Pete Fountain - Loving Is A Way Of Living

Bitrate: MP3@320K/s
Time: 78:56
Size: 180.7 MB
Styles: New Orleans jazz, Clarinet jazz
Year: 2015
Art: Front

[ 6:26] 1. A Closer Walk With Thee
[ 2:27] 2. Do You Know What It Means To Miss
[ 6:03] 3. St. Louis Woman
[ 4:02] 4. Unforgettable
[11:41] 5. Avalon
[ 4:40] 6. Tin Roof Blues
[ 7:21] 7. After You've Gone
[ 2:18] 8. Stomp Mr. Henry Lee
[ 2:25] 9. I Let A Song Go Out Of My Heart
[ 9:41] 10. Stardust / Dixie
[ 3:00] 11. Tiger Rag
[ 3:16] 12. Sweet And Lovely
[ 2:22] 13. Little Rock Get Away
[11:32] 14. Hindustan
[ 1:34] 15. Way Down Younder In New Orleans

One of the most famous of all New Orleans jazz clarinetists, Pete Fountain has the ability to play songs that he has performed a countless number of times (such as "Basin Street Blues") with so much enthusiasm that one would swear he had just discovered them. His style and most of his repertoire have remained unchanged since the late '50s, yet he never sounds bored. In 1948, Fountain (who is heavily influenced by Benny Goodman and Irving Fazola) was a member of the Junior Dixieland Band and this was followed by a stint with Phil Zito and an important association with the Basin Street Six (1950-1954), with whom the clarinetist made his first recordings. In 1955, Fountain was a member of the Dukes of Dixieland, but his big breakthrough came when he was featured playing a featured Dixieland number or two on each episode of The Lawrence Welk Show during 1957-1959. After he left, he moved back to New Orleans, opened his own club, and has played there regularly up until retiring from the nightclub business in early 2003. Fountain's finest recordings were a lengthy string for Coral during 1959-1965 (they turned commercial for a period after that). ~bio by Scott Yanow

Loving Is A Way Of Living

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Gerald Wilson Orchestra - State Street Sweet

Styles: Jazz, Big Band
Year: 1995
File: MP3@320K/s
Time: 56:28
Size: 129,8 MB
Art: Front

(2:46)  1. State Street Sweet
(6:06)  2. Lakeshore Drive
(7:50)  3. Lighthouse Blues
(5:22)  4. Come Back to Sorrento
(4:06)  5. The Serpent
(5:58)  6. The Feather
(6:29)  7. Caprichos
(8:48)  8. Jammin' in C
(6:37)  9. Carlos
(2:23) 10. Nancy Jo

Bandleader/arranger Gerald Wilson's first recording in several years is a success. He revisits "Carlos" (featuring trumpeter Ron Barrows) and "Lighthouse Blues" and performs some newer originals including "State Street Sweet," "Lakeshore Drive" and "Jammin' in C." With such soloists as trumpeters Barrows, Bobby Shew, Tony Lujan and Snooky Young, altoist Randall Willis, tenors Louis Taylor, Plas Johnson (showcased on "Come Back to Sorrento") and Carl Randall, pianist Brian O'Rourke and guitarists Anthony Wilson and Eric Otis, this edition of the Gerald Wilson Orchestra is quite strong but it is the leader's colorful and distinctive arrangements that give the band its personality. Recommended. ~ Scott Yanow  http://www.allmusic.com/album/state-street-sweet-mw0000645243

Personnel: Eric Otis, Anthony Wilson (guitar); Louis Taylor, Jr. (soprano saxophone, tenor saxophone); John Stephens, Randall Willis (alto saxophone); Carl Randall, Jr., Plas Johnson (tenor saxophone); Jack Nimitz (baritone saxophone); Bobby Clark , George Graham, Ron Barrows, Snooky Young, Tony Lujan, Frank Szabo, Bobby Shew (trumpet); Alex Iles, Thurman Green, Charles Loper, Ira Nepus (trombone); Maurice Spears (bass trombone); Brian O'Rourke (piano); Mel Lee (drums);  Gerald Wilson (Arranger).

State Street Sweet

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Teresa Brewer - Let Me Go Lover

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 66:23
Size: 153,0 MB
Art: Front

(2:31)  1. Let Me Go Lover
(3:07)  2. Baby Baby Baby
(1:59)  3. The Banjo's Back In Town
(2:42)  4. Pledging My Love
(2:48)  5. Skinny Minnie (Fishtail)
(2:56)  6. Gonna Get Along Without You Now
(2:35)  7. Bell Bottom Blues
(2:43)  8. If You Want Some Lovin'
(2:36)  9. Silver Dollar
(2:26) 10. How To Be Very, Very Popular
(2:33) 11. Sing Sing Sing
(2:46) 12. I Don't Want To Be Lonely Tonight
(3:00) 13. Till I Waltz Again With You
(2:13) 14. I Had Someone Else Before I Had You
(2:57) 15. How Important Can It Be?
(2:39) 16. You'll Never Get Away
(2:50) 17. I Guess It Was You All The Time
(2:54) 18. Music, Music, Music
(2:36) 19. I Gotta Go Get My Baby
(3:08) 20. Choo'n Gum
(2:24) 21. Danger Signs
(2:43) 22. Richochet
(2:11) 23. Jilted
(2:10) 24. Shoot It Again
(2:48) 25. Au Revoir

