Abbey Lincoln, Hank Jones - When There Is Love

Bitrate: MP3@320K/s
Time: 64:01
Size: 146.6 MB
Styles: Jazz vocals
Year: 1993
Art: Front

[4:35] 1. A Part Of Me/There Are Such Things
[4:43] 2. When There Is Love
[3:28] 3. Black Butterfly
[5:38] 4. Angel Face
[5:40] 5. The Nearness Of You
[2:32] 6. Can't Help Singing
[3:08] 7. Close Your Eyes
[5:45] 8. I Should Care
[3:56] 9. You Came A Long Way From St. Louis
[5:44] 10. C'est Si Bon
[3:16] 11. The Jitterbug Waltz
[4:35] 12. Time After Time
[5:14] 13. You Won't Forget Me
[5:41] 14. First Came A Woman

This CD is a change of pace for Abbey Lincoln. She interprets ten standards (plus four of her originals), all love songs performed as duets with pianist Hank Jones. Although there is some social comentary, the emphasis is on male-female relationships and Lincoln sounds more optimistic than usual. Among the more memorable selections are Duke Ellington's "Black Butterfly," "The Nearness of You," "You Came a Long Way from St. Louis," Fats Waller's "Jitterbug Waltz" and "You Won't Forget Me." ~Scott Yanow

When There Is Love

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Eight To The Bar - Redheads Of Rhythm

Bitrate: MP3@320K/s
Time: 27:16
Size: 62.5 MB
Styles: Pop/Rock/Jazz
Year: 1999
Art: Front

[3:26] 1. Set You Free
[3:58] 2. Standing At The Crossroads
[3:36] 3. Young Man's Fool
[4:22] 4. Tell Mama
[5:40] 5. When Your Baby (Loves You No More)
[4:05] 6. No Doubt In My Mind
[2:06] 7. 60 Minute Man

Michael Corsini/Bass guitar, vocals; Cynthia Lyon/Band leader, vocals, keyboard; Collin Tilton/Tenor and alto saxophones, flute; Ralph DeLucia/Guitar, vocals; Brinna Jones/Vocals, percussion.

Eight to the Bar takes a turn to the rockin' blues/classic r&b side with this powerful vocal, guitar and sax-driven record. It features fun classics like "Young Man's Fool" and the notorious "60 Minute Man", a vocal extravaganza that shows off their legendary vocal skills and their ease with doo-wop. This is probably their heaviest record and a great favorite with lovers of blues, rock, soulful vocals & jazz.

Redheads Of Rhythm

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Charlie Byrd, Herb Ellis, Mundell Lowe - The Return Of The Great Guitars

Bitrate: MP3@320K/s
Time: 59:12
Size: 135.5 MB
Styles: Guitar jazz
Year: 1996
Art: Front

[4:51] 1. Things Ain't What They Used To Be
[4:17] 2. When Lights Are Low
[4:28] 3. A Smooth One
[5:13] 4. My Funny Valentine
[4:23] 5. The Lady In Red
[3:50] 6. Soft Winds
[4:25] 7. Bernie's Tune
[4:44] 8. I Remember You
[4:30] 9. Waltz For Wes
[4:35] 10. Seven Come Eleven
[4:28] 11. Billy Bean!
[4:33] 12. Night Roby Get-A-Way
[4:48] 13. On The Trail

The first recording by the Great Guitars in over a decade has a change in personnel. A serious stroke had ended Barney Kessel's career, but Herb Ellis and Charlie Byrd were still very much active. Fellow veteran guitarist Mundell Lowe took Kessel's place, and as a wild card, on eight of the 13 selections the versatile Larry Coryell is heard on fourth guitar. With fine backup by bassist John Goldsby and drummer Tim Horner, the guitarists swing hard on a variety of bop and swing-oriented tunes including "Things Ain't What They Used to Be," "A Smooth One," "The Lady in Red," and "Seven Come Eleven," in addition to some more recent originals. ~Scott Yanow

The Return Of The Great Guitars

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Buddy Bregman Big Band - It Don't Mean A Thing If It Ain't Got That Swing

Styles: Jazz, Big Band, Swing
Year: 1998
File: MP3@320K/s
Time: 59:02
Size: 137,9 MB
Art: Front

(4:36)  1. In The Mood
(3:52)  2. Chattanooga Choo Choo
(5:14)  3. Leap Frog
(5:15)  4. Big Noise From Winnetka
(4:19) 5. It Don't Mean A Thing (If It Ain't Got That Swing)
(5:02)  6. Sing, Sing, Sing
(5:46)  7. Opus No. 1
(4:59)  8. The Mooch
(4:35)  9. One O'Clock Jump
(6:03) 10. Moten Swing
(4:44) 11. Take The 'A' Train
(4:32) 12. Jumpin' At The Woodside

A screenwriter obsessed with jazz shows up at the offices of the production company Bregman Entertainment in Hollywood. He has an appointment to make a pitch to Buddy Bregman, a producer, director, and writer who has also been a great success in the music business as an arranger, composer, and conductor. A current list of Bregman film projects under development includes a drama entitled The Trial of Ezra Pound, so the screenwriter is confident that Bregman won't pass off the movie idea he is about to be offered as too intellectual. It is a variation on Oscar Wilde's classic The Picture of Dorian Gray. In that story, a vain man retains his youth while a bewitched portrait of him simultaneously ages. In the jazz buff's variation, an important reference volume prepared by a major jazz critic adds years on to the lives of various performers by printing incorrect information about their birthdays. Bregman shows the guy the door. It isn't just that he is too busy to listen, overwhelmed by his own responsibilities as "Owner, producer, director, writer, composer, arranger, rehearsal pianist and God knows what else" for Capone: The Musical, just about to open at the The Derby. The subject is too close to home. In The Encyclopedia of Jazz, published in 1960, Bregman's year of birth is listed as 1930, according to some more than a decade off the mark. One would think Bregman belongs to a previous generation. Instead of a young boy marveling at his much older, talented uncle Jules Styne, Sammy Cahn's songwriting partner, responsible for a veritable blizzard of hits including "Let It Snow! Let It Snow" Bregman is incorrectly identified by Feather Styne's sibling. Bregman's professional career began during his sophomore year of college. 

