Greek and Latin word for „letter“. And as every letter does the album “Epistola” transport a message. Carmen Souza’s and Theo Pascal’s message to their fans is: everyone shall receive their message whoever is open to their music and lyrics. The album has a fancy cover showing the artists on a stamped letter. It was recorded at different places in the world - in Portugal, Great Britain and New York.

The fact that Theo Pascal is the producer and composer of 50 % of Carmen Souza’s music, led them to their decision to change the duo’s name from Carmen Souza to „Carmen Souza & Theo Pascal“.

Carmen Souza’s biggest challenge with this album was to present herself to the public as an instrumentalist. She is de facto increasingly noticed as a guitarist. So was she hired to play at the opening of the “Zevener Gitarrenwoche 2014”, a German guitar festival. But still she is noticed as a singer to most of her audience.

Carmen Souza says that music should be understood as continuous process. This process consists of the willingness to take risks and to move beyond his or her own comfort zone. That is the only way to develop. On the album “Epistola“ Carmen Souza shows her abilities at the piano.

Besides eight own songs the album contains two cover songs „Moonlight Serenade“ by Glenn Miller and the „Cape Verdean Blues“ by Horace Silver. The duo chose “Moonlight Serenade”, because the song evokes beautiful childhood associations of big band sounds from old movies, ball rooms and dance. They decided to create a reduced and intimate song version – only vocals, guitar, bass and percussion.

The Carmen Souza project has covered Horace Silver songs in the past. This time they decided on the “Cape Verdean Blues“, because they love the spirit of the song. Carmen Souza therefore wrote lyrics about the Cape Verdean liquor “Grogue”. She also proved her creativity in lyrics writing in the song “Oui ou non”. The song is about a country where an election takes place in a special ceremony. All the participants dress up and are happy. But in the end the people must realize that happiness and beauty is just a fading illusion.

There is also an interesting background behind the song “WPFL”. The title is put together from the initials of four different songs by Theo Pascal who wrote similar arrangements for them. He compares the song with a collage. It reflects the beauty, greatness and purity of nature.

Carmen Souza has Cape Verdean roots and also won several prices on the islands, but she anyhow doesn’t really feel like a part of the Cape Verdean music scene. She rather feels like an outsider, since she was neither born there nor did she ever live on the Cape Verdean islands. Although she doesn’t deny Cape Verdean influences in her music she says that she was mostly coined by Jazz and traditional Portuguese music.

“Epistola“ will be released on August 14th 2015 on Galileo MC. The tour with new musicians on board has already started and Carmen Souza and Theo Pascal elate new and old audience. Featured musicians are the British drummer Shane Forbes, the pianist Matt King from New York, the saxophonist und clarinetist Craig Yaremko and the drummer Zoe Pascal.

Carmen Souza: piano & vocals
Theo Pascal: double bass, e-bass
Shane Forbes: drums
Matt King: organ
Craig Yaremko: saxophones & clarinets
Zoe Pascal: drums (Track: 1, 8)
Producers: Theo Pascal & Carmen Souza
Executive production: Patricia Pascal
Arrangements & music: Theo Pascal
Lyrics: Carmen Souza

Epistola

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Duck Baker - The Art Of Fingerstyle Jazz Guitar

Bitrate: MP3@320K/s
Time: 55:49
Size: 127.8 MB
Styles: Jazz-Folk
Year: 2006
Art: Front

[2:38] 1. Stompin' At The Savoy
[3:25] 2. Tintiyana
[3:44] 3. Southern Cross
[2:12] 4. Take The A Train
[3:31] 5. Summertime
[3:55] 6. Everything That Rises Must Converge
[2:05] 7. White With Foam
[2:46] 8. Yas Yas
[3:09] 9. Sweet And Lovely
[4:33] 10. Your Lady
[3:53] 11. Medley Wishes Plain As The Winter
[2:06] 12. Good Intentions
[2:17] 13. Always
[2:40] 14. Turnaround
[2:31] 15. Immaculate Conception Rag
[1:34] 16. Black Monk
[3:12] 17. In A Sentimental Mood
[1:44] 18. The Stroll
[3:43] 19. The Clown

Fingerstyle guitar is usually associated with new age or folk music, or at least with a style that lazy critics have decided to call folk music despite the fact that it isn't really a tradition anywhere in the world. Leaving aside the fact that there needs to be a better name for original guitar music drawing on a variety of sources, what fingerstyle guitar definitely isn't associated with is jazz. The ringing tones achieved with a pick are more typical of most jazz guitarists, though there are some innovators who cross the boundaries. One of the more consistently interesting is Duck Baker, an acoustic guitarist who creates multiple melodies and unusual effects while playing both jazz standards and original tunes that can only be called jazz. Although it may seem unlikely that Baker alone can do justice to pieces that were written for a full band, his versions of tunes like "Take the 'A' Train" and "Stompin' at the Savoy" are surprisingly effective. While the ringing tones may be absent, the warmth and polyrhythms that come from adroit fingerpicking give this recording a warmth and character that is far from the sound-alike herd of flashy fusion guitar players. Simply put, Duck Baker fans who have heard him playing Celtic and gospel music need to know what the man does with jazz, and jazz fans who don't know Duck Baker need to get themselves an education about fingerstyle guitar. Those who aren't familiar with either jazz or Duck Baker can remedy two problems by buying one CD. To put it more succinctly, if you don't have this CD, you probably need it. [Note: As a free bonus, along with the music you get a very well-written set of liner notes by Baker himself, which puts the tunes into historical and musical context. Music critics will breathe a sigh of relief that Baker likes playing guitar, since he's an excellent writer and would give stiff competition to many of the hacks out there.] ~Richard Foss

The Art Of Fingerstyle Jazz Guitar

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Diane Hubka - Goes To The Movies

Bitrate: MP3@320K/s
Time: 60:15
Size: 137.9 MB
Styles: Post bop, Jazz vocals
Year: 2007
Art: Front

