Grace Kelly - Mood Changes

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 51:07
Size: 118,2 MB
Art: Front

(5:36)  1. Happy Theme Song
(5:57)  2. Comes Love
(4:28)  3. Tender Madness
(6:15)  4. 101
(4:03)  5. But Life Goes On
(6:15)  6. Ain't No Sunshine
(5:01)  7. Here, There, And Everywhere
(3:20)  8. I'll Remember April
(5:41)  9. It Might As Well Be Spring
(4:26) 10. I Want To Be Happy

Grace Kelly has surprised the jazz world with her immense talent, even though she is still only in her teens. She has already received high praise from Phil Woods and Lee Konitz (the latter of whom appeared on her last CD). Kelly's fifth CD under her own name features her on alto, tenor, and soprano saxophone plus vocals, while she composed four songs and wrote all of the arrangements. Her enticing approach to the standard "Comes Love" utilizes a catchy vamp with overdubbed alto and soprano, producing a fresh approach to a standard that is often played with little imagination. "I'll Remember April" is mandatory for every bopper's repertoire and Kelly doesn't disappoint with her inspired workout in her breezy chart. Her bossa nova scoring of "It Might as Well Be Spring" showcases her delightful vocals. Trombonist Hal Crook is added for Kelly's demanding chart of "I Want to Be Happy," which changes keys in unexpected places and showcases the three horns in engaging interplay. The teenager's chops as a songwriter are also considerable, especially given her age. Her cheerful opener, "Happy Theme Song," bursts with joy in an upbeat setting, while she wails over her rhythm section with confidence and a touch of humor by working in a lick from "If I Only Had a Brain." "Tender Madness" is a bittersweet, touching ballad with moving solos by the leader on tenor sax, trumpeter Jason Palmer, and pianist Doug Johnson. Guitarist Adam Rogers guests on two selections. Kelly's setting of the Beatles' "Here, There and Everywhere" reveals new facets to one of their lesser-known gems, though Bill Withers' "Ain't No Sunshine" remains a rather monotonous tune that Kelly manages to salvage with her surprisingly funky yet intricate alto lead. Grace Kelly is no mere flash in the pan, and her considerable gifts are blossoming with every new recording. ~ Ken Dryden http://www.allmusic.com/album/mood-changes-mw0001930695

Personnel:  Grace Kelly - Alto/Soprano/Tenor Saxophones and vocals;  Jason Palmer- Trumpet;  Doug Johnson- Piano;  John Lockwood- Bass, Electric Bass;  Jordan Perlson- Drums;  Terri Lyne Carrington- Drums;  Adam Rogers- Guitar; Hal Crook- Trombone

Mood Changes

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Gloria Estefan - Soy Mujer

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 64:19
Size: 148,1 MB
Art: Front

(4:09)  1. No Llores
(5:01)  2. Por un Beso
(5:00)  3. Me Voy
(3:46)  4. No Pretendo
(4:37)  5. Mi Tierra
(3:40)  6. Hablas de Mi
(4:35)  7. Con los Años Que Me Quedan
(3:18)  8. Renacer
(4:38)  9. No Será Fácil
(3:30) 10. No Me Vuelvo a Enamorar
(4:06) 11. Si Voy a Perderte
(4:09) 12. Desde la Oscuridad ((Coming Out of the Dark) [Spanish Version])
(5:07) 13. Heaven's What I Feel (Corazón Prohibido)
(4:52) 14. El Día Que Me Quieras
(3:41) 15. Sonríe (Gloria Solo Version)

