Friend 'N Fellow - Home

Size: 119,9 MB
Time: 50:30
File: MP3 @ 320K/s
Released: 2006/2016
Styles: Jazz/Soul/Blues Vocals
Art: Front

01. One More Day (4:50)
02. Home (3:55)
03. You (3:14)
04. I Wonder (4:34)
05. Livin' In A World (2:35)
06. Bluebird (2:35)
07. How Will I Know (3:19)
08. All Of It (2:55)
09. Liar (2:26)
10. I Gave It All (4:12)
11. I Know (4:34)
12. This Love (2:04)
13. Love Child (2:56)
14. Other Side (3:12)
15. Cajun Moon (3:01)

Constanze Friend and Thomas Fellow performed more than 1000 concerts together and travelled from BEIJING (China Millenium Park) to SHANGHAI (Anting New Town Open Air), from MALAYSIA (Kuala Lumpur/Penang Jazz Festival) to NEW YORK (World Trade Center) and from PARIS (Elyssees Montmartre) to LONDON (The 100 Club) and shared the stage with legends as RAY CHARLES, LUTHER ALLISON and AL JARREAU. Meanwhile they became one of the most successful acoustic acts in the junction where BLUES, JAZZ and SOUL meet. Their music combines the intensity of the blues with the freedom of jazz and the sound of soul in inimitable fashion.

"You knocked me out with your playing" – Bill Evans
"I really enjoy your work" – Al Jarreau
"Killing! It absolutely sounds like a whole band" – Tommy Emmanuel
"A top-notch duo" Welt am Sonntag
"The sound of the new century" Luther Allison
"The voice of an angel" Keb' Mo'

Concerts in London, Paris, New York, Peking, Vienna, Zurich, Lucerne Festival (Lucerne, Switzerland), Tollwood-Festival Munich, Festival Internacional de la Porta Ferrada (Spain), 1st Blues & Soul Weekend (Zurich, Switzerland), Simmen Lörrach, Jazzrally Dusseldorf with Ray Charles, Al Jarreau, Simply Red, Marianne Faithful, Maceo Parker.

Constanze Friend started her musical career in the band "Mr. Adapoe" with performances at international top festivals and as the support act to James Brown and others.

Thomas Fellow won several prizes at international competitions for classical guitar and played concerts in India, South America and the USA. Prof. Thomas Fellow is the head of the education "ACOUSTIC GUITAR (concert music/worldmusic/jazz) at the Hochschule für Musik "Carl Maria von Weber" in Dresden (Germany) and "WORLDMUSIC" at the Hochschule für Musik Weimar and lead masterclasses at different conservatories and festivals in Europe and the USA. He is also the artistic director of the STRING SPRING FESTIVAL DRESDEN and the EUROPEAN GUITAR AWARD, one of the most prestigious competitions for creativ guitarplayers (next time spring 2012). He developed a comprehensive schoolbook for the guitar as a comping instrument (FELLOWBOOK).

Home

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Peter Edwards Trio - A Matter Of Instinct

Size: 101,2 MB
Time: 37:44
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Samba City (5:12)
02. Loved Ones (4:23)
03. Groove Swing Funk (4:11)
04. The Runaround (3:52)
05. A Matter Of Instinct (5:01)
06. Flying High (4:17)
07. Down But Not Out (5:26)
08. Escape Velocity (5:18)

This is the second album by Trinity Laban graduate and 2014 MOBO Awards nominee Peter Edwards, his first being 2014's Safe And Sound. Edwards was a member of a group led by the late trumpeter Abram Wilson and is currently a member of vocalist Zara McFarlane's band. Opening with an infectious Latin beat, "Samba City" recalls the foot- tapping imperative of Chick Corea's Return To Forever era. A calmer mood ensues with "Loved Ones" recalling the blues-infused, chordal-rich piano of Joe Zawinul during his time with the Julian "Cannonball" Adderley Quintet.

The more rhythmically complex "Groove Swing Funk" certainly matches its title and with a memorable theme it conjures-up an evocation of the Dudley Moore Trio in full flight. This album offers a veritable potpourri of styles, such as the lively, swinging "The Runaround" adorned by semi-pastiche Erroll Garner-like swathes of piano.

The title track sees Edwards on slinky Fender Rhodes backed by a keen sheening rhythm from Moses Boyd, the drummer half of the MOBO 2015 award-winning duo Binker and Moses. The straight-ahead "Flying High" with Edwards returning to acoustic piano precedes the slow blues of "Down But Not Out"; reminiscent of Ramsey Lewis it's embellished by an excellent pizzicato bass solo from Max Luthert.

The final number "Escape Velocity" has the trio in expansive mood, the piece distinguished by a repeated hook-like motif which eventually all-but closes-out the piece. Edwards' lithe compositions are matched by the trio's consummate performances, all contributing to a truly compulsive listening experience. ~Roger Farbey

Personnel: Peter Edwards: piano, Fender Rhodes; Max Luthert: bass; Moses Boyd: drums.

A Matter Of Instinct

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Laura Fygi - Jazz Love

Size: 101,4 MB
Time: 43:16
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Like A Star (4:01)
02. La Vie En Rose (3:48)
03. Cupid (3:57)
04. If I Ain’t Got You (5:06)
05. Vincent (4:00)
06. Your Love Is King/Smooth Operator (4:08)
07. And I Love Him (2:55)
08. Sunny (3:56)
09. Right Here Waiting (4:07)
10. Our Day Will Come (3:25)
11. La Vie En Rose (French Version) (3:47)

Everywhere that Laura Fygi visits, she is a veritable vision of exotica. In her home country of the Netherlands, they know her as the woman who was raised in Uruguay as the daughter of an Egyptian belly dancer; in the Far East she is the emancipated Western lady who many others aspire to be. But wherever she may be, there is one common factor in all of those locations: that instantly recognisable voice which has won her hearts all over the globe.

Since her dance hits with the girl group Centerfold in the early 1980s, Laura has travelled down numerous musical pathways, such as jazz, Latin, and chansons, not shying away from any genre or style. That wilful quest for renewal has rendered collaborations with such music luminaries as the late Toots Thielemans, Michel Legrand and Michael Franks. Laura has also been presented with various gold and platinum discs and awards, as well as playing the lead role in Singapore of her favourite musical Victor/Victoria.

Laura has performed throughout Europe, South America and Asia. As a Dutch singer, she even managed to conquer the Chinese market, a unique achievement! In 2012 she signed a contract with one of China’s largest record companies and recorded the CD Flower specifically for the Asian market. It contains original Chinese compositions that Laura had arranged in her own style. Some songs were translated into English and French, but she also sang four songs in the original Chinese!