[3:00] 1. All God's Chillun Got Rhythm
[5:06] 2. Double Rainbow
[5:39] 3. The Look Of Love
[5:00] 4. Lovers In New York
[5:25] 5. He's A Tramp
[4:43] 6. The Bad And The Beautiful
[4:51] 7. I'm Old Fashioned
[5:22] 8. The Long Goodbye
[4:19] 9. Close Enough For Love
[4:39] 10. You Only Live Twice
[4:09] 11. Wild Is The Wind
[3:20] 12. Manhã De Carnaval
[4:35] 13. Invitation

Since moving to the West Coast from New York City, jazz vocalist Diane Hubka has worked with a different group of musicians than on earlier CDs. Her first recording since the cross-country move finds her in top form, backed by an outstanding group including pianist/arranger Christian Jacob (who works with both Tierney Sutton and Flora Purim and was with his late father-in-law Maynard Ferguson for a time), trumpeter and flugelhornist Carl Saunders (a leader in his own right and member of various all-star Los Angeles big bands), guitarist Larry Koonse, bassist Chris Colangelo and drummer Joe LaBarbera (the late Bill Evans' last drummer). Hubka's subtle vocal style works in her favor, as the cool-toned singer doesn't use a lot of theatrics to get lyrics across, while she occasionally enjoys scatting in unison with her musicians in an engaging way. One of the her strengths has been choosing lesser known or out of favor songs; her theme for this outing consists of works debuted in movies, many of which will surprise the listener. Her modern bop treatment of the decades-old "All God's Chillun Got Rhythm," the gently seductive interpretation of "The Look of Love" (with lush backing by Jacob), the playful bossa nova setting of "He's a Tramp" and the hip rendition of "Close Enough for Love" (featuring Koonse and Colangelo) showcase how wide-ranging a musician Hubka is. Perhaps the greatest surprise is "You Only Live Twice," from the James Bond film series; her understated delivery with minimal backing from her rhythm section reveals a great song that was hidden in its movie debut due to an overblown arrangement. Finally, Hubka accompanies herself on acoustic guitar in a masterful performance of "Manhã de Carnaval" (sung in Portuguese). Diane Hubka adds to her impressive résumé as one of the top jazz vocalists of her generation with this all-around excellent disc. ~Ken Dryden

Goes To The Movies

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Plas Johnson - Bop Me Daddy

Bitrate: MP3@320K/s
Time: 21:17
Size: 48.7 MB
Styles: R&B, Saxophone jazz
Year: 1955/1985
Art: Front

[2:17] 1. Makin' Whoopee
[3:00] 2. Last Call
[2:31] 3. Dungaree Hop
[2:55] 4. Drum Magic
[2:14] 5. Blue Jean Shuffle
[2:43] 6. Plasma
[2:21] 7. Hot Spot
[3:13] 8. Red Jacket

This LP (originally on the Tampa label) is subtitled "Rock 'N Roll Instrumentals," but is actually an R&B-flavored jazz album. Plas Johnson, whose tenor would be featured anonymously on many hit rock & roll and pop records, is joined by pianist Ray Johnson, bassist Duke Harris and drummer Sharky Hall for a variety of fairly basic melodies. Johnson plays quite melodically and with soul on such numbers as "Makin' Whoopee," "Blue Jean Shuffle" and "Last Call." The music on this LP is pleasing, if not all that essential. ~Scott Yanow

This instrumental R&B recording from 1955 features all of the hits by tenor saxophonist Plas Johnson that made the charts.

Bop Me Daddy

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Lisa Lauren - It Is What It Is

Styles:  Vocal
Year: 2004
File: MP3@320K/s
Time: 45:29
Size: 104,7 MB
Art: Front

(4:32)  1. The Word
(3:48)  2. Passing Fantasy
(4:20)  3. Life Is Good
(4:12)  4. I've Just Seen A Face
(4:02)  5. I'm Looking Through You
(3:39)  6. Pull Of The Moon
(4:28)  7. Dreamer In Disguise
(5:21)  8. Here Comes The Rain Again
(4:43)  9. Where Or When
(4:27) 10. Eleanor Rigby
(1:53) 11. Daddy's Lullaby

Lisa Lauren returns with her newest album, "it is what it is", blending together deep-in-the-groove rhythms and soulful melodies, once again demonstrating her unique voice in the industry. Featuring the legendary David Sanborn for his third appearance, along with an ensemble of Chicago all-stars Fareed Haque, Steve Rodby and Neal Alger, you will find this disc to be one of the most compelling musical experience available today. http://www.cdbaby.com/cd/lisalauren3

"What separates Lisa Lauren from the scores of pop songbirds who populate the airwaves these days are the skillful arrangements and clever instrumentation she deploys on "it is what is is" . . . ~ Jeff Johnson, Chicago Sun-Times

"On her marvelously eclectic release, "it is what it is", singer/songwriter Lisa Lauren brings a fresh hybrid of roots rock, jazz, and pop sensibilities to a mix of wistfully romantic originals and trippy arrangements of several other appealing covers." ~ Jonathan Widran, Jazziz/All Music Guide

"As folk-jazz vocalists go, she's as impressive as Norah Jones (whom she sounds like a sandier version of). As a songwriter she's even better than the venerable Jones." ~ Christopher Loudon, Jazz Times

“A jazz pop crossover which will appeal strongly to fans of Joni Mitchell and Rickie Lee Jones and which may prove to be Lauren’s breakthrough album”. ~ Peter Quinn, Jazzwise (UK)

Personnel: Lisa Lauren (vocals, piano); Fareed Haque (guitar, acoustic guitar); Greg Koch (guitar, electric guitar, dobro); Neal Alger (guitar, electric guitar); Brian Wilkie (acoustic guitar); Inger Carle, Susan Voelz (violin); Alison Chesley (cello); Jim Gailloreto (soprano saxophone); John Pazdan (drum programming); David Sanborn (alto saxophone).