As one of the biggest new stars to emerge during the mid'80s, singer Gloria Estefan predated the coming Latin pop explosion by a decade, scoring a series of propulsive dance hits rooted in the rhythms of her native Cuba before shifting her focus to softer, more ballad-oriented fare. Born Gloria Fajardo in Havana on September 1, 1957, she was raised primarily in Miami, Florida, after her father, a bodyguard in the employ of Cuban president Fulgencio Batista, was forced to flee the island following the 1959 coup helmed by Fidel Castro. In the fall of 1975, Fajardo and her cousin Merci Murciano auditioned for the Miami Latin Boys, a local wedding band headed by keyboardist Emilio Estefan. With their addition, the group was rechristened Miami Sound Machine and four years later, Fajardo and Estefan were wed. As Miami Sound Machine began composing their own original material, their fusion of pop, disco, and salsa earned a devoted local following, and in 1979 the group issued their first Spanish-language LP on CBS International. Despite a growing Hispanic fan base, they did not cross over to non-Latin audiences until "Dr. Beat" topped European dance charts in 1984. With 1985's Primitive Love, Miami Sound Machine recorded their first English-language effort, scoring three Top Ten pop hits in the U.S. alone with the infectious "Conga," "Bad Boy," and "Words Get in the Way." For 1988's triple-platinum Let It Loose, the group was billed as Gloria Estefan & Miami Sound Machine, reeling off four Top Ten hits "Rhythm Is Gonna Get You," "Can't Stay Away from You," the chart-topping "Anything for You," and "1-2-3." 1989's Cuts Both Ways was credited to Estefan alone and generated her second number one hit, "Don't Wanna Lose You"; however, while touring in support of the album, on March 20, 1990, her bus was struck by a tractor trailer. 

She suffered a broken vertebrae that required extensive surgery and kept her off the road for over a year. Emilio Estefan and the couple's son were injured in the crash as well, but all three recovered. Estefan resurfaced in 1991 with Into the Light, again topping the charts with "Coming Out of the Dark," a single inspired by her near-fatal accident; two more cuts from the album, "Can't Forget You" and "Live for Loving You," secured her foothold on the adult contemporary charts. With 1993's Mi Tierra, Estefan returned to her roots, recording her first Spanish-language record in close to a decade and earning a Grammy Award for Best Tropical Latin Album; on the follow-up, 1994's covers collection Hold Me Thrill Me Kiss Me, she also recalled her dance-pop origins with a rendition of the Vicki Sue Robinson disco classic "Turn the Beat Around." Another all-Spanish effort, Abriendo Puertas, earned the Grammy as well, while Destiny featured "Reach," named the official theme of the 1996 Summer Olympics. As Latin pop made new commercial headway thanks to the efforts of acts like Ricky Martin and Enrique Iglesias, Estefan reigned as the most successful crossover artist in Latin music history, with international record sales close to the 50 million mark.

 In 1999, she also made her feature film debut alongside Meryl Streep in Music of the Heart, recording the film's title song as a duet with *NSYNC and scoring both a massive pop hit and an Oscar nomination in the process. A new Spanish-language album, Alma Caribeña, followed in the spring of 2000. Several months later, Estefan was awarded a Grammy for Best Music Video for "No Me Dehes de Querer" at the first annual Latin Grammy Awards. Her husband, Emilio, won for Producer of the Year. In 2003, she released Unwrapped, an English-language effort that met with a lukewarm reception from consumers and critics. She didn't return with another new album for several years, as stop-gap compilations such as Amor y Suerte: Exitos Romanticos (2004), The Essential Gloria Estefan (2006), and Oye Mi Canto: Los Éxitos (2006) were released from time to time. When she did return, with 90 Millas in 2007, it was with a splash. The Cuban-themed, Spanish-language effort hearkened back to Mi Tierra and was a big hit on the Latin music scene; its lead single, "No Llores," quickly scaled Billboard's Hot Latin Tracks chart, and the album itself was a chart-topper as well. Estefan returned to English-language pop with 2011's Miss Little Havana, a dance-pop album produced by Pharrell Williams of the Neptunes. Estefan went in the opposite direction for her next album, tackling the Great American Songbook on the aptly titled 2013 album The Standards. ~ Jason Ankeny https://itunes.apple.com/us/artist/gloria-estefan/id485022#fullText

Soy Mujer

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Jan Lundgren Trio - Perfidia

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 61:08
Size: 140,3 MB
Art: Front

(7:36)  1. Russian Lullaby
(5:24)  2. Perfidia
(4:45)  3. Med Ogon Kansliga for Gront
(4:59)  4. Carnival
(5:28)  5. Dat Dare
(6:01)  6. Alfie
(3:28)  7. Don't Cha go 'Way Mad
(6:13)  8. Jordu
(5:31)  9. More than You Know
(5:23) 10. Star Eyes
(6:14) 11. Long Ago and Far Away