What is the secret of her success? It is the combination of a number of things. First of all she has a husky voice with a beautiful diction and great timing, which has already been compared to that of Peggy Lee, and the intimacy of Julie London . She has an international appearance which enables her to perform in Ronnie Scott ‘s Jazz club in London’s Soho with the same ease as on the biggest stages in most of the world cities. She looks beautiful and is as Latin as Jazzy . But the most important thing Laura is a storyteller, someone who knows how to turn a song into a story that touches you directly from her heart to yours. While it still swings like crazy!

In 2015 Laura celebrated her 25th anniversary as a solo artist but there is no way of stopping her! Previously being under contract with Universal Music Netherlands, her career has moved to the Asian part of the world so the next step was a logical one… She recently signed a worldwide record deal with Universal Music in Asia and this year a brand new CD will be released titled Jazz Love. Laura selected a number of popular pop songs and had arrangements written in her own unique style. Bossa, swing, soft jazz, songs from Sade, the Beatles, Alicia Keys and Don McLean gain a whole new dimension!
The jazz diva still has many plans of which performing is her favorite activity. She will make sure people have a good time and that is what she does best, entertaining!

Jazz Love

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Bruce Williams - Private Thoughts

Size: 135,2 MB
Time: 58:05
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Mata Leon (4:24)
02. Private Thoughts (5:03)
03. Premonitions (4:36)
04. Forever Asking Why (5:03)
05. Old Forester (5:41)
06. Last Visit In The Mirror (3:50)
07. The Void (6:01)
08. The Price We Pay For Peace (7:02)
09. I Still Carry On (6:07)
10. View Through A Street (6:23)
11. Past Tense (3:49)

Williams' fourth recording as a leader is his first featuring solely original music. The Bard College and Juilliard Jazz professor has graced the horn sections of The World Saxophone Quartet, as well as groups led by Stanley Cowell and the like. On Private Thoughts, Bruce Williams asserts himself as a stirring composer and triumphantly underscores the emotion, and acceptance of life's fragility. Bruce Williams: alto & soprano saxophone, Josh Evans: trumpet, Frederick Hendrix: trumpet & flugelhorn, Brad Williams: guitar, Brandon McCune: piano, Alan Palmer: piano, Chris Berger: bass, Vincent Ector & Chris Beck: drums.

Private Thoughts

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Barb Jungr - Come Together: Barb Jungr & John McDaniel Perform The Beatles

Size: 135,8 MB
Time: 58:26
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Got To Get You Into My Life (3:46)
02. Things We Said Today (3:39)
03. Eleanor Rigby (4:29)
04. Mother Nature’s Son (2:13)
05. And I Love Her - All My Loving - All You Need Is Love (4:43)
06. I Will (2:17)
07. Getting Better - Here There And Everywhere (4:18)
08. For No One (2:19)
09. Back In The USSR (3:43)
10. It’s For You - Step Inside Love (3:42)
11. While My Guitar Gently Weeps (3:11)
12. The Fool On The Hill (4:26)
13. Something - The Long And Winding Road (4:30)
14. Come Together (4:08)
15. In My Life (3:23)
16. Golden Slumbers - Carry That Weight - The End (3:31)

The critic Chris Ingham has summed up the significance of the Beatles as follows: “[They] represent one of the few times in musical history when the most popular was also the best”. In our current cultural moment, the most popular is so very far from being the best that Ingham’s comment might make you wince with nostalgia. In their terrific new show, “Come Together”, however, Barb Jungr – one of Britain’s finest interpreters of popular song – and John McDaniel – the award-winning American composer and pianist – bring the past vibrantly into the present with a programme of innovatively re-arranged Beatles songs.

Jungr and McDaniel are new collaborators, and they’ve been performing this show over the past few months, including stints at the Edinburgh Festival and across the US, with more New York dates forthcoming in January. Londoners got their first chance to experience the show over four nights last week in the cosy confines of the St. James Studio. It was an occasion not to be missed.

The Beatles could hardly be described as a band that have lacked for tributes over the years, of course. But “Come Together” is about as far removed as can be imagined from the likes of a thrown-together jukebox show such as the hit West End musical Let It Be. Celebrated for her incisive and arresting treatments of the work of songwriters including Brel, Dylan, and Cohen, Jungr, whose shows at the Southbank Centre and City of London Festival have been among 2015’s cultural highlights in the capital, brings a similar approach to bear on The Beatles’ material, her vocals supplemented only by McDaniel’s supple piano-work and her own occasional harmonica-playing. McDaniel also provides harmonies throughout the set, and takes creditable leads on two White Album gems: “Mother Nature’s Son” and “While My Guitar Gently Weeps”.

The stark and dynamic presentation afforded by the cabaret context allows every word in the songs to resonate afresh. With her terrific phrasing, protean delivery, and expressive physicality that turns every track into a fully embodied experience, Jungr digs so deeply into the songs that they emerge new-minted in pretty much every case, with lyrics that you’ve barely noticed before held up to the light and revealed as the very crux of a particular composition.

Given the incredible stylistic diversity of the Beatles’ output, the range of material covered in the show is impressive, the set encompassing both oft-performed classics and album obscurities. “Got to Get You into My Life” was an infectiously exuberant opener, less a straightforward love song (or drugs paean) in this account than a joyous hymn to openness and inclusivity. “Eleanor Rigby”, with haunting high harmonies and delicate piano from McDaniel, was taut, disconsolate and deeply affecting. “The Long and Winding Road” wound itself into stridency that was equal parts desperate and cathartic, Jungr briefly transforming herself into a figure blown by the gales as she reached “the wild and windy night” lyric. Augmented by harmonica and great foot-stamping, “Back in the U.S.S.R.” was equally exhilarating.

Opening the second half, “Hello Goodbye” was delivered as a pleasingly goofy duet. By contrast, “The Fool on the Hill” was mesmerizingly intense, the track slowed and stripped of any hint of jauntiness in this arrangement, the better to quietly celebrate an outsider’s insights and secret strength. Lifting her tear-filled eyes aloft, Jungr seemed momentarily overcome by the emotion the track evoked, before moving elegantly into a drop-dead gorgeous “Something”.