Teresa Brewer started out as a spunky novelty vocalist in the 1950s and weathered the rise of rock to emerge as an exuberant jazz singer in the 1970s. Though some find it disconcerting to hear her cutesy, slightly nasal Your Hit Parade-style delivery in a jazz context, at her best she can swing with a loose and easy fervor, aided greatly by the distinguished company she often keeps on her records. Brewer started singing on Major Bowes' Amateur Hour at the age of five and scored her first big hit as a teenager in 1950 with the diabolically catchy "Music! Music! Music!" That ditty found its way onto almost every jukebox in the land and launched a series of hit singles on Coral stretching all the way to 1961. Her marriage to record producer Bob Thiele in 1972 led to her re-emergence via a long string of albums for Thiele's labels (Doctor Jazz, Signature, Red Baron), often in tandem with such luminaries as Count Basie, Benny Carter, Duke and Mercer Ellington, Stephane Grappelli, Earl Hines, and Clark Terry. ~ Richard S.Ginell  http://www.allmusic.com/artist/teresa-brewer-mn0000017882/biography

Let Me Go Lover

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George Wallington - Live! At Cafe Bohemia

Styles: Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 53:12
Size: 122,0 MB
Art: Front

(8:29)  1. Johnny One Note
(7:03)  2. Sweet Blanche
(6:49)  3. Minor March
(5:59)  4. Snakes
(8:44)  5. Jay Mac's Crib
(8:26)  6. Bohemia After Dark
(7:39)  7. Minor March (alternate)

This live set, although led by pianist George Wallington, is most significant for giving listeners early examples of the playing of trumpeter Donald Byrd and altoist Jackie McLean; bassist Paul Chambers and drummer Art Taylor complete the quintet. The music, although comprised mostly of group originals (other than "Johnny One Note" and Oscar Pettiford's "Bohemia After Dark"), is essentially a bebop jam and it is particularly interesting to hear just how much McLean was influenced by Charlie Parker at this point (although his sound was already quickly recognizable). This was a solid if short-lived group and their brand of hard bop will be enjoyed by straightahead jazz fans. The CD reissue adds a second version of "Minor March" to the original program. ~ Scott Yanow  http://www.allmusic.com/album/live!-at-cafe-bohemia-prestige-ojc-mw0000617315

Personnel: George Wallington (piano); Jackie McLean (alto saxophone); Donald Byrd (trumpet); Paul Chambers (bass); Arthur Taylor (drums).

Live! At Cafe Bohemia

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Ted Curson - Plays Fire Down Below

Styles: Trumpet Jazz
Year: 1962
File: MP3@320K/s
Time: 31:17
Size: 71,9 MB
Art: Front

(4:39)  1. Fire Down Below
(4:50)  2. The Very Young
(4:47)  3. Baby Has Gone Bye Bye
(4:33)  4. Show Me
(5:30)  5. Falling In Love With Love
(6:56)  6. Only Forever

A fierce early album from Ted Curson one with a slight bit of a Latin touch, and all the fire that the title implies! Ted's working here with a quintet that include Gildo Mahones on piano, George Tucker on bass, Roy Haynes on drums, and Montego Joe on a few tracks on conga. The groove is more straight ahead and soulful than on some of Ted's more modernist work but no less edgey, as you'd expect from his always-strong work on trumpet. Titles include "Fire Down Below", "The Very Young", "Only Forever", and "Baby Has Gone Bye Bye". (Out of print.) https://www.dustygroove.com/item/557912

Plays Fire Down Below

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Lou Levy Trio - A Most Musical Fella

Bitrate: MP3@320K/s
Time: 42:10
Size: 96.5 MB
Styles: Piano jazz
Year: 1957/1983/2007
Art: Front

[4:12] 1. Night And Day
[4:04] 2. Angel Eyes
[3:44] 3. Lou's Blues
[6:16] 4. Yesterdays
[3:24] 5. Apartment 17
[3:33] 6. How About You
[4:13] 7. Baubles, Bangles And Beads
[2:58] 8. Woody'n Lou
[4:29] 9. We'll Be Together Again
[5:11] 10. I'll Remember April

Lou Levy (p), Max Bennett (b), Stan Levey (d). Recorded in Los Angeles, January 2 & 26, 1957.

This early effort by pianist Lou Levy (28 at the time) finds him playing superior bop interpretations of seven standards and three straight-ahead originals. Levy is teamed on the Los Angeles dates with bassist Max Bennett and drummer Stan Levey. Last available as a French RCA LP in 1983, the music is an excellent example of the modern mainstream of the period and still sounds quite stimulating and swinging. ~Scott Yanow

A Most Musical Fella

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Barbara Lea - A Woman In Love

Bitrate: MP3@320K/s
Time: 44:02
Size: 100.8 MB
Styles: Vocal jazz
Year: 1957/1991
Art: Front

[4:57] 1. I'm Old Fashioned
[4:23] 2. Too Late Now
[4:00] 3. Come Rain Or Come Shine
[2:25] 4. As Long As I Live
[4:07] 5. Love Is Here To Stay
[2:38] 6. Thinking Of You
[4:19] 7. I See Your Face Before Me
[3:15] 8. I Didn't Know About You
[2:25] 9. Love Me
[3:36] 10. What Is There To Say
[2:46] 11. The Best Thing For You
[5:07] 12. A Woman Alone With The Blues

Singer Barbara Lea often recalls her idol and friend Lee Wiley on this set of love songs. The backup is uniformly tasteful but changes from song to song with such impressive stylists as trumpeter Johnny Windhurst, baritonist Ernie Caceres, Garvin Bushell (on oboe and bassoon), Dick Cary (the arranger on piano and alto horn), guitarist Jimmy Raney and (on a beautiful version of "True Love") harpist Adele Girard making memorable appearances. Lea's straightforward and heartfelt delivery is heard at its best on such songs as "You'd Be So Nice to Come Home To," "Mountain Greenery," "More than You Know" and "Autumn Leaves" (which is partly taken in French). These interpretations are often touching. ~Scott Yanow

A Woman In Love

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Charlie Shaffer - Serenata

Bitrate: MP3@320K/s
Time: 53:24
Size: 122.3 MB
Styles: Easy Listening
Year: 2001
Art: Front

