Grover Washington, Jr. - Winelight

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 39:26
Size: 90,8 MB
Art: Front

(7:36)  1. Winelight
(5:54)  2. Let It Flow (For 'Dr. J')
(5:31)  3. In The Name Of Love
(6:19)  4. Take Me There
(7:27)  5. Just The Two Of Us
(6:37)  6. Make Me A Memory (Sad Samba)

When Grover Washington, Jr. passed away in 1999 the jazz world lost one of its most successful and talented creators, and in his wake a slew of saxophonists have stepped up to fill the void. None have. Philadelphia jazz deejay Bob Perkins said, of Washington, a native of the City of Brotherly Love, "He was the originator of smooth jazz, and all the rest Najee, Kenny G followed him."  It is absolutely true that Washington was, along with George Benson, one of the founding fathers of smooth jazz and following the monster hit that was the Grammy-winning Winelight it wasn't long before the saxophone became, along with the electric guitar, the two most preeminent instruments in the genre. For better or worse (and there's an argument to be made for either side), Washington blazed a trail many others have followed, with varying degrees of success. Within the crowed group of smooth jazz saxophonists there are a few originals following their own muse and blazing their trails of their own. Regretfully, the vast majority bland cookie cutter clones slavishly hacking out infinite versions of the R&B/jazz fusion of "Mister Magic" and "Just the Two of Us" without bringing anything fresh to the table. Smooth jazz is stuck in a rut of safe sax where nothing is risked and nobody wants to step out of their comfort zone. Real jazz is all about taking risks, not playing it safe.

Washington was not so much a daring innovator as much as he was a solid musician who had paid his dues as part of Creed Taylor's CTI and Kudu record labels, where the music was glossy and the album jackets were distinctive. Washington was labelmates with Benson, Stanley Turrentine, Freddie Hubbard, Bob James, Hubert Laws and Esther Phillips to name but a few of the artists on the CTI roster.  With his move to Elektra Records, in 1980 Washington uncorked Winelight. Predictably, it reached number one on Billboard's Top Jazz, but then it crossed over to other charts. The album went to number five on Billboard's Pop Albums, number two Top Soul Albums and "Just the Two of Us" reached number two on the Billboard Hot 100, and stayed there for three weeks. The album would go on to win two Grammy awards. The quiet greatness of Winelight has not faded 35 years after its release. It's far and away the best album of Washington's long career. The slip n' slide funk of "Mister Magic" put Washington on the map, but Winelight was the evidence he could flat out play.

Washington would go on to record 11 more albums before his horn fell silent, but none approached the all-time high of Winelight. Not much of Washington's extensive catalog garners much airplay beyond "Mister Magic," "Let It Flow" and "Just the Two of Us," and that's a shame because he continued to make some interesting albums at Columbia which deserve to be heard. Perhaps this new reissued and limited edition multichannel 5.1 SACD release will rekindle a discovery of the extensive Washington discography. The Surround Sound remix was produced by Ralph MacDonald, the renowned percussionist who also co-wrote "Just the Two of Us" and shared production duties on Winelight with Washington. MacDonald died in 2011. Other notable musicians include drummer Steve Gadd, guitarist Eric Gale and a 21-year-old wizard on bass by name of Marcus Miller. The only complaint with the remastered release is the absence of any bonus tracks or new liner notes. It is a missed opportunity not to provide some details and insights into the recording process or how Washington and McDonald convinced the reclusive Withers to provide the vocals for "Just the Two of Us." When most lists of the Top 25 Jazz Albums of All Time are compiled, Winelight is nowhere to be seen. It likely wouldn't make the top 100 for the truly hardcore fan who likes their music with a rougher edge than smooth jazz provides. No way does it knock a Kind of Blue, A Love Supreme, Time Out or Blue Trane off the list, but when the list includes the 25 most influential jazz albums, Winelight belongs in there as much as Head Hunters or Breezin' for taking jazz into a brand new direction even if everybody wasn't happy with where it went.~Jeff Winbush http://www.allaboutjazz.com/winelight-by-jeff-winbush.php
 

Personnel:  Grover Washington, Jr.: soprano, alto, tenor saxophone;  Bill Withers: vocals (5);  Ralph McDonald: congas, percussion; syndrums;  Steve Gadd: drums; Marcus Miller: bass; Eric Gale: guitar; Paul Griffin: Fender Rhodes (2, 4), clavinet (1); Richard Tee: Fender Rhodes: (3, 5); Bill Eaton: synthesizer (5); Ed Walsh: Oberheim 8-voice synthesizer; Raymond Chew: clavinet (1); Robert Greenidge: steel drums (tuned by Rudolph Charles); Hilda Harris, Yvonne Lewis, Ullanda McCullough: background vocals.

Winelight

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Kevin Eubanks - Zen Food

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 59:20
Size: 136,3 MB
Art: Front

(5:36)  1. The Dancing Sea
(6:27)  2. Spider Monkey Cafe
(8:30)  3. The Dirty Monk
(7:34)  4. Adoration
(7:22)  5. Los Angeles
(3:52)  6. I Remember Loving You
(8:00)  7. 6/8
(4:13)  8. G.G.
(6:28)  9. Offering
(1:13) 10. Das It

As the former Tonight Show's music director for 18 years, guitarist Kevin Eubanks admirably performed the necessary duties of leading the house band, trading comedic barbs with host Jay Leno, and whatever else it took to get the job done. But before the glamor and glitz of Hollywood, most folks probably didn't know that Eubanks was and still is a superb jazz musician who has performed with Art Blakey and the Jazz Messengers, bassist Dave Holland, and released a number of fine recordings. Eubanks' new chapter begins with Zen Food, showcasing his continued guitar mastery with a new band and fresh material. The recording's dynamics mirror his talent: an intrepid player with the ability to play with deep feeling; and a robust writer, covering a range of hard hitting vamps ("The Dancing Sea"), stealthy grooves ("Spider Monkey Cafe"), and blue serenity (" The Dirty Monk"), and tender ballads ("I Remember Loving You").