But he was actually only 17-years old at the time, due to skipping several grades. Bregman got an opportunity to write arrangements for the Cheers, a white vocal group "You couldn't get three whiter people in this life," Bregman has said who were cutting a new song by Leiber & Stoller for the Capitol label. That side was "Bazoom I Need Your Lovin'," which, according to release sheets, came out in 1954. Thus, the thing to hype about Bregman's career is not his age, but rather the opposite, his youth. He seems to have developed advanced talents as a musician at an early age, helped in no small part by the previously mentioned great composer in his extended family, as well as his own parents' wise decision to expose him to lots of live music. Bregman claims to have been able to orchestrate at the age of 11, and three years later had one of his charts performed by jazz musician Bill Russo. Bregman admits that the latter effort was horrible. But he must have made great improvements by the time of his recording debut. "Bazoom I Need Your Loving" was a hit, and veteran producer Norman Granz wound up hearing it on the radio. This led to a terrific career break. Granz was starting up a new record label and offered Bregman a chance to work for him. That label turned out to be Verve, one of the most famous jazz labels. Bregman became the A&R head, but is best known by jazz fans for his arranging and conducting activities on a stack of sides by great singers such as Ella Fitzgeraldand Anita O'Day. He also made what might arguably be one of Bing Crosby's best records, Bing Sings Whilst Bregman Swings. Despite her generously sweet nature, Fitzgerald was apparently still unable to hide her initial reaction to the greenhorn producer Granz had hired for her. Her attitude was summarized best by the Italian composer, percussionist, and conductor Andrea Centazzo's reaction to an extra, uninvited dinner guest showing up: "Who the hell is this guy?" A set of double albums devoted to Cole Porter and Rodgers & Hart are absolute masterpieces. Interviews conducted decades after these albums were created provide insight into what the young dude brought to the table, aspects that could be easy to overlook in the rush to swoon at Ella's feet. This includes Bregman's insistence on playing all the verses originally written for these songs, material that Fitzgerald, like most performers of the classic standard song repertoire, would rather leave out. 

Verve also gave Bregman the opportunity to put out albums under his own name, such as the action-packed Swinging Kicks in 1956. Bregman's career would lead to television within several years. He became the musical director of The Eddie Fisher Show, and was soon offered his own slot as a kind of a competitive response to Dick Clark. This series, Buddy Bregman's Music Shop lasted for an unlucky 13 shows, hardly knocking Clark off the American Bandstand. Nonetheless there were other, older performers in the music business who thought Bregman was moving ahead too quickly. "I'm 15 years younger than the guys like Nelson Riddle and Bill May, who were my contemporaries," Bregman wrote this author in an e-mail. "I was never with a band in my whole life. I just went from wealthy kid to hot arranger, composer, conductor. And they all resented me cause I worked with such big stars and had no real "road-like" experience. But I couldn't care less about what they thought I just plowed ahead." Collaborations with some of the greatest singing entertainers were his pasture, as well as television direction and production and film scoring. If this is plowing, hipsters who smile in recognition at names such as Betty Hutton, Sammy Davis, Jr., Annie Ross, and Roger Corman might want to reconsider farming as a career these are all people Bregman has worked with. His stature as a producer and director seemed to advance significantly due to a relationship with Intel, an international production company. This outfit put Bregman in charge of a series of award-winning programs produced in Europe. This success, in turn, led to an invitation from BBC-TV to produce and direct a series of major specials, as well as a series. Bregman was the first foreigner to be given such an opportunity by the BBC. He eventually became the head of entertainment for the London-based ITV network. Prior to returning to the United States, Bregman wrote Jump Jim Crow, the Royal Shakespeare Company's first effort at a stage musical. He was nominated for an Emmy award for the television version of Ain't Misbehavin', a tribute to Fats Waller and other musicians of his generation. While it is difficult to pick what the specialty is of this versatile artist, he seems to be consistently involved in tributes to legends of American musical history, including Bing Crosby. Another of his film projects in development concerns the relationship between singer Billie Holiday and saxophonist Lester Young. In television, Bregman has developed more than 50 pilot scripts. ~ Eugene Chadbourne http://www.allmusic.com/artist/buddy-bregman-mn0000942181/biography

Personnel:  Bass – Tray Henry; Drums – Ed Smith;  Guitar – Grant Geissman;  Keyboards – Steven Orich;  Piano – Emilio Palame;  Reeds – Robert Carr, Chris Bleth, Jan Kip, Mark Hollingsworth (2), Phil Feather;  Trombone – Gary Tole (2), Nick Lane, Richard Bullock, William Booth;  Trumpet – Bob Summers (3), Dennis Farias, Stanley Martin, Wayne Bergeron

It Don't Mean A Thing If It Ain't Got That Swing

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Karen Aoki - Gloovin' Jazz Night

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 30:08
Size: 69,2 MB
Art: Front

(4:41)  1. Butterfly feat. Flat Three
(4:29)  2. My Favorite Things feat feat.Jabberloop
(4:48)  3. Smooth Operater feat. Native
(3:44)  4. In My Life feat. Shima&Shikou Duo
(4:49)  5. Smells Like Teens Spirit feat. feat.Jabberloop
(4:00)  6. Devil May Care feat. Shima&Shikou Duo
(3:32)  7. Moon River

Mainly live tour activity, main cast of BS Asahi TV's jazz music program, cross fm of radio, Love FM, Inter FM, Kobe Kiss FM, Radio Takasaki, now FM Kumamoto and internet radio JJazz, Net Serve as a navigator at. The album 2 works won the ADLIB Award (Club / Dance Department) of jazz specialty magazine ADLIB. Awarded the Best Debutant Award, a newcomer category of the 2010 Best Dresser Award. In charge of insertion song of popular movie "Andalucian goddess retaliation" starring Yuji Oda released in June 2011. NHK E Tel "Three Month Topic English Conversation" ~ Enchanted Standard Jazz Edition ~ Appears in the topic.