It Is What It Is

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Dion - New Masters

Styles: Rock
Year: 2003
File: MP3@320K/s
Time: 66:38
Size: 153,2 MB
Art: Front

(4:58)  1. Behind Susan's Eyes
(4:45)  2. Ruby Baby
(3:55)  3. Lovers Who Wander
(2:50)  4. Blue Suede Shoes
(2:47)  5. A Teenager In Love
(3:06)  6. I Wonder Why
(3:29)  7. Stand By Me
(4:06)  8. Where Or When
(3:30)  9. Love Came To Me
(3:38) 10. Runaway
(4:50) 11. Drip Drop
(3:04) 12. Rockin' Pneumonia And Boogie-Woogie Flu/I Wanna Get Close To You
(3:26) 13. Donna The Prima Donna
(2:50) 14. Blue Monday
(4:26) 15. Runaround Sue
(4:02) 16. The Wanderer
(2:57) 17. Abraham, Martin And John
(3:50) 18. Come Heal This Land

Bridging the era between late-'50s rock and the British Invasion, Dion DiMucci (born July 18, 1939) was one of the top white rock singers of his time, blending the best elements of doo wop, teen idol, and R&B styles. Some revisionists have tried to cast him as a sort of early blue-eyed soul figure, although he was probably more aligned with pop/rock, at first as the lead singer of the Belmonts, and then as a solo star. Drug problems slowed him down in the mid-'60s, yet he made some surprisingly interesting progressions into blues-rock and folk-rock as the decade wore on, culminating in a successful comeback in the late '60s, although he was unable to sustain its commercial and artistic momentum for long.

When Dion began recording in the late '50s, it was as the lead singer of a group of friends who sang on Bronx street corners. Billing themselves as Dion & the Belmonts (Dion had released a previous single with the Timberlanes), their first few records were prime Italian-American doo wop; "I Wonder Why" was their biggest hit in this style. His biggest single with the Belmonts was "A Teenager in Love," which pointed the way for the slightly self-pitying, pained odes to adolescence and early adulthood that would characterize much of his solo work.

Dion went solo in 1960 (the Belmonts did some more doo wop recordings on their own), moving from doo wop to more R&B/pop-oriented tunes with great success. He handled himself with a suave, cocky ease on hits like "The Wanderer," "Runaround Sue," "Lovers Who Wander," "Ruby Baby," and "Donna the Prima Donna," which cast him as either the jilted, misunderstood youngster or the macho lover, capable of handling anything that came his way (on "The Wanderer" especially). In 1963, Dion moved from Laurie to the larger Columbia label, an association that started promisingly with a couple of big hits right off the bat, "Ruby Baby" and "Donna the Prima Donna." By the mid-'60s, his heroin habit (which he'd developed as a teenager) was getting the best of him, and he did little recording and performing for about five years. When he did make it into the studio, he was moving in some surprisingly bluesy directions; although much of it was overlooked or unissued at the time, it can be heard on the Bronx Blues reissue CD.

In 1968, he kicked heroin and re-emerged as a gentle folk-rocker with a number four hit single, "Abraham, Martin and John." Dion would focus upon mature, contemporary material on his late-'60s and early-'70s albums, which were released to positive critical feedback, if only moderate sales. The folk phase didn't last long; in 1972 he reunited with the Belmonts and in the mid-'70s cut a disappointing record with Phil Spector as producer. He recorded and performed fairly often in the years that followed (sometimes singing Christian music), to indifferent commercial results. But his critical rep has risen steadily since the early '60s, with many noted contemporary musicians showering him with praise and citing his influence, such as Dave Edmunds (who produced one of his periodic comeback albums) and Lou Reed (who guested on that record). 

Dion continued to be active as the 21st century opened, releasing Déjà Nu in 2000, Under the Influence in 2005, and Bronx in Blue in 2006. His first major-label album since 1989's Yo Frankie, entitled Son of Skip James, was released by Verve in 2007, while 2008's Heroes: Giants of Early Guitar Rock saw him tackling 15 songs from the classic rock & roll era. Influenced by a conversation with rock critic Dave Marsh about his long and still relevant career, and a dare from his wife Susan to prove it, Dion cut Tank Full of Blues, producing and playing the guitars on the recording himself and writing or co-writing all but one track on the set. Issued on Blue Horizon, it is the final recording in the trilogy that began with Bronx in Blue. Bio ~ Richie Unterberger  http://www.allmusic.com/artist/dion-mn0000265456/biography

Personnel: Dion DiMucci (vocals); Bobby "Crow" Richardson (guitar, acoustic guitar, electric guitar); Jamie "King" Colton (tenor saxophone, piano, organ); Rick Krive (piano, organ); Robert Guertin (synthesizer); Carlo Mastrangelo, Louis Colletti, Joe Neary, Walter Hochhauser, Jimmy Gallagher (background vocals).

New Masters

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Richard 'Groove' Holmes - Soul Message

Styles: Soul Jazz
Year: 1965
File: MP3@320K/s
Time: 34:18
Size: 78,8 MB
Art: Front

(7:03)  1. Groove's Groove
(5:38)  2. Daahoud
(6:00)  3. Misty
(6:04)  4. Song For My Father
(6:03)  5. The Things We Did Last Summer
(3:27)  6. Soul Message

The Hammond B-3 organ, even more than the Fender Rhodes electric piano, simply refuses to surrender to the proponents of digital synthesis, be they manufacturers of keyboards or aging keyboardists looking for less strenuous gigs. The instrument continues to exert a universal appeal, offering a soul-stirring Sunday-morning message at a time and place that suits Saturday-night sinners. All the more reason this RVG edition of Soul Message, a popular recording by one of the instrument's more effective evangelists, is likely to be warmly received among converts and backsliders alike. In retrospect, the sensation Jimmy Smith created with his up-tempo, head-spinning recording of Dizzy Gillespie's "The Champ" [The Champ (Blue Note, 1956)] was probably disproportionate to the accomplishment of the performance itself. Primarily, the "incredible" one (as he was thereafter billed) made it acceptable to bring the churchy behemoth into sinful dens and, as a bonus for playing challenging bebop, was allowed to retain preaching privileges as well.