The band's symbiotic connection is crucial, beginning with the cornerstone of bassist Rene Camacho and veteran trap-master Marvin "Smitty" Smith who was also a member of the Tonight Show band. Moments such as the hymnal inspired "Adoration" are vivid, as Eubanks' acoustic chord-work is the perfect accompaniment to Gerry Etkins' ethereal keyboards. The set feels, at times, like a potpourri of styles, but the high level of musicianship elevates tracks such as the Wes Montgomery-like storm of "6/8," and the infectiously hip "G G (Gerry's Groove)," where Bill Pierce's saxophone laments sweet blues and Eubanks' electric guitar echoes the sentiment with elongated and improvised notes. Eubanks is a complete player, whether delivering jaw-dropping solos or flavorful comps. On top of that, he's not lost his superlative chops on acoustic guitar, as "Das It" attests. This short barn-burner displays a dexterity, intensity, and muscular finger picking reminiscent of his killer Shadow Prophets (GRP, 1988). What lies ahead for Eubanks is anyone's guess, but it is sure to be an interesting journey that begins with the welcome return of Zen Food.~Mark F.Turner http://www.allaboutjazz.com/zen-food-kevin-eubanks-mack-avenue-records-review-by-mark-f-turner.php

Personnel: Kevin Eubanks: guitars; Bill Pierce: saxophone; Gerry Etkins: keyboards; Rene Camacho: bass; Marvin "Smitty" Smith.

Zen Food

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Sarah Vaughan - Embraceable You

Styles: Vocal Jazz
Year: 1996
File: MP3@320K/s
Time: 48:16
Size: 110,8 MB
Art: Front

(2:58)  1. Embraceable You
(4:11)  2. Scat Blues
(2:22)  3. 'Lover' Come Back To Me
(7:18)  4. Round Midnight
(4:29)  5. Sassy's Blues
(5:03)  6. Misty
(2:35)  7. Just One Of Those Thing
(6:10)  8. Alfie
(3:33)  9. What Now My Love
(1:45) 10. I Had A Ball
(2:46) 11. The Theme
(5:00) 12. Lover Man

Possessor of one of the most wondrous voices of the 20th century, Sarah Vaughan ranked with Ella Fitzgerald and Billie Holiday in the very top echelon of female jazz singers. She often gave the impression that with her wide range, perfectly controlled vibrato, and wide expressive abilities, she could do anything she wanted with her voice. Although not all of her many recordings are essential (give Vaughan a weak song and she might strangle it to death), Sarah Vaughan's legacy as a performer and a recording artist will be very difficult to match in the future. Vaughan sang in church as a child and had extensive piano lessons from 1931-39; she developed into a capable keyboardist. After she won an amateur contest at the Apollo Theater, she was hired for the Earl Hines big band as a singer and second vocalist. Unfortunately, the musicians' recording strike kept her off record during this period (1943-44). When lifelong friend Billy Eckstine broke away to form his own orchestra, Vaughan joined him, making her recording debut. She loved being with Eckstine's orchestra, where she became influenced by a couple of his sidemen, Charlie Parker and Dizzy Gillespie, both of whom had also been with Hines during her stint. Vaughan was one of the first singers to fully incorporate bop phrasing in her singing, and to have the vocal chops to pull it off on the level of a Parker and Gillespie.

Other than a few months with John Kirby from 1945-46, Sarah Vaughan spent the remainder of her career as a solo star. Although she looked a bit awkward in 1945 (her first husband George Treadwell would greatly assist her with her appearance), there was no denying her incredible voice. She made several early sessions for Continental: a December 31, 1944 date highlighted by her vocal version of "A Night in Tunisia," which was called "Interlude," and a May 25, 1945 session for that label that had Gillespie and Parker as sidemen. However, it was her 1946-48 selections for Musicraft (which included "If You Could See Me Now," "Tenderly" and "It's Magic") that found her rapidly gaining maturity and adding bop-oriented phrasing to popular songs. Signed to Columbia where she recorded during 1949-53, "Sassy" continued to build on her popularity. Although some of those sessions were quite commercial, eight classic selections cut with Jimmy Jones' band during May 18-19, 1950 (an octet including Miles Davis) showed that she could sing jazz with the best. During the 1950s, Vaughan recorded middle-of-the-road pop material with orchestras for Mercury, and jazz dates (including Sarah Vaughan, a memorable collaboration with Clifford Brown) for the label's subsidiary, EmArcy. Later record label associations included Roulette (1960-64), back with Mercury (1963-67), and after a surprising four years off records, Mainstream (1971-74). 

Through the years, Vaughan's voice deepened a bit, but never lost its power, flexibility or range. She was a masterful scat singer and was able to out-swing nearly everyone (except for Ella). Vaughan was with Norman Granz's Pablo label from 1977-82, and only during her last few years did her recording career falter a bit, with only two forgettable efforts after 1982. However, up until near the end, Vaughan remained a world traveler, singing and partying into all hours of the night with her miraculous voice staying in prime form. The majority of her recordings are currently available, including complete sets of the Mercury/Emarcy years, and Sarah Vaughan is as famous today as she was during her most active years.~Scott Yanow http://www.allmusic.com/artist/sarah-vaughan-mn0000204901/biography

Personnel: Sarah Vaughan (vocals, piano); Hank Mobley (tenor saxophone); Dizzy Gillespie (trumpet); Wade Legge, Bob James (piano); Al Jones , Omar Clay (drums)

Embraceable You

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Wynton Kelly & Wes Montgomery - Smokin' at the Half Note

Styles: Guitar And Piano Jazz

Year: 1965

File: MP3@320K/s

Time: 41:07

Size: 94,3 MB

Art: Front

(12:56)  1. No Blues

( 8:25)  2. If You Could See Me Now

( 6:46)  3. Unit 7

( 6:46)  4. Four on Six

( 6:12)  5. What's New?

Smokin' at the Half Note is essential listening for anyone who wants to hear why Montgomery's dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Pat Metheny calls this "the absolute greatest jazz guitar album ever made," and with performances of this caliber ("Unit 7" boasts one of the greatest guitar solos ever recorded) his statement is easily validated. Montgomery never played with more drive and confidence, and he's supported every step of the way by a genuinely smokin' Wynton Kelly Trio. In 1998, Verve reissued the complete show on disc two of Impressions: The Verve Jazz Sides, although the scrambled track order and some non-essential cuts don't diminish the appeal of the original album.~Jim Smith http://www.allmusic.com/album/smokin-at-the-half-note-mw0000188578

Personnel: Wes Montgomery (guitar); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Smokin' at the Half Note/a>

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Wes Montgomery - The Incredible Jazz Guitar Of Wes Montgomery

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 44:03
Size: 101,2 MB
Art: Front

(4:26)  1. Airegin
(5:23)  2. D-Natural Blues
(4:44)  3. Polka Dots And Moonbeams
(6:15)  4. Four On Six
(7:25)  5. West Coast Blues
(4:54)  6. In Your Own Sweet Way
(4:33)  7. Mister Walker
(6:20)  8. Gone With The Wind