In the summer of 2012, make the first New York performances successful. In the same year, he was in charge of the insertion song of Fuji TV drama "Do not marry." In September 2012, Duet's song "Ginza's Love Story" was recorded in Tachi Hiroshi's album and appeared on NHK's music program SONGS. In December 2012, released a collection of love songs, jazz arranged music scores of movie music, album "trickiness". In the summer of 2013, the song of the insertion song of the movie Galileo 'Midsummer Equation', the same theme song of the autumn NHK Saturday drama 'Trap of the Sun'. In the summer of 2014, he sang the main theme song of the Fuji TV drama starring Aya Ueto "Lunchtime - Lovers at 3 pm on weekdays".In January 2015, we released an album "Eternal Melody" covering famous songs that I want to sing forever. In October 2015, released a duet album "Lost in the Rio" with Jazz Singer Matt Dusk living in Canada. In November 2015, we will make 2DAYS performances successful at Blue Note Tokyo. In autumn 2016, it was decided to sing the opening theme of TOKYO MX's TV animation "JoJo's Bizarre Adventure Diamonds Can not Break". In the fall of 2016, we sing the opening theme of animation "JoJo's Bizarre Adventure Diamonds Can not Break". In the summer of 2017, we plan to release albums for the first full song original songs. https://translate.google.com.br/translate?hl=en&sl=ja&u=http://karenaoki.com/biography/&prev=search

Gloovin' Jazz Night

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Lee Konitz - Rhapsody

Styles: Saxophone Jazz

Year: 1993

File: MP3@320K/s

Time: 62:44

Size: 143,9 MB

Art: Front

( 4:31)  1. I Hear a Rhapsody

(12:05)  2. Lo Ko Mo And Frizz

( 7:11)  3. The Aerie

( 8:52)  4. Trio No 1

( 5:07)  5. All The Things You Are

(19:00)  6. Exposition

( 5:55)  7. Flyin' - Mumbles and Jumbles

Lee Konitz's Evidence release has seven selections from the veteran altoist that utilize different all-star personnel. The performances all have a similar commitment to relaxed and melodic freedom, but some work better than others. "I Hear a Rhapsody" (featuring a haunting vocal by Helen Merrill) precedes a more abstract "Rhapsody" (titled "Lo-Ko-Mo-And Frizz") which has wandering interplay by Konitz (on alto, soprano, and tenor), Joe Lovano (switching between tenor, alto clarinet, and soprano), guitarist Bill Frisell, and drummer Paul Motian. Jay Clayton's beautiful voice and adventurous style is well displayed on "The Aerie," and baritone great Gerry Mulligan sounds reasonably comfortable on a free improvisation with Konitz and pianist Peggy Stern, but a fairly straightforward vocal by Judy Niemack on "All the Things You Are" is followed by an overlong (19-minute) exploration of the same chord changes (renamed "Exposition") by the quartet of Konitz, clarinetist Jimmy Giuffre, pianist Paul Bley, and bassist Gary Peacock; their different approaches never really mesh together, and this selection is a bit of a bore. The final performance, an extroverted duet by Konitz (on soprano) and flügelhornist Clark Terry (titled "Flyin': Mumbles and Jumbles") adds some badly needed humor to the set. While one can admire Lee Konitz for still challenging himself after all this time, some of the dryer material on the CD (especially the two quartet numbers) should have been performed again; maybe the next versions would have been more inspired. ~ Scott Yanow http://www.allmusic.com/album/rhapsody-mw0000174310

Personnel:  Alto Saxophone – Lee Konitz; Baritone Saxophone – Gerry Mulligan;   Piano – Peggy Stern;  Vocals – Helen Merrill, Judy Niemack, Jay Clayton;  Bass – Ben Allison;  Drums – Jeff Williams

Rhapsody

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Kurt Rosenwinkel - Caipi

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 61:04
Size: 141,0 MB
Art: Front

(3:56)  1. Caipi
(4:29)  2. Kama
(6:22)  3. Casio Vanguard
(5:42)  4. Summer Song
(4:46)  5. Chromatic B
(5:32)  6. Hold On
(6:17)  7. Ezra
(5:03)  8. Little Dream
(6:49)  9. Casio Escher
(5:46) 10. Interscape
(6:16) 11. Little B

Ten years in the making and with master guitarist Kurt Rosenwinkel predominantly playing all the instruments (aside from additional contributions from notable guests such as Mark Turner on tenor saxophone and Eric Clapton on "Little Dream"), this is an intriguingly fine album of light, but not lightweight, tracks. Opening with a distinctly Brazilian feel on the title track, its successor, "Kama," is characterised by falsetto, slightly tremulous vocals and legato violin from Frederika Krier. Typically, the pop/rock element of the songs presented here, such as on "Chromatic B," are deceptively straightforward sounding but in truth they're anything but. Skilfully crafted, the tunes contain a wealth of ideas often interposed with complex time signatures and overlaid motifs, that are atypical of most pop music. There are bursts of scintillating Pat Metheny-like guitar on "Casio Vanguard" which elevate the Latin-tinged song to a new level. When singing tunes such as "Hold On," Rosenwinkel's voice shares with fellow guitar virtuoso Larry Coryell a similar fragility. Both guitarists are not the most dynamic of vocalists, but this is ameliorated by the emotionally-charged sincerity in their respective voices. 