Lundgren, born in Kristianstad in southern Sweden on March 22nd 1966, and raised in Ronneby, Blekinge, had his first piano lessons at age five. He was soon discovered to have an exceptional musical talent. After a long period of classical training, he discovered jazz more or less by chance in the late 1980’s. He was instantly hooked, rapidly absorbed the jazz piano tradition from Oscar Peterson, Erroll Garner to Bud Powell and Bill Evans, and acquired a depth of knowledge of the Great American Songbook like possibly no other European jazz pianist. While sailing through his studies at the renowned Royal College of Music in Malmö, he also took up a busy schedule as a professional musician that quickly helped to build his reputation in Sweden. Discovered by Swedish bebop legend Arne Domnérus, he frequently played with other Swedish stars like Putte Wickman and Bernt Rosengren. Lundgren’s debut album “Conclusion” was released in 1994, and propelled his career firmly forward. The following year saw the formation of the Jan Lundgren Trio with long time student associates Mattias Svensson (bass) and Rasmus Kihlberg (drums), who was replaced in the beginning of the year 2000 by the Dane Morten Lund. This steady band recorded seven well-received and commercially very successful albums for the Swedish label “Sittel” in the period up to 2003. The album “Swedish Standards”, released in 1997 even became a bestseller and reached a place in the Swedish pop charts. But the album “Landscapes” (2003) sold comparably and both releases soon became classics due to their linking Swedish folk music and jazz. The band’s intense tour schedule founds a temporary peak in a concert at Carnegie Hall as part of “Swedish Jazz salutes the USA”.

As a sideman, Lundgren has accompanied such greats as Johnny Griffin, Benny Golson, Herb Geller, James Moody, or singer Stacey Kent. He has also shared the stage with Act-artist Ulf Wakenius a number of times. Jan Lundgren has been awarded a number of prizes since the early 90’s: In 1997 “Swedish Standards” became “best jazz album of the year”. He was nominated for the “Swedish Grammy” in 1995, 1997 and 2008 and the “Swedish Django d’Or Prize” in 1998, 2001 and 2002. Having visited a long list of European territories and venues, Lundgren has also been on extended tours of Australia and Japan. He has visited the USA about 15 times and recorded some well-received albums for the label “Fresh Sound”. In 2006 Lundgren becomes part of the ACT family: Initially he was featured as a sideman on the Ida Sand album Meet Me Around Midnight. In July 2007 he released his first ACT album Fresu – Galliano – Lundgren: Mare Nostrum followed by Magnum Mysterium (ACT 9457-2), which will be released in November of 2007. In 2008 Lundgren could reap the fruits of his labour, and his Mare Nostrum was performed in front of sold out houses on prestigious stages throughout Europe (Salle Gaveau – Paris, Tonhalle – Zurich, Victoria Hall – Geneva, Teatro Dante Aligheri – Ravenna, S. Caecilia – Rome …) as well as at Jazz Baltica, the North Sea Jazz Festival, and the Istanbul Jazz Festival. There are many good reasons why the band has been called “the first European super group”.

In the same year Lundgren was honoured with the Swedish Django d’Or, and began a collaboration with the classical trumpet player H?kan Hardenberger and the Swedish writer Jacques Werup an exiting melange of modern classical and free music, of jazz and compositions of Jan Lundgren. Lundgren also brought the Jan Lundgren 3io back to life in 2008, albeit with a new drummer, Zoltan Csörsz Jr who proved to be a truly lucky catch for the trio. A new repertoire has resulted in the new ACT album European Standards  which will be released in Mai 2009 together with the re-release of Swedish Standards from the ACT Jazz Classics series. Lundgren is part of a remarkable and long tradition of innovative pianists from Sweden like Jan Johansson who passed away early, and in more recent times Bobo Stenson and Esbjörn Svensson. Lundgren has never made life easy for himself, and has always tried to utilize his phenomenal technique to enhance his musicality. His ability to integrate the most disparate musical influences into a fascinating whole is unique in itself. Whether its contemporary classical music, the inexhaustible northern folk tradition or the pulsating groove of jazz, deeply rooted in Afro-American music: Lundgren has a unique way of leading the listener on a voyage of discovery – sometimes relaxed, sometimes utterly invigorating - through his highly individual soundscapes. http://www.janlundgren.com/bio

Personnel:  Jan Lundgren (piano),  Jesper Lundgaard (bass), Alex Riel (drums).