Ask a dozen jazz guitar fans for their all-time top guitar albums and The Incredible Jazz Guitar of Wes Montgomery is likely to be high on every list. If it isn't, chances are Montgomery's live set Full House (Riverside, 1962), recorded two years later, will be. With these discs, Indianapolis-born Montgomery (1923-68) gave the guitar its biggest quantum leaps forward, both stylistically and in terms of listener acceptance, since Charlie Christian in the late 1930s/early 1940s and Johnny Smith in the 1950s. Full House got the 24-bit remastering treatment in 2007 as part of Riverside's Keepnews Collection series, supervised and annotated by label founder/producer Orrin Keepnews. Now The Incredible Jazz Guitar joins it.  Almost entirely self-taught (initially by immersing himself in Christian's recordings with clarinetist Benny Goodman's chamber groups), and unable to read a note of music, by 1959 when he was brought to Keepnews' attention by saxophonist Cannonball Adderley, who'd been gigging in Indianapolis Montgomery had developed a revolutionary new approach to the instrument. His style featured three signature elements: he played with his thumb, never a pick, and he improvised entire choruses using either octaves or pianistic block chords. None of these techniques were unique, but until Montgomery came along no other guitarist had mastered them so completely (let alone combined them) or made them so integral to sound and improvisation. An exception is Smith, whose Moonlight in Vermont (Roulette, 1953) and later albums featured extended passages of block chording as beautiful and fluid as Montgomery's.

The Incredible Jazz Guitar burst onto the US scene in 1960 like a benign hurricane, and it still sounds like a gale almost 50 years later. Over four bluesy originals, the standards "Polka Dots And Moonbeams" and "Gone With The Wind," Dave Brubeck's gorgeous "In Your Own Sweet Way" and a fast-paced reading of Sonny Rollins' "Airegin," Montgomery empathetically accompanied by pianist Tommy Flanagan, bassist Percy Heath (then riding high with the Modern Jazz Quartet), and drummer Albert Heath makes the guitar sound like it never had before. It has sounded similar since, of course, thanks to the legion of Montgomery-influenced players, but rarely so close to perfection. In his revealing new extended liner notes, Keepnews, born within a few days of Montgomery and at 85 a fluent anecdotal historian, paints a vivid portrait of Montgomery as a musician and as a private person. He expresses some regret that he was unable to give Montgomery the big mainstream audience he achieved with producer Creed Taylor on Verve and CTI 1964-68 (but is proud that Montgomery's Riverside recordings made no attempt at pop crossover) and some embarrassment over the lack of alternate takes or bonus tracks (the reissued Full House by contrast had both), recalling the many Riverside archive tape boxes he's come across with the original data crossed out and supplanted by something later. 

But he doesn't beat himself up about it, and nor should he. At 43:58 divine minutes, The Incredible Jazz Guitar endures, and will continue to do so.~Chris May http://www.allaboutjazz.com/the-incredible-jazz-guitar-of-wes-montgomery-wes-montgomery-riverside-review-by-chris-may.php

Personnel: Wes Montgomery: guitar; Tommy Flanagan: piano; Percy Heath: bass; Albert Heath: drums.

The Incredible Jazz Guitar Of Wes Montgomery   

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Lils Mackintosh - About Crazy

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 51:08
Size: 118,3 MB
Art: Front

(4:47)  1. The Way We Were
(4:08)  2. 5-10
(4:30)  3. I've Seen That Face Before
(2:58)  4. Pack Your Memories and Go
(3:11)  5. I Feel Good
(2:55)  6. Some of These Days
(3:39)  7. Stormy Weather
(2:42)  8. About Crazy
(3:29)  9. Ain't No Sunshine
(4:53) 10. You Know I Would
(4:56) 11. This Masquerade
(2:50) 12. Crazy
(4:00) 13. Too Darn Hot
(2:06) 14. Sway

Mackintosh is a Dutch singer, composer, actress and writer, born in Amsterdam, and the daughter of Surinamese singer Max Woiski, Jr. and granddaughter of musician Max Woiski, Sr. At seventeen she was talent scouted by the Dutch actor Jack Monkau and traded a formal education for a career in music. Being the daughter of two parents in the music industry, a career along that road seemed a natural step to take. Mackintosh became a professional singer with the acceptance of a role in the musical Hair. Next she played key roles in the Dutch rock opera Ik, Jan Cremer and the high-profile musical Barnum. Mackintosh then decided to become more experienced as a lead singer and played in different rock and hard rock bands. She also toured on a regular basis. One of the highlights was an extended tour in Sudan, Kuwait and Egypt. This was also the period in her career where she had the honor to perform with jazz legends like Oscar Peterson and B.B. King. In 1977, Mackintosh released her first jazz single, a cover version of the Rodgers and Hart classic "My Funny Valentine". Winning the 1990 'Vocalistenprijs' at the Dutch Jazzconcours in Breda led to a significant career change. Mackintosh then decided to specialize in jazz music. She started to perform extensively in Europe and the United States and was a regular performer at the legendary North Sea Jazz Festival.

In 1993 she released her debut album, It's not perfect to be easy. She received recognition for this album with the nomination for an Edison Jazz Award. Two more albums were released in this period: This is the strangest life I've ever known is released in 1994, followed by Seasons, in 1997. Being an artist with the desire to develop and transform, Mackintosh took a different take on her career when she formed the 'Lils Mackintosh & The Swing Cats' band in 1998. This period also marked the return to the theatre, with the Jazznight theatre tour, together with the Beets Brothers, the Stylus Horns and the Rosenberg Trio. Her fourth studio album, Black girl, produced by the renowned saxophone player Hans Dulfer, is a tribute to the American blues singer and guitar player Huddie Ledbetter. The album was released in 1999 and made a big impression in the jazz scene. This, in turn, led to Mackintosh's first Edison Jazz Award. Published on multi-channel SACD in 2002, Mackintosh's first live endeavor was a recording session at the Bimhuis in Amsterdam, in front of a live audience. The album, named 'In the wee small hours of the morning' was well received by both critics and audiophiles. 

That same year the Beets Brothers released the first-ever Dutch jazz DVD, featuring Mackintosh and Hans Dulfer. A close collaboration with saxophone player Wouter Kiers led to the release of the concept album Comes love in 2005. All of the songs deal with different aspects of love and relationships. After a period of extensive touring in Europe, Mackintosh released the album About crazy. This 2008 album is an intimate portrait of an artist who has seen significant ups and downs in her personal life. Mackintosh also used the classic Hammond organ to create a distinctive moody and melancholic sound. The album coincidentally marked the start of her long term collaboration with the Dutch saxophone player Clous van Mechelen. The release of the 2010 album A fine romance is an audiophile's delight. This was actually a remastering of Mackintosh's debut album. In this version, extra care was taken in finding the right balance between voice and band, and achieving the highest possible sound quality. The album is a classic demo disc for the demonstration of high-end audio systems. Mackintosh learned most of her craft by doing many performances, and has always had the desire to share her knowledge, experience and mostly her passion for singing. 