So the vocals do actually work, and are often augmented by guest backing vocalists such as Amanda Brecker, Zola Mennenoh and Kyra Garey. In the guitar breaks of the closer "Little B," Rosenwinkel evinces some Allan Holdsworth-esque axe work but nonetheless retains his own inimitable identity throughout. Rosenwinkel has produced, almost single-handedly, a staggeringly good album of heart-warming, memorable tunes. Eric Clapton is quoted as saying "Kurt Rosenwinkel is a genius he really is." Slowhand's not wrong; he is indeed one seriously talented dude. ~ Roger Fabey https://www.allaboutjazz.com/caipi-kurt-rosenwinkel-razdaz-recordz-review-by-roger-farbey.php
 

Personnel: Kurt Rosenwinkel: guitar, bass, piano, drums, percussion, synthesizer, voice; Pedro Martins: voice, drums, keyboards, percussion; Frederika Krier: violin (2,5,10); Andi Haberl: drums (2); Antonio Loureiro: voice (3); Alex Kozmidi: baritone guitar (3); Kyra Garey: voice (4); Mark Turner: tenor saxophone; Eric Clapton: guitar (8); Zola Mennenoh: voice (10); Amanda Brecker: voice (7,8,9); Chris Komer: French horn (11).

Caipi

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Milt Jackson, The Monty Alexander Trio - Soul Fusion

Bitrate: MP3@320K/s
Time: 47:24
Size: 108.5 MB
Styles: Bop, Vibraphone jazz
Year: 1978/1991
Art: Front

[5:26] 1. Parking Lot Blues
[7:55] 2. 3000 Miles Ago
[4:57] 3. Isn't She Lovely
[5:42] 4. Soul Fusion
[4:07] 5. Compassion
[7:23] 6. O Amor En Paz
[4:42] 7. Yano
[7:09] 8. Bossa Nova Do Marilla

Bass – John Clayton; Drums – Jeff Hamilton; Piano – Monty Alexander; Vibraphone – Milt Jackson. Recorded June 1-2, 1977 at Group IV Recording Studios, L.A.

Pianist Monty Alexander had first appeared on a Milt Jackson record in 1969. Eight years later the great vibraphonist used Alexander's trio (which included bassist John Clayton and drummer Jeff Hamilton, future big-band co-leaders) for this spirited Pablo session that was subsequently reissued on CD through Original Jazz Classics. Much of the material is obscure (including Jackson's three originals), with Stevie Wonder's "Isn't She Lovely" being the only standard. The music, however, is as straight-ahead as one would expect from these fine musicians, and can easily be recommended to their fans. ~Scott Yanow

Soul Fusion

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Michel Donato, Pierre Leduc, Richard Provençal - Déjà Jaz

Bitrate: MP3@320K/s
Time: 56:15
Size: 128.8 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[3:08] 1. Like Someone In Love
[5:01] 2. Summer In Central Park
[3:09] 3. Line For Lyons
[4:31] 4. Blue In Green
[3:48] 5. Alice In Wonderland
[3:22] 6. N.H.O.P. Blue
[3:36] 7. Five
[4:39] 8. Up Jumped Spring
[3:43] 9. Good Morning
[2:29] 10. Peri's Scope
[5:28] 11. The Two Lonely People
[4:47] 12. Pensativa
[4:26] 13. Interplay
[4:02] 14. Mood Indigo

Years have passed since the release of Déjà Jazz on the label Justin Time. However, the trio of renowned musicians, Michel Donato (double bass), Pierre Leduc (piano) and Richard Provençal (drums), continues to defend this album, which was nominated at the ADISQ in 2007, In the Jazz interpretation category. Does this mean that with the tour that is inspired by this engraved, it has pierced the secret of longevity? "Well, how to say ... We've never really been on tour," Provençal admits, joined on the phone on a beautiful sunny afternoon. In fact, Déjà Jazz is mainly a pretext for the concert of the trio in Gentilly. "Let's just say that we're not going to do just CD plays, there will be others," says the drummer, "because we've been a long-standing association, we've known each other since the 1960s. , We took different tangents in terms of our careers, but in the 1990s we all found ourselves teaching at the Université de Montréal and we said, "Why would not we give back The trio on the track? "(Laughs) So that's why we're together, we know each other very well, we've become good friends, but we know each other mostly musically. Our game, we feel a great deal of connivance. " A pause, then he goes on: "The magic, if we can say it, happens between the three of us, it's instinctive, spontaneous, there's not one night we're going to play the same piece." (Translated from French.)