Throughout, Jungr applied her customarily intelligent approach to sequencing the set, with some songs juxtaposed and combined to form story cycles and suites. A wry, sharply pointed “Piggies” mutated into a delicious “Penny Lane”: “very strange”, perhaps, but wonderfully effective. A medley comprising a gender-switched “And I Love Her”, “All My Loving” and “All You Need Is Love” (the latter stripped of obvious anthemic associations to become simply conversational) charted youthful hope and longing leading to the affirmation of “I Will”. Segueing into an exquisite “Here, There and Everywhere”, a blistering “Getting Better” traded menacing, punky verses for redemptive choruses that implied the taming of male belligerence through love. Yet ultimately the narrative concluded with the separation of the couple poignantly evoked in “For No One”, Jungr ending the song on a surprising, perfectly judged note that suggested both mature ruefulness and resolve on the part of the abandoned male.

As presented here “For No One” took on the contours of a reflection on the challenges and liberations of feminism. Indeed, bantering affectionately with McDaniel between songs, Jungr also provided some characteristically quirky, thoughtful commentary on The Beatles’s significance in pop and counter-culture, reflecting (as she did with Cohen and Dylan) on the contrasting personas of Lennon and McCartney, and also suggesting how the band’s music not only mapped but also inspired social changes. The drugged-up craziness of “Come Together” was a supreme closer, Jungr acting her way through the most surreal lyrics with furious aplomb before she and McDaniel returned to the stage for the single-song encore of “In My Life”, delivered as a radiant and gracious benediction.

“Come Together” is very much the kind of show that one can imagine shifting and expanding as Jungr and McDaniel continue to tour it, perhaps taking on different songs and arrangements. (Personally, I’d swap a pair of charming but fairly inconsequential Cilla Black-associated tracks for something meatier. “A Day in the Life”, perhaps? Oh boy.) Thrilling and revelatory, the show is that rarity: an Anglo/American collaboration that’s actually worth celebrating, and that’s enough to restore your faith in “the Special Relationship”, after all. ~by Alex Ramon

Come Together

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Melanie Marod - I'll Go Mad

Size: 123,7 MB
Time: 53:00
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. I'll Go Mad (3:46)
02. Spanish Harlem (3:42)
03. Dance Me To The End Of Love (2:44)
04. Love Ain't Easy (3:51)
05. Smile (4:59)
06. Running Back To You (3:07)
07. Corcovado (4:16)
08. Candy (3:32)
09. Quizas, Quizas, Quizas (2:38)
10. People Will Say We're In Love (3:41)
11. Isn't This A Lovely Day (4:05)
12. Somewhere Over The Rainbow (4:54)
13. Besame Mucho (3:35)
14. Everybody's Talkin' (4:03)

Melanie was born and raised in Grand Haven, Michigan where she began singing and expressing her love for music at the age of seven. By age ten, she had performed in the musical Sweeney Todd with Tony Award Winner, George Hearn and Pamela Meyer.

Melanie graduated from Hope College with a B.A. in Musical Theatre. She has studied opera in Buenos Aires, Argentina at Instituto Universitario Nacional de Arte and trained at Hillsong College in Sydney, Australia.

Since moving to New York City she has sung at Birdland, The Algonquin, The Oak Room at The Plaza Hotel, The Carlton as well as various venues throughout the city. Her influences are Stacey Kent, Billie Holiday, Aretha Franklin, and Nat King Cole.

I'll Go Mad

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Peggy Lee - Spotlight On... Peggy Lee

Styles: Vocal 
Year: 1995
File: MP3@320K/s
Time: 48:51
Size: 116,1 MB
Art: Front

(2:21)  1. I've Got The World On A String
(2:46)  2. When A Woman Loves A Man
(1:47)  3. I'm Beginning To See The Light
(3:37)  4. There Is No Greater Love
(2:22)  5. Too Close For Comfort
(2:28)  6. Unforgettable
(2:18)  7. Close Your Eyes
(2:23)  8. If I Should Lose You
(2:07)  9. I'm Just Wild About Harry
(2:58) 10. Deep Purple
(2:20) 11. It's Been A Long, Long Time
(3:44) 12. The Man I Love
(3:21) 13. The Best Is Yet To Come
(2:37) 14. Come Rain Or Come Shine
(3:22) 15. Fever
(2:28) 16. I Wanna Be Around
(2:08) 17. I Hear Music
(3:36) 18. The Folks Who Live On The Hill

Peggy Lee spent a good many years with Capitol, and it was there that she cut some of her best sides. Save for a few years in the late '40s (and several early hits), Lee hit her stride with the label during the end of the '50s and throughout the '60s. Working in a variety of settings, from string orchestras to jazz combos, Lee applied her vocal talents to swing, blues, Latin, and cabaret. This edition of Capitol's classy Spotlight series rounds up 18 of Lee's best performances. And while many of the hits are missing ("Black Coffee," "Is That All There Is," etc.), the disc makes up for it with stunners like "The Best Is Yet to Come" and "The Folks Who Live on the Hill." Plus, there's the charts and conducting work of such luminaries as Benny Carter, Nelson Riddle, Bill May, Quincy Jones, and even Frank Sinatra. A fine sampler from Miss Lee's prime. ~ Stephen Cook http://www.allmusic.com/album/spotlight-on-peggy-lee-great-ladies-of-song-mw0000628187

Spotlight On... Peggy Lee

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Albert Heath, Ethan Iverson & Ben Street - Tootie's Tempo

Styles: Jazz, Post-Bop
Year: 2013
File: MP3@320K/s
Time: 47:09
Size: 108,5 MB
Art: Front

(3:42)  1. The Charlston
(4:52)  2. Charade
(2:18)  3. Danube Incident
(5:39)  4. Stompin At The Savoy
(6:12)  5. Violets For Your Furs
(4:04)  6. The Intimacy Of  The Blues
(5:07)  7. How Insensitive
(3:44)  8. Fire Waltz
(1:46)  9. Cute
(4:28) 10. It Should Have Happened A Long Time Ago
(5:12) 11. Tootie's Tempo

At 78 years old, Albert “Tootie” Heath is certainly a link to jazz history. This is due to both his lineage as the youngest of the three jazz-playing Heath brothers and his many accomplishments as a musician on his own. Here, pianist Ethan Iverson and bassist Ben Street join Heath, and the results are as satisfying as a visit with a favorite old uncle. The music is straight-down-the-middle bebop with a strong emphasis on ballads and relaxed midtempo gems. Ever the gentleman, Heath plays here with subtlety and elegance, setting his tempos and throwing in little rhythmic wrinkles rather than banging away on solos. Just listen to his playing on “The Intimacy of the Blues,” the title track, and “Cute” to see what we mean. The often-pensive material here ranges from a fun, un-flapper-like version of “The Charleston” to the lovely theme from the film Charade to an earthy take of the bossa nova classic “How Insensitive.” Then things do pick up for a robust version of “Fire Waltz.” It's highly recommended for fans of classic jazz. ~ Itunes Reviews https://itunes.apple.com/us/album/tooties-tempo/id676272985