In 1995 Mackintosh started giving masterclasses and workshops, at jazz festivals and in theatres. In these master classes Mackintosh used her experience to help aspiring singers further develop their voices, to use the stage to their advantage, and above all, to emote. Nowadays, Mackintosh does a monthly masterclass in Amsterdam...More..https://en.wikipedia.org/wiki/Lils_Mackintosh

Personnel:  Lils Mackintosh – vocals;  Rob Mostert- hammond organ;  Clous van Mechelen – tenor;  Chris Strik - drums

About Crazy

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Benny Golson - Groovin' With Golson

Styles: Saxophone Jazz

Year: 1992

File: MP3@320K/s

Time: 34:13

Size: 79,5 MB

Art: Front

(9:29)  1. My Blues House

(4:02)  2. Drum Boogie

(5:26)  3. I Didn't Know What Time It Was

(9:21)  4. The Stroller

(5:54)  5. Yesterdays

This is one of at least four recordings that matched up tenor saxophonist Benny Golson and trombonist Curtis Fuller prior to the formation of the Jazztet; ironically, Fuller only stuck around for one Jazztet record before departing. Reissued on CD, the LP-length program has two lesser-known Golson compositions along with "Drum Boogie," "I Didn't Know What Time It Was," and "Yesterdays." Three of the tunes are blues, and the two ballads are taken at a medium-tempo pace. With pianist Ray Bryant, bassist Paul Chambers, and drummer Art Blakey forming a solid rhythm section, the hard bop music does indeed groove in its own fashion.~Scott Yanow http://www.allmusic.com/album/groovin-with-golson-mw0000093023

Personnel: Benny Golson (tenor saxophone); Curtis Fuller (trombone); Ray Bryant (piano); Paul Chambers (bass); Art Blakey (drums).

Groovin' With Golson

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Sonny Stitt - New York Jazz

Styles: Saxophone Jazz

Year: 2005

File: MP3@320K/s

Time: 46:08

Size: 106,3 MB

Art: Front

(2:43)  1. Norman's Blues

(4:30)  2. I Know That You Know

(6:19)  3. If I Had You

(4:54)  4. Alone Together

(3:34)  5. Twelfth Street Rag

(5:13)  6. Down Home Blues

(5:32)  7. Sonny's Tune

(4:11)  8. Stars Fell On Alabama

(4:31)  9. Body And Soul

(4:37) 10. Between The Devil And The Deep Blue Sea

"Genius" is a misunderstood, overused term. In music there have been only a few geniuses visionaries who have tapped into the original, vital stream that we might consider musical consciousness and changed it Bach, Beethoven, Mozart, Armstrong, Parker, Coltrane. Sonny Stitt was not one of the geniuses, nor one of the innovators. Rather, he took the complex language of Charlie Parker and created a syntax and rhetoric that the rest of us could understand and even employ. The 2003 reissue of New York Jazz (Verve, 1956), one of an estimated 150 sessions recorded under the saxophonist's name, appears to have passed beneath the radar screen of many who follow this music, but it's simply consummate saxophone playing by a musician driven by a need for completeness and perfection.

One of the big myths among even those players who respect Stitt's playing is that his so-called "commercial" recordings the early Roosts and Verves on which he turns in five or six flawless gems on each side of the record can be overlooked in favor of his earlier pairings with Gillespie and Rollins, or his later virtuosic work on Muse and Cobblestone. On the contrary, it's on these miniature performances where Sonny's brilliance is especially apparent. Allowing himself no more than a couple of choruses, he still manages to construct logically complete, emotionally satisfying solos with a beginning, middle and end, time and time again. Just listen to what he does with "Alone Together" first on tenor, then switching horns and taking the tune out with another textbook solo on alto. This studio reissue is also especially welcome because it finds Stitt in the company of an ideal rhythm section. Jo Jones was the prototypical straight-ahead swinging drummer during his Basie tenure; Jimmy Jones was always the self-effacing accompanist for Sarah Vaughan; and Ray Brown could be whatever the occasion demanded. All three merely lay down a harmonic/rhythmic track and stay out of Sonny's way as it should be.~Samuel Chell http://www.allaboutjazz.com/new-york-jazz-sonny-stitt-verve-music-group-review-by-samuel-chell.php

Personnel: Sonny Stitt: alto and tenor saxophones;  Jimmy Jones: piano;  Jo Jones: drums;  Ray Brown: bass.

New York Jazz                

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Pharoah Sanders - Moon Child

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 52:26
Size: 120,8 MB
Art: Front

( 8:10)  1. Moon Child
( 6:15)  2. Moon Rays
(12:19)  3. The Night Has A Thousand Eyes
( 9:25)  4. All Or Nothing At All
( 5:31)  5. Soon
(10:44)  6. Moniebah

By this point in his career, Sanders had largely withdrawn from the kind of screeching avant-gardism on which he at first staked his reputation. The opening "Moon Child," with its attractively spacy vocals, is reminiscent of the days of "The Creator Has a Master Plan," but this version sounds too contrived to rival the classic earlier recording. The mood is subdued throughout and the choice of tunes definitely on the conservative side ("All or Nothing at All" and "The Night Has a Thousand Eyes," among the six tracks). William Henderson is lovely on piano, while the drummer (Eddie Moore) and percussionist (Cheikh Tidiane Fale) keep to the quiet side.

The results may have originally disappointed some of Sanders' fans, but with time the saxophonist clearly reinvented himself as a more traditional improviser capable of thoughtful and pensive deliberations.~Steve Loewy http://www.allmusic.com/album/moonchild-mw0000678343

Personnel: Pharoah Sanders (soprano saxophone, tenor saxophone); William Henderson (piano); Eddie Moore (drums).

Moon Child

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Ira Kaspi - Monrepos In My Heritage

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 42:11
Size: 105,0 MB
Art: Front

(3:43)  1. Monrepos
(4:17)  2. Distant Memories
(5:35)  3. Tears Will Dry In Time
(3:41)  4. Take Me For A Ride
(4:20)  5. Why Call It A Night
(4:24)  6. Angels
(3:18)  7. Soft Whisper
(5:27)  8. My Love
(3:27)  9. Hitch-Hiking Rendez-Vous
(3:54) 10. In Time I'll Fall In Love Again

Ira Kaspi graduated from the prestigious Berklee College of Music in Boston 1990. She spent several years abroad in her childhood (Stockholm and Brussels) during which time she went to the American International School. These years led Ira later to start her studies in the United States. Ira spent four years in Boston after which she spent a few years in London. Jazz vocals became Ira´s way of interpretation at a very young age even though she recorded some pop songs in her young teens. Even then she was already convincing herself as well as everybody aroung her that she was going to be a jazz singer. 