Richard "Groove Holmes deftly toes the line between serious jazz and soul/pop worlds on this 1965 recording, which seems targeted at a mainstream audience not in the mood for either teaching or preaching. The familiar songs are given a slight face-lift (Holmes' up-tempo treatment of Erroll Garner's "Misty" became a hit single), while a less familiar tune like Clifford Brown's "Dahoud" settles into such an easy, emphatic groove that even a first-time listener could mistake it for a comfortable old slipper. It was a sweet strategy for Holmes at the time, though the session barely challenges the talented organist to show his wares. This remaster is likely to appeal above all to those who remember the original recording or to listeners in search of the soundscape that only a Hammond B3 plus Leslie speakers can create. The highlight is the opening blues, "Groove's Groove," an infectious two-beat toe-tapper that heats up into a walking 4/4 swinger, after which the session kind of simmers down.On the opener Holmes demonstrates the many uses of a plain F7 chord, staying with those four notes for the better part of several choruses. It's a simple device holding one note for an entire chorus, then adding the fifth, next the seventh, finally using the Leslie to disrupt the still surface with a wave pattern before returning the unwieldy vessel to the becalming decadence of swamp water.

The trick is to sense (and avoid) the tipping point at which repetition becomes boredom and sustained tension becomes irritation. Holmes plays not only his instrument but the average listener to perfection with ample assistance from the soiled, slightly distorted sound of Gene Edwards' gritty guitar, not to mention the organist's own potent, virile bass lines, which are given a big sonic boost on this latest remaster. Jimmie Smith (the drummer) completes the trio with remarkably restrained, tasteful and supportive accompaniment. In short, Soul Message doesn't offer the kind of preaching that saves souls, but for listeners unmoved by smooth jazz, it provides a soul-soothing alternative.~ Samuel Chell http://www.allaboutjazz.com/soul-message-richard-groove-holmes-prestige-records-review-by-samuel-chell.php

Personnel: Richard "Groove" Holmes: organ; Gene Edwards: guitar; Jimmie Smith: drums.

Soul Message

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Tipitina - Taking Care Of Business

Styles: Vocal, Traditional / Dixieland
Year: 2012
File: MP3@320K/s
Time: 70:52
Size: 162,8 MB
Art: Front

(4:04)  1. Hey Pocky Way
(6:12)  2. Brickyard Blues
(5:34)  3. Louisiana 1927
(6:14)  4. Fess Medley: Mardi Gras In New Orleans
(4:57)  5. You Know I'm No Good / Tipitina
(7:25)  6. You Are A Blessing
(3:22)  7. Rockin' Pneumonia and The Boogie Woogie Flu
(5:03)  8. Taking Care Of Business
(4:57)  9. Sweet Lover
(7:02) 10. Such A Night
(4:02) 11. Feels Like Home
(4:04) 12. You, Me & The Keys
(4:20) 13. Mama Don't Allow / When The Saint Go Marching in Medley
(3:30) 14. Sweet Louisiana

Tipitina were certainly ‘Taking Care of Business’ when they put together their second album released in 2012. If you’ve listened to their fabulous first album ‘I Wish I was in New Orleans’ and expected them to be similar think again. Here Tipitina bring you a collection of songs that gives a firmer understanding of who they are and their influences from the Jazz and Blues scenes. Recorded before a live audience in 2011, Justin Randall opens up with an accelerando intro. Tap dancing his fingers across the keys like Fred Astaire on a spotlit stage, Justin whisks into the opening track ‘Hey Pocky Way’ with Debbie Jones on vocals complimenting him like Ginger Rogers. In fact the pair, backed by Andy Jones Electric Guitar and Nick Millward on Drums, are “a force to be reckoned with” as they play their way through hits like ‘Brickyard Blues’ and the brilliant ‘Fess Medley’ by their musical hero Professor Longhair (Tipitina of course being the name of one of the Professors songs back in 1953).  

Debbie’s background as a Gospel Choir singer is evident in the tracks ‘Louisiana 1927' and the bands own compositions ‘You, Me & The Keys’, ‘Taking Care of Business’ and ‘You Are A Blessing’ which sees Debbie accompanied by four of her harmonious Choir friends. Now being a big Amy Winehouse fan, I’m not easily pleased by renditions of her songs but the dynamic band won me over completely with ‘You Know I’m No Good/Tico Tico’. Justin commences with the opening keys of the Winehouse classic before launching into a scherzando James Booker-style ‘Tico Tico’. The juxtaposition is magical and becomes even more so when Debbie brings in her sultry vocals. The album closes with ‘Sweet Louisiana’ a piano solo by English composer Albert Ketelbey. It’s fitting that they should choose this song by a British artist like themselves, showing that you don’t need to be from the deep south to be rooted in the blues. http://musicvein.co.uk/2013/04/22/album-review-taking-care-of-business-by-tipitina/

Personnel: Justin Randle (piano) and Debbie Jones (vocals)

Taking Care Of Business

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Ted Heath - Orquestas De Oro Vol 16

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 49:47
Size: 115,5 MB
Art: Front

(3:03)  1. Cerezo Rosa
(2:11)  2. Brasil
(2:37)  3. Tico Tico
(1:50)  4. Sweet Georgia Brown
(3:25)  5. And the Angels Sing
(2:57)  6. My Funny Valentine
(1:33)  7. Lover
(2:26)  8. Deep Purple
(2:46)  9. Sentimental Journey
(3:38) 10. Besame Mucho
(2:37) 11. Quizás, Quizás, Quizás
(2:44) 12. Acércate Más
(2:13) 13. Frenesí
(2:10) 14. Ramona
(2:26) 15. Poinciana
(2:26) 16. Georgia on My Mind
(2:10) 17. Flying Home
(2:07) 18. After You've Gone
(1:57) 19. Late Night Final
(2:23) 20. Short Stop

Ted Heath was one of the most famous big-band leaders in Great Britain of the 1950s. His bands played modernized swing music that was always danceable but occasionally had worthwhile solos played in the tradition. Heath started out playing tenor horn before he switched to trombone when he was 14. He spent a period playing as a street musician and then was discovered by Jack Hylton, who hired him for his band. Heath had long stints as a sideman with a variety of top dance bands, including ensembles led by Bert Firman (1924-1925), Hylton again (1925-1927), Ambrose (1928-1936), Sydney Lipton (1936-1939), and Geraldo (1939-1944). 