Personnel:  Bass – Ben Street;  Drums – Albert Heath;  Piano – Ethan Iverson

Tootie's Tempo

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Joel Harrison 7 - Search

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 58:12
Size: 133,3 MB
Art: Front

(11:18)  1. Grass Valley and Beyond
(15:00)  2. A Magnificent Death
( 8:24)  3. All The Previous Pages Are Gone
( 6:24)  4. The Beauty of Failure
( 8:26)  5. Whipping Post
( 6:19)  6. O Sacrum Convivium
( 2:18)  7. Search

For over a decade, Joel Harrison has been steadily expanding his palette as a composer, although his penchant for unorthodox instrumental combinations and multicultural folk forms encompass only one facet of his inclusive aesthetic. Harrison's most recent efforts have borrowed heavily from Western neo-classical tenets; The Wheel (Innova, 2008) included an expansive five movement suite for jazz quintet and string quartet, while The Music of Paul Motian (Sunnyside, 2011) featured stately arrangements performed by two electric guitarists and a traditional string quartet. Search contains some of Harrison's most seamlessly integrated writing for disparate forces to date. Supported by an archetypal jazz rhythm section, comprised of pianist Gary Versace, bassist Stephan Crump and drummer Clarence Penn, Harrison is joined by tenor saxophonist Donny McCaslin and two string players: violinist Christian Howes and cellist Dana Leong, who have both collaborated with the guitarist in similar contexts before.

The septet's broad instrumental palette lends the album a wide dynamic range that keenly exploits Harrison's versatile gifts as a composer; he solos infrequently however, allowing his sidemen ample opportunity to express themselves. Harrison's harmonious contrapuntal themes underscore the bulk of the record, as typified on the panoramic opener, "Grass Valley and Beyond," where Versace's prismatic cadences and McCaslin's intervallic salvos paint a vibrant aural canvas; the saxophonist's dramatic altissimo crescendos and multiphonic flourishes punctuate the proceedings like rich impasto accents. Howes and McCaslin engage in spirited interplay with the cagey rhythm section on the capricious swinger "All the Previous Pages Are Gone," while "A Magnificent Death" and "The Beauty of Failure" exhibit a range of classicist tendencies; the former ascends from hypnotic minimalist motifs to a rapturous climax, the later weaves lyrical thematic variations into a romantic coda. 

The session concludes with two unrelated, but unexpectedly complementary covers: a vivacious reading of Allman Brothers Band's "Whipping Post" and a sublime interpretation of Olivier Messiaen's "O Sacrum Convivum." The classic rock staple is given respectful treatment, but surprisingly, it's Leong's sinuous cello that drives the bluesy number, bolstered by Penn's pugilistic drumming. Conversely, Harrison's introspective fretwork accentuates the mystical ethereality of Messiaen's recast choral motet, setting the stage for the titular closer, a fugue-like postlude for solo piano that incisively encapsulates the date's multifaceted approach reconfirming Harrison's sophisticated compositional acumen in the process. ~ Troy Collins  https://www.allaboutjazz.com/search-joel-harrison-sunnyside-records-review-by-troy-collins.php
 

Personnel: Joel Harrison: guitar; Donny McCaslin: tenor saxophone; Gary Versace: piano, Hammond B-3; Christian Howes: violin; Dana Leong: cello; Stephan Crump: bass; Clarence Penn: drums.

Search

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Gary Versace - Time And Again

Styles: Jazz
Year: 2004
File: MP3@224K/s
Time: 62:21
Size: 100,0 MB
Art: Front

( 9:21)  1. Homeland
( 7:30)  2. 222
( 7:26)  3. First Things Last
(11:13)  4. Excuse My Shoes
( 9:58)  5. Time And Again
( 7:11)  6. Ours
( 9:39)  7. Russian Playground

Gary Versace sure gets around. Since relocating to New York in 2002 following a ten-year professorship at the University of Oregon, he's become such an in-demand player that he's rarely at home a situation bound to remain status quo well into 2006. Whether playing accordion on Maria Schneider's acclaimed Concert in the Garden (ArtistShare, 2004), piano on John Hollenbeck's multifaceted large ensemble A Blessing (OmniTone, 2005), or organ in John Scofield's Ray Charles Tribute touring band, his amazing flexibility is becoming increasingly apparent. While Versace is capable on a number of instruments, his focus remains the Hammond B3 organ, like Larry Goldings. And like Goldings, he possesses a clear understanding of the tradition stemming from seminal B3 players Jimmy Smith and Larry Young, but retains his own unique emphasis. The only real precedent would be the more textural approach of Dan Wall making Versace the perfect choice for Abercrombie in his organ trio, now that Wall has chosen to stop touring. Versace clearly understands Abercrombie's more modernistic slant to the jazz tradition, an area he explores on his own debut, Time and Again. Joining Versace for this effort are Abercrombie, Richard Perry a tenor saxophonist Versace has encountered in a number of situations and drummer Billy Hart. Hart is the wild card, but you'd never know it. Despite this being their first time playing together, Hart and Versace sound as if they've been working in sync for years. Testimony to the clearly shared philosophy of open minds, open ears and checked egos, the quartet's remarkable simpatico is evident from the first notes of the gently lyrical "Homeland one of six Versace originals that make up the set, along with Abercrombie's equally melodic "Excuse My Shoes. 

With only one day in the studio, it's no surprise that Time and Again emphasizes blowing over compositional detail. Far removed from the traditional A-A-B-A format, Versace's writing remains rooted in theme-solo-theme structures. His strength is in creating songs that are approachable enough to stick in the mind, yet provide plenty of latitude for improvisational interplay. Abercrombie has always emphasized understatement and implication; Versace and Perry are equally suggestive. The result is that the group never really boils over, but there's a simmering energy throughout. Whether on the gentle sway of the title track, the triplet-over-four feel of "222, or the more emphatic "Russian Playground, everyone plays with the kind of commitment and connection that endows this disc with a cohesiveness belying the single-day studio effort's inherent session-like nature. Time and Again also needs to be placed in context. It demonstrates Versace's improvisational élan and abstract colorations, as well as an ability to write material that encourages risk even as it remains close to the center. But Versace's wide reach also suggests that this is but the tip of the iceberg. Time and Again is a strong debut, but Versace is capable of much more a fact that will no doubt be revealed in good time. ~ John Kelman https://www.allaboutjazz.com/time-and-again-gary-versace-steeplechase-records-review-by-john-kelman.php

Personnel: Gary Versace: Hammond B3 organ; John Abercrombie: guitar; Rich Perry: tenor saxophone; Billy Hart: drums.