Ira Kasp Jazz Diva Band ´You and the Night and the Music´ is Ira´s 7th album – the first one for the international Prophone Records. Her previous recordings include several duo recordings and a CD with her own popinfluenced jazz songs. You and the Night and the Music features Iras´Jazz Diva quintet as well as the Lohja City Symphonic Orchestra.

In addition to her main bands Ira Kaspi Jazz Diva Band and Ira Kaspi & Peter Engberg Duo Ira has performed with several Big Bands for example UMO Jazz Orchestra and the Danish Odence Big Band. In addition to having sung at most of the Finnish Jazz festivals Ira has performed in amongst others the US, UK, Germany, Czeck Rep, Denmark and Sweden. Ira is a face for the international Dr.Hauschka biodynamic cosmetic brand in Finland.https://www.reverbnation.com/artist_219546/bio

Monrepos In My Heritage

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Bob Dorough - Too Much Coffee Man

Styles: Vocal And Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 53:52
Size: 123,9 MB
Art: Front

(3:57)  1. The Coffee Song
(3:52)  2. Wake Up Sally, It's Saturday
(4:19)  3. There's Never Been a Day
(5:58)  4. I've Got Just About Everything
(2:33)  5. Oklahoma Toad
(2:55)  6. Too Much Coffee Man
(5:14)  7. Fish for Supper
(4:04)  8. Marilyn, Queen of Lies
(4:57)  9. Yesterday, I Made Your Breakfa
(5:54) 10. Where Is the Song?
(5:35) 11. Love (Webster's Definition)
(4:28) 12. Late in the Century

Loaded with songs for the average guy or gal, Bob Dorough’s newest jazz album takes its name from an item we can all relate to readily. Hopefully, that particular medium constitutes only a minor role in our childhood reading development: the comic book. Too Much Coffee Man is the name of a comic book character. There’s a web site at www.tmcm.com . Dorough had written a jingle for Too Much Coffee Man’s creator, intended to serve as music for an animated television series. In a telephone conversation from his home in Eastern Pennsylvania last month, Dorough said, "He loved the jingle, so when I started my second Blue Note album, I told him that I’d be expanding that jingle into a full-length song. And he’s doing the artwork for the album’s cover." Too Much Coffee Man is due to be released early next month. Compared to his last album Right On My Way Home, Dorough says, "This one is more of a songbook, since most of the songs are my own. Some have a blues appeal. I’ve added an old Cootie Williams jazz song called "Fish for Supper." "Marilyn, Queen of Lies" is a re-recording from my first album. I wrote that one with Ann Landisman." Dorough’s first album, Devil May Care was recorded in 1956 and is the same one that a few years later caught the ear of Miles Davis. 

Articulating the lyrics in his usual crisp fashion, Dorough tells stories while ensuring that he’s supported musically. Long overlooked, Dorough’s piano playing makes a world of difference supporting his songs alongside bass and drums. The trio works out for much of the album, but some songs are backed by an expanded ensemble, adding guitar, alto saxophone, brass and/or percussion. "The Coffee Song" (They’ve Got A Lot Of Coffee in Brazil) takes on a big band sound with Phil Woods in the featured spotlight. He and Dorough work hand in glove for the four tracks on which Woods appears, and both share a bright and positive aura throughout. The title track a funky, jive number with two guitars, electric bass and organ – may be aimed at a younger audience, but its wigged-out attitude is one to which we can all relate. Dave Frishberg’s down home country lesson "Oklahoma Toad" serves to remind us that you have to get out once in a while and do some real work if you expect to see your next meal on time. Like Schoolhouse Rock, "Wake Up Sally, It’s Saturday" bounces with a deep tuba and rhythmic ride cymbal on what is clearly a jazz tune timeless and comfortable. Dorough’s piano interlude stands out and the piece serves to remind us that Saturday morning is a time to be at ease. Jamey Haddad’s extended drum solo punctuates Dorough’s romantic and positive "I’ve Got Just About Everything," to emphasize Joe Cohn’s guitar solo and Woods’ upbeat alto solo. Drawing from many styles, Too Much Coffee Man blends the exotic world beat feeling of "Marilyn, Queen of Lies," with the supple Brazilian rhythm of "The Coffee Song," and the romantic tango overtones of "Love." The album’s closing piece, a sweeping waltz, includes a vocal trio harmonizing with Dorough, offering wishes for a better world, without war, without intolerance, and without hate. There’s enough in this world to make us sad. Bob Dorough makes you feel good.~Jim Santella http://www.allaboutjazz.com/too-much-coffee-man-bob-dorough-blue-note-records-review-by-jim-santella.php

Personnel:  Bob Dorough- vocals, piano, electric piano, whistling;  Phil Woods- alto saxophone;  Ray Drummond, Steve Gilmore, Tony Marino- bass;  Billy Hart- drums;  Bill Goodwin- drums, percussion;  Jamey Haddad- drums, Hagimi Drum

Too Much Coffee Man

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Dan Barrett & Tom Baker - In Australia

Styles: Trumpet, Trombone and Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 60:16
Size: 139,0 MB
Art: Front

(4:03)  1. Vignette
(4:16)  2. Fore!
(4:59)  3. Then I'll Tired Of You
(3:46)  4. See If I Don't
(3:31)  5. After I Say I'm Sorry (What Can I Say)
(2:20)  6. It's Like Reaching For The Moon
(3:26)  7. That's A Plenty
(6:31)  8. Nobody Knows
(4:16)  9. Just Ducky
(3:51) 10. Indian Summer
(3:07) 11. Oh Lady Be Good
(4:25) 12. Overtime
(2:38) 13. Jug
(4:05) 14. Dynaflow
(4:55) 15. Through For The Night

Trombonist Dan Barrett teams up with a particularly strong band of Australian mainstream jazzmen on this highly enjoyable release. Co-leader is Tom Baker who mostly plays tenor but also switches to his pretty alto on "Indian Summer" and "Through for the Night." The rhythm section (pianist Chris Tapperell, guitarist Ian Date, bassist Don Heap and drummer Lynn Wallis) is supportive and swinging, and the great Australian cornetist Bob Barnard sits in on three exciting numbers. One of them, "That's a Plenty," finds both Barrett and Baker switching to trumpets and the well-arranged results for the three brassmen is very exciting. Other highlights include "Vignette," "It's Like Reaching for the Moon," "Lady Be Good" (which finds Barrett and Baker reproducing Lester Young's famous solo) and Gene Ammons' "Jug." Highly recommended.