Déjà Jaz

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Ben Sidran - Picture Him Happy

Bitrate: MP3@320K/s
Time: 45:13
Size: 103.5 MB
Styles: Vocal jazz
Year: 2017
Art: Front

[2:59] 1. College
[3:32] 2. Discount Records
[4:57] 3. Picture Him Happy (Sisyphus Goes To Work)
[4:01] 4. I Might Be Wrong
[4:41] 5. Too Much Too Late (What Mose Said)
[3:24] 6. Shaboogie
[2:50] 7. Faking It
[2:56] 8. Thank God For The F Train
[4:43] 9. Another Old Bull
[3:53] 10. Big Brother
[3:58] 11. Who Are You
[3:14] 12. Was

"With the title track, Ben Sidran delivers one of the most insightful songs in a career full of them; in it, he rearranges the paradigm to suggest how we might buck up against situations that seem hopeless. His timing couldn't be better. His stylistic mentor, the late Mose Allison, would be proud." ~Neil Tesser

PICTURE HIM HAPPY is a response to the saying that our music is made by and for people who have chosen to feel good in spite of conditions: you often can’t affect what happens but you can determine how you respond to it. It’s a record that’s right on time. The central image is that of Sisyphus, the mythical man doomed to push the same rock up the same hill for eternity. French philosopher Albert Camus suggested that given the similarity between the life of Sisyphus and our lives today, the only reasonable response is to try to imagine him happy – hence the title of this project. We live in hard, frustrating times – perhaps we always have – and now more than ever, we need to turn to the music to make this hill we climb bearable.

Picture Him Happy

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Marquis Hill - Sounds Of The City

Bitrate: MP3@320K/s

Time: 61:03

Size: 139.8 MB

Styles: Trumpet jazz

Year: 2012

Art: Front

[4:50] 1. Abracadabra

[3:00] 2. Clearfields's

[4:59] 3. The Wrath Of Lark

[0:25] 4. Spoken Word (Interlude #1)

[5:15] 5. Inner City Blues

[1:32] 6. Bass Solo

[5:25] 7. The Token

[2:29] 8. Like Lee

[0:18] 9. Spoken Word (Interlude #2)

[5:55] 10. To Be Free

[5:51] 11. Rose

[5:37] 12. Sounds Of The City

[0:23] 13. Spoken Word (Interlude #3)

[2:06] 14. She Loves Me, She Loves Me Not

[4:42] 15. North Star

[2:11] 16. Kiss And Tell

[5:55] 17. Stablemates

On his second album, 25-year-old Chicago trumpeter Marquis Hill is still looking for a sound and sensibility to call his own. But with his confidence and youthful charm, he makes the search itself yield ample rewards. Leading his fine working band, including pianist Joshua Moshier and alto saxophonist Christopher McBride, Hill ranges from catchy hard-bop originals to soulful and Brazilian-style ballads. A stylist in motion, he serves up fat melodic lines, purring plunger tones and snappy unison exchanges. With spoken interludes by singer Milton Suggs (who also turns in a brief vocal), the album aspires to be a unified celebration of life in the Windy City, not just a collection of songs. Hill’s guests include guitarist Bobby Broom, alto saxophonist Greg Ward and vibraphonist Justin Thomas, all of whom make themselves perfectly at home. ~Lloyd

Sounds Of The City   

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Cynthia Crane, Mike Renzi - Smoky Bar Songs For The No-Smoking Section

Bitrate: MP3@320K/s
Time: 65:12
Size: 149.3 MB
Styles: Vocal, Standards
Year: 1994
Art: Front

[3:41] 1. Out Of Fashion
[5:33] 2. Drinkin' Again
[4:33] 3. I Keep Going Back To Joe's
[4:49] 4. Something Cool
[5:09] 5. No One Ever Tells You
[5:15] 6. Scotch And Soda
[3:51] 7. Smoke Dreams Deep In A Dream
[3:02] 8. Who Took Me Home Last Night
[5:19] 9. I Never Know When I Fall In Love Too Easily
[3:28] 10. Here's Lookin' At You
[3:47] 11. A Wet Night And A Dry Martini
[5:48] 12. Angel Eyes
[3:40] 13. I Wonder What Became Of Me
[3:42] 14. Baby, Baby All The Time
[3:29] 15. Fumée Aux Yeux (Smoke Gets In Your Eyes)

Salon chanteuse Cynthia Crane follows her debut album with an agenda of songs befitting an off the beaten track drinking hideout at two in the morning. Most numbers on the musical agenda are guaranteed to make those drowning their woes in booze at a late-night bar feel somebody cares. Tunes such as "Angel Eyes," "I Never Know When to Say When," and one of the classic bar tunes of all times, "Something Cool," are given a dramatic reading by the inestimable Crane, who is simply a genius with this kind of material. With a set of vocal chords that evokes the full range of emotions without affectation, Crane fits right into this boozy atmosphere. Bill Easley's presence on "Drinkin' Again" helps make her husky-voiced rendition a strong competitor of those by Dinah Washington, Aretha Franklin, and Gloria Lynne, soul queens all. This track is one of Crane's very fine efforts on this CD. But it's not all consolation comforting stuff. There's some tongue in cheek along the way, as on "Out of Fashion," which features the vibes of Warren Chiasson. Despite the gloomy collection of tunes, nonetheless appropriate for the occasion, Crane's voice comes through like a beacon. She has all the credentials of a fine cabaret singer, a good story teller, clear, uncluttered diction, and she stays on key. There's a touch of Sophie Tucker, Edith Piaf, and any number of earthy blues singers in the way she delivers these melodies. Mike Renzi deserves his shared top billing, setting the stage perfectly for Crane as he has for the many other vocalists he has accompanied over the years. This is late-night music at its best. Recommended. ~Dave Nathan

Smoky Bar Songs For The No-Smoking Section

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Herb Alpert & The Tijuana Brass - Coney Island

Styles: Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 40:42
Size: 96,1 MB
Art: Front

(2:14)  1. Coney Island
(2:36)  2. I Have Dreamed
(4:29)  3. Senor Mouse
(4:04)  4. Mickey
(2:30)  5. Sweet Georgia Brown
(3:07)  6. Ratatouille (Rata Too Ee)
(2:37)  7. Catfish
(2:39)  8. This Masquerade
(5:34)  9. Carmine
(1:54) 10. The Crave
(3:49) 11. Vento Bravo
(5:02) 12. I Belong