[2:40] 1. Serenata
[3:36] 2. What Difference A Day Makes
[3:18] 3. Here's That Rainy Day
[3:51] 4. Gentle Rain
[3:03] 5. La Paloma (The Dove)
[2:59] 6. Morning Of The Carnival (Manha De Carnival)
[3:18] 7. You Are Always In My Heart
[2:43] 8. I Go To Rio
[3:06] 9. Bewitched, Bothered And Bewildered
[3:12] 10. A Man And A Woman
[3:32] 11. Once I Loved
[3:10] 12. Without You (Tres Palabras)
[2:38] 13. The Coffee Song
[3:07] 14. Invitation
[3:10] 15. Be True To Me (Sabor A Mi)
[2:50] 16. Samba De Orfeu
[3:01] 17. Some One To Light Up My Life

Charlie was born and raised in Houston, Texas. His family was a music loving one, although no one in it (at that time) was a trained musician. His mother, father, and sister all had a natural ability to find the right harmonies to sing when they engaged in impromptu barbershop style sing-a-longs. His parents social group came to the house frequently and the usual activity was to put on the records and dance. This was a perfect environment in which to develop a great love of music, and to observe the positive effect it could have on people. His younger sister Carol (Koock) was also affected and she became an award winning pianist who is currently active in the music and theater scene in Austin, Texas. At a young age, Charlie had memorized many songs. He studied classical and popular music privately from the age of five, and upon reaching high school age, added French horn and cornet to his arsenal of instruments. It had been assumed that he would follow his dad into the oil business, but by the time Charlie entered the University of Houston on a trumpet scholarship, music had become his first love, and the direction his life would take was becoming obvious.

Serenata

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Herb Jeffries - Easy To Remember

Bitrate: MP3@320K/s

Time: 40:24

Size: 92.5 MB

Styles: Jazz-country vocals

Year: 2002

Art: Front

[3:55] 1. It's Easy To Remember

[4:01] 2. Sweet Lorraine

[3:14] 3. Where The Blue Of The Night (Meets The Gold Of The Day)

[3:32] 4. I Apologize

[4:14] 5. Smile

[3:49] 6. Nature Boy

[4:06] 7. I Surrender, Dear

[3:20] 8. Unforgettable

[2:17] 9. Pennies From Heaven

[4:17] 10. Pretend

[3:34] 11. My Melancholy Baby

Although not really a jazz singer, Herb Jeffries was the last surviving member of the 1940 Duke Ellington Orchestra and a fine interpreter of swing songs and ballads. He performed with Erskine Tate in the early '30s, Earl Hines (1931-1934), and Blanche Calloway, before becoming the first black cowboy actor in a series of '30s Westerns. He gained his greatest fame while with Ellington (1940-1942), having a big hit in "Flamingo." Jeffries, who recorded with Sidney Bechet in 1940, worked as a single artist after leaving Ellington in 1942, recording on an occasional basis and remaining active into the mid-'90s. He died, reportedly of heart failure, on May 25, 2014 in West Hills, California. ~bio by Scott Yanow

Easy To Remember

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Xavier Cugat - The Best Collection

Bitrate: MP3@320K/s
Time: 45:33
Size: 104.3 MB
Styles: Latin rhythms
Year: 2014
Art: Front

[3:06] 1. Yours (Quiereme Mucho)
[3:16] 2. Jalousie (Jealousy)
[3:09] 3. Begin The Beguine
[3:22] 4. Calientito
[2:42] 5. La Comparsa (Carnival Procession)
[2:59] 6. Isle Of Capri
[3:14] 7. I Want My Mama
[2:53] 8. Adios Muchachos
[2:26] 9. La Negra Leonor
[2:53] 10. Babalu
[3:09] 11. Siboney
[3:05] 12. Bim Bam Bum
[3:17] 13. Habanera
[3:08] 14. Green Eyes
[2:47] 15. Cachita

Remembered for his highly commercial approach to pop music, Xavier Cugat (born Francisco de Asis Javier Cugat Mingall de Cru y Deulofeo) made an even greater mark as one of the pioneers of Latin American dance music. During his eight-decade-long career, Cugat helped to popularize the tango, the cha-cha, the mambo, and the rhumba. His hits included "El Manicero" in the 1930s, "Perfidia" in 1940, and the original recording of "Babalu" in 1944. Members of Cugat's band included Desi Arnaz, Miguelito Valdés, Tito Rodriguez, Luis del Campo, Yma Sumac, and his third wife (of four), Abbe Lane. Cugat used the success of his musical career as a springboard for a movie career that included appearances in such films as Gay Madrid (1930), You Were Never Lovelier (1942), Bathing Beauty (1945), Weekend at the Waldorf (1945), Holiday in Mexico (1946), On an Island With You (1948), A Date With Judy (1948), Chicago Syndicate (1955), and Desire Diabolique (1959).

A native of Girona, Spain, Cugat emigrated with his family to Cuba in 1905. Trained as a classical violinist, he played with the Orchestra of the Teatro Nacional in Havana at the age of 12. Emigrating to the United States, sometime between 1915 and 1918, he quickly found work accompanying an opera singer. At the height of the tango craze, in 1918, Cugat joined a popular dance band, the Gigolos. His involvement with the group, however, was brief. As the popularity of the tango faded, he took a job as a cartoonist for The Los Angeles Times. Cugat returned to music in 1920, forming his own group, the Latin American Band. Although they played regularly at the Coconut Grove in Los Angeles and supplied the soundtracks for several musical shorts, the group had its greatest success after moving to New York and became the house band for the Waldorf Astoria Hotel. Despite being criticized for their middle-of-the-road approach, Cugat remained committed to his commercial-minded sound. He later explained, "I would rather play 'Chiquita Banana' and have my swimming pool than play Bach and starve." Cugat and his orchestra remained at the hotel for 16 years. Beautiful women were consistently featured in Cugat's band. After helping Rita Hayworth launch her career, he appeared in her film You Were Never Lovelier. Cugat's recordings of the 1950s featured the singing of his third wife, Abbe Lane. In the mid-'60s, he featured his fourth wife, Charo, who he billed as a "folksinger." Upon his retirement in 1970, Cugat returned to Spain. He died in Barcelona on October 27, 1990. His band, which was led by Tito Puente following his retirement, continued to perform under the direction of dancer, musician, and vocalist Ada Cavallo. ~bio by Craig Harris

