Helen Humes - Blue And Sentimental

Size: 135,8 MB
Time: 58:10
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz/Blues Vocals
Art: Front

01. He May Be Your Man (2:57)
02. Every Now And Then (3:15)
03. Unlucky Woman (3:57)
04. Blue Prelude (3:08)
05. Its Better To Give Than To Receive (2:52)
06. Please Let Me Forget (3:06)
07. He Don't Love Me Anymore (2:48)
08. See, See, Rider (2:45)
09. Pleasing Man Blues (3:03)
10. Central Avenue Boogie (2:36)
11. Married Man Blues (2:56)
12. Be Ba Ba Le Ba Boogie (2:41)
13. Jet Propelled Papa (2:42)
14. They Raided The Joint (2:27)
15. Blue And Sentimental (3:08)
16. I Just Refuse To Sing The Blues (2:55)
17. Jumpin' On Sugar Hill (2:55)
18. Mad About You (2:59)
19. Flippity Flop Flop (1:59)
20. Today I Sing The Blues (2:51)

Helen Humes was a versatile singer equally skilled on blues, swing standards, and ballads. Her cheerful style was always a joy to hear. As a child, she played piano and organ in church, and made her first recordings (ten blues songs in 1927) when she was only 13 and 14. In the 1930s, she worked with Stuff Smith and Al Sears, recording with Harry James in 1937-1938. In 1938, Humes joined Count Basie's Orchestra for three years. Since Jimmy Rushing specialized in blues, Helen Humes mostly got stuck singing pop ballads, but she did a fine job. After freelancing in New York (1941-1943) and touring with Clarence Love (1943-1944), Humes moved to Los Angeles. She began to record as a leader and had a hit in "Be-Baba-Leba"; her 1950 original "Million Dollar Secret" is a classic. Humes sometimes performed with Jazz at the Philharmonic, but was mostly a single in the 1950s. She recorded three superb albums for Contemporary during 1959-1961, and had tours with Red Norvo. She moved to Australia in 1964, returning to the U.S. in 1967 to take care of her ailing mother. Humes was out of the music business for several years, but made a full comeback in 1973, and stayed busy up until her death. Throughout her career, Helen Humes recorded for such labels as Savoy, Aladdin, Mercury, Decca, Dootone, Contemporary, Classic Jazz, Black & Blue, Black Lion, Jazzology, Columbia, and Muse. ~by Scott Yanow

Blue And Sentimental

---

Bill McGee - Still Bill

Size: 131,1 MB
Time: 56:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz, Vocals
Art: Front

01. Cantaloupe And Watermelon (6:04)
02. Stay (5:19)
03. Grazing In The Grass (4:48)
04. The Gift (5:56)
05. Children Of The Night (5:45)
06. I Know You Got Soul (4:04)
07. The Groove Activator (5:40)
08. Full Circle (4:53)
09. Fence Walk (4:41)
10. Just You Wait And See (6:25)
11. Homily For The Pope (Pope Francis) (2:23)

Since his first solo CD, "This One's 4U", was released in 2002, Bill McGee has survived prostate cancer, had nine grandchildren, retired after thirty years as a school administrator and music teacher, released seven different CD's as the CEO of the 804 Music Group and has come around full circle as a full time musician and recording artist. He was given his first trumpet lesson in 1963, and says that he's still working on learning how to play the instrument. Bill recorded for the first time in 1970, in a small studio in College Park, Georgia with his classmates who went on to become "Brick". After receiving two gold records and working with stars like the O'jays, Lou Rawls, Evelyn Champagne King, and The Sugarhill Gang, learning how to play is a bit of an understatement. But after a nine year hiatus since the hit CD "Chase The Sunset", Bill wants everybody to know that he is "Still Bill", a soulful, spiritual, jazzy kind of trumpet guy, who as an arranger and composer can hang with the best in the business. The CD "Still Bill" comes with all flavors of Jazz, Soul and Gospel Jazz. With a great cast of musicians and singers who all have what Bill likes to call "The Gift". Much of the music is a reflection on his early life as a young trumpet player learning songs like "Watermelon Man", "Cantaloupe Island" and his first public solo, at a pep rally, playing "Grazing in The Grass". Another group of songs represent his days as a young professional musician and being influenced by Mandrill's "Fence Walk" and Philly International's "Children of the Night", by the Stylistics, performed beautifully by Yolanda "Yonnie" Coleman. Then we find the songs on this CD that reflect on a spiritual journey that recognizes we all come "Full Circle", and in time learn to appreciate "The Gift" of music given to us by the creator. Then we reflect and share the beautiful uplifting melody of the original Jazz - Gospel composition "Just You Wait and See" performed by the marvelous voice of Reverend Cora Harvey Armstrong, and the 804 Jazz Allstars. The CD "Still Bill" reflects the life and experience of the veteran trumpet player Bill McGee, who sincerely believes "To whom much is given; much is required."

The CD "Still Bill" has eleven outstanding songs all by Bill McGee and his associates, Tom Reaves a phenomenal guitarist who has played on all four of Bill McGee’s CD’s, E.J. Shaw a gifted drummer, bass player and pianist and Brandon Lane, a gifted composer, arranger, engineer, and bass player extraordinaire. Brandon at 13 made his recording debut when he played on Bill’s cover of “I Wish” from the Chase The Sunset CD. Along with these three fantastic musicians the CD “Still Bill” features many, talented musicians and singers including Fox Hole Records guitarist, Freddie Fox, on Brandon’s composition “Full Circle”. And there is the young prodigy, Ayinde Williams, the 18 year old pianist is featured on the lead single “Cantaloupe and Watermelon”. A 2015 high school graduate, Ayinde was awarded a scholarship to the New England Conservatory of Music to study Jazz Performance. Bill says “it was an honor to feature Ayinde of these two Herbie Hancock classic’s because of the synergy and similarities between a young Herbie Hancock and this fine young pianist who is most definitely heading for bigger and better things as a jazz pianist.”