Heath began leading his own big band in 1944 and, through regular appearances on the radio, tours, and concerts, he soon became a household name in England. The innovations of bebop were largely ignored in favor of playing swing-oriented charts, although some of Heath's soloists (particularly Ronnie Scott, Danny Moss, Don Rendell, and Kenny Baker) became notable as jazz players. Heath, whose band was always of high musicianship and used "Listen to the Music" as its theme song, also became well known in the United States, visiting the U.S. several times starting in 1956. His orchestra recorded quite frequently starting in 1944 (mostly for Decca and London), including ten albums in 1959 alone. Even after Ted Heath's death in 1969, the big band continued performing and recording with a live concert cut as late as 1977. ~ Scott Yanow  https://itunes.apple.com/us/artist/ted-heath/id15808662#fullText

Orquestas De Oro Vol 16

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Rodney Stepp & BSB - Steppin' Out

Styles: Jazz, Smooth Jazz
Year: 1997
File: MP3@320K/s
Time: 64:24
Size: 149,5 MB
Art: Front

(5:30)  1. Steppin'
(5:25)  2. N' Da Mornin'
(5:55)  3. Maybe If
(4:23)  4. Crusin'
(3:50)  5. Island Paradise (single)
(4:49)  6. Walk in the Dark
(0:54)  7. Interlude - Love Hurts
(4:50)  8. Jkb Fusionoshi
(5:47)  9. Just Chillin'
(4:44) 10. Monday Morning Blue
(5:36) 11. Deliverin' 4 U
(4:09) 12. Night Breeze Lover
(1:22) 13. Interlude - Good 2 Go
(7:04) 14. Come Home Oh Faithful Servant

Our policy with regard to artists who produce music locally is that their efforts need to be competitive with major-label productions in order for us to air their music. With Rodney Stepp & BSB that certainly is true. His music is in a regular rotation on WTPI and has been for the past two years. As of today, two cuts from the "Steppin' Out" CD have received over 200 spins. I believe you will find Rodney's music very much worth your consideration. ~ 107.9 WTPI Radio Indianapolis, Indiana-Gary Havens

Buy this! Keep it when you're crusin' at night, bathed in the soft glow of the dashboard lights. Veteran local keyboardist/songwriter/producer Rodney Stepp covers a variety of moods on BSB's mostly instrumental debut. Check out the cool, rhythmic "Walk in the Dark", the bright, melodic "Steppin'" and the contemplative "Monday Morning Blues". Then there's the scratchy, funk-rockin' "Deliverin' 4-U", the creepin' "N' Da Morning" and the inspirational "Come Home, Oh Faithful Servant", the album's one vocal track, dedicated to Stepp's late parents - Danny and Lugenia Stepp. Stepp and his band - Joe Logan, Daren Owens, Steve Cooper, Bruce and Koknosh Lismon could hang with Alex Bugnon or about any other piano-fronted smooth jazz act out there. Indianapolis should support this album to help Rodney Stepp & BSB build a foundation for national exposure. ~ The Indianapolis Star newspaper 08/17/1997

I have had the pleasure of working with Rodney Stepp on his latest CD. Normally, when I am asked by a local artist, I usually have reservations. This CD by Rodney Stepp is on the same level as many of the nationally known artists. As Program Director of formerly "WGGR" now "WBKS", the CD "Steppin' Out" was in regular rotation. "Steppin' Out" was receiving more requests than some of the national artists we were playing. Rodney Stepp & BSB has performed at numerous high profiled events for my station and is one of the feature acts for this years Emmis Communications New Years Eve event. Rodney Stepp & BSB also was the headlining act for a near sellout show with the late jazz great George Howard. Rodney Stepp & BSB's "Steppin' Out", if picked up by the right distributor, will do great business. I highly recommend it. ~ Geno Shelton, WTLC-FM 105.7, Special Events Director, 06/08/1999 more... ~ Editorial Reviews http://www.amazon.com/STEPPIN-OUT-RODNEY-STEPP/dp/B00004R2HD

Steppin' Out

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Various - Kenton Portraits: A Loving Salute (2-Disc Set)

The word breathtaking is over-used these days, so I must beg your indulgence as I use it to describe Kenton Portraits - A Loving Salute, which is indeed a loving and, yes, often breathtaking salute to one of the most admired and innovative bandleaders who ever lived, Stanley Newcomb Kenton. True, all of the material on the first disc in this two-disc set, and some on the second, has been released elsewhere, but hearing these splendid themes played consecutively on one marvelous anthology is simply—for lack of a better word—breathtaking. If you're an admirer of Kenton and his music, and this album doesn't move you to tears, perhaps nothing will.

Ten ensembles of various shapes and sizes are represented, all but two from North America. The exceptions are Kenton alumnus Bobby Lamb's Trinity Big Band from the UK and composer/pianist Francois Glorieux's Orchestra from Belgium. Even though Glorieux's three memorable tracks were included on his Tribute To Stan Kenton, that album isn't widely known or available, and they will be new to many listeners. Trinity's lone selection, "Stone Canyon, can be heard on its album Trinity Big Band Salute Stan Kenton, and on another of Tantara Productions' anthologies, Horns Of Plenty (Vol.3).