The Best Collection

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Gloria Estefan - 90 Millas

Styles: Vocal, Latin Jazz
Year: 2007
File: MP3@320K/s
Time: 60:26
Size: 167,4 MB
Art: Front

(3:17)  1. Me Odio
(4:12)  2. No Llores
(4:14)  3. Lo Nuestro
(3:33)  4. Píntame De Colores
(3:21)  5. Caridad
(3:42)  6. Yo No Cambiaría
(3:53)  7. Bésame
(2:59)  8. Refranes
(3:43)  9. A Bailar
(3:51) 10. Esta Fiesta No Va' Acabar
(3:47) 11. Volveré
(4:41) 12. Esperando
(4:13) 13. Morentia
(3:15) 14. 90 Milas
(3:38) 15. Vueltas De La Vida
(4:01) 16. No Llores

Ever since Gloria Estefan split from Miami Sound Machine in 1989 to go solo, her best efforts tended to be her Spanish-language ones, and her fourth such album, 90 Millas, is no exception. In fact, it might be her best overall effort  regardless of language since Mi Tierra (1993), which was her first to be sung entirely in Spanish and an instant, best-selling classic. In a couple ways, 90 Millas is a follow-up to Mi Tierra. Both are heartfelt albums inspired by Cuba and Cuban music whereas Abriendo Puertas (1995) and Alma Caribeña (2000), Estefan's other two prior Spanish-language efforts, were more broadly Hispanic and Caribbean, respectively, in their influences and intent and both 90 Millas and Mi Tierra are graced by some of Latin music's most gifted instrumentalists, many of them legends. In this case, the featured guests include Papo Lucca, Johnny Pacheco, Candido Camero, Paquito d'Rivera, Nelson González, Andy García, Sheila E, Carlos Santana, Orestes Vilato, Israel "Cachao" López, Generoso Jiménez, Giovanni Hidalgo, India, José Feliciano, Arturo Sandoval, Sal Cuevas, and Luis Enrique. It's an impressive lineup of musicians; for instance, the album's lead single, "No Llores," alone boasts Carlos Santana on electric guitar, José Feliciano on acoustic guitar, Sal Cuevas on bass, Sheila E. on timbales, and Luis Enrique on congos and bongos.

That's not all, though. 90 Millas also boasts an ace production and songwriting team: husband/impresario Emilio Estefan (of course) and the Gaitán Bros. (Ricardo and Alberto). Then there's Gloria herself, who is the vehicle for this superstar project. She's in good voice here as well-mannered and graceful as usual and co-writes many of the songs. Yet it's the musicianship and the songs themselves, surprisingly few of them ballads, that shine brightest here on this love letter to Cuba, that oft-romanticized, and fiercely politicized, island 90 miles off the coast of Florida. Though born there, Gloria left as a child. In her heart, however, she never left her homeland behind, as this album and its predecessor, Mi Tierra, make clear, for both albums are among the best and certainly most poetic and impassioned efforts of her long, illustrious career. Practically every song here is a gem, and they're a rarity in 2007, a year in which traditional Cuban music like this couldn't have been further away from the mainstream of Latin music in America, where regional Mexican and urban dominated the marketplace. ~ Jason Birchmeier  http://www.allmusic.com/album/90-millas-mw0000482833

Personnel: Gloria Estefan (background vocals); Gloria Estefan; India (vocals); José Feliciano (guitar, acoustic guitar); Carlos Santana (guitar, electric guitar); Marco Linares (guitar, cuatro); Juanito Márquez (guitar); Lionel Delao (electric guitar); Nelson Gonzalez (tres); Johnny Pacheco (flute); Paquito d'Rivera & The United Nation Orchestra, Paquito d'Rivera (saxophone); Chocolate Armenteros, Arturo Sandoval (trumpet); Generoso "El Tojo" Jiménez (trombone); Papo Lucca (piano); Israel "Cachao" Lopez, Sal Cuevas (bass guitar); Daniel Berroa (congas, bongos, guiro, maracas, percussion); Orestes Vilató (congas, bongos, timbales); Luis Enrique (congas, bongos); Candido Camero (congas); Andy García (bongos, bells, bell); Sheila E. (timbales); Jesus Cruz (unknown instrument); Gaitán Bros., Cheito Quinonez (background vocals); Giovanni Hidalgo (quinto, congas, bells); Pedro Alfonso (violin); Ed Calle (clarinet, saxophone, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone); Herman "Teddy" Mulet (trumpet, trombone); Braily Ramos (trombone, horns); Javier Concepcion, Paquito Hechavarria (piano); Edwin Bonilla (congas, bongos, bata, guiro, shekere, timbales, percussion).