Time And Again

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John Hollenbeck Large Ensemble - A blessing

Styles: Avant-Garde Jazz 
Year: 2005
File: MP3@320K/s
Time: 62:43
Size: 145,1 MB
Art: Front

(16:03)  1. A blessing
( 7:28)  2. Folkmoot
( 8:12)  3. RAM
( 5:55)  4. Weiji
(12:12)  5. Abstinence
( 7:23)  6. April in Reggae
( 5:27)  7. The Music of Life

One clear benefit of the global community we live in, with its inherently broad reach, is that many artists have developed into stylistic integrators. On a smaller scale, even people who live within the boundaries of the United States can experience greater artistic diversity than ever before. Only a century ago, people living in small rural towns would have no way of knowing what kind of music was developing in larger urban centres; now, with the broad reach of the internet, it's possible that someone who lives in the most remote town can not only hear what's going on outside their relatively small physical universe, they can incorporate the experience into their own musical development. That's one of the reasons why the definition of jazz is such a slippery slope. Reductionist thinking aside, the very assimilation of a multitude of cultural and stylistic concerns is what keeps jazz alive and well, living and breathing and, most importantly, constantly evolving. Drummer/composer John Hollenbeck has proven over the course of his relatively short career that it's possible to blend a multitude of approaches while working within an idiom that's still somehow indefinably jazz. His latest release, A Blessing, expands on the stylistic melange of his smaller Claudia Quintet with an eighteen-piece ensemble that offers greater textural possibilities and a grander vision. 

The recording explores the almost unlimited possibilities of one voice, five woodwind players, four trombonists, four trumpets, and a rhythm section that in addition to the more traditional piano-bass-drums triumvirate also includes a variety of mallet instruments. There's nothing excessive or bombastic about Hollenbeck's approach, which isn't afraid to let smaller subsets do the talking. Nor is Hollenbeck averse to finding organic ways to emulate ideas that other artists have developed through looping and other electronic means. All kinds of trace elements can be found scattered throughout A Blessing. The sixteen-minute title track unfolds gradually, beginning with Gary Versace's simple piano arpeggios, Matt Moran's bowed vibraphone, and Kermit Driscoll's bass creating a subtle ambient backdrop of gentle beauty for vocalist Theo Bleckmann's crystal pure evocation of "An Irish Blessing. The piece builds slowly, with Hollenbeck's drums developing an ever-strengthening forward motion underneath horn lines that start as long tones, but ultimately evolve into repetitive patterns that take on a rhythmic life of their own, resolving into a kind of post-minimalist Steve Reich-meets-Maria Schneider vibe.

Elsewhere there are elements of primal jungle rhythms ("Weiji ), Brian Eno ambience that builds into a free cacophony before heading for straight-ahead swing ("RAM ), and a kind of free jazz reggae ("April in Reggae ). While it's difficult to single out any one player, Bleckmann's voice while most often integrated into the overall texture of the ensemble, rather than standing out ranges from pristine beauty to percussive panting, and even some miraculous throat singing over the stasis of "The Music of Life. Captivating and compelling from a larger narrative perspective, A Blessing is continued evidence of Hollenbeck's unfailing instincts and endless imagination. A masterpiece. 

~ John Kelman https://www.allaboutjazz.com/a-blessing-omnitone-review-by-john-kelman.php

Personnel: Ben Kono (flute, soprano and alto saxophones); Chris Speed (clarinet); Tom Christensen (tenor and soprano saxophones, English horn); Dan Willis (tenor and soprano saxophones, English horn); Alan Won (baritone saxophone, bass clarinet); Rob Hudson (trombone); Kurtis Pivert (trombone); Jacob Garchik (trombone); Alan Ferber (trombone); John Owens (trumpet); Tony Kadleck (trumpet); Dave Ballou (trumpet); Laurie Frink (trumpet); Kermit Driscoll (bass); John Hollenbeck (drums); Gary Versace (piano); Matt Moran (mallets); Theo Bleckmann (voice)

A blessing

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The George Shearing Quintet - Mood Latino

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 31:41
Size: 81,7 MB
Art: Front

(2:23)  1. Blue Moon
(1:40)  2. Day By Day
(2:39)  3. Yesterday's Child
(2:17)  4. Salud
(3:06)  5. You And The Night And The Music
(2:51)  6. Tintilin
(2:58)  7. The Night Is Young And You Are So Beautiful
(2:48)  8. Jackie's Mambo
(3:17)  9. All Through The Day
(2:21) 10. Say Si Si
(2:52) 11. Blue Rainbow
(2:24) 12. Te Arango La Cabeza

During his Capitol years, pianist George Shearing recorded several Latin-flavored albums which generally found his popular piano-vibes-guitar-bass-drums Quintet augmented by the congas of Armando Peraza. For this particular album not only is Peraza added to the group but so are a couple of other percussionists and an unidentified flutist. The Quintet sound is still quite dominant during the rhythmic easy-listening set with the music ranging from "Blue Moon" and "You and the Night and the Music" to "Jackie's Mambo" and "Say 'Si Si'." The performances on this LP have not yet been reissued on CD. ~ Scott Yanow http://www.allmusic.com/album/mood-latino-mw0000872116

Personnel:  George Shearing (piano);  Gary Burton (vibraphone);  Armando Peraza (congas);  John Gray (guitar);  Bill Yancey (bass);  Vernel Fournier (drums)

Mood Latino

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Gerry Mulligan - In Paris Disc 1 And Disc 2

Disc 1

Styles: Saxphone Jazz
Year: 2000
File: MP3@320K/s
Time: 68:27
Size: 165,7 MB
Art: Front

(4:50)  1. Bernie's Tune
(0:32)  2. Presentation of the Musicians
(5:03)  3. Walkin' Shoes
(4:41)  4. The Nearness Of You
(5:48)  5. Motel /Utter Chaos
(5:33)  6. Love Me Or Leave Me
(4:26)  7. Soft Shoe
(5:24)  8. Bark for Barksdale
(4:54)  9. My Funny Valentine
(7:34) 10. Turnstile /Utter Chaos
(4:42) 11. I May Be Wrong
(4:42) 12. Five Brothers
(6:28) 13. Gold Rush
(3:45) 14. Makin' Whoopee