Perfidia

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Ed Calle - Twilight

Styles: Flute, Clarinet And Saxophone Jazz 
Year: 2001
File: MP3@320K/s
Time: 56:58
Size: 131,6 MB
Art: Front

(4:21)  1. Joyful
(4:49)  2. Love After Dark
(4:03)  3. Smood Dude
(4:51)  4. Twilight
(4:13)  5. Bar Talk
(4:29)  6. Laughter in the Rain
(2:01)  7. Spanish Rose Prelude
(4:57)  8. Spanish Rose
(4:33)  9. Lovin' You
(4:08) 10. Lover's Lane
(5:54) 11. Sari's Song
(4:16) 12. Bud & Sandy
(4:17) 13. Strut

Even though this brilliant saxman and composer insists on once again using a generic romantic title for a disc of incomparable diversity and riches (much as he did with 1999's Sunset Harbor), there are at least six surefire smooth jazz airplay hits which will keep radio excited over the next year. If Steve Cole thought he had cornered the market on multi-track sax hooks the listener can't stop humming after the first spin, he better size up his competition with Calle. He combines soprano and tenor on both the funky, upbeat (and well-titled) "Joyful" and the silky, romantic "Love After Dark," then doubles up on tenor throughout the shuffling urban-flavored "Smood Dude" and the spirited "Bar Talk" (an ode to the Miami club Raffles where he got his start). Smooth jazz balladry doesn't get much better than the soulful, orchestrally enhanced "Sari's Song," a passionate tribute to Calle's wife. Those are the obvious hits, but there's still the deeper part of Calle's Latin heritage to consider on the brisk, rolling Gato Barbieri-like "Lover's Lane" (on which he plays alto, tenor, and baritone and floats his horns before the soaring drama of the Miami Symphonic Strings). 

With Arturo Sandoval featured on "Strut," one might expect another Latin extravaganza, but this one's a moody, retro soul blues-rock jam featuring Calle once again on all horns, teaming up note for note with the trumpet legend. Calle also has a sense of nostalgia, performing gorgeous readings of Neil Sedaka's "Laughter in the Rain" and Minnie Riperton's "Lovin' You." And "Bud and Sandy" borrows more than a riff or two from the classic Doobie Brothers' sound. Sunset Harbor came out early in 1999 and stuck around to become one of the year's top discs, and Twilight with its 13 outstanding tracks is a shoo-in candidate for best genre album of 2001. ~ Jonathan Widran http://www.allmusic.com/album/twilight-mw0000586802

Personnel: Ed Calle (flute, piccolo, clarinet, bass clarinet, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone); Dan Warner (guitar); Rene Toledo (acoustic guitar); Arturo Sandoval (trumpet, piano); Jim Gasior (piano); Lee Levin (drums, programming); Richard Bravo (percussion); Doug Emery (programming).

Twilight

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Dejan Terzic Quartet - Four For One

Styles: Jazz, Straight-ahead/Mainstream
Year: 1998
File: MP3@320K/s
Time: 55:59
Size: 131,1 MB
Art: Front

(5:56)  1. Childish Things
(7:35)  2. Big Argument
(8:11)  3. Loose Ends
(6:13)  4. Night's Shadow
(5:59)  5. Spartacus Love Theme
(7:38)  6. Four For One
(8:45)  7. My Romance
(5:39)  8. Green Dolphin Street

28-year-old drummer, Dejan Terzic displays star qualities on "Four For One". Terzic, has been the recipient of numerous awards and here with his Quartet featuring the superb saxophonist George Garzone, also emerges as a mature bandleader. On the opener and Terzic original, "Childish Things" Terzic commences with some cool drum licks as he displays good textbook style discipline and a keen sense of swing. Terzic's composition titled, "Big Argument" is post bop modernism at its finest. George Garzone blows the walls down with blazing tenor work as Terzic and bassist Dietmar Fuhr keep this train a rolling'. Terzic is a well-schooled technician and has obviously paid much attention to the masters of years gone by. His drumming is characteristically crisp, multi-textured and dynamic while seldom overstating his cause or plight. Another Terzic original composition "Loose Ends" features Garzone's lyrical and melodic phrasing on soprano sax as the end results prove to be straightforward and succinct. Here, pianist Roberto Di Gioia provides tonal color and understated accents via a light touch and warm sonorous chord progressions as the potent rhythm section shift tempos. The mood thus far could be categorized as being positive and exuberant. On "Night's Shadow" The Quartet rekindles memories of Coltrane's early-mid 60's Quartet as Garzone renders a gutsy, soul searching and borderline free-jazz tenor solo. Terzic may have had Elvin Jones in mind on this up-tempo piece. The title track, "Four For One" commences with a relatively complex introduction as the band performs several bars in unison. Again, Garzone leads the attack with soaring, fluent and highly emotional tenor work. Pleasant renditions of Rodgers & Hart's "My Romance" and Washington & Kaper's "Green Dolphin Street" mesh well in the overall mix.Four For One is a no frills, extremely focused and to-the-point affair. Again, the talent scouts over at Naxos Jazz should be commended. Recommended! ~ Glenn Astarita https://www.allaboutjazz.com/four-for-one-dejan-terzic-review-by-glenn-astarita.php