90 Millas

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Club des Belugas - Zoo Zizaro

Styles: Soul, Nu Jazz

Year: 2009

File: MP3@320K/s

Time: 70:42

Size: 162,9 MB

Art: Front

(4:29)  1. Passing On The Screen

(4:35)  2. Wild Is My Love

(5:42)  3. Radio Utopia feat. Bajka - Human Loss And Gain (Club Des Belugas Remix)

(4:03)  4. Clyde Beluga

(3:52)  5. Wigwag

(3:47)  6. Floating On Air

(4:57)  7. Un Grao De Areia

(4:46)  8. Back To My Room

(4:32)  9. My Hunger Hurts

(4:41) 10. Ella Fitzgerald - Air Mail Special (Club Des Belugas Remix)

(3:49) 11. Something Big And Endless

(3:59) 12. Habana Twist

(4:24) 13. Zoo Zizaro

(4:26) 14. Too Late

(3:50) 15. Les Baxter - Jungle Flower (Club Des Belugas Remix)

(4:41) 16. Pain Is Temporary

Club des Belugas is one of the leading Nujazz projects in Europe, perhaps in the world. They combine contemporary European Lounge & Nujazz Styles with Brazilian Beats, Swing and American Black Soul of the fifties, sixties and seventies using their unique creativity and intensity. This beautifully produced CD comes packed with 16 stunning electro flavoured jazzy tracks. As the 4 albums before, Zoo Zizaro is a writers and producers collaboration of Club des Belugas' founders and all time members Kitty the Bill and Maxim Illion .... The most important thing is: they have never been better. Zoo Zizaro is the coronation of their work. If ChinChin Records decided to release a Best of Club des Belugas album, 85% of the tracks would come from Zoo Zizaro. The following guest musicians appear on this album:

-Newcastle/UK singer Ferank Manseed. His voice has a range of about 4 octaves. In the high regions he sounds rather woman-like, which gives him the alias Nina Someone . In the lower regions of his voice you will think that he is the reincarnation of Frank Sinatra. Ferank appears on 3 tracks of Zoo Zizaro. He is also a well-known tattoo artist, famous for his tattoos by hand.

-Swedish vocalist Anna-Luca. Who has already had 5 tracks on the 4th album SWOP , appears again on 5 tracks, starting with Passing on the Screen , one of the most impressive Club des Belugas tracks ever. Anna-Luca is also working on her solo album, which will be released by SonyBMG in summer 2010.

-Multi award winning Californian jazz impresario Brenda Boykin. Who has also appeared on the 3rd Club des Belugas album Apricoo Soul and the 4th album SWOP . In 2008 she had huge success with her solo album Chocolate & Chili , which has also been released by ChinChin Records.

-All members of the Club des Belugas Orchestra. Who appear on many of the tracks on this album and who have also performed around 200 live concerts in China, Russia and all over Europe in the last 2 years. With special thanks to the brass players, who perform brilliantly as solo artists and as a section.

-The horn section of Greg Adams' Big Brass Band, who supports the Beluga brass section on the tracks Clyde Beluga and Habana Twist

-Not forgetting the 3 fantastic remixes: Ella Fitzgerald - Air Mail Special, which has been originally recorded at the Newport Jazz Festival in 1957. Les Baxter - Jungle Flower, which appeared originally on the album The Ritual of the Savage in 1952. Then the contemporary track Radio Utopia - Human Loss and Gain with the incredible voice of Bajka, who has had releases with Bonobo, Beanfield, Radio City and Una Mas Trio.

Club Des Belugas have been compiled on 630 compilations with a total of 4,5 million CDs so far (September 09). Their tracks have been licensed by Hollywood movies, TV films, TV shows and TV adverts all over the world. Their album Apricoo Soul was chosen for Best CD of the year 2006 and their album SWOP was chosen for Best CD of the year 2008 Shirokko.de. ~ Editorial Reviews  http://www.amazon.com/Zoo-Zizaro-Club-Des-Belugas/dp/B002S4DNZA

Personnel: Anna.Luca, Brenda Boykin (vocals); Detlef Hoeller (guitar); Karlos Boes (saxophone); Lars Kuklinski (trumpet); Philipp Schug (trombone); Maxim Illion, Roman Babik (keyboards); Mickey Neher (drums); Kay Vester (percussion).

Zoo Zizaro

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Roberto Gatto Quartet - Sixth Sense

Styles: Contemporary Jazz
Year: 2015
File: MP3@320K/s
Time: 61:16
Size: 140,6 MB
Art: Front

(5:07)  1. One for Avi
(7:25)  2. Sixth Sense
(4:43)  3. Hat on the Bobcat
(5:41)  4. Togo
(7:50)  5. Bonanza
(4:54)  6. Dee's Dilemma
(5:05)  7. Unknown Shape
(7:01)  8. Black and Tan Fantasy
(5:36)  9. Remember Rockefeller at Attica
(7:50) 10. Peace

"Sixth Sense" is the first CD of a new, spectacular training pianoless. The quartet assembled by Roberto Gatto is the most unique and interesting you could find in issue. The melody part is performed by two horns, trumpet young and acclaimed Avishai Cohen and the tenor sax and clarinet Francesco Bearzatti.  "Sixth Sense" to be released March 30, 2015 for the label Music Park Records, it is the first CD of a new, spectacular training pianoless. The quartet assembled by Roberto Gatto is the most unique and interesting you could find in issue. The melody part is performed by two horns, trumpet young and acclaimed Avishai Cohen (Rising Star 2012 according to the Downbeat Critics Pool already internationally established) and the tenor sax and clarinet in a great representative of Italian music in the world Francesco Bearzatti (named best European musician in 2011 by the Académie du Jazz). To support him and accompany him in the rhythm part, a prominent representative of the new generation of jazz bass, the New York Doug Weiss.

Four personalities who have put at the service of music, their cultural and musical with great transport and energy, but above all with originality. He imposed on the national jazz scene in the mid-70s, Roberto Gatto - born in 1958, with a path that knows no setbacks from about forty years - has never exhausted the thirst of research and testing. The latter feature that, combined with extraordinary skill, led the drummer to write the history of Italian jazz. Removed the clothes of prestigious sideman alongside national players (Enrico Rava, Enrico Pieranunzi) and international (Johnny Griffin, John Abercrombie, Chet Baker, Steve Lacy, Pat Metheny, Bob Berg, Curtis Fuller, George Coleman, Joe Zawinul etc.) Cat, undertook more vigorously the activities of leaders creating its formations harbingers of original projects, never predictable. To mention in this regard the acclaimed Perfect Trio completed by Alfonso Santimone and Pierpaolo Ranieri, the recent New York Quartet, index increasingly frequent stays in the Big Apple, which sees drummer converse with the brass of the Chilean young saxophonist Melissa Aldana, next Nir Felder and Joe Lepore, and the newest play with Zappa Quintorigo, especially live work dedicated to one of his best-loved artists defined the best and most convincing jazzy tribute to the music of Frank Zappa. Translate by google  http://www.traccedijazz.it/index.php/nuove-uscite/24-nuove-uscite-italiane/1063-roberto-gatto-sixth-sense