Encouraged by his comeback album, Herb Alpert assembled a new version of the TJB including a hotshot second trumpeter, Bob Findley, and jazz piano whiz Dave Frishberg and hit the studio and road in 1975. Yet Coney Island was a brave, nearly complete departure from the old Tijuana Brass, where the jazzers were given carte blanche and the rhythm section encouraged to do more complex things. As a signal of independence, the new Brass tackle Chick Corea's "Senor Mouse" head-on, where Frishberg runs wild and even longtime marimbist Julius Wechter is affected by the adventurous spirit. Alpert's own playing on trumpet (and now flugelhorn and piano) is a bit freer as well, and he goes out on a limb as a composer with the experimental, not-quite-coherent "Carmine." TJB tradition is also served by a loose, swinging version of "I Have Dreamed," and an older legacy pops up in the Alpert/Frishberg duet on Jelly Roll Morton's "The Crave." But this edition of the Brass was short-lived; the public didn't get it and Alpert soon moved on to solo projects, leaving this sole LP as its legacy. ~ Richard S.Ginell http://www.allmusic.com/album/coney-island-mw0000857103

Personnel: Peter Woodford (guitar); Herb Alpert, Bob Findley (trumpet); Bob Edmondson (trombone); Dave Fishberg (piano); Julius Wechter (marimba, percussion); Steven Schaeffer (drums); Vince Charles (steel drum, percussion).

Coney Island

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Martirio - Primavera En Nueva York

Styles: Vocal, Latin Jazz
Year: 2007
File: MP3@320K/s
Time: 61:30
Size: 141,8 MB
Art: Front

(5:21)  1. Ese sentimiento que se llama amor
(5:29)  2. No puedo callar
(5:11)  3. Primera Lluvia
(5:45)  4. Que Me Importa
(4:03)  5. No Pidas Imposibles
(4:19)  6. Si Te Contara
(4:58)  7. Tengo
(5:26)  8. Son Cosas Que Pasan
(5:45)  9. Y Entonces
(4:54) 10. Alma Libre
(5:39) 11. Mi Ayer
(4:34) 12. Me Faltabas Tu

Spanish singer Martirio presents a musical story of being madly in love, losing that love, being dumped, experiencing sorrow and regret, and discovering love again. The tracks in order chronicle that roller coaster ride of emotions -- if you understand Spanish. If not, the tracks can be appreciated for their individual beauty and passion. Martirio's expressionism is dramatic but not overt, subtle but not lame, sentimental but not sappy. Her voice is crystal clear and clean. Stylistically this recording leans more on jazz than bolero or tango, due to the rhapsodic piano playing of Kenny Drew, Jr., the deft bass playing of George Mraz, and rising star drummer Dafnis Prieto, heard throughout. There are two cameos apiece from guitarist Edgardo Miranda, clarinetist Paquito D'Rivera or tenor saxophonist Houston Person, and a lone flugelhorn solo from Claudio Roditi. The bulk of the compositions are ballads, save the hopeful mid-tempo waltz "Alma Libre" with Person and the spirited waltz "Mi Ayer." It's difficult to choose superior quality between any of the beautiful songs included, each piece stands alone yet works together one after another to tell the complete tale. There's an atypical light bossa feel for "No Puedo Callar," slow and sweet surrendering blues on "Primera Lluvia," a "what do I care" repeated refrain during "Que Me Importa?," the awaiting bittersweet vocal/bass duet "Si Te Contara," and the victorious finale "Me Faltabas Tu," the lone vocal/piano duo. A variety of Spanish songwriters contribute the material, selected immaculately by the singer and producers Nat Chediak and Fernando Trueba. This is Martirio's best effort so far, and comes highly recommended, both as great listening and an important lesson in life. ~ Michael G.Nastos http://www.allmusic.com/album/primavera-en-nueva-york-mw0000562288

Personnel: Martirio (vocals); Paquito D'Rivera (clarinet); Houston Person (saxophone); Kenny Drew, Jr. (piano); George Mraz (bass instrument).

Primavera En Nueva York

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Horace Parlan - No Blues

Styles: Piano Jazz
Year: 1995
File: MP3@224K/s
Time: 47:32
Size: 76,3 MB
Art: Front

(6:13)  1. No Blues
(4:57)  2. My Foolish Heart
(5:07)  3. Have You Met Miss Jones
(5:30)  4. A Theme For Ahmad
(8:03)  5. Hi-Fly
(6:12)  6. West Of Eden
(6:42)  7. Holy Land
(4:43)  8. Darn That Dream

Horace Parlan overcame physical disability and thrived as a pianist despite it. His right hand was partially disabled by polio in his childhood, but Parlan made frenetic, highly rhythmic right-hand phrases part of his characteristic style, contrasting them with striking left-hand chords. He also infused blues and R&B influences into his style, playing in a stark, sometimes somber fashion. Parlan always cited Ahmad Jamal and Bud Powell as prime influences. He began playing in R&B bands during the '50s, joining Charles Mingus' group from 1957 to 1959 following a move from Pittsburgh to New York. Mingus aided his career enormously, both through his recordings and his influence. Parlan played with Booker Ervin in 1960 and 1961, then in the Eddie "Lockjaw" Davis-Johnny Griffin quintet in 1962. Parlan played with Rahsaan Roland Kirk from 1963 to 1966, and had a strong series of Blue Note recordings in the '60s. 