Personnel: Dejan Terzic; Drums: George Garzone; Tenor & Soprano Saxes: Roberto Di Gioia; Piano: Dietmar Fuhr; Bass.

Four For One

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Ted Heath - Anything Goes

Styles: Jazz, Big Band
Year: 2010
File: MP3@320K/s
Time: 61:06
Size: 140,6 MB
Art: Front

(1:44)  1. Anything Goes
(2:20)  2. You Do Something to Me
(2:04)  3. Love Is Just Around the Corner
(2:57)  4. Indian Summer
(2:10)  5. Gone with the Wind
(2:53)  6. Perfidia
(2:27)  7. In the Still of the Night
(3:13)  8. September Song
(1:58)  9. I Cried for You
(2:53) 10. Blues in the Night
(2:10) 11. When I Grow Too Old to Dream
(2:42) 12. April in Paris
(2:24) 13. Change Partners
(3:13) 14. Time on My Hands
(2:29) 15. Always True to You in My Fashion
(2:50) 16. Whispering
(2:28) 17. Adios
(2:43) 18. Speak Low
(3:13) 19. Blue Moon
(2:34) 20. When the Saints Go Marching In
(2:40) 21. Stardust
(2:16) 22. Who
(2:02) 23. Robbins Nest
(1:53) 24. California Here I Come
(0:36) 25. Listen to My Music

Ted Heath was one of the most famous big-band leaders in Great Britain of the 1950s. His bands played modernized swing music that was always danceable but occasionally had worthwhile solos played in the tradition. Heath started out playing tenor horn before he switched to trombone when he was 14. He spent a period playing as a street musician and then was discovered by Jack Hylton, who hired him for his band. Heath had long stints as a sideman with a variety of top dance bands, including ensembles led by Bert Firman (1924-1925), Hylton again (1925-1927), Ambrose (1928-1936), Sydney Lipton (1936-1939), and Geraldo (1939-1944). Heath began leading his own big band in 1944 and, through regular appearances on the radio, tours, and concerts, he soon became a household name in England. The innovations of bebop were largely ignored in favor of playing swing-oriented charts, although some of Heath's soloists (particularly Ronnie Scott, Danny Moss, Don Rendell, and Kenny Baker) became notable as jazz players. Heath, whose band was always of high musicianship and used "Listen to the Music" as its theme song, also became well known in the United States, visiting the U.S. several times starting in 1956. His orchestra recorded quite frequently starting in 1944 (mostly for Decca and London), including ten albums in 1959 alone. Even after Ted Heath's death in 1969, the big band continued performing and recording with a live concert cut as late as 1977. ~ Scott Yanow https://itunes.apple.com/mn/artist/ted-heath/id15808662#fullText

Anything Goes

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Donna Byrne - Licensed To Thrill

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 62:23
Size: 145,3 MB
Art: Front

(4:34)  1. You And The Night And The Music
(3:52)  2. Nobody Else But Me
(4:52)  3. My Old Flame
(4:53)  4. Agua De Beber
(6:20)  5. Talk To Me Baby
(5:30)  6. Reaching For The Moon
(4:48)  7. Shadowland
(3:51)  8. Old Devil Moon
(5:38)  9. The Underdog
(4:31) 10. I'll Always Be In Love With You
(3:51) 11. I Don't Care Much
(4:58) 12. I'm Walkin'
(4:40) 13. Remember My Child / Grow Tall My Son