Four of the fourteen selections were recorded in concert, including the Chicago Metropolitan Jazz Orchestra's eloquent opener, "I Remember Stan. The composition is arguably one of the finest big band works ever written by Lennie Niehaus, who played saxophone and arranged for Kenton from 1951-52 and again from 1954-60. Other numbers recorded live are Bob Florence's expansive "Appearing In Cleveland, Herb Harrison's fast-moving "Bus To Nowhere and Bill Holman's "The Tall Guy." The first of these is from the Mike Vax Orchestra's album Next Stop, Live . . . On the Road, the second from Herb's Book by Vaughn Wiester's Famous Jazz Orchestra, and the last was recorded more than a dozen years ago by the Stan Kenton Alumni Band during a Bud Shank Jazz workshop in Port Townsend, WA. The soloists on that one include pianist Dave Barduhn, trumpeter Conte Candoli, soprano Bill Perkins and drummer Frank Capp.

The first disc closes with two dazzling selections by the U.S. Army Jazz Ambassadors: Hank Levy's lively swinger, "With The Old Man In Mind, and a medley of Kenton favorites smartly arranged by Ken McCoy, both of which are included on the AJA's The Legacy Of Stan Kenton. The second disc opens with a pair of gems by Galen Jeter and Dallas' Original Jazz Orchestra: the standard "My Foolish Heart (arranged Kenton-style by Dave Bowman) and another evocative composition by Niehaus, the buoyant "Tribute To Kenton. Trinity's picturesque "Stone Canyon, written and arranged by Lamb, uses French horns to good advantage, as do five other groups—the Glorieux, Wiester and Dallas orchestras, Kenton Alumni Band and Canadian Brass Jazz All-Stars, who close the second disc with Kenton alumnus Don Sebesky's powerful arrangement of Kenton's theme song, "Artistry In Rhythm.

Perhaps the most touching moments on the album are provided by the Paul Cacia Studio Orchestra's "Kenton In Portrait, wherein can be heard spoken tributes to Kenton by several of those who knew him best: Bob Gioga, Lee Konitz, Carl Fontana, Laurindo Almeida, Bob Cooper, Shorty Rogers, June Christy, Pete Rugolo, Milt Bernhart, Buddy Childers and Dick Shearer. The homage, we're told, was cobbled together in a hurry when a recording of Halls Of Brass (using classical musicians) proved unsatisfactory. Cacia and Rugolo fleshed out the idea in about four early-morning hours, Rugolo quickly wrote the chart, and the rest, as they say, is history. Cacia's closing remarks, preceding the wistful "Auld Lang Syne, were written by satirist Mort Sahl. Of course, there's no way to follow that except with "Artistry In Rhythm, which the Canadian Brass All-Stars perform brilliantly.

In seeking to describe accurately this remarkable series of tributes to the incomparable Stan Kenton, I can think of no better words than those used on the album's jacket: "A vivid canvas that captures the elegance, power, color, drama, thrill and awesome beauty of [Kenton's] orchestras. That about sums it up, but I would add one more word. It really is...breathtaking. ~Jack Bowers

Album: Kenton Portraits: A Loving Salute (Disc 1)
Bitrate: MP3@320K/s
Time: 63:36
Size: 145.6 MB
Styles: Big band
Year: 2006
Art: Front

[ 6:18] 1. Chicago Metropolitan Jazz Orchestra - I Remember Stan
[14:22] 2. Mike Vax - Appearing In Cleveland
[ 2:47] 3. Francois Glorieux Orchestra - Artistry In Trombones
[10:15] 4. Francois Glorieux Orchestra - Tribute To Stan Kenton
[ 5:30] 5. Francois Glorieux Orchestra - In Memoriam Stan Kenton
[ 7:09] 6. Vaughn Wiester Famous Jazz Orchestra - Bus To Nowhere
[ 8:38] 7. U.S. Army Jazz Ambassadors - With The Old Man In Mind
[ 8:35] 8. U.S. Army Jazz Ambassadors - Stan Kenton Medley

Kenton Portraits: A Loving Salute (Disc 1)

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Album: Kenton Portraits: A Loving Salute (Disc 2)
Bitrate: MP3@320K/s
Time: 56:53
Size: 130.2 MB
Styles: Big band
Year: 2006
Art: Front

[ 5:09] 1. Dallas' Original Jazz Orchestra - My Foolish Heart
[ 5:39] 2. Dallas' Original Jazz Orchestra - Tribute To Kenton
[17:44] 3. The Stan Kenton Alumni Band - The Tall Guy
[ 9:09] 4. Trinity Big Band - Stone Canyon
[14:07] 5. Paul Cacia - Kenton Portrait Artistry In Rhythm Minor Riff Painted Rhythm Interlude
[ 5:03] 6. Canadian Brass - Artistry In Rhythm

Kenton Portraits: A Loving Salute (Disc 2)

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Sammy Davis Jr. - Laughing Out Loud

Bitrate: MP3@320K/s
Time: 75:05
Size: 171.9 MB
Styles: Vocal
Year: 2013
Art: Front

[2:14] 1. Easy To Love
[2:21] 2. I'm Sorry Dear
[3:16] 3. That Old Black Magic
[2:55] 4. My Funny Valentine
[3:16] 5. Frankie And Johnny
[2:17] 6. Too Close For Comfort
[3:20] 7. Hey Won't You Play (Another Somebody Done Somebody Wrong Song)
[2:37] 8. Hey There
[2:52] 9. Glad To Be Unhappy
[2:00] 10. Lonesome Road
[2:41] 11. And This Is My Beloved
[3:11] 12. You're Gonna Love Yourself (In The Morning)
[2:41] 13. All Of You
[2:44] 14. Spoken For
[2:56] 15. Love Me Or Leave Me
[3:13] 16. We Could Have Been The Closest Of Friends
[2:44] 17. Be Bop The Beguine
[2:21] 18. Got A Great Big Shovel
[2:21] 19. Oh, Lonesome Me
[2:40] 20. September Song
[3:00] 21. Smoke! Smoke! Smoke! (That Cigarette)
[2:44] 22. What I've Got In Mind
[2:03] 23. Something's Gotta Give
[3:15] 24. Birth Of The Blues
[2:41] 25. The River's Too Wide
[3:06] 26. What Can I Do
[3:23] 27. Please Don't Tell Me How The Story Ends

Sammy Davis Jr. was an actor, comedian, singer and dancer, and part of the Rat Pack with Frank Sinatra and Dean Martin, with whom he starred in several films.