He left America for Copenhagen in 1973, and gained international recognition for some stunning albums on SteepleChase, including a pair of superb duet sessions with Archie Shepp. He also recorded with Dexter Gordon, Red Mitchell, Frank Foster, and Michal Urbaniak, and recorded extensively for Enja and Timeless. He died in Denmark in February 2017 at the age of 86. ~ Ron Wynn  https://itunes.apple.com/us/artist/horace-parlan/id4833960#fullText

Personnel: Horace Parlan (piano); Niels-Henning Orsted Pedersen (bass); Tony Inzalaco (drums).

No Blues

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Charles Mingus - The Clown

Styles: Jazz, Post-Bop 
Year: 1957
File: MP3@320K/s
Time: 40:52
Size: 93,9 MB
Art: Front

(12:03)  1. Haitian Fight Song
( 7:58)  2. Blue Cee
( 8:34)  3. Reincarnation Of A Lovebird
(12:15)  4. The Clown

The Clown was Charles Mingus' second masterpiece in a row, upping the already intense emotional commitment of Pithecanthropus Erectus and burning with righteous anger and frustration. With Pithecanthropus, Mingus displayed a gift for airtight, focused arrangements that nonetheless allowed his players great freedom to add to the established mood of each piece. The Clown refines and heightens that gift; instead of just writing heads that provide launch points for solos, Mingus tries to evoke something specific with every piece, and even his most impressionistic forays have a strong storytelling quality. In fact, The Clown's title cut makes that explicit with a story verbally improvised by Jean Shepherd (yes, the same Jean Shepherd responsible for A Christmas Story) from a predetermined narrative. There are obvious jazz parallels in the clown's descent into bitterness with every unresponsive, mean-spirited audience, but the track is even more interesting for the free improvisations led by trombonist Jimmy Knepper, as the group responds to Shepherd's story and paints an aural backdrop. It's evidence that Mingus' compositional palette was growing more determinedly modern, much like his increasing use of dissonance, sudden tempo changes, and multiple sections. The Clown introduced two of Mingus' finest compositions in the driving, determined "Haitian Fight Song" and the '40s-flavored "Reincarnation of a Lovebird," a peaceful but melancholy tribute to Charlie Parker; Mingus would return to both throughout his career. And, more than just composing and arranging, Mingus also begins to take more of the spotlight as a soloist; in particular, his unaccompanied sections on "Haitian Fight Song" make it one of his fieriest moments ever. Mingus may have matched the urgency of The Clown on later albums, but he never quite exceeded it. ~ Steve Huey http://www.allmusic.com/album/the-clown-mw0000199104

Personnel: Charles Mingus (bass); Jean Shepherd (spoken vocals); Shafi Hadi (alto & tenor saxophones); Jimmy Knepper (trombone); Wade Legge (piano); Dannie Richmond (drums).

The Clown

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Herve Vilard - Olympia 1980 & 1981 (Live)

Size: 136,6+167,2 MB
Time: 58:20+71:19
File: MP3 @ 320K/s
Released: 2016
Styles: French Pop, Chanson
Art: Front

CD 1:
01. Capri C'est Fini (Live A L'Olympia 1980) (3:43)
02. Vise Le Chanteur (Live A L'Olympia 1980) (2:29)
03. Quand La Foule Est Partie (Live A L'Olympia 1980) (2:58)
04. J'ai Mal, Je T'aime (Live A L'Olympia 1980) (4:20)
05. Champagne (Live A L'Olympia 1980) (2:41)
06. La Chatelaine (Live A L'Olympia 1980) (3:41)
07. La Generation De Mauvaise Reputation (Live A L'Olympia 1980) (8:52)
08. Les Mains Dans Les Poches (Live A L'Olympia 1980) (3:43)
09. Fais-La Rire (Live A L'Olympia 1980) (2:51)
10. Mourir Ou Vivre (Live A L'Olympia 1980) (3:04)
11. J'm'en Balance (Live A L'Olympia 1980) (3:10)
12. Reveries (Live A L'Olympia 1980) (4:09)
13. Nous (Live A L'Olympia 1980) (8:41)
14. Sur Les Trottoirs Des Grands Boulevards (Live A L'Olympia 1980) (3:51)

CD 2:
01. J'm'en Balance (Live A L'Olympia 1981) (3:13)
02. Un Monde Fait Pour Nous (Live A L'Olympia 1981) (2:53)
03. Le Goeland (Live A L'Olympia 1981) (3:15)
04. Fais-La Rire (Live A L'Olympia 1981) (3:05)
05. La Borrachera (Live A L'Olympia 1981) (3:06)
06. Quand La Foule Est Partie (Live A L'Olympia 1981) (2:59)
07. C'est Polnareff Qui L'a Dit (Live A L'Olympia 1981) (3:15)
08. Pas Pleurer (Live A L'Olympia 1981) (3:54)
09. Capri C'est Fini (Live A L'Olympia 1981) (4:01)
10. Sur Les Trottoirs Des Grands Boulevards (Live A L'Olympia 1981) (2:31)
11. Dans Le Coeur Des Hommes (Live A L'Olympia 1981) (3:55)
12. Le Bateau Sur La Montagne (Live A L'Olympia 1981) (4:25)
13. La Chatelaine (Live A L'Olympia 1981) (4:17)
14. Champagne (Live A L'Olympia 1981) (5:18)
15. Reveries (Live A L'Olympia 1981) (4:56)
16. La Generation De Mauvaise Reputation (Live A L'Olympia 1981) (8:06)
17. Nous (Live A L'Olympia 1981) (3:37)
18. Reviens (Live A L'Olympia 1981) (4:23)

Hervé Vilard (born René Villard, 24 July 1946 in Paris, France) is a French pop singer, who first became famous in the 1960s. His first single "Capri c'est fini" became an international hit in 1965 and rendered him instantaneously famous. The song sold 3.3 million copies.