~Scott Yanow http://www.allmusic.com/album/dan-barrett-and-tom-baker-in-australia-mw0000029392

Personnel: Dan Barrett (trumpet, trombone); Ian Date (guitar); Tom Baker (alto saxophone, tenor saxophone, cornet); Bob Barnard (cornet).

In Australia

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Dick Hyman - Face the Music: A Century of Irving Berlin

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 57:04
Size: 131,3 MB
Art: Front

(5:23)  1. Lady of the Evening
(2:25)  2. Let's Face the Music and Dance
(2:51)  3. The Night is Filled With Music
(3:29)  4. Soft Lights and Sweet Music
(4:10)  5. Supper Time
(2:53)  6. Easter Parade
(2:30)  7. Remember
(5:41)  8. The Best Thing for You
(2:26)  9. Always
(5:38) 10. I've Got My Love to Keep Me Warm
(4:48) 11. How About Me?
(6:58) 12. Russian Lullaby
(3:45) 13. Cheek to Cheek
(4:04) 14. I'll See You in C-U-B-A

Dick Hyman certainly had a lot of songs to choose from for this solo piano CD tribute to Irving Berlin (who made it past 100). Hyman is heard expertly mixing together some of Berlin's better-known tunes (such as "Let's Face the Music," "Easter Parade," "Remember" and "Always") with such notable obscurities as "Lady of the Evening," "How About Me?" and "I'll See You In C.U.B.A." Hyman's total control of the piano and his versatile style (which on this date ranges from stride and swing to Art Tatum) makes the set an obvious success.
~Scott Yanow http://www.allmusic.com/album/face-the-music-a-century-of-irving-berlin-mw0000205415

Personnel: Dick Hyman – Piano.

Face the Music: A Century of Irving Berlin

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Dusty Springfield - The Look of Love

Styles: Jazz, Vocal
Year: 1967
File: MP3@320K/s
Time: 39:55
Size: 92,0 MB
Art: Front

(3:36)  1. The Look of Love
(3:07)  2. Give Me Time
(2:29)  3. (They Long to Be) Close to You
(3:53)  4. If You Go Away
(1:55)  5. Sunny
(2:06)  6. Come Back to Me
(2:14)  7. What's It Gonna Be?
(2:41)  8. Welcome Home
(2:08)  9. Small Town Girl
(2:25) 10. Take Me for a Little While
(2:39) 11. Chained to a Memory
(2:53) 12. I've Got a Good Thing
(2:41) 13. I Can't Wait Until I See My Baby's Face
(2:27) 14. I'll Try Anything
(2:35) 15. It's Over

A true mixed bag, from the sensual title track to the melodramatic "If You Go Away," and some fine soul stylings in between, most notably "Small Town Girl" (check out the choruses) and "I've Got a Good Thing." This is the last of Springfield's Philips albums to be released in America (she signed with Atlantic in the U.S. soon after, and the label declined to release most of her Philips' output here).

~Bruce Eder http://www.allmusic.com/album/the-look-of-love-mw0000235702

The Look of Love

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Dan Barrett & Al Jenkins - Reunion With Al

Styles: Cornet And Trombone Jazz
Year: 1996
File: MP3@320K/s
Time: 76:19
Size: 176,8 MB
Art: Front

(4:43)  1. Do You Ever Think Of Me
(3:55)  2. Sugar Blues
(4:15)  3. Love Me Or Leave Me
(4:49)  4. (When It's) Darkness On The Delta
(4:50)  5. Oh, Baby
(6:26)  6. After You've Gone
(4:35)  7. I Can't Give You Anything But Love
(5:20)  8. Bright Eyes
(4:21)  9. I Never Knew
(4:38) 10. You're A Heavenly Thing
(4:50) 11. Bei Mir Bist Du Schoen
(4:21) 12. At Sundown
(5:36) 13. September Song
(4:37) 14. Girl Of My Dreams
(4:12) 15. Rachel's Boogie
(4:45) 16. Isle Of Capri

Trombonist Al Jenkins, who recorded with Doc Evans in the late 1940s and Art Hodes in 1956, spent much of his career playing either in the Midwest or in Los Angeles and never achieved much fame. He was an early influence on Dan Barrett's style, so in 1993, the younger trombonist persuaded Jenkins to join him on his record date. As it turned out, this would be Jenkins' final recording, since he passed away Nov. 15, 1996 at the age of 82. In deference to Jenkins, Barrett sticks to cornet exclusively on this CD (it is a pity they did not both play trombone on a song or two). With pianist Ray Sherman (always a marvelous soloist), bassist David Stone and drummer Jeff Hamilton contributing tasteful and swinging support, Barrett, Jenkins and Rick Fay (who switches between clarinet, soprano and tenor) make for an appealing frontline. Jenkins was 80-90% in his prime at the time, and one excuses the occasional blurry note due to the rare experience of hearing him stretch out. Barrett's crisp cornet solos put him near the top of his field, despite it being his second instrument, while on this set Fay tends to sound at his best on tenor. The repertoire generally sticks to familiar tunes, but even the warhorses, such as "Sugar Blues," "After You've Gone" (a feature for Sherman's sparkling piano) and "I Can't Give You Anything But Love" (sung by Jenkins), sound quite fresh and enthusiastic. A definite highlight is the exuberant playing heard throughout "Do You Ever Think of Me."~Scott Yanow http://www.allmusic.com/album/reunion-with-al-mw0000080227

Personnel: Dan Barrett (cornet); Al Jenkins (vocals, trombone); Ricky Fay (clarinet, soprano & tenor saxophones); Ray Sherman (piano); David Stone (bass); Jeff Hamilton (drums).