Any recording titled Licensed to Thrill sets up a certain expectation. Unfortunately, the latest CD from the Boston-based vocalist rarely lives up to its promise. Byrne delivers a solid, competent set of pop and jazz standards, but her thin, reedy voice isn't particularly distinctive or compelling, much less thrilling. What sparkles are the nuanced, textured arrangements by bassist and husband Marshall Wood and the masterful performances by her sidemen. Scott Hamilton's soaring tenor sax underlines the light-hearted rhythms of "Nobody Else But Me," while Wood's subtle bass lends a sexy playfulness to "Talk To Me Baby." Byrne displays confident phrasing on up-tempo numbers like "Old Devil Moon" and "Agua de Beber." She swings comfortably, but doesn't bring anything particularly interesting or innovative to her selections. An exception is the Fats Domino golden oldie "I'm Walkin," in which Bucky Pizzarelli's divine guitar propels the rhythm section with a joyous drive lacking on the rest of the album (this arrangement has a contribution by pianist Tim Ray). Byrne's at her best on ballads; her lack of vocal color hinders her the least when she can shine as an interpreter. 

She is dry and evocative on "The Underdog," a bittersweet song by Dave Frishberg, and appropriately moody for a melancholy jazz take on "I Don't Care Much," a John Kander/Fred Ebb song cut from, then reinstated into, the Broadway musical Cabaret. Her soft, understated version of the war-horse "My Old Flame" is meticulously rendered with nearly perfect diction. While Byrne has an attractive tone and is rhythmically adept, she is too often upstaged by her own arrangements to make a mark for herself with this disc. ~ Ed Felper https://www.allaboutjazz.com/licensed-to-thrill-donna-byrne-a-records-review-by-ed-felper.php
 

Personnel: Donna Byrne –Vocals;  Scott Hamilton -Sax (Tenor);   Bucky Pizzarelli –Guitar;   Tim Ray -Piano, Arranger;   Marshall Wood -Bass, Arranger, Associate Producer;   Jim Gwin –Drums .

Licensed To Thrill

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Oscar Pettiford & Vinnie Burke - Bass

Styles: Jazz, Post Bop
Year: 1955
File: MP3@320K/s
Time: 37:07
Size: 85,6 MB
Art: Front

(2:56)  1. Sextette
(2:33)  2. Golden Touch
(2:20)  3. Cable Car
(2:42)  4. Tricrotism
(2:24)  5. Edge of Love
(2:33)  6. Oscar Rides Again
(2:51)  7. The Continental
(2:18)  8. For All We Know
(3:15)  9. Yesterdays
(2:42) 10. Imagination
(2:41) 11. Time Out
(1:24) 12. Softly As In The Morning Sunrise
(4:02) 13. On the Alamo
(2:20) 14. Honeysuckle Rose

Although the great bassist Oscar Pettiford gets first billing, this CD actually has six selections from his quintet (with tenor saxophonist Charlie Rouse, Julius Watkins on French horn, pianist Duke Jordan, and drummer Ron Jefferson) and eight from bassist Vinnie Burke's quartet (clarinetist Ronnie Oldrich, Don Burns on accordion, and guitarist Joe Cinderella). The Pettiford half is notable for including three of his compositions ("Tricrotism" is best known), utilizing the Rouse-Watkins front line (which would become the Jazz Modes during 1956-1958) and for Pettiford doubling on cello. The Burke group has the usual instrumentation exploring melodic versions of seven standards, plus the bassist's "Time Out." These two unrelated sessions are complementary, displaying the cooler side of 1950s bebop. ~ Scott Yanow http://www.allmusic.com/album/bass-by-pettiford-burke-mw0000671915

Personnel: Oscar Pettiford (cello); Joe Cinderella (guitar); Don Burns (accordion); Ron Odrich (clarinet); Charlie Rouse (tenor saxophone); Julius Watkins (French horn); Duke Jordan (piano); Ron Jefferson (drums).