Born on December 8, 1925, in New York City, Sammy Davis Jr. overcame prevailing racism to become an entertaining legend. He was a successful comedian, actor, dancer and singer. As part of the Rat Pack, with Frank Sinatra and Dean Martin, Davis was known for his films and his partying ways. As his fame grew, his refusal to appear in any clubs that practiced racial segregation led to the integration of several venues in Miami Beach and Las Vegas. Davis died of throat cancer on May 16, 1990.

Laughing Out Loud

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Junior Mance - I Believe To My Soul

Bitrate: MP3@320K/s
Time: 36:45
Size: 84.1 MB
Styles: Soul-jazz
Year: 1966/2005
Art: Front

[3:09] 1. I Believe To My Soul
[5:03] 2. A Time And A Place
[5:39] 3. Sweet Georgia Brown
[5:08] 4. Golden Spur
[5:03] 5. Don't Worry 'bout It
[3:47] 6. Home On The Range
[2:05] 7. Sweets For My Sweet
[6:47] 8. My Romance

Recorded in New York over three recording sessions from September of 1966 to August of 1967, the soul/blues-inflected pianist Junior Mance finds himself in a variety of instrumental combinations with a variety of musical stablemates. In the first he is in the company of top players, including David "Fathead" Newman, Frank Wess, Joe Newman, Haywood Henry, and Hubert Laws. This larger group is responsible for three of the tracks. Then Mance steps back into a trio mode with Richard Davis and Freddie Waits on bass and drums, respectively. They also do two tracks, including one of the more impressive ones on the album, an Erroll Garner-like "My Romance." This same group gets together once again, but backed by strings, for a different arrangement of "Home on the Range." Mance also combines with Bob Cunningham and Alan Dawson for two tracks. Vocalist Sylvia Shemwell joins in on the title tune, "I Believe to My Soul." Regardless of the setting and the company, Mance's piano dominates with its immediately recognizable rhythmically discerning style, which was strictly Mance's pianistic domain. Even on the Latin-cadenced "Sweets for My Sweet" with Ray Barretto doing his conga thing, Mance never ventures far from that jazzy soulfulness which characterized his playing. This is a good representative recording by an artist who was never able to raise himself to the top tier of jazz pianists. This album has been reissued on CD by the Collectables label in combination with Mance's Harlem Lullaby. ~Dave Nathan

I Believe To My Soul

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Laura Theodore - Tonight's The Night

Styles: Vocal Jazz
Year: 1994
File: MP3@320K/s
Time: 29:35
Size: 68,0 MB
Art: Front

(4:49)  1. Better Days
(5:36)  2. I'll Never Get Over You
(4:09)  3. Tonight's the Night
(5:10)  4. Shooby Do
(5:34)  5. Where Did the Love Go?
(4:15)  6. You Got the Love

Laura Theodore's debut CD was co-written with jazz pianist Don Rebic, and features Big Band charts arranged by Alan Foust. This recording contains six originals and three cover tunes, and features some of New York’s finest musicians, including Randy Brecker on trumpet, Joe Beck on guitar, Chip Jackson on bass, Michael Berkowitz on drums, Andy Snitzer and Lou Marini on sax.

"I am so proud to finally be releasing "Tonight's the Night," on CD Baby. This CD has to be my favorite over all because it is an extension of me, my life, and my music in all forms. It started one spring afternoon when I got a call from my musical director and long time friend Don Rebic: “I was thinking”he hesitated “let’s write and produce our own jazz record. Let’s record our own music, the music we enjoy playing.” Thus, Tonight’s the Night was born. For the following year we wrote, recorded, edited, wrote again, mixed, recorded, edited again, recorded again, mastered, and finally finished our “labor of love” project. I am so grateful to Don, Alan Foust, and all of the incredible, virtuoso musicians who lent their talents to this recording to make it so special. The lyrics come from the bottom of my heart, and the music speaks my story." ~ Laura Theodore

"Laura Theodore’s powerful voice is lined with velvet and versatility. The New Yorker’s fantastic four-octave range is showcased on six originals co-written with polished pianist Don Rebic." ~ Patricia Myers, Jazz Times

"For the last few weeks I have had the pleasure of playing Laura Theodore - Tonight's The Night  on my radio show, ‘Nite Owl Jazz,’ WWCD-101-FM, Columbus, Ohio. Listener response has been terrific and I’ll be using many tracks from the CD for months to come. She is the most dynamic, exciting, and versatile singer I’ve heard in a long time and I’ve been a professional DJ since 1959. Voice, feeling, style, drama she has it all. Count me in as one of her most enthusiastic fans." ~ Fritz the Nite Owl, Smooth Jazz Radio, Columbus, Ohio

"Tonight’s the Night (digital version) is co-written by Laura Theodore and keyboard player Don Rebic. The Theodore-Rebic compositions include “I’ll Never Get Over You,” a smoky torch song that shows off Theodore’s range and versatility, with notes dipping to throaty growls, then climbing to Sarah Vaughan-like soprano." ~ Dianne Zuckerman, Denver Daily Camera http://www.cdbaby.com/cd/theodore3

Personnel: Laura Theodore (vocals); Don Rebic (piano, synthesizer); Andy Snitzer (alto saxophone); Lou Marini (tenor saxophone); Bob Milikan, Randy Brecker (trumpet); Jim Pugh (trombone); Alan Faust (synthesizer); Joe Beck (guitar); Chip Jackson (bass); Michael Berkowitz, Graham Hawthorne (drums); Sue Evans (percussion); Norma Garbo, Maria Bartolotta (background vocals).