Reunion With Al 

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Scott Colley - Empire

Styles: Jazz, Post-Bop
Year: 2010
File: MP3@320K/s
Time: 54:47
Size: 126,2 MB
Art: Front

(4:53)  1. January
(8:24)  2. The Gettin Place
(5:20)  3. For Sophia
(7:23)  4. 5:30 Am
(6:46)  5. Speculation
(3:23)  6. Tomorrowland
(6:14)  7. Now What?
(4:07)  8. Gut
(6:12)  9. Five-Two
(2:01) 10. Five-Two.2

One of jazz's most ubiquitous bassists, Scott Colley has only released a handful of albums as a leader, compared to hundreds of sessions and live dates with artists ranging from Jim Hall and Andrew Hill to Chris Potter and Antonio Sanchez. Architect of the Silent Moment (CamJazz, 2007), was a particularly impressive combination of head and heart, traditional roots and forward thinking, acoustic and electric. One of 2007's best , it was a turning point for Colley a new path that the bassist continues to explore on Empire, a sure contender for one of 2010's top picks. Back from Architect, trumpeter Ralph Alessi and pianist Craig Taborn help make Empire a logical progression, but with drummer Brian Blade replacing Sanchez, and guitarist Bill Frisell fleshing the group out to a quintet, there's plenty of opportunity to explore other avenues, even as they spawn from the primary path defined by Colley's pen, responsible for all of Empire's ten tracks. "For Sophia" could be an outtake from Blade's Season of Changes (Verve, 2008), the four chords of Frisell's tremelo'd guitar and Blade's soft brushwork redolent of "Stoner Hill"'s folkloric Americana vibe, but starker still, with Colley's Charlie Haden-like solo of simple perfection mirrored when the ever-selfless Frisell takes over with equally flawless lyricism.

Beginning in quiet contemplation, the episodic "5:30 am" slowly picks up steam, as Alessi's plangent melody leads to an open-ended piano solo that quickly moves from focused melodism to more extreme expressionism, as Taborn passes the baton to Alessi with a repeated motif echoed by the trumpeter's own thematic start. Alessi solos with characteristic control and effortless virtuosity, bolstered by Colley and Blade, who turn up the heat with empathic support as the trumpeter mines the full range of his instrument, leading to Blade's ostinato-driven solo of lithe dexterity and full-throttled invention. Form turns to freedom on "The Gettin Place," with Colley's staggered, yet still grooving pulse setting a gentle context for Frisell, whose inherent idiosyncrasy expands to contrapuntal orbit with Alessi, and a solo shifting from quirky to quintessential, as the guitarist creates layers of soaring distortion and jagged, processed harmonics. Coalescing into a series of shifting voicings, Alessi winds in and around Frisell's changes, his lightning-fast, cascading lines driven by Blade's own turbulence, rallying suddenly to bring down the dynamics for a slowly spreading coda that ultimately dissolves into the ether. Whether it's the cerebral balladry of the dark-hued "Speculation," the angular, ambient lyricism of the bassist's rubato duo with Frisell on "Tomorrowland," his ambiguous, bass riff-driven duet with Alessi on "Gut," the oblique swing-meets-surreal of the quintet-driven "Five-two" or the abstruse but, amidst all this, more accessible "Now What?," Colley's writing acts like a lightning rod, encouraging a remarkable degree of free-thinking exploration amidst a group of charts ranging from detailed to sketch-like. More challenging than Architect, Empire may have been a long time coming, but arrives with an even more definitive sense of purpose and, given the chameleon-like demands on Colley as a sideman, a clear, cohesive and cogent conceptual voice.~JohnKelman
http://www.allaboutjazz.com/empire-scott-colley-cam-jazz-review-by-john-kelman.php

Personnel: Scott Colley: bass; Ralph Alessi: trumpet; Brian Blade: drums; Bill Frisell: guitar; Craig Taborn: piano.

Empire

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Nancy Harrow - Anything Goes

Size: 106,1 MB
Time: 44:54
File: MP3 @ 320K/s
Released: 1979/1991
Styles: Jazz Vocals
Art: Front

01. Anything Goes (2:25)
02. Prelude To A Kiss (2:47)
03. See See Rider (4:19)
04. A Woman's Intuition (2:32)
05. I Wished On The Moon (2:18)
06. Come Rain Or Come Shine (2:51)
07. He's Funny That Way (2:22)
08. Them There Eyes (2:22)
09. My Old Flame (2:07)
10. A Fine Romance (2:22)
11. Foolin' Myself (3:14)
12. I've Got A Crush On You (3:10)
13. A Little Blue (3:44)
14. Memories Of You (3:00)
15. I'll Get By (2:42)
16. Puttin' On The Ritz (2:30)

Nancy Harrow's first record in 16 years features the fine jazz singer accompanied by a sympathetic trio consisting of guitarist Jack Wilkins, bassist Rufus Reid and drummer Billy Hart. For this CD reissue, Harrow recorded four additional songs in 1990 with the same group. The renditions (mostly arranged by Bob Brookmeyer) are generally quite concise -- many are under three minutes long -- but full of honest emotion and subtle creativity. Highlights include "A Woman's Intuition," "I Wished On the Moon," "Them There Eyes" and "Foolin' Myself."

Anything Goes

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Rod Harris Jr. - The Counsel Of Elders

Size: 106,6 MB
Time: 45:41
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Jazz Funk, Hammond Organ
Art: Front

01. Jimmy Speaks (Feat. Russell Gunn) (5:14)
02. Up And At It (5:57)
03. Counselor #1 Mr. Montgomery (1:11)
04. S.O.S (Feat. Mike Walton) (6:23)
05. Goodbye, Again (Ms. Collins) (Feat. Lester Walker) (5:57)
06. Counselor #2 Mr. Benson & Mr. Green (0:33)
07. Jean De Fleur (5:43)
08. Clockwise (3:29)
09. Counselor #3 Mr. Burrell (1:07)
10. Midnight Blue (4:46)
11. The Counsel Of Elders (5:18)

Rod Harris Jr. is a native of Jacksonville, Florida. Rod was exposed to music at a young age by his singer/songwriter father. When Rod was 14, his father decided to relocate the family to Atlanta, GA. On his 17th birthday, his father gave him $150 dollars, and he decided to take the money and purchase an acoustic guitar. "...I don't know what provoked me to get a guitar...It had to be God...because I could've partied that money away...quickly.." he says. Once he began learning the instrument he fell in love with it and was determined to be a great player. " ...I think my senior year, my classmates thought I was crazy...I didn't party...I literally locked myself in my room and practiced for hours..."he says. After graduating and just a year of studying guitar, he applied for the Georgia State University School of Music, and was accepted.

It was at Georgia State University where his musical journey began. "...My early college years were pretty influential for me...it put alot into perspective for me...I was really naive..." he adds. Rod credits much of his musical growth during these years to two local Atlanta horn players (Lester Walker and Clyde Jones (deceased) ). "...These two cats were ridiculous...". Also during his freshman year in college Rod performed in the prestigious Atlanta Jazz Festival and also the following year. During these years Rod began to enlist in many local bands not just jazz music but soul and gospel bands. "...I used to wonder if I would ever graduate...the music was takin' over...other stuff was becoming secondary...there were many times I would skip class to go to the practice rooms...".
But Rod did graduate with surprisingly a B.B.A in Management and a Minor degree in Music. "...me and my dad used to get in real heated arguments about me pursuing a degree in music performance...he would also say that I don't need a degree to play music..." "...guess he was right to some degree..."