Also featured on the CD are 804 jazz label mates, James Saxsmo Gates (Sax) and Dr. Weldon Hill (Piano), both of these fantastic artist have been recently nominated on the first ballot for a Grammy, in composition and arranging. Saxsmo stands out once again on several songs, one in particular is “I Know You Got Soul”, a funky G minor blues that will have you bopping your head from side to side. The CD “Still Bill” has so many great originals and cover tunes that it is fundamentally a top to bottom listen. And as it closes out you will hear a composition that was written to acknowledge the 2015 visit of Pope Francis to the United States. This song was released on Facebook and Youtube as a tribute video and received many thousand views. Bill explained that he is not Catholic, but he admires Pope Francis for being a simple man of the people, sick and poor, a man with flaws who follows the words of Christ as he ministers to his flock. In recording this song Bill stepped away from slick studio production and recorded it in one take, a capella, keeping all of the flaws and nuances in an effort to reflect the realness of the moment and the person of Pope Francis, then the music was added to enhance the mood of his soulful trumpet playing. This song brings the CD to a beautiful culmination of excellence and creativity. And yes he is “Still Bill”.

Personnel:
Bill McGee - Trumpet, Flugelhorn, Trombone, Keyboards, Drum Programming, Strings, Arrangements, Producer, Engineer
Tom Reaves - Guitar, Associate Producer, Engineer
E.J. Shaw - Drums, Bass, Keyboards, Associate Producer, Engineer
Brandon Lane - Bass, Trombone, Keys, Programming, Producer, Engineer (Full Circle), Associate Producer
Larry Dee - Organ, Production Assistant
James Saxsmo Gates - Sax
Ayinde Williams - Piano
Hannon D. Lane, Freddie Fox - Guitar (Freddie Fox appears courtesy of FoxHole Records)
Cora Harvey Armstrong - Piano, Lead Vocals (Just You Wait and See)
Matthew Zavich, Kevin Simpson, Dexter Moses - Sax
Juan Nelson - Bass
Kenneth Gill - Trombone
Kofi Shepsu - Drums
Yolanda "Yonnie" Coleman - Lead Vocals (Children of The Night)
Shawanda Yeldell - Lead Vocals (Fence Walk)
Will Hall - Piano, Marsha Meekins - Flute
Ellis Muhammad - Keyboards, Programming
Vocals: Wanda Tiller, Thomasine Johnson, Wanda T. McGee, Clarissa Jackson, Keisha Curry-Hilliard, Tiffany Thomas, Chasity Nero, Kanika McKinzie, Yolanda Coleman, Casper C. Coleman, Leandra Wilson, Tom Reaves, Bill McGee
Sound FX: Amani, Kameron, Jordan, Sean, (Boo boo and The Huggables) with Layla and Joshua (Monk)

Still Bill

---

Larry Novak - Invitation

Size: 158,5 MB
Time: 68:20
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Nobody Else But Me ( 6:31)
02. Waltz For Debby (Solo) ( 1:56)
03. Very Early ( 8:37)
04. The Days Of Wine And Roses ( 5:40)
05. Minority ( 5:56)
06. Close Enough For Love (11:00)
07. Yesterdays ( 9:03)
08. Invitation ( 6:33)
09. The Touch Of Your Lips ( 9:25)
10. Too Late Now ( 3:35)

It's been 50 years since the jazz pianist released his first album Larry Novak Plays! on Dot Records in 1964. Novak led his trio at Chicago's London House from 1961 to '63, then at Mr. Kelly's from '63 to '75. He played with and arranged for Peggy Lee, and worked extensively with Pearl Bailey. He also worked with Frank Sinatra, Joe Williams, Sarah Vaughan, Carmen McRae, instrumentalists Dizzy Gillespie, Louie Bellson, Charlie Shavers, Barney Kessel and countless others. This new trio recording features Eric Hochberg, bass and Rusty Jones, drums.

Invitation

---

Stephanie Urbina Jones - Feliz Navidad Y'All

Size: 100,8 MB
Time: 38:52
File: MP3 @ 320K/s
Released: 2015
Styles: Texicana, Country, Jazz, Xmas
Art: Front

01. Feliz Navidad (3:41)
02. Hallelujah Chorus (2:54)
03. The Little Drummer Boy (3:46)
04. Santa Claus Is Coming To Town (2:18)
05. One Little Boy (3:22)
06. Silent Night (2:28)
07. You Light Me Up (Like A Christmas Tree) (2:54)
08. Sexy, Saucy, Sometimes Naughty Time Of Year (2:49)
09. Winter Wonderland (3:43)
10. The Spirit Of Christmas (3:49)
11. The Christmas Song (4:12)
12. Silver Bells (2:50)

Stephanie Urbina Jones was born in a bi-cultural home in San Antonio, Texas where she grew up hearing sounds from both sides of the border. Her Texicana tapestry of music combines her life experiences and the sounds that influenced her soul.As a child many evenings were spent two-stepping at the famous honky-tonk Luckenbach where the sheriff and bartender of the one horse town "Margie" was her babysitter.

From country rock to latin blues-pop, she has created a style all her own. This unique artist is poised to be the very first Hispanic American female to break through country music. Drawing from her passion to honor her heritage through her music she became the first independent female to reach #1 on the Texas Music chart.
At this point this latina is committed to joy, laughter, and gratitude. "I've spent most of my life so far being serious, and now I intend to not take myself or anyone else so seriously. They say laughter is the best medicine and after the last few years I am ready to cut loose and have some fun!" Jones says. This upcoming album loosely referred to as "The Texicana Sessions" is just that, a horn filled fiesta platter of passion, romance and a party in a song! Songs like "Revolucion en mi Corazon", "Como Se Llama, Mama?" ( featuring Texas legend Augie Meyers) and "I'm Not a Pinata" are sure to make you laugh and give you a little south of the border getaway without going anywhere.
This saucy Texicana Mama is hitting the road and shakin things up...Vamanos Ya'll!