Bass by Pettiford/Burke

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The Steve Miller Band - Born 2B Blue

Styles: Vocal And Guitar Jazz 
Year: 1988
File: MP3@320K/s
Time: 42:07
Size: 96,8 MB
Art: Front

(4:11)  1. Zip-A-Dee-Doo-Dah
(3:35)  2. Ya Ya
(4:58)  3. God Bless The Child
(2:48)  4. Filthy McNasty
(5:23)  5. Born To Be Blue
(4:48)  6. Mary Ann
(4:02)  7. Just A Little Bit
(4:35)  8. When Sunny Gets Blue
(5:11)  9. Willow Weep For Me
(2:31) 10. Red Top

Disregard the fact that the "space" in Steve Miller's "space blues" was a large part of why he had his own distinctive musical identity, because if you're going into 1988's Born 2B Blue looking for a return to his trademark space blues, or even a revitalization of his roots, you'll be sorely disappointed. In fact, this isn't even a blues album it's a jazz album, pitched halfway between soul-jazz and smooth jazz. He's able to draft such heavy-hitters as Phil Woods and Milt Jackson for guest spots, and his taste in material is quite nice, balancing the overly familiar ("Willow Weep for Me," "God Bless the Child") with relatively obscure R&B cuts ("Ya Ya," "Mary Ann") and selections that demonstrate that he's a genuine fan, such as Horace Silver's "Filthy McNasty." Now, does all this make Born 2B Blue a worthwhile genre exercise? Well, in a sense, it does, since Miller is passionate as he can be, turning in charmingly laid-back performances that may not be noteworthy, but are pleasant as can be. So, it winds up being something that's modestly impressive and enjoyable as it's playing, but no matter what its virtues are, it's more noteworthy for what it is than what it gives. ~ Steve Thomas Erlewine http://www.allmusic.com/album/born-2b-blue-mw0000197299

Personnel:  Guitar, Vocals – Steve Miller;  Bass – Billy Peterson;  Drums – Gordy Knudtson;  Keyboards – Ben Sidran

Born 2B Blue

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Grant Green - Green Is Beautiful

Styles: Guitar Jazz
Year: 1970
File: MP3@320K/s
Time: 37:35
Size: 87,6 MB
Art: Front

(9:58)  1. Ain't It Funky Now
(9:02)  2. A Day In The Life
(5:42)  3. The Windjammer
(6:46)  4. I'll Never Fall In Love Again
(6:05)  5. Dracula

The second album of Grant Green's thorough jazz-funk makeover, Green Is Beautiful finds the guitarist growing more comfortable with harder, funkier R&B than he seemed on the softer-hued Carryin' On. The switch from Fender Rhodes electric piano back to the more traditional Hammond organ certainly helps give the session a little extra grit, but it doesn't return Green to the land of soul-jazz by any means. Green Is Beautiful is still explicitly commercial and accessible to non-jazz audiences, and (purist objections notwithstanding) that's not necessarily a bad thing. Green's take on James Brown's "Ain't It Funky Now" is one of the funkiest items in his rare-groove period; it may be chordally very simple, but the groove is tight and percolating, and Green, tenor saxophonist Claude Bartee, and trumpeter Blue Mitchell all come up with hot, exciting solos. The album also benefits from Green's discovery of composer and occasional organist Earl Neal Creque, who contributes two bright, slinky, horn-driven originals: "The Windjammer," which became one of the signature tunes of Green's late period, and "Dracula." They help give the album a more original voice, and indicate that Green was actively making himself at home in his new musical environment, not just mixing dull originals with phoned-in covers of pop and R&B hits (as he and many other '70s Blue Note artists were accused of doing). Of course, there are still pop covers present the Beatles' "A Day in the Life" is a mellow, mid-tempo groove, and Bacharach's "I'll Never Fall in Love Again" doesn't stray far from the melody. Even if those aren't particularly distinctive, the remainder of Green Is Beautiful proves that Green's reinvention as a jazz-funk artist wasn't the misguided disaster it was initially made out to be. ~ Steve Huey http://www.allmusic.com/album/green-is-beautiful-mw0000623413

Personnel:  Guitar – Grant Green;  Bass – Jimmy Lewis;  Bongos – Richard Lendrum;  Congas – Candido Camero;  Drums – Idris Muhammad; Organ – Emanuel Riggins, Earl Neal Creque;  Tenor Saxophone – Claude Bartee;  Trumpet – Blue Mitchell

Green Is Beautiful

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Dieter Ilg - Parsifal

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 56:08
Size: 129,4 MB
Art: Front

(5:15)  1. Zum Raum wird hier die Zeit
(3:56)  2. Glocken
(4:18)  3. Parsifal
(4:36)  4. Morgengebet
(4:49)  5. Ich bin ein reiner Tor
(6:32)  6. Zaubergarten
(4:34)  7. Amfortas
(4:01)  8. Unerhortes
(0:44)  9. Herzeleid
(4:23) 10. Kundry
(5:38) 11. Von Welt zu Welt
(3:33) 12. Klageruf
(3:44) 13. Sehnsucht