Disc 2

Year: 2000
File: MP3@320K/s
Time: 60:34
Size: 147,7 MB

(3:39)  1. Lady Is a Tramp
(4:16)  2. Laura
(4:48)  3. Soft Shoe/Utter Chaos
(4:56)  4. Five Brothers
(3:39)  5. Lullaby of the Leaves
(4:36)  6. The Nearness of You
(5:12)  7. Limelight
(4:06)  8. Come Out, Come Out, Wherever You Are
(2:51)  9. Makin' Whoopee
(4:26) 10. Love Me or Leave Me
(4:22) 11. Laura
(4:25) 12. Line for Lyons
(3:15) 13. Moonlight in Vermont
(5:57) 14. Motel/Utter Chaos

Formerly available in piecemeal fashion, this CD (and Vol. 2) has all of the music recorded at baritonist Gerry Mulligan's Paris concerts of June 1954. This particular unit (with valve trombonist Bob Brookmeyer, bassist Red Mitchell and drummer Frank Isola) was one of Jeru's finest for his own wit, swing and cool-toned creativity were matched by Brookmeyer. Highpoints include "Walkin' Shoes," "Love Me or Leave Me," "My Funny Valentine" and "Five Brothers" but every selection is quite enjoyable. The audience is rightfully enthusiastic. ~ Scott Yanow http://www.allmusic.com/album/gerry-mulligan-in-paris-vol-1-mw0000176336

In June 1954, the Gerry Mulligan Quartet (with the leader/baritonist, valve trombonist Bob Brookmeyer, bassist Red Mitchell and drummer Frank Isola) performed at five all-star concerts, four of which were recorded. Only previously available in fragmented form, the very accessible yet chance-taking music has now been reissued in full on two CDs by the French Vogue label. 

The second volume is highlighted by "Laura," "Five Brothers," "Love Me or Leave Me," "Line for Lyons" and "Motel," but it is no exaggeration to say that every performance is well worth hearing. Both sets are highly recommended, for this cool-toned but witty and hard-swinging music is very enjoyable. ~ Scott Yanow http://www.allmusic.com/album/gerry-mulligan-in-paris-vol-2-mw0000644409

Gerry Mulligan Quartet: Gerry Mulligan (baritone saxophone); Bob Brookmeyer (valve trombone); Red Mitchell (bass); Frank Isola (drums).

In Paris  Disc 1
In Paris  Disc 2

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Yusef Lateef - 10 Years Hence

Styles: Saxophone Jazz
Year: 1974
File: MP3@320K/s
Time: 79:12
Size: 181,5 MB
Art: Front

(22:15)  1. Samba de Amor (Fantasy): Samba de Amor (Part I)-Time Montage-Samba de Amor (Part II)
(18:02)  2. Yusef's Mood
(12:25)  3. But Beautiful
( 8:29)  4. A Flower
(17:59)  5. I Be Cold

This 2008 release of a live 1975 performance at San Francisco's Keystone Korner may appeal to Lateef completists, but those still new to him or curious about his fame might consider starting elsewhere. The first of Ten Years Hence's five long numbers is Bob Cunningham's three-part "Samba De Amor," which begins with the bassist bowing and plucking alongside the sound of cowbells, horns, whoops and other vocalizations, and Lateef on transverse flute. Fully five minutes on, a light but entertaining enough samba takes shape. The quiet middle section, "Time Montage," provides a puzzling pause with woodwinds and bells, although something onstage creates a buzz with the audience. The return to the samba quickly dies out, leaving the feeling of a 22-minute long, involved effort that never quite soared. "Yusef's Mood" follows: a rhythm-and-blues that might be fun from the Keystone's dance floor, but sounds conventional on disc. Pianist Kenneth (Kenny) Barron takes the lead, but despite his dexterity the runs sound labored and the boogie uninspired, never igniting the kind of R&B sparks that shimmered from the keyboards of artists including Leon Russell, Nicky Hopkins, Jaki Byard and Cedar Walton in the mid-'70s. Lateef's sax adds a broad-shouldered presence, but only a few licks and growls give account of his fame. But for the masterful attack, in a blind quiz few would blink on learning that any of a dozen promising turks was blowing.

"But Beautiful" is the only standard, and Lateef plays it with smoky abandon, clearly in his element. Barron comps with Monk-ish splashes and jabs, and the group cooks up a well-spent 12 minutes of jazz. Lateef closes by invoking a slow, supremely confident solo that earns the audience's warmest applause. But Barron's candidly sentimental "A Flower" comes next, and here Lateef plays his flute with earnest tremolo while the pianist paints on ornamentation worthy of Liberace. The closing number is "I Be Cold" an inventive piece of considerable charm. Lateef sticks to rapping a soulful moan about how he "be cooold," periodically letting out an odd, humorous bark with the sealhorns. A well-arranged chorus and subdued instrumentation provide loose support for the rap, bass, piano, and those sporadic burps. Despite its spare, repetitive means, this funky 18-minute groove resonates as the album's best-developed original. Along with "But Beautiful," it's a definite candidate for anthologizing. If only the whole session were at this inspired level. The cover replicates a contact sheet presumably no picture had the right impact for cover art. The liner notes are almost microscopically small, hampering readability that might clarify Lateef's part, if any, in this release, and the title's meaning. This is a very eclectic session covering several musical forms, and unlikely to suit every taste. Quite possibly not for purist jazz-lovers, Lateef completists might well enjoy Ten Years Hence's various rewards. ~ Bert Bailey https://www.allaboutjazz.com/ten-years-hence-yusef-lateef-wounded-bird-records-review-by-bert-bailey.php

Personnel: Yusef Lateef: tenor saxophone, c-flute, sealhorns, shanie, oboe, below yellow shell flute, African thumb piano and percussion; Kenneth Barron: piano and cowbell; Bob Cunningham: bass and African leg bells; Albert 'Kuumba Heath: Druands, Chinese shanie, percussion metal cones and Northern Indian flute; Bill Salter: bass (5).