Feliz Navidad Y'All

---

Various - Rockin' The Spirit

Bitrate: MP3@320K/s
Time: 60:26
Size: 138.3 MB
Styles: Boogie woogie, Spirituals
Year: 2001
Art: Front

[6:02] 1. Bob Seeley - St. Louis Blues
[4:29] 2. Johnny O'Neal - Happy Days Are Here Again Jitter Bug Waltz
[3:24] 3. Mark Braun - Pinetop's Boogie Woogie
[5:59] 4. Bob Seeley - Amazing Grace
[6:25] 5. Mark Braun - My Sunday Best
[2:47] 6. Eric Reed - You Took Advantage Of Me
[4:02] 7. Johnny O'Neal - Glory Glory Hallelujah
[5:34] 8. Monty Alexander - Boogie Woogie Keys
[3:24] 9. Bob Seeley - Fourplay Boogie Woogie
[4:20] 10. Eric Reed - Three Hymns
[6:04] 11. Monty Alexander - Nobody Knows The Trouble I've Seen No Woman, No Cry
[7:51] 12. Eric Reed - Whisper Not

After attending an annual boogie-woogie concert organized by Mark Braun (Mr. B.), Monty Alexander headed a recording project that paid tribute to both boogie-woogie and spirituals. Five pianists participated, performing two numbers apiece, with four of the players (all but Alexander) playing a pair of duets. Alexander, Eric Reed, and Johnny O'Neal are better known nationally than Bob Seeley and Mark Braun, but all five pianists fare well, stretching beyond boogie-woogie and spirituals to include a few swing standards and even a bluish duet on Benny Golson's "Whisper Not." Recommended to boogie-woogie fans and the curious. ~Scott Yanow

Rockin' The Spirit

---

Clementine - Clementine Sings Ben Sidran

Bitrate: MP3@320K/s
Time: 31:48
Size: 72.8 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[3:09] 1. At Least We Got To The Race
[3:45] 2. You're Looking At Me
[3:00] 3. Solar
[3:05] 4. Let's Call The Whole Thing Off
[2:51] 5. Fullness Of Time
[3:21] 6. Lately
[3:05] 7. When I Fall In Love
[2:24] 8. Doop Doop Song
[4:15] 9. Searching
[2:49] 10. What A Wonderful World

Clementine - Vocals; Sylvain Beuf - Saxophone; Alain Jean-Marie - Piano; David Levray - Bass; Tony Rabeson - Drums; Ben Sidran - Vocals.

The Clementine catalog contains many variations on Ben Sidran songs but this is the only time the French singer recorded them with her own band in Paris. For a composer, it is always a pleasure to hear one's music performed by skilled musicians with a fresh take.

Clementine Sings Ben Sidran

---

Andrea Brachfeld - Lotus Blossom

Bitrate: MP3@320K/s
Time: 66:29
Size: 152.2 MB
Styles: Contemporary jazz, Flute jazz
Year: 2015
Art: Front

[7:24] 1. Lotus Blossom
[6:13] 2. A Flower Is A Lovesome Thing
[4:17] 3. If I Love Again
[5:35] 4. Memphis Underground
[7:46] 5. What A Little Moonlight Can Do
[5:38] 6. Changin' Up
[6:58] 7. Conception
[7:04] 8. There Was A Time
[6:36] 9. This Is
[8:55] 10. Queen Girl

It is so fitting for this CD to be named Lotus Blossom at this time of my life. Firstly, it is named after the composition written by Billy Strayhorn, who was one of the most original composers of our time. Then, most importantly, it ties in to where I am on my spiritual path. To be able to continue my path through my music, as expressed on this CD, is a true blessing.

The lotus flower is associated with the 7th chakra and is considered to be the door to divine universal energy. I believe one cannot play this music without being aware of the energy you feel when your mind stops thinking, and what you hear links to your heart which in turn manifests, as your physical body plays the music. It is a calling from the source and always should be honored. And so, I honor this music, the musicians, Bill O’Connell, Rufus Reid, Winard Harper, Wycliffe Gordon, Nancy Harms, and the engineer, Chris Sulit, Ed Littman, who mastered the project, Maureen Plainfield, who unobtrusively took our pictures in the studio, Richard Mantel, the graphic artist, Jerry Lacay, the photographer for the cover art, and Randy Klein, who believed in me and my music to collaborate with releasing this project.

Imagine one of those horrific winter snowstorms, digging out the car, knowing the roads will be kind of unsafe, and deciding that making my rehearsal and record dates was worth it! Now you have a taste of the integrity and determination of the wonderful musicians and engineer I asked to participate on this project. And mind you it wasn’t just one day, but all three! I am so honored to have played with everyone. All I can say is thank you. Thank you for being so supportive, so present, so incredibly talented, and kind. The feeling before, during, and after the recording was a mix of incredible synergy and cooperation. This music that we all love and pour our hearts into, demands an incredible amount of alone time to be able to get to the point of participating in the perfect model of what democracy is truly all about. Yes, there is always a leader, but the role of the leader gets blended and transformed, as the music evolves. I’ve said enough. I’ll let the music speak for itself. Enjoy!

Lotus Blossom

---

Pee Wee Erwin - ...Swingin' That Music

Bitrate: MP3@320K/s
Time: 69:30
Size: 159.1 MB
Styles: Trumpet jazz, Dixieland
Year: 1980/1998
Art: Front

[3:16] 1. Swing That Music (Take 1)
[5:47] 2. Poor Butterfly
[5:07] 3. When You're Smiling
[5:30] 4. If I Could Be With You (Take 1)
[4:03] 5. Rosetta
[4:41] 6. I Can't Believe That You're In Love With Me (Take 1)
[3:04] 7. I Want To Be Happy
[5:33] 8. New Orleans
[4:14] 9. Royal Garden Blues
[3:59] 10. Oh Baby
[5:12] 11. If I Could Be With You (Take 2)
[4:05] 12. I Can't Believe That You're In Love With Me (Take 2)
[3:14] 13. Swing That Music (Take 2)
[4:08] 14. Song Of The Wanderer
[7:30] 15. Fidgety Feet

Pee Wee Erwin only led recording sessions throughout his career on a very irregular basis. Although recorded just a year before his death, this album (which has Dixieland-oriented versions of ten standards) finds the 66-year old trumpeter still in prime form. Trombonist Harry Hagan and clarinetist Herman Foretich complete the frontline, while the rhythm section is comprised of pianist Freddie DeLand, bassist Ike Isaacs and the up and coming drummer Hal Smith. Among the songs receiving favorable and spirited treatment are "Swing That Music," "Rosetta," "I Want to Be Happy" and "Oh Baby." Recommended to Dixieland collectors.