The monumental becomes sensual and the sensual monumental in this astonishing chamber/jazz reinterpretation of Richard Wagner's opulent Parsifal by Germany's leading bass player, Dieter Ilg. As Wagner is known to have been a passionate admirer of Beethoven, the disc ends with a reinterpretation of that other famous German composer: an almost breathy version of the Ode to Joy. ~ Editorial Reviews https://www.amazon.com/Parsifal-Dieter-Ilg/dp/B00A44KF1Q

Personnel: Dieter Ilg (Bass);  Rainer Böhm (piano); Patrice Héral (drums).

Parsifal

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Ed Calle - Ed Calle Plays Jobim

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 59:35
Size: 137,9 MB
Art: Front

(4:33)  1. Desafinado
(5:12)  2. Corcovado
(4:34)  3. Wave
(5:47)  4. The Girl from Ipanema
(4:35)  5. Triste
(5:55)  6. Once I Loved
(4:52)  7. How Insensitive
(5:10)  8. Dindi
(4:26)  9. If You Never Come to Me
(5:07) 10. Meditation
(5:01) 11. Some One to Light Up My Life
(4:17) 12. One Note Samba

Born in Caracas of Spanish parents, Miami-based saxophonist Ed Calle owes his musical career to his father's love of music. When Calle and his family moved to America in 1966, his father suggested that Calle take some music classes. Calle picked tenor saxophone and took to it quickly, soon spending nearly all his free time practicing. As a student at the University of Miami, Calle decided that music was his calling, and received a master's degree in jazz performance. Even before he left school, however, Calle played with artists like Gloria Estefan and the Miami Sound Machine, and toured with performers such as Julio Iglesias and Bob James. Calle has also worked as a sideman for Arturo Sandoval, Jon Secada, Vanessa Williams, and Frank Sinatra, as well as contributing to television and movie soundtracks. Along with his Latin roots, Calle's playing style is influenced by his love of mathematics--he also holds a bachelor's degree in math from Florida International University. Calle shares his technical background and heritage with the elementary school children he lectures as a traveling music teacher. His solo albums Nightgames (1986), Double Talk (1996), and Sunset Harbor (1999) also reflect his prowess and passion as a musician. The new millennium saw the release of Twilight (2001) on Concord Jazz. ~ Heather Phares http://www.allmusic.com/artist/ed-calle-mn0000146437/biography

Ed Calle Plays Jobim

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Carmela Rappazzo - Joseph City

Size: 102,8 MB
Time: 40:06
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Bye Bye Blackbird (4:15)
02. Miss You So (3:32)
03. Let's Fall In Love (2:19)
04. Lit Up From Behind (4:20)
05. All The Things You Are (4:04)
06. Ask Coral` (2:17)
07. It Might As Well Be Spring (3:18)
08. No Moon At All (4:00)
09. Pandora (4:04)
10. Old Black Magic (3:17)
11. Joseph City (4:35)

Vocalist Carmela Rappazzo's fourth release finds her leading a jazz quintet featuring Pete Snell (g), Armando Compean (b) and Lee Spath (dr) through a program of jazz standards and clever originals. The band itself is Beale Street bluesy, and accompanies Ms Rappazzo swingingly through faithful versions of tunes like "Old Black Magic" and "Let's Fall in Love"."Miss You" has her mourning over the mood created by Coco Trivisonno's bandoneon; "Ask Coral" has Rappazzo acting sly and witty over the snappy rhythms, and "Pandora" finds her in a convincing foreboding mood. A disc of all originals could prove to be something quite formidable from this promising lady. -George W. Harris, Jazz Weekly

Carmela grew up in upstate New York learning the great american songbooks at an early age, as her father was a big band swing coronet player and the large Sicilian family gatherings always included live music. She got involved in musical theater in high school but was enthralled by jazz. She moved to Boston in her late teens hanging out in Paul’s Mall and the Jazz Workshop listening to the greats play live and sitting in as a singer with friends who were attending Berkley. Arriving back in New York City she attended ‘Theatrium’ (a Strasberg Institute training) and became involved in off-off broadway theater and appeared in a few independent films, later training with Eric Morris. Carmela moved to Los Angeles in ‘92 , working in the L. A. Theater scene and on several feature