10 Years Hence

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Stephen Riley - Hart-Beat

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 60:13
Size: 138,1 MB
Art: Front

(4:01)  1. Just You Just Me
(5:43)  2. Isotope
(9:33)  3. Lonnie's Lament
(5:21)  4. When It's Sleepy Time Down South
(7:27)  5. Ba-Lue Bolivar Ba-Lues-Are
(9:23)  6. The End Of A Love Affair
(6:04)  7. Mr. Sandman
(8:08)  8. Black Narcissus
(4:29)  9. All Go'd Chillun Got Rhythm

The tenor saxophone trio is one of the great, if somewhat underutilized lineups in jazz. Stephen Riley has made a study of the format and delivers a fine addition to a limited canon with Hart-beat. Eschewing piano and leaving the horn to carry the musical weight all by itself is an idea that was recorded by the great Sonny Rollins as early as Way Out West (Contemporary, 1957). That record set a very high standard that is rarely met, let alone exceeded. It is the Godfather of the format. One later effort that does come close is Joe Henderson's State of the Tenor (Blue Note 1985), a live recording from New York's Village Vanguard that delivered one of the definitive tenor performances of its decade. Where the Rollins date is snappy and melodic, Henderson's performance is looser, wandering a little more with his improvisations, leaving plenty of room for the bassist Ron Carter and drummer Al Foster.  Hart-beat follows in the footsteps of the Henderson record, with loose, breathy interpretations of standards by pianist Thelonious Monk, saxophonist John Coltrane and, yes, Joe Henderson. Riley's sound is a little understated, relying on good construction and control, without ever screaming his horn. On this date it would be fair to call him a quiet, if energetic player. "Isotope" gets a quick statement of the melody before Neal Cane joins the fray with clean forward bass line. Riley takes his improvisations up a notch with each chorus, building a wonderfully sophisticated solo before laying out for the bass to take a turn.

A less frequently played Monk classic, "Ba-Lue Bolivar Ba-Lues-Are," gets a similarly wandering treatment with equally good results. In deciphering Monk, Riley makes the critically important choice to internalize the melody into his improvisation instead of just playing over it. This kind of depth is the difference between an okay Monk interpretation and a really good one; this is a really good one. Special mention should be made of drummer Billy Hart, the most seasoned musician on the date. A veteran of Miles Davis' On the Corner (Columbia, 1972), Hart provides subtle, graceful rhythm with Riley's understated playing. Like everything else on this date, the drumming is very sophisticated. The other Henderson tune, "Black Narcissus" has Hart splashing his cymbals out behind the bass and horn, initially providing less beat and more aural soundscape before he picks up the rhythm on the ride with a rim tap. It's very sweet, delicate drumming. So does Hart-beat live up to the standards set by Henderson and Rollins? That's a tough call, given the iconic status of those efforts. In all fairness, those are almost impossibly high standards to meet. Hart- beat is, however, a really solid recording, with some noteworthy playing making it a worthy successor in a lineage of great tenor saxophone trio records. ~ Greg Simmons https://www.allaboutjazz.com/hart-beat-stephen-riley-steeplechase-records-review-by-greg-simmons.php
 

Personnel: Stephen Riley: tenor saxophone; Neal Cane: bass; Billy Hart: drums.

Hart-Beat

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Grant Green - Green Street (Bonus Track Version)

Size: 178,5 MB
Time: 77:08
File: MP3 @ 320K/s
Released: 1961/2016
Styles: Jazz: Guitar Jazz
Label: Down To The Beat Records
Art: Front

01. No. 1 Green Street ( 7:16)
02. 'Round Midnight ( 7:00)
03. Grant's Dimensions ( 7:52)
04. Green With Envy ( 9:42)
05. Alone Together ( 7:09)
06. Green With Envy (Alternate Take) ( 7:49)
07. Alone Together (Alternate Take) ( 6:53)
08. Falling In Love With Love ( 5:22)
09. Our Miss Brooks (Take 1) (10:10)
10. One For Elena (Take 4) ( 7:50)

As a trio, this edition of guitarist Grant Green's many ensembles has to rank with the best he had ever fronted. Recorded on April Fool's Day of 1961, the band and music are no joke, as bassist Ben Tucker and drummer Dave Bailey understand in the most innate sense how to support Green, lay back when needed, or strut their own stuff when called upon. Still emerging as an individualist, Green takes further steps ahead, without a pianist, saxophonist, or -- most importantly -- an organist. His willpower drives this music forward in a refined approach that definitely marks him as a distinctive, immediately recognizable player. It is also a session done in a period when Green was reeling in popular demand, as this remarkably is one of six recordings he cut for Blue Note as a leader in 1961, not to mention other projects as a sideman. To say his star was rising would be an understatement. The lean meatiness of this group allows all three musicians to play with little hesitation, no wasted notes, and plenty of soul. Another aspect of this studio date is the stereo separation of Green's guitar in one speaker, perhaps not prevalent in modern recordings, but very much in use then. Check out the atypical (for Green) ballad "'Round About Midnight," as the guitarist trims back embellishments to play this famous melody straight, with a slight vibrato, occasional trills, and a shuffled bridge. The trio cops an attitude similar to Dizzy Gillespie for the introduction to "Alone Together," with clipped melody notes and a bass filler from Tucker. Three of Green's originals stamp his personal mark on rising original soulful post-bop sounds, as "No. 1 Green Street" has basic B-flat, easy-grooving tenets similar to his previously recorded tune "Miss Ann's Tempo." Two interesting key changes and chord accents identify the outstanding "Grant's Dimensions" beyond its core bop bridge and jam configuration -- not the least of which contains a hefty bass solo from the criminally underrated Tucker and Bailey trading fours. "Green with Envy" should be familiar to fans of Horace Silver, as it is almost identically based on the changes of "Nica's Dream," a neat adaptation full of stop-starts and stretched-out improvising over ten minutes. (The alternate take of this one on the expanded CD reissue is a full two minutes shorter.) If this is not a definitive jazz guitar trio, they have not yet been born, and Green Street stands as one of Grant Green's best recordings of many he produced in the ten prolific years he was with the Blue Note label. ~by Michael G. Nastos

Green Street

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Ilana Charnelle - A Class Act

Size: 103,2 MB
Time: 40:12
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Cabaret
Art: Front

01. Working Out (3:58)
02. The Clown (5:09)
03. No No No (3:08)
04. I Did It For You (3:41)
05. The Good Guy (All Class Edition) (3:51)
06. Still Alive (5:34)
07. High (3:30)
08. Better That They Stay (2:59)
09. Move (3:47)
10. A Class Act (4:30)

Who is Ilana Charnelle? It might be sex, cigarettes, lingerie, gin and speakeasies – but it’s also pure class. Forget skinny jeans, autotune and iPhones. It’s time for vintage glamour and old fashioned romance from the golden age of entertainment.

After channelling Judy Garland and David Bowie for ACMI, amassing over 200,000 views on YouTube, and headlining a plethora of underground Melbourne institutions including Burlesque Bar, Speakeasy HQ, and Red Bennies, Ilana Charnelle premieres A Class Act – her debut solo cabaret.

Scored by a suite of enchanting original songs, and musical director savant dandy Ned Dixon, A Class Act is a heartbreaking, honest and ultimately empowering hour of cabaret.