...Swingin' That Music

---

Bud Shank With João Donato - Bud Shank & His Brazilian Friends

Styles: Saxophone And Piano, Brazilian Jazz
Year: 1964
File: MP3@320K/s
Time: 33:34
Size: 79,8 MB
Art: Front

(3:53)  1. Sausalito
(3:31)  2. Minha Saudade
(3:03)  3. Samba Do Avião
(3:12)  4. It Was Night
(2:41)  5. Silk Stop
(3:20)  6. Caminho De Casa
(3:15)  7. Bonfa
(4:09)  8. Once I Loved
(3:10)  9. Sambou Sambou
(3:16) 10. Tristeza Em Mim

Bud Shank's icy alto has been credited as one of the prime influences on the bossa movement in Brazil (partly because of his early 50's recordings with guitarist Laurindo Almeida), and this beautiful set brings him into play with a trio of Brazilian musicians that includes Joao Donato on piano. Donato's light touch is a perfect complement for Shank's alto, and the two of them hit lots of sweet, warm bossa tones on tracks like "Caminho De Casa", "Sambou...Sambou", "Bonfa", "Sausalito", and "Samba Do Aviao". A great album, and don't get it confused with his other releases with "Brazil" in the title because this is probably the best one, and it's darn tough to find!  https://www.dustygroove.com/item/20095

Personnel:  Bud Shank (sax alto);  Joao Donato (piano);  Rosinha de Valenca (guitar);  Tiao Neto (bass);  Chico Batera (drums)

Bud Shank & His Brazilian Friends

---

Mystéfy - Spark Within

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 49:46
Size: 114,3 MB
Art: Front

(5:03)  1. Stardust I Keep
(4:48)  2. Headstrong
(5:06)  3. Spark Within
(4:35)  4. Eye Candy
(3:00)  5. Beware
(3:56)  6. I Dream Of You
(2:27)  7. I Will
(4:53)  8. Bye, Bye Baby
(3:47)  9. Lady Grinning Soul
(5:22) 10. Black And White World
(4:20) 11. A Garden For Two
(2:24) 12. I Will

This German born Canadian resident is a true storyteller. After the highly acclaimed debut CD "Spark Within, Mystefy continues her musical journey with "Me: Unpretentious, straight and very intimate are the songs she wrote for her new album. This doesn't imply all tunes on "Me are autobiographical - but it does mean that everything Mystefy composes and sings about relates to her, and reflects impressions and experiences Mystefy has shared and lived through. Stories happening in her world, mostly true, sometimes altered, exaggerated or told in a humorous fashion. Mystefy is highly intuitive and sensitive to her surroundings and easily picks up vibes - this is why her lyrics are intense, her songs are touching yet still put the listener at ease. Mystefy embraces what we humans are made of: She is close to our emotions.

Also, Mystefy is a practitioner - and this reflects on her life and music. She is your nice-neighbor-next-door kind of artist, no jazz diva with an attitude, no jazz standard singer who goes out to revamp the same old songs. Alas, she can sing those tunes, sang on many stages and has a repertoire of over a hundred: but this isn't enough. With a classically trained voice and a range of over 3 octaves, she prefers to charm listeners with her songs. She entertains and stays approachable at the same time. Her secret - the artist names says it all: Mystefy is a mystic by soul. An emigrant and hence a natural at being home in different worlds, she is a spiritual human, singer/songwriter but also a passionate painter. No surprise then that she has access to a greater artistry palette than many others. The fact that Mystefy also loves horseback riding, her garden and feels at home the moment she is near water - be it an ocean or a creek - just fits the picture. The zodiac sign of this visionary mermaid? Almost needless to say: Piscean - the fishes!

All of Mystefy"s tunes - even if she didn't realize this herself are love songs in one way or the other. We’re not talking the cheesy average kind - this Mystefy would dismiss as yesterday's news. We’re talking tunes broaching the issue of a "love of life - Mystefy's very own spirituals, if you will. They remind us of those forgotten by our society, such as Aborigine women who go missing by the hundreds: In "Sisters in Spirit these women get a bit of the attention and love they deserve. 'Big Secret on the other hand deals with sexual abuse, the hypocritical 'loving" bond demanding secrecy and the inner strength and love of yourself necessary to break vicious cycles and stop being a victim. "East Of The Sun" tells the tale of a loving friendship. "I Close My Eyes" speaks of unsatisfiable love; 'Creatures" sketches the exaggerated love of pets in a funny way, "Healing Hands is a symbol for true love and "Wait for Me shows hopelessly romantic love while "Learn Just To Be puts love and faith into relation. Another Mystefy Spiritual is "It's A Beautiful Day" - appealing to live your dreams, and 'Art By Heart" is an amusing approach of a loving relationship; "Magic Moments preaches love of the moment - the art of being, while "We are through is a true swan song about a romance gone wrong.