Personnel:  Roberto Gatto – Drums;  Avishai Cohen – Trumpet;  Francesco Bearzatti - Tenor Saxophone, Clarinet;  Doug Weiss - Double Bass

Sixth Sense

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Gene Bertoncini, Kenny Poole - East Meets Midwest

Bitrate: MP3@320K/s
Time: 59:56
Size: 137.2 MB
Styles: Guitar jazz
Year: 2007
Art: Front

[4:09] 1. Tangerine
[3:53] 2. Do Nothin' Till You Hear From Me
[4:37] 3. All The Things You Are
[4:05] 4. The Shadow Of Your Smile
[6:18] 5. Cherokee
[5:59] 6. Estaté
[3:41] 7. How About You
[5:25] 8. Sophisticated Lady
[3:33] 9. Snowfall
[8:51] 10. Willow Weep For Me
[3:46] 11. Woman From Bahia
[5:33] 12. A Sleepin' Bee

Part of the genius of many jazz performers is the ability to set up in a studio, with or without charts, name a tune, decide on a key, roll the tape machine (or boot up the computer) and record a fully unrehearsed session in one take. It preserves the immediacy of the live moment in performing. We get that from two guitarists – Gene Bertoncini and Kenny Poole – in East Meets Midwest, the debut recording for Cincinnati-based JCurve Records.

Bertoncini, a nylon-string guitarist who has performed with Tony Bennett and Lena Horne, teams with Poole on a mellow, 12-track selection of standards, joined on five of them by Bob Bodley on acoustic bass. Bodley plays so discreetly on those selections, though, you can hardly tell he's there.

Among the more outstanding moments on this recording are a spirited renditions of "Tangerine" and "The Shadow of Your Smile." Bear in mind, though, that these and the others are more than just different versions of standards. These are lively, masterful, technically flawless, and entertaining instrumentals. Perhaps the most astounding selection is the duo's brief version of Claude Thornhill's "Snowfall." Bertoncini sets the tempo with a rhythm on his guitar, faster than the song normally takes. Poole plays a brief version of the theme on top of it, then launches right into a solo. At one point, they seem to jump into different keys and rhythms that it becomes a little difficult to tell that it they are playing "Snowfall." But Poole returns to the theme to finish the rest of the selection. ~Tim Roberts

East Meets Midwest

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Lee Wiley - The Great American Songbook

Bitrate: MP3@320K/s

Time: 77:09

Size: 176.6 MB

Styles: Jazz vocals

Year: 2012

Art: Front

[2:43] 1. I Gotta Right To Sing The Blues

[4:13] 2. I've Got You Under My Skin

[3:13] 3. 's Wonderful

[3:10] 4. But Not For Me

[3:25] 5. How Long Has This Been Going On

[3:23] 6. A Ship Without A Sail

[2:48] 7. You Took Advantage Of Me

[3:01] 8. You Do Something To Me

[3:07] 9. Easy To Love

[2:36] 10. Between The Devil And The Deep Blue Sea

[2:48] 11. Stormy Weather

[3:03] 12. The Man I Love

[2:58] 13. Someone To Watch Over Me

[3:09] 14. It's Only A Paper Moon

[3:09] 15. Body And Soul

[2:44] 16. Time On My Hands

[3:10] 17. Tea For Two

[3:13] 18. I Don't Stand A Ghost Of A Chance With You

[3:22] 19. Manhattan

[3:05] 20. Oh! Look At Me Now

[3:23] 21. I've Got A Crush On You

[2:25] 22. My Heart Stood Still

[3:08] 23. Glad To Be Unhappy

[2:37] 24. My Romance

[3:05] 25. My Funny Valentine

Wiley was born in 1910 in Ft. Gibson, OK; early press reports claimed lineage from a Cherokee princess, as well as a birthdate five years later than the true one. Whatever her background, she began singing at an early age, influenced by the "race records" of the day by Mildred Bailey and Ethel Waters. She left Oklahoma for New York City as a teenager, and made a few demos in the late '20s before hiring on with Leo Reisman. Her first hit, "Time on My Hands," came in 1931 with Reisman, and earned her solo billing on a few radio programs. Wiley also began recording her own sides for Kapp, backed by the Casa Loma Orchestra, the Dorsey Brothers, and Johnny Green.

Her popular fortunes fell however, after the threat of tuberculosis kept her from singing for more than a year. In the late '30s, Wiley began recording sides for the Liberty music shop. The results were a series of unique sessions, each organized around the work of one composer (first the Gershwins, then Cole Porter, Rodgers & Hart, and Harold Arlen) and released on the standard catalog album -- four 10" records played at 78 rpm -- for a grand total of eight songs by each composer. These "songbook" recordings also utilized the cream of the era's hot jazz musicians, including Eddie Condon, Bunny Berigan, Pee Wee Russell, Joe Bushkin, Fats Waller, and Jess Stacy; the latter became her husband for several years during the '40s. Wiley also performed often with Stacy's big band and with smaller groups led by Condon during the '40s. She signed to Columbia in 1950 and recorded several additional albums, including the excellent Night in Manhattan. ~John Bush

The Great American Songbook

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Jake Hanna & His After Hours Gang - The Joint Is Jumpin'

Bitrate: MP3@320K/s
Time: 63:27
Size: 145.3 MB
Styles: Swing
Year: 2006
Art: Front

[5:42] 1. Exactly Like You
[6:32] 2. My Ideal
[9:00] 3. P-Town
[6:46] 4. You'd Be So Nice To Come Home To
[5:56] 5. These Foolish Things
[6:17] 6. Look For The Silver Lining
[7:26] 7. Oh! Look At Me Now
[6:05] 8. June Night
[5:36] 9. Can't We Be Friends
[4:03] 10. The Joint Is Jumpin'

Jake Hanna: Drums, leader; Jack Sheldon: Trumpet; Tommy Newsom: Tenor; John Allred: Trombone; Ross Tompkins: Piano; David Stone: Bass.