Tonight's The Night

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Peter Fesperanto Fessler - Lovers, Fools And Dreams

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 48:25
Size: 111,0 MB
Art: Front

(3:25)  1. If You Never Come To Me
(5:02)  2. Strangers In The Night
(4:07)  3. Blue Moon
(4:56)  4. Memories of Moments
(5:21)  5. Hello
(4:15)  6. Smoke Gets In Your Eyes
(4:13)  7. Agua De Beber
(4:51)  8. I Remember You
(4:10)  9. My Romance
(4:35) 10. Poinciana
(3:25) 11. I Wish You Love

Born in Cologne, Germany, and at the age of twelve, he began studying jazz guitar with his supporter and mentor Rick Abao. At the age of 20 he crossed the Atlantic for the first time, embarking on a musical journey that would take him into the world of sessions. Upon his return to Europe, Fessler began a concentrated shortstudy of jazz vocal technique at the renowned Cologne Music Conservatory. Soon after, Fessler became the front man and voice of the succesfull TRIO RIO - group (New York-Rio-Tokyo). Since his return to Europe he has continued to tour, performing live on the concert stage and logging numerous television and radio productions along the way. Fessler's voice can be heard by children all over Germany in the title role of the Walt Disney film "Aladdin", the German version. Following the release of his recording "Don't Tell Me", Fessler dedicated his next album-recordings to jazz and latin-jazz repertoire while simultaneously exploring the territory covered by his own compositions. Since his spectacular duet performance with Al Jarreau at the Montreux Jazz Festival, Peter Fessler has been considered the premiere jazz voice of Germany.

Randy Crawford, Bobby Mc Ferrin, Toots Thielemanns, and many other stars also recognize his unique talent and singular ability. As one of the next generation's jazz stars, he has earned his place on the international stage untill today. Fessler's recent recording and his performance as a "solophonic" musician is a breathtaking fusion of voice and classical guitar. He has found the perfect sound asthetic: High emotional, fascinating and virtuoso.

It all started for German-Canadian Peter Fessler in 1987 with the Top 10 hit "New York, Rio, Tokyo" and the band Trio Rio. Even then many of his breezy pop miniatures bore the influence of Bossa Nova legend Antonio Carlos Jobim. Today Fessler is regarded without a doubt as the most competent interpreter of modern Brazilian sounds in our European climes. A relocation to San Francisco made a decisive mark on him, promptly expressed in songs with a quintessential California "easy feeling".These years of artistic self-searching in the realms of Latin pop, jazz standards, Bach vocalizing or just the barest guitar accompanying his song miniatures have made him a sound to be reckoned with. Nowadays making his home near Cologne, Germany, the inimitably personal style of multi-voice FESSLER is ranked as the European counterpart to such grand masters as Jon Hendricks, Al Jarreau or Bobby McFerrin. Bio ~ http://www.mymusicbase.ru/PPB/ppb35/Bio_3548.htm

Lovers, Fools And Dreams

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Randy Brecker - Hangin' In The City

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 61:46
Size: 141,9 MB
Art: Front

(5:07)  1. Overture
(4:26)  2. Wayne Out
(5:43)  3. Hangin' in the City
(7:18)  4. I Talk to the Trees
(4:38)  5. Down For the Count
(7:09)  6. Pastoral (to Jaco)
(5:25)  7. Then I Came 2 My Senses
(5:21)  8. Seattle
(4:56)  9. Never Tell Her U Love Her (Less She's 3000 Miles Away)
(5:55) 10. I Been Through This Before
(5:43) 11. One Thing Led to Another

This album is not at all representative of Randy Brecker's "normal" output as a jazz trumpeter. Subtitled "Songs of Rhyme, Reason, Romance & Raunch," it marks the debut of "Randroid," a sort of alter-ego fashioned from a nickname given to Brecker some years before by alto saxophonist Gary Bartz. Taking on this shady, decadent persona, Brecker sings and raps about sexual exploits, partying, and other aspects of the musician lifestyle. Musically, the result is somewhere between Frank Zappa and Donald Fagen. Lyrically, it's really kind of bizarre, at times downright embarrassing. But once you get over the shock, you find that the tracks are actually pretty hip. Producer George Whitty handles keyboards and drum programming throughout, giving the disc a contemporary urban funk feel.

Brecker blows a mean trumpet and flügelhorn and is joined by brother Michael Brecker on tenor sax, bassists Chris Minh Doky, Richard Bona, and Will Lee, guitarists Adam Rogers, Dean Brown, and Hiram Bullock, and more. Four of the 11 tracks are instrumental. The cheesy sexual double entendre of "Then I Came 2 My Senses" and the Lolita fantasy of "One Thing Led to Another" are pretty near unforgivable, but the hip beats, involved harmonies, and searing Adam Rogers guitar solos on "Wayne Out" and "Seattle" are redeeming. George Whitty's Rhodes solo on "Never Tell Her You Love Her ('Less She's 3000 Miles Away)" is also one of the hotter moments. ~ David R.Adler http://www.allmusic.com/album/hanging-in-the-city-mw0000006440

Personnel: Trumpet/Flugelhorn & Pre-Production Programming by Randy Becker; all lead vocals by Randroid. Randy Brecker: trumpet, flugelhorn; Michael Brecker: tenor saxophone; George Whitty: keyboards and programming; Hiram Bullock: guitar, background vocals; Adam Rogers: guitar; Dean Brown: guitar; Joe Caro: guitar; Chris Minh Doky: acoustic and electric bass; Will Lee: electric bass, background vocals; Richard Bona: electric bass; Joe Locke: vibraphone; Don Alias: percussion; Mike Harvey: background vocals; Katreese Barnes: background vocals; and Randroid!

Hangin' In The City

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