"Me" emerged as a demo version from Mystéfy's home recording studio in her Ottawa/Canada basement (equipped with microphone, percussion, keyboard and Cubase-Software). Tim Allhoff, based in Augsburg/Germany, was responsible for the arrangements and acted as co-writer, but all lyrics and the better part of music were penned by Mystefy: "A terrific collaboration via MP3 and Skype conference across the ocean - truly 'songwriting of the advanced stage". All twelve tunes were recorded as live over merely two days in Bremen with a core band. Apart from Mystefy (vocals) and Tim Allhoff (e-Piano/ grand piano) the band musicians were Knuth Jerxsen (percussion) and again Dieter Ilg (who also played on "Spark Within" on upright bass. Several guest musicians came in, such as Oliver Spanuth (drums), flugelhornist Joern Anders and Volker Bruder (soprano & alt saxophone). Cellist Raphael Zweifel acted as 'virtual band member" sending his string parts as audio files from Nice, France.  http://www.mymusicbase.ru/PPB/ppb32/Bio_3288.htm

Spark Within

---

New York Jazz Quartet - Oasis

Styles: Post-Bop, Hard Bop
Year: 1981
File: MP3@320K/s
Time: 37:38
Size: 86,4 MB
Art: Front

( 5:23)  1. Don't Come, Don't Call
( 4:26)  2. It's Just A Social Gathering
( 4:25)  3. Funk House
( 5:43)  4. Cram It Damn It
(13:21)  5. The Patient Prince
( 4:16)  6. Oasis

A little more throttle would have been welcome on New York Jazz Quartet's cruising-paced Oasis set from 1981. As it is, Roland Hanna on piano, Frank Wess on tenor sax and flute, George Mraz on bass, and Ben Riley on drums take a low-key approach to two Wess originals and four from Hanna. It's a pleasant session, but not one that lives up to the potential of its lineup. 

The material is respectable and the quartet knows it well enough, but perhaps not sufficiently to transform written parts into a dynamic group effort. Mraz is the standout performer. He is in command of a ready flow of ideas and is captured with a rich, full sound. His duet with Hanna on the pianist's blues "Funk House" is a highlight that finds the pair expertly working the spaces they give each other. Elsewhere, though, Hanna, a pianist who can summon fire, passion, and drama from his instrument, is quite restrained, seemingly content to focus on his writing, rather than stimulating group interplay. Wess, too, does not take many chances or seize the opportunity to stretch out. The one sequence where he does open up is the third section of his 13-minute suite, "The Patient Prince," where he unleashes an impressive series of unrestrained choruses on tenor sax. 

If the goal of this quartet was to create relaxed, subdued performances, then Oasis can be considered a success. Otherwise, except for the bassist, the set does not fully exploit the potential of the music or the capabilities of these leading players. ~ Jim Todd  http://www.allmusic.com/album/oasis-mw0000091042

New York Jazz Quartet: Frank Wess (tenor saxophone, flute); Roland Hanna (piano); George Mraz (bass); Ben Riley (drums).

Oasis

---

Lionel Loueke - In a Trance

Styles: Vocal And Guitar, Latin Jazz
Year: 2007
File: MP3@320K/s
Time: 51:28
Size: 118,2 MB
Art: Front

(4:23)  1. A Prayer for Peace
(0:51)  2. Benny's Tune
(4:07)  3. In a Trance
(5:45)  4. Mivakpola
(2:46)  5. Gbeto
(4:58)  6. Fifa
(1:25)  7. Nagbe
(4:45)  8. Okagbe
(7:04)  9. Be-Nin-Bop
(3:44) 10. Boum Boum!!!
(6:07) 11. Always Will Be
(5:27) 12. Nonvignon

When Benin-born guitarist/vocalist Lionel Loueke appeared at this summer's Ottawa International Jazz Festival, he was a real highlight amongst the entire group of stellar young players in trumpeter Terence Blanchard's band. His solo spot, where he used looping and harmonizing devices to create a veritable mini-orchestra with just one voice and guitar, illustrated how technology can be used to create something natural. Jazz Luddites regularly rail against the use of electronics to tarnish the "pure nature of jazz, but Loueke clearly doesn't subscribe to such a narrow view. Technology is only as good as the hands it's in, and an increasing number of artists are finding ways to utilize it to stretch the shape of jazz. Loueke came relatively late to the guitar. After mastering indigenous percussion instruments in Benin, he picked up guitar at the age of seventeen and, in the ensuing fifteen years, has amassed a wide breadth of formal education at institutions including Paris' American School of Modern Music and Boston's Berklee School of Music. In the past three years Loueke has recorded and performed with significant artists including Herbie Hancock, Charlie Haden and, of course, Blanchard who has used Loueke increasingly since the release of Bounce (Blue Note, 2003). 

Loueke's solo debut, In a Trance, demonstrates in no uncertain terms why these artists are clamouring to work with him. Playing acoustic guitar almost exclusively even more specifically, the nylon-stringed variety Loueke combines the folk music of his birthplace and other locales with a rich harmonic language that may not be jazz by a reductionist definition, but is by any contemporary standard. If there's any frame of reference for Loueke, it's Egberto Gismonti. Like Gismonti, Loueke's enthic roots are clear, but while "Nonvignon has an unmistakable highlife groove, Loueke's guitar lines insidiously incorporate more outside-the-box thinking. "Benny's Tune stems from the same raw Brazilian tradition that Gismonti has explored for decades more Amazon rainforest than Rio de Janeiro. The most remarkable thing about In a Trance is its live nature, with no overdubs. Loueke's organic use of looping technology transforms one voice and one guitar into something much bigger. He transforms his guitar into a percussion instrument, creating rhythm loops by slapping it and using his fingers on it as if it were a drum. That's not particularly new, but the percussive intro to "Mivakpola demonstrates just how much farther Loueke takes his instrument.

Loueke's writing ranges from the darkly lyrical "Fifa to the melancholy solo electric lament "Always Will Be, the blues-inflected "Boum-Boum!!! and the brief, rhythm-driven "Nagbe, where he builds a virtual chorus of vocals in real time. Intimate and revealing of a mind that views stylistic barriers as artifices to be dissolved, In a Trance demonstrates in the most musical way just how seamlessly technology can integrated. Loueke may have but one voice and one instrument, but in their surprising variety and orchestration, he makes clear why he's become so widely in demand in such a short period of time. 