Jake Hanna, one of the all-time drummer greats, has assembled a group of the guys with whom he has jammed after hours for many years to make this relaxed swinging date. Jack Sheldon, on trumpet and also providing some of his one-of-a-kind vocals, Tommy Newsom of The Johnny Carson Tonight Show fame on tenor, Ross Tompkins, also from The Tonight Show, on piano, John Allred, trombone, and David Stone, bass.

The Joint Is Jumpin'

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Bobby Darin - Twist With Bobby Darin

Bitrate: MP3@320K/s
Time: 26:00
Size: 59.5 MB
Styles: Pop-rock
Year: 1961/2004
Art: Front

[2:28] 1. Bullmoose
[2:14] 2. Early In The Morning
[1:37] 3. Mighty Mighty Man
[2:04] 4. You Know How
[2:16] 5. Somebody To Love
[2:15] 6. Multiplication
[2:31] 7. Irresistible You
[2:10] 8. Queen Of The Hop
[2:08] 9. You Must Have Been A Beautiful Baby
[1:56] 10. Keep A Walkin'
[2:05] 11. Pity Miss Kitty
[2:10] 12. I Ain't Sharin' Sharon

Twist with Bobby Darin was released in mono and stereo in December of 1961 and peaked at number 48 on the Billboard charts, remaining there for 31 weeks. The dance album is a collection of rock songs, all of which have backbeat suitable for, obviously, twisting. An amazing seven of the twelve songs from Twist with Bobby Darin were included on The Best of Bobby Darin, Vol. 1 and the remaining five are on Rare Rockin' & Unreleased. That so many of the songs from this record are part of Darin's "best" does not mean that this is his best album. In fact, Twist with Bobby Darin was something of a stop-gap album. For Teenagers Only was released in September of 1960 and failed to chart. Five of the songs from that LP ("Keep a Walkin," "You Know How," "Somebody to Love," "I Ain't Sharin Sharon," "Pity Miss Kitty") were included on Twist for some reason, meaning that only seven of the songs were new. The new tunes, however, were among his strongest. The entire first side (and first six songs) are all Bobby Darin compositions. Darin had not released his own songs in a few years and maybe Atco was not sure they would sell records themselves. Side two included the hit "You Must Have Been a Beautiful Baby" which was written by Johnny Mercer and Harry Warren. ~JT Griffith

Twist With Bobby Darin

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The Laurie Bower Singers - Looking Through The Eyes Of Love

Bitrate: MP3@320K/s
Time: 49:37
Size: 113.6 MB
Styles: Easy Listening, Vocal group harmonies
Year: 1996
Art: Front

[3:34] 1. Looking Through The Eyes Of Love
[3:35] 2. Looks Like We Made It
[3:35] 3. September Morn'
[3:20] 4. I Go To Rio
[3:59] 5. Don't Blame Me
[3:42] 6. When I Need You
[3:10] 7. Don't Cry Out Loud
[2:54] 8. Southern Nights
[3:00] 9. You Needed Me
[3:19] 10. Key Largo
[2:59] 11. Why Is Forever Taking So Long
[2:53] 12. Don't Ask Me Why
[3:37] 13. It Goes Like It Goes
[3:30] 14. She's Always A Woman
[2:23] 15. Everything Old Is New Again

Up until this CD the Laurie Bower Singers discography was only available on vinyl (possibly cassettes). This severe injustice has been rectified. If this CD doesn't knock your socks off, you aren't wearing any. ~Amazon

Looking Through The Eyes Of Love

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Nat Adderley - Little Big Horn!

Styles: Cornet And Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 39:32
Size: 92,7 MB
Art: Front

(6:46)  1. El Chico
(4:13)  2. Foo Foo
(4:17)  3. Loneliness
(5:23)  4. Little Big Horn
(4:52)  5. Half-Time
(4:22)  6. Broadway Lady
(5:14)  7. Roses For Your Pillow
(4:21)  8. Hustle With Russell

Not that it’s fair, but Nat Adderley will always be considered the Little Brother; he was even billed that way on an album. Tunes like “Work Song” built the funky base of the Adderley band, he used Wes Montgomery at the start of his meteoric rise, and Ellis Marsalis on a New Orleans live album Still Nat remained in the shadow, and he tried to break out in a series of albums for Riverside. This one, from 1963, gives us eight tunes by Nat and two different quintets, each with a star guitarist. The moods are many, and so are the pleasures. Nat’s echoing cornet opens a bullfight, and Jim Hall joins him in the theme of “El Chico”. What stands out is how loud Nat is; he’s asserting himself, and is brassier than normal. Hall’s solois relaxed, with a few hints of the Spanish style. Junior Mance comes in bright and bluesy, showing throughout why he was a superlative accompanist. His sound is light, but he charges the tune as much as Nat did. And when the leader returns, he stands stately as he takes the theme home. Proud and confident; a great opener. 

“Foo Foo” is a funky blues, reminding me of Big Brother’s “Sack O’ Woe”. Here the guitarist is Kenny Burrell; he sounds cleaner than Hall, and his typically liquid notes have a nice bite to them. Mance bends the chords hard as Nat takes a leisurely solo; he has the assurance of “El Chico” with a quieter horn. Typical Adderley and typically good. “Loneliness” is a great mood-setter; its chords seem to be the basis for the Shangri-Las’ “Dressed in Black”. (Don’t laugh “Remember [Walking in the Sand]” has the chords of MJQ’s “Sketch”.) The tune marches at funeral pace while Nat blows soft and sad; something tragic has happened, and he won’t tell us what. Burrell’s solo retains his high tone, but without the happiness I always associate with him. Nat returns, and it seems even slower; this is four minutes long, but it sounds like the blues will never leave.