A Class Act

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Dida Pelled - A Missing Shade Of Blue

Size: 131,9 MB
Time: 56:58
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Guitar Jazz, Hammond Organ
Art: Front

01. Sundown (5:35)
02. I Don't Need No Doctor (5:02)
03. When I Grow Too Old To Dream (4:14)
04. Take These Chains Off My Hearth (4:38)
05. Folsom Prison Blues (3:56)
06. It's A Shin To Tell A Lie (3:59)
07. Glide On (4:20)
08. A Little Walk On Jane Street (4:10)
09. A Missing Shade Of Blue (6:05)
10. Blue Moon (4:20)
11. Five Hundred Miles (5:18)
12. Ultramarine (3:22)
13. I'll See You In My Dreams (1:53)

Guitarist and vocalist Dida Pelled previous Red Records release, Dida Pelled: Plays and Sings (Red Records, 2011) was one of my pics for Best-of-the-Year in 2011). That recording was so refreshingly organic that it has remained in my listening rotation since that time. Pelled snuck in a self-produced Modern Love Songs (2015) between Plays and Sings and the present A Missing Shade of Blue. It is as exceptional as the first recording. That said, expectations for A Missing Shade of Blue are necessarily great.

Organic. I like to use the word to describe music made with a minimum of effects and sonic engineering. Music that is like the tomato you picked off the plant in your back yard in the middle of July that is acidy tart and sporting a "realness" that is light years away from what you get at the local Walmart. It is music that is tactically genuine and real. That is the music that Dida Pelled plays. It is robust, with a freshly scrubbed sound that is both basic and advanced. Pelled is not going to dazzle you with technique save for than which is valued for what not is played. She has a Miles Davis-Count Basie bluesy brevity to her playing that makes her music irresistible.

Pelled steps out on A Missing Shade of Blue, moving well beyond the comfort zone of most jazz guitarists. Bravo that she slays the Ashford/Simpson classic "I Don't Need No Doctor" (yes, that one that Humble Pie rode to fame on Performance Rockin' The Fillmore (A&M, 1971)). But that is only the beginning. She plays a plaintive slide guitar on "Take These Chains from My Heart" and "500 Miles." This is grandly cast music, even in a jazz organ trio made up of Pelled, organist Luke Carlos O'Realy and drummer Rodney Green. This is not the 21st Century anemic attempt to capture the greasy funk of 1960's organ jazz. No, this is Pelled claiming a stake while coloring in the lines better than Wes Montgomery and Jimmy Smith.

Provocatively, the CD sleeve notes, "Dida Pelled, Guitar," which seemed curious as she both plays and sings on her previous Red Records release. It is a bit of a teaser, but Pelled does sing on the two dream-related cuts, "When I Grow Too Old To Dream" and "I'll See You In My Dreams," both showing off Pelled's remarkably plaintive and stripped down voice, full of scrubbed simplicity and genuine pathos. on "I'll See You In My Dreams," Pelled accompanies herself with her full-voiced finger- picking to a stunning solo effect. Before hearing this, I was unsure she could out-do the over-the-top creativity of her take on Johnny Cash's "Folsom Prison Blues."

Pelled cameos trumpeter Fabio Morgera and flautist Ital Kriss on Morgera's "Ultramarine," the sole bebop piece on the recording that makes a great argument Pelled's bona fides as a grand bop interpreter. As for Kriss, the flute solo on "When I Grow Too Old to Dream" is a masters class in the blues that is spectacular. Pelled is a controlled and specific artist who focuses on the simplicity of her task at hand. She digs deep into the American Southern Vernacular, extracting the blues, gospel, and country notes that swirl together like smoke formed from a fire rising. C. Michael Bailey

Personnel: Dida Pelled: guitar; Luke Carlos O’Realy: Hamnond B3; Rodney Green: drums; Fabio Morgera: trumpet (3, 6. 8, 18); Itai Kriss: flute (3, 6, 12)

A Missing Shade Of Blue

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Janet Staley - Whisper To The Wind

Size: 101,9 MB
Time: 43:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. The Nearness Of You (4:28)
02. Can't Help Lovin' That Man (3:07)
03. Blackbird - In My Life (4:31)
04. When October Goes (4:39)
05. (You're) Everything (3:43)
06. Till There Was You (2:51)
07. Here's To Life (3:47)
08. More Than You Know (3:41)
09. Superstar (3:41)
10. Garden In The Rain (4:17)
11. Willow Weep For Me (4:30)

Friends have asked over the years whether I'd considered recording an album. But not until our friend, Mike Kelly, suggested I collaborate with his brother, Pat, a renowned Cincinnati musician and producer, did I seriously commit to this challenge. Over several months, Pat and I agreed on this selection of our favorite tunes.

Pat assembled some of Ohio's finest musicians to record his fabulous arrangements under the skillful engineering of Mark Santangelo in Cincinnati, while I recorded the vocals in Omaha under the generous guidance and support of many talented friends, especially Susie Thorne, who meticulously and creatively helped me better understand my natural voice and how to approach each arrangement. Jackie Allen contributed much from her extensive knowledge of studio work and jazz vocals, and Kerry Barrett's cover photo captured the "Whisper" mood. Omaha's premier jazz guitarist, Ron Cooley, graciously added a guitar part to our final song, "Willow Weep for Me". Tom "the Wizard" Ware masterfully engineered the vocals at his studio in Omaha. With the help and encouragement of these great friends and others, and with the hard work and unequaled talent of the project's mastermind, Pat Kelly, and his collection of stellar musicians, this truly became a labor of love.

Whisper To The Wind

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Nesia Ardi - Freedoms Jazz Festival 2016

Size: 142,0 MB
Time: 61:18
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. A Tisket A Tasket ( 5:10)
02. Undefined ( 8:32)
03. I Can Be Your Lover ( 6:14)
04. So Long Goodbye ( 5:42)
05. Don't Put Sugar In My Coffee (11:04)
06. It Don't Mean A Thing ( 7:34)
07. Minya ( 5:35)
08. Don't Worry Be Happy ( 4:07)
09. Honeysuckle Rose ( 7:16)

Having born in a music family, NESIA ARDI has interested in painting / scratches and music, especially singing in a very young age. Her father was pianist who passed away before Nesia could learn music from him. However, his collection of CDs and Cassettes from Bob James, Nick Mamahit, Laura Fygi, Tania Maria, Ermi Kullit has made Nesia attracted to Jazz.
Nesia studied vocal at Institut Daya Indonesia guided by Tjut Nyak Deviana and . She has won many sing competition and band. She collaborate with many musician such as Sri Hanuraga, Oele Pattiselano, Glen Dauna, Nial Djuliarso , Andy Gomez, etc.. Nesia has produced 1 (one) album duet with Robert Mulyarahadja.

Freedoms Jazz Festival 2016

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