~ John Kelman  http://www.allaboutjazz.com/in-a-trance-lionel-loueke-self-produced-review-by-john-kelman.php

Personnel: Lionel Loueke: guitars, vocals.

In a Trance

---

Bob Brookmeyer - Jazz Is A Kick

Bitrate: MP3@320K/s
Time: 36:21
Size: 83.2 MB
Styles: Post bop, Trombone jazz
Year: 1960/2004
Art: Front

[4:53] 1. Air Conditioned
[4:35] 2. Exactly Like You
[3:22] 3. This Can't Be Love
[4:33] 4. Green Stamps
[4:40] 5. The Things I Love
[3:30] 6. Only When You Are Near
[3:17] 7. You're My Everything
[7:27] 8. Co-Operation

This interesting LP matches together valve trombonist Bob Brookmeyer with the slide trombone of Curtis Fuller. Four songs use a modern rhythm section (pianist Wynton Kelly, bassist Paul Chambers and drummer Paul Motian) while the other four have a strong Count Basie feel (with trumpeters Thad Jones and Joe Newman, pianist Hank Jones, bassist Ed Jones and drummer Charlie Persip making their presence felt). Brookmeyer and Fuller display contrasting styles while blending together quite well on the ensembles. ~Scott Yanow

Jazz Is A Kick

---

Mike Jones Trio - Plays Well With Others

Bitrate: MP3@320K/s
Time: 62:56
Size: 144.1 MB
Styles: Piano jazz
Year: 2013
Art: Front

[6:12] 1. Besame Mucho
[6:11] 2. It's A Wonderful World
[5:48] 3. September Song
[4:33] 4. I Know Why And So Do You
[3:55] 5. Box Viewing Blues
[3:40] 6. Detour Ahead
[2:59] 7. Day By Day
[5:09] 8. Corcovado
[4:18] 9. I'm Walkin
[6:27] 10. Deed I Do
[4:42] 11. I'm Old Fashioned
[5:01] 12. I Thought About You
[3:56] 13. Obscuro Blues

Mike Jones: piano; Mike Gurrola: bass; Jeff Hamilton: drums.

Pianist Mike Jones not only Plays Well with Others, he plays well—period. Using a sharp, two-fisted style that hearkens back to Dave McKenna, Dick Hyman and even Earl Hines, undergirded by a buoyant melodicism worthy of Barry Harris, Tommy Flanagan or his namesake Hank Jones, it's clear there's not much that Jones can't accomplish musically with keyboard in hand. And when the "others" he is playing with are bassist Mike Gurrola and drummer Jeff Hamilton, so much the better.

Gurrola represents a step up from Jones' "regular" bassist, the magician Penn Jillette, with whom "Jonesy" (Jillette's pet name for him) has been sharing the stage for more than a decade as the opening act preceding Penn and Teller's popular Las Vegas comedy / magic show. Jillette "found" Jones playing at a Las Vegas nightspot and let him know he could open for Penn and Teller with one proviso, that the neophyte Jillette would be his bassist. Given that choice, what could Jones do? He and Jillette have been performing together ever since.

Happily (for the listener), Jillette generously stepped aside for this recording date to make room for Gurrola. Add the perceptive and resourceful Hamilton and you have a piano trio that can stand its ground against any other. While Jones sets the tone with his bright and engaging melodic lines and clever ad libs, Gurrola and Hamilton provide the rhythmic muscle and unwavering support that keep the motor humming and the bus moving forward. And even though Jones has technique to burn, he is thoroughly at ease with a ballad, as he shows on "September Song," "I Know Why," "I Thought About You" and "Detour Ahead" (the last sans Gurrola and Hamilton). The session harbors a pair of charming blues ("Box Viewing Blues," "Obscuro Blues"), both written by Jones, to chaperon the tunes already named plus the standards "Besame Mucho," "It's a Wonderful World," "Day by Day," "Deed I Do" and "I'm Old Fashioned," Consuelo Velazquez' "Besame Mucho," Antonio Carlos Jobim's "Corcovado" and Fats Domino's "I'm Walkin.'"

"Magicians' hands aren't quicker than the eye," Penn Jillette writes, "but Jonesey's fingers might be." While quickness is assuredly a virtue, so is the ability to produce beautiful music at any tempo. Jones, Gurrola and Hamilton are aces-high in both areas, traits that help make Plays Well with Others a superlative piano trio recording. ~Jack Bowers

Plays Well With Others

---

Julie London - 2 albums: Julie Is Her Name / Vol. 2

Album: Julie Is Her Name
Bitrate: MP3@320K/s
Time: 30:44
Size: 70.4 MB
Styles: Vocal jazz
Year: 1955/2014
Art: Front

[2:55] 1. Cry Me A River
[3:14] 2. I Should Care
[2:27] 3. I'm In The Mood For Love
[2:24] 4. I'm Glad There Is You
[3:08] 5. Can't Help Lovin' That Man
[1:49] 6. I Love You
[1:59] 7. Say It Isn't So
[2:22] 8. It Never Entered My Mind
[3:12] 9. Easy Street
[1:32] 10. 's Wonderful
[1:50] 11. No Moon At All
[1:41] 12. Laura
[2:05] 13. Gone With The Wind

For a time, Julie London was as famous for her sexy album covers as for her singing. Her debut is her best, a set of fairly basic interpretations of standards in which she is accompanied tastefully by guitarist Barney Kessel and bassist Ray Leatherwood. "Cry Me a River" from this album, was her biggest hit, and her breathy versions of such numbers as "I Should Care," "Say It Isn't So," "Easy Street," and "Gone with the Wind" are quite haunting. ~Scott Yanow

Julie Is Her Name

---

Album: Julie Is Her Name Vol 2
Bitrate: MP3@320K/s
Time: 26:24
Size: 60.5 MB
Styles: Jazz vocals
Year: 1958/2015
Art: Front

[2:29] 1. Blue Moon
[1:44] 2. What Is This Thing Called Love
[2:44] 3. How Long Has This Been Going On
[2:40] 4. Too Good To Be True
[2:05] 5. Spring Is Here
[1:51] 6. Goody Goody
[2:02] 7. The One I Love (Belongs To Somebody Else)
[2:16] 8. If I'm Lucky
[1:47] 9. Hot Toddy
[2:48] 10. Little White Lies
[1:48] 11. I Guess I'll Have To Change My Plan
[2:06] 12. I Got Lost In His Arms

Three years after her debut, Julie Is Her Name, Julie London returned to the intimate jazz guitar and bass backing that resulted in a Top Ten album and single (the still-popular "Cry Me a River"). You can almost see the cigar-smoking executives at Liberty Records planning this one out -- "Hey, if the public loved it the first time, they're bound to love it again, right?" Well, to give the cigar-chompers some credit, Julie London favored this backing for her live performances and she originally had to fight to be able to record with this intimate jazz backing. Plus, every uptown singer -- from Johnny Mathis to Chet Baker to Sarah Vaughan -- was recording with a guitar/bass duo after Julie Is Her Name hit big, so why not the lady who started it all? For once, pandering to the public equaled taking the artistic high road, because while Julie Is Her Name, Vol. 2 may not be as fresh or unexpected as its predecessor, it actually stands up as a slightly stronger album. London's breathy vocals aren't that different, but she seems more confident and she swings more, even on the ballads. Howard Roberts may not have been a "name guitarist" like Barney Kessel, who played on the debut, but his work here is strong and bassist Red Mitchell lays an entire rhythm section worth of foundation for London to stretch out on. This album was also better recorded than London's debut and the release has a fuller, richer sound to it. Since the plunging-neckline album cover to London's debut was talked about as much as the music, Liberty Records decided to continue the concept by literally putting spotlight beams on the famed beauty's chest. Thankfully, Julie London had enough jazz credentials and focused vocal talent that such blatant cheesecake shots remain of secondary importance to the music contained on the album. ~Nick Dedina

Julie Is Her Name Vol 2

---

Cedar Walton Trio - Song Of Delilah

Bitrate: MP3@320K/s
Time: 58:32
Size: 134.0 MB
Styles: Piano jazz
Year: 2011
Art: Front

[11:48] 1. Song Of Delilah
[ 6:16] 2. Beautiful Love
[ 8:15] 3. Golden Earrings
[ 5:50] 4. Ghost Of A Chance
[ 4:48] 5. Around The World
[ 8:20] 6. My Foolish Heart
[ 6:05] 7. Street Of Dreams
[ 7:06] 8. Weaver Of Dreams

Cedar Walton on Piano; Buster Williams on Bass; Willie Jones III on Drums.

Cedar Walton recorded this CD as a tribute to Victor Young, composer and music director, who had 22 Academy Award nominations for his film scores. Cedar Walton has brought with him two top artists, Buster Williams on bass and Willie Jones III on drums. Each track has generous solos by each member of this well matched trio. Track #5, “Around the World (in 80 Days)”, won Mr. Young a posthumous Oscar.

Song Of Delilah

---

Donald Harrison - Big Chief

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 55:42
Size: 133,6 MB
Art: Front

(4:39)  1. Hiko Hiko
(8:16)  2. Uptown Ruler
(3:11)  3. Big Chief
(2:23)  4. Walkin Home
(2:51)  5. Shave Em Dry
(6:18)  6. Hu-Ta-Nay
(4:44)  7. Indian Blues
(3:03)  8. Shallow Water
(5:12)  9. Ja-Ki-Mo-Fi-Na-Hay
(7:08) 10. Indian Red
(1:54) 11. Two-Way-Pocky-Way
(5:57) 12. Cherokee

Alto saxophonist Donald Harrison explores another area of his New Orleans heritage, the music of the Mardi Gras "Indians." His solos are more bluesy and R&B-flavored, while the supporting cast includes Dr. John on piano, along with Cyrus Chestnut, drummer Carl Allen, bassist Phil Bowler, percussionists Bruce Cox and Howard Smiley Ricks, and Harrison's father on vocals.

Personnel:  Donald Harrison, Jr - alto sax, tenor sax, trombone, vocals; Dr. John - vocals, piano;  Cyrus Chestnut - piano, background vocals;  Phil Bowler - bass, vocals; Carl Allen - drums, vocals;  Howard Ricks - conga, timbales, vocals;  Bruce Cox - timbales, vocals

Big Chief

---

Julian Shore - Filaments

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 55:43
Size: 128,0 MB
Art: Front

(7:20)  1. Grey Light, Green Lily
(7:52)  2. Made Very Small
(6:17)  3. Big Bad World
(6:21)  4. Whisper
(6:16)  5. Give
(5:24)  6. I Will If You Will
(4:24)  7. Misdirection/Determined
(4:48)  8. Like A Shadow
(4:37)  9. Venus
(2:20) 10. Whisper (Reprise)

There is nothing wrong with mellow jazz. As long as distance can be maintained from the hackneyed, dialed-in feel of smooth jazz, it can be a refreshing change of pace from the intensity and analytical focus of a lot of modern art music, jazz or otherwise. Listening to pianist Julian Shore's Filaments, there's the sense that he set out to craft music easy on the ears without compromising any of his personal artistic values. The opening "Grey Light, Green Lily" sets the tone for the entire album, its gently chiming, misty piano harmonies, wordless vocals and Kurt Rosenwinkel's yearning guitar solo combine to form a moody, atmospheric sound reminiscent of mid-1980s Pat Metheny Group. Other reference points would be Brian Blade's Fellowship Band and Jeremy Udden's Plainville bucolic, easygoing jazz that makes no bones about its pop and folk influences.