His long national and international musical career as composer, singer and stage performer spans four decades. In 1992, in recognition of his contributions to French culture, he was awarded the Ordre national du Mérite in a ceremony at the Parisian Théâtre des Variétés hosted by Jean-Paul Belmondo.

Olympia 1980 & 1981 Disc 1,Disc 2  

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Erin Dickins - Vignettes

Size: 103,3 MB
Time: 44:22
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. Erin Girl For Rhythm (3:51)
02. I'll Be Your Baby Tonight (3:16)
03. Jackie (3:21)
04. O Grande Amor (5:54)
05. Came So Far For Beauty (3:52)
06. Which Way Steinway (3:41)
07. A Bicyclette (4:42)
08. Wonderful World (4:09)
09. Black Trombone (5:16)
10. We'll Be Together Again (6:16)

Erin is an award winning Jazz Vocalist from New York City and a founding member of Manhattan Transfer. ‘Vignettes’ is her stunning new album – an eclectic and personal compilation of one-on-one collaborations with an array of world-class musicians.

After co-founding renowned acapella group Manhattan Transfer, Erin Dickins established herself as one of the leading studio singers in New York, touring and recording with many notable artists including Leonard Cohen, Bette Midler, James Taylor, The Talking Heads and James Brown.

Following her hit album ‘Java Jive’ (Dot Time Records), Dickins returns with ‘Vignettes’, an outstanding new body of work that captures the singer’s diversity, moving through a range of styles and genres and demonstrating the true range of her vocal artistry.

This magnetic new album features a wealth of talented collaborators, including producer John Lissauer, famous for his work on both Al Jarreau’s first recordings and Leonard Cohen’s most successful albums (including the iconic track ‘Hallelujah’), along with a plethora of scores for film and TV. ~By Peter Butler

“…Dickins’ vast experience allows her to feel at ease singing different styles … deeply rooted in the jazz tradition.“ JazzTimes

“Dickins possesses that ability all great singers have, to make the slowest ballads sound effortless. Her voice is light, coquettish, coy and smiling.” All About Jazz

Vignettes

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Heads Of State - Four In One

Size: 167,6 MB
Time: 72:10
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Four In One ( 7:17)
02. And He Called Himself A Messenger ( 4:25)
03. Dance Cadaverous (10:00)
04. Moose The Mooche ( 5:28)
05. Aloysius ( 6:36)
06. The Day You Said Goodbye ( 7:53)
07. Milestones ( 4:47)
08. Keep The Master In Mind ( 6:56)
09. Someone To Watch Over Me ( 8:11)
10. Sippin' At Bells ( 3:55)
11. Freedom Jazz Dance ( 6:38)

HEADS OF STATE, FEATURING FOUR OF THE MOST RESPECTED and admired jazz artists of our time releases its first recording Search for Peace. A band over 50 years in the making, Gary Bartz, Larry Willis, Buster Williams, and Al Foster had performed together countless times in different combinations and contexts over their storied careers, but it wasn’t until September 2014 that they appeared as a quartet.

The occasion that night was a tribute to McCoy Tyner, and the results were so inspired and the response so overwhelming that they knew right away they had something worth keeping. As pianist Larry Willis puts it, “I don’t think there are any bands that are doing quite what we’re doing right now.” Now, their unique chemistry and musicianship is documented on Search for Peace. It features selections by John Coltrane (“Impressions”), Jackie McLean (“Capuchin Swing”), Benny Carter (“Summer Serenade”), Billy Strayhorn (“Lotus Blossom”) and, of course, the moving title track by Tyner (“Search for Peace”) Gary Bartz contributes two compositions (“Uncle Bubba” which Gary performed with McCoy and “Soulstice”) and there are two standards (“Crazy She Calls Me” and “I Wish I Knew” which Tyner famously recorded with Coltrane).

It is a well-chosen and balanced set, but the selections are somewhat beside the point; this all-star quartet makes everything sound like magic.

Four In One

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Vera Lynn - Vera Lynn 100

Size: 101,2 MB
Time: 38:16
File: MP3 @ 320K/s
Released: 2017
Styles: Pop
Art: Front

01. We'll Meet Again (2017 Version) (3:28)
02. Sailing (2017 Version) (3:05)
03. (There'll Be Bluebirds Over) The White Cliffs Of Dover (2017 Version) (3:19)
04. Wish Me Luck As You Wave Me Goodbye (2017 Version) (3:29)
05. As Time Goes By (2017 Version) (3:08)
06. Auf Wiederseh'n Sweetheart (2017 Version) (2:40)
07. The Loveliest Night Of The Year (2017 Version) (2:32)
08. When You Wish Upon A Star (2017 Version) (2:32)
09. A Nightingale Sang In Berkeley Square (2017 Version) (3:29)
10. I'm Forever Blowing Bubbles (2017 Version) (3:31)
11. Close To You (2017 Version) (3:40)
12. Yours (2017 Version) (3:16)

Celebrating 100 years of a UK National Treasure with brand new orchestral versions of her most beloved songs. A true icon, Vera Lynn reaches her 100th Birthday on the 20th March 2017. To celebrate this milestone, the newly recorded album, Vera 100, features Vera Lynn’s utterly distinctive original vocals set to completely new re-orchestrated versions of her most beloved songs. This technical wizardry has, for the first time, allowed full orchestral accompaniments to transform not only her most memorable and morale-boosting hits that sustained Britons through the wartime years, but some recently unearthed, rare recordings – all presented in sumptuous, up-to-the-minute sound. Vera’s vocal on the lead track, Sailing, has not been heard for 35 years. The album also features several duet partners including Alfie Boe, Alexander Armstrong , Aled Jones and the RAF Squadronaires.

Vera Lynn 100

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