After college, Rod continued playing at night and worked corporate America during the day. "I felt like Clark Kent...living two lives...I used to go out to my car during my lunch breaks and shed (practice)...I had to get it in"...In 2006, Rod traveled to Nagoya, Japan to do a stint with a cover band at Gary's Motown Sound. "...this is when I knew...the corporate america junk had to go...Japan helped me make that decision..." In 2008, he was called to do a summer tour with Atlantic Records recording artist Musiq Soulchild. Rod would go on to become the resident guitarist for Musiq (2008-present). "This was another pivotal moment for me not just musically but life...I've learned alot about myself during my years in the Soulchild camp...I've definitely grown spiritually, mentally and musically..." Also in 2008, Rod made an appearance in the motion picture film "Cadillac Records", starring Beyonce Knowles and Adrian Brody. "...yeah..2008 was a good year for me..."he laughs.

Over his time as a guitarist, Rod has performed and recorded with countless artists and the list continues to grow. Artists such as songstress Regina Belle, J. Holiday, Miki Howard, jazz trumpeter Russell Gunn, Eightball and MJG, Musiq Soulchild, Jagged Edge, Donell Jones, Lloyd, saxophonist Warren Hill and Paul Taylor, smooth jazz pianist Marcus Johnson, the legendary Fred Wesley, jazz organist Doug Carn, Red Holloway (deceased), Ernie Andrews, Howard Hewitt of Shalamar , Malcolm-Jamal Warner, Maysa, jazz trombonist Wycliffe Gordon, Joi, R&B Diva Syleena Johnson, Bishop Paul S. Morton, Grammy award winning singers Monica, Jennifer Holliday, Dionne Farris, and many others.

The Counsel Of Elders

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Johnny Hall - Classic Swing

Size: 108,3 MB
Time: 41:56
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Big Band
Art: Front

01. You Make Me Feel So Young (3:03)
02. Melancholy Baby (3:27)
03. You Are The Sunshine Of My Life (2:32)
04. The Way You Look Tonight (4:35)
05. The Wind Beneath My Wings (3:32)
06. On The Street Where You Live (3:39)
07. If Ever I Would Leave You (3:14)
08. Call Me Irresponsible (3:13)
09. The Shadow Of Your Smile (4:35)
10. You've Got A Friend In Me (3:24)
11. Young At Heart (3:41)
12. Pennies From Heaven (2:56)

After months in the making, Johnny Hall's 10th recording is ready to bring you back to the days when swing was king and the brass was loud and shiny. "Classic Swing" is a celebration of the jazz era and features recordings of Johnny performing his favorites from back when to right now.

"My parents grew up in the era of the big bands and ballroom dancing. I have fond memories of watching the Lawrence Welk Show and seeing Mom and Dad dance around the living room to some favorite tune. The love of the jazz/swing sound transferred to me, and as I grew up, my music collection began to fill with the voices of Sinatra, Bennet and Darin. I have wanted to do a recording of swing tunes for a long time and finally got around to doing it."

If you've ever been to one of Johnny's live concerts, you may recall his story about hearing Robert Goulet's perfomance in Hallmark Hall of Fame's Brigadoon and being gobsmacked by his rendition of "If Ever I Would Leave You". Now, with "Classic Swing", you'll be able to hear Johnny perform that classic show tune.

Classic Swing

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Eileen Howard - Big City Love

Size: 106,2 MB
Time: 45:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals
Art: Front

01. Big City (2:48)
02. Home Is You (4:52)
03. New York New York (5:03)
04. Till Now (4:12)
05. Sunday In New York (3:04)
06. I'll Take It All (3:57)
07. Love Can Change (4:58)
08. Manhattan (4:36)
09. Absent Without Leave (3:47)
10. In Tune (3:01)
11. But Beautiful (5:05)

Critically acclaimed jazz and blues singer/composer Eileen Howard will release her fifth CD, Big City Love, an eclectic musical tribute to love in, and for, the city.

This intensely personal collection of jazz, funk and blues includes four originals composed and arranged by Howard, each a reflection on her 37 year journey of love with her husband, George Howard. Originally a transplant from Ohio, who has lived all over the world, she selected songs on the album to celebrate her adopted city of New York. Howard conceived and arranged a funky version of the classic Kander and Ebb standard, “New York, New York." Her unique arrangement of Roger and Hart’s “Manhattan," using translations of some of its words, is a tribute to the waves of immigrants who wanted to ‘take Manhattan’. Other songs include, “I’ll Take it All," a musical theater composition by up-and-coming New York composers Sam Carner and Derek Gregor. Till Now is a world premier by Nashville composer Thomas O’Connell. “Big City" and “Sunday in New York" were arranged by internationally recognized music director, composer and artist, Michael Raye, who also plays keyboard on the album and was the recording and mixing engineer.

Other talented personnel on the album include Nat Janoff on guitar, Eddy Khaimovich on bass, Darrell Smith on drums, Daniel Bennett on flute and sax, and Matthew Owens on trumpet.

Jazz Journalist, Marcia Hillman, wrote about Big City Love, “With this latest offering, Eileen Howard continues to reach her listening audience with her storytelling ability by singing from the heart with her powerful, melodious voice.” Scott Yanow, L.A. Jazz Scene, called Howard a “very appealing singer with a powerful voice and a joyful personality” and “a singer well worth discovering.” Edward Blanco said, “This lady can definitely sing up a storm with a voice that allows her to reach and hit the high notes with effortless ease...lush velvet voice. A very impressive vocal performance.” Blues Music said: “She harnesses the genre as one of those rare entertainers with the sensitivity and witty flair to deeply evoke the human sensibility.” Deejay Fritz “The Night Owl” called her “One of the most creative and swingin’ singers ever to vocalize on the local jazz scene.” And music review blog, “Wildys World” said, “Eileen Howard sings like a Diva, vamps like a Rat-Pack veteran and generally entertains like few others can...” Her 25-year career as an actress and singer has been studded with awards for musical performance and acting.

Howard previously released a live recording of her sold out “Blues Cabaret” called Blues in the Green Room, which has been praised by music reviewers, two critically acclaimed jazz CD’s, and an eclectic CD of spiritual tunes of her own composition.

Big City Love

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