Vocals figure prominently throughout Filaments. Several tunes feature the voices in the front line singing, horn-like and wordlessly, a strategy that works extremely well for Shore's lilting, carefree melodies. The up-tempo waltz, "Big Bad World," benefits hugely from this approach, and the ensuing dialogue between Shore and Rosenwinkel is one of the album's highlights. "Made Very Small," "Whisper" and "Misdirection / Determined" have lyrics sung by their author, Alexa Barchini, the words perfectly capturing the moody, vaguely emotional aspect of the music. Barchini sings them in a pop- jazz style not dissimilar to that of Norah Jones or Sia Furler. Her voice is close-miked, soft and intimate, and conveys the feeling that she's sharing a secret that is just beyond one's grasp. "Whisper (reprise)" subs a slinky swaying dobro for the femme vocals  a whimsical touch.

Filaments features playing that is both subtle and strong. Drummer Tommy Chase has an easy-flowing yet hard-driving feel, and his awareness of subtle shading and coloration really make Shore's pieces come alive. Shore's piano playing most prominent on the trio track "I Will If You Will" is understated yet commanding; eloquent, in a style similar to pianist Bill Evans or, perhaps, Brad Mehldau. The guest soloists add a lot. Rosenwinkel is utterly distinctive and yet he demonstrates a deep musical kinship with Shore and his music. Saxophonist Noah Preminger digs deeply into "Venus," a ballad that, at times, sounds like a duet with Crane's pattering cymbals and toms. Shore switches to the Rhodes for the up-tempo "Like A Shadow," which benefits from Crane's more aggressive drumming and a bluesy solo from guitarist Jeff Miles. "Give" is a bright, punchy and driving piece that expands the group's sound further to include a brass section. One minor quibble; several of Shore's tunes make use of similar chord progressions and melodic lines, which leads to a sort of aural deja vu. Filaments is an unusually mature statement from a young pianist who makes full use of a wide-open musical palette. Not the sort of recording that blows its audience away, instead, Filaments quietly seduces, drawing its audience closer. ~ Dave Wayne  http://www.allaboutjazz.com/julian-shore-filaments-by-dave-wayne.php
 

Personnel: Julian Shore: piano, Rhodes (8); Phil Donkin: bass; Tommy Crane: drums; Alexa Barchini: vocals (2-5, 7-8); Shelly Tzarafi: vocals (1, 3-5, 8); Kurt Rosenwinkel: guitar (1, 2, 5); Jeff Miles: guitar (3, 4, 8); Kurt Ozan: acoustic guitar, dobro (4, 10); Noah Preminger: tenor saxophone (9); Godwin Louis: alto saxophone (5); Billy Buss: trumpet (5); Andrew Hadro: baritone saxophone (5).

Filaments

---

Chuck Wayne - The Jazz Guitarist

Styles: Guitar Jazz
Year: 1954
File: MP3@224K/s
Time: 34:31
Size: 55,8 MB
Art: Front

(3:06)  1. You Brought a New Kind of Love To Me
(2:42)  2. S.S. Cool
(2:29)  3. Mary Ann
(3:26)  4. Butterfingers
(2:43)  5. Taking a Chance on Love
(2:58)  6. Sirod
(2:33)  7. While My Lady Sleeps
(3:18)  8. Tasty Pudding
(2:32)  9. Prospecting
(2:54) 10. Sidewalks of Cuba
(2:19) 11. Uncus
(3:26) 12. Stella by Starlight

Chuck Wayne's participation in some of the earliest bebop recordings have lead many to conclude that he was purely a bop-style guitar player. Yet on the recordings he made in the mid-1940s, first with the Billy Eckstine Band and later with Dizzy Gillespie, his swing oriented guitar collides with the "new music" being played by the more modern musicians on the set. It was with George Shearing that Wayne had his greatest success, making a major contribution to the Shearing sound. This particular album reissues two sets cut by Wayne during the 1950s. The first, covering tracks 1-4 and 7-10, is from 1953 sessions with his Quartet featuring Zoot Sims and Brew Moore; the second session, made the following year with the John Mehegan Quartet, comprises the other four tunes. There are some standards along with seven originals, including five by Wayne. Words that can best be used to describe the latter are "innocuous," "pleasant," "nice background music." These arrangements could be heard in a hundred lounges and small clubs throughout the country during the years when this album was made. 

While there is virtually no inventiveness going on, the playing is entertaining. One quality that comes through with the Wayne guitar is its hornlike sound, which adds a dimension to his playing and is especially complementary when either Sims or Moore is soloing, as on "While My Lady Sleeps," "Side Walks of Cuba" and "Uncus." One exception to the ordinariness of the material is the arrangement of the Victor Young/Ned Washington masterpiece, "Stella by Starlight," where John Mehegan's piano and Wayne's guitar engage in interplay which comes close to being avant-garde. Several of the players at these sessions were from the upper echelons of jazz; it's regrettable they were not offered more interesting or challenging music to perform. ~ Dave Nathan  http://www.allmusic.com/album/the-jazz-guitarist-mw0000098308

Personnel: Chuck Wayne (guitar), Zoot Sims, Brew Moore (tenor saxophones), John Mehegan, Harvey Leonard (piano), Vinnie Burke, George Duvivier (bass), Joe Morello, Ed Shaughnessy (drums).

The Jazz Guitarist

---

Nicki Parrott - Sentimental Journey

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 59:10
Size: 139,5 MB
Art: Front

(4:49)  1. It's Magic
(4:53)  2. Again
(4:36)  3. Just One Of Those Things
(4:35)  4. Fools Rush In
(3:42)  5. If I Give My Heart To You
(4:11)  6. I'll See You In My Dreams
(2:58)  7. Que Sera, Sera
(4:54)  8. That Old Feeling
(4:24)  9. My One And Only Love
(3:42) 10. Blue Skies
(3:37) 11. Quizas, Quizas, Quizas
(4:26) 12. Secret Love
(4:40) 13. Sentimental Journey
(3:36) 14. Dream A Little Dream

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”. Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd. Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001).

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It. In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention.

In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”. Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q. Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro.

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. http://musicians.allaboutjazz.com/nickiparrott

Personnel:  Nicki Parrott (vocals & bass); John Di Martino (piano);  Adrian Cunningham (tenor sax, clarinet & flute); Frank Vignola (guitar);  Alvin Atkinson (drums)

Sentimental Journey

---