The clouds are chased on “Little Big Horn”, which sounds more like a show tune than “Broadway Lady”, which appears later. Nat is muted here, and he sounds warmer than anything this side of Miles. Burrell’s solo is his typical jaunty self, and Mance is a sophisticated lounge pianist, with just a hint of blues to let us know where he came from. On “Half-Time”, Nat is (what else?) a marching band, stepping high as the drums do their cadence. Nat sounds deep as he gives us a very happy solo. Hall is back on guitar, and he sounds darker than Burrell, getting in some slides and heavy strums. The fadeout comes quick, as Nat marches off the field. “Broadway Lady” sounds like a fashion show, with high brass and sweet sophistication. (The liner notes call it “more lady than Broadway”.) Mance comes in with confidence, as the lady struts her stuff. 

Nat takes her out for a night to remember, with high whoops and dancing rhythm. Hall is gentle, sweet and shy; a lady all right, but not Broadway. Mickey Roker sets off the fireworks at the end as flashbulbs go off. “Roses for Your Pillow” is an especially lovely ballad, a wakeup gift on a lazy morning. (The title suggests “Violets for Your Furs”, but there is no musical resemblance.) Both Nat and Hall serenade us, with Hall’s best effort of the date. Then everybody wakes up on “Hustle With Russell”, with its sterling piano, and a sailing solo from Nat. Burrell’s return is welcome; his solo has a special tang. It’s probably the weakest tune on the album, but only because the standard is so high  it’s like complaining about a B- on a report card full of A’s. For consistency, this is my favorite Nat album of those I’ve heard so far. His versatility (as composer and musician) is appreciated, and the many moods make for a very sound package. Nat Adderley may be the Little Brother, but here he shines big. ~ AAJ Staff  http://www.allaboutjazz.com/little-big-horn-nat-adderley-fantasy-jazz-review-by-aaj-staff.php

Personnel: Nat Adderley (trumpet, cornet); Jim Hall, Kenny Burrell (guitar); Junior Mance (piano); Mickey Roker (drums).

Little Big Horn!

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Rachel Gould & Chet Baker - All Blues

Styles: Vocal And Trumpet Jazz
Year: 1979
File: MP3@320K/s
Time: 37:40
Size: 86,8 MB
Art: Front

(5:43)  1. All Blues
(5:38)  2. My Funny Valentine
(7:01)  3. Bangles Bangles And Beads
(4:01)  4. Straight No Chaser
(5:10)  5. Round Midnight
(5:04)  6. I've Got You Under My Skin
(5:00)  7. Phil's Bossa

Rachel Gould studied cello and classical singing at Boston University. She began her professional singing career in the early '70's in the United States, toured Europe (Germany, Holland and Poland) and settled there. She lived in Germany and Switzerland and lives since the end of 1991 in Holland. She made appearances on German TV and was the featured soloist for radio productions in Germany, France, Luxembourg, Holland, Poland, Switzerland and the USA. She recorded the LP "All Blues" with Chet Baker in London and her own LP "The Dancer" in Frankfurt. In 1989 she recorded the CD "A Sip Of Your Touch" with Riccardo del Fra on which Art Farmer, David Liebman, Enrico Pieranunzi and Michel Graillier are also featured. In 1991 she recorded the CD "Live In Montreux" with Stephan Kurmann and Strings. Her CD "More Of Me" was released in 1993.

In her career as a singer Rachel has worked and performed with many well known jazz musicians: Chet Baker, Benny Bailey, Lou Blackburn, Billy Brooks, Bobby Burgess, Phillipe Catherine, Hal Graillier, Wolfgang Haffner, Joe Haider, Jake Hanna, Woody Herman, Michel Herr, Bert Joris, Stephan Kurmann, Dennis Luxion, Rita Marcotulli, Sal Nistico, Tom Nicholas, Horace Parlan, Jaques Pelzer, Enrico Pieranunzi, Larry Porter, Ferdinand Povel, Allan Praskin, Mercello Tonnolo, James Woode and many others. She also worked with arrangers and bandleaders such as Woody Herman, Bill Holman, Erwin Lehn, Horst Jankowski, Peter Herbolzheimer, Silvan Koopman, Dieter Reith and Highlight Jazz Orchestra in the Netherlands.She sang engagements and toured with her own bands as featured soloist in Holland, Belgium, Germany, France, Italy, Switzerland, Austria, Poland and Japan. http://www.jazzmasters.nl/rachelgould.htm

The number of new het Baker releases seem to be never-ending. Released for the first time in 1998, this CD matches the charismatic trumpeter/vocalist in London with several Europeans (guitarist Jean-Paul Florens, pianist Henri Florens, bassist Jim Richardson, drummer Tony Mann and, on three selections, singer Rachel Gould) for a reasonably well-recorded and spirited studio session. Baker is OK singing "'Round Midnight" (there is a second instrumental version too) and a couple of scats, while Gould is fine on "All Blues," "Straight No Chaser" and the guitarist's "Phil's Bossa." However, the main reason to acquire this set is for the spots where Baker is backed only by guitarist Florens, and for his instrumental interplay with his sidemen. The interpretations are melodic, lyrical, usually relaxed (even at faster tempos), and well worth a close listen. het Baker was in good form on those two days. Recommended. -- Scott Yanow, All-Music Guide

Personnel:  Rachel Gould – vocals;  Chet Baker – trumpet;  John Paul Florens – guitar;  Henry Florens – piano;  Jim Richardson – bass;  Tony Mann – drums

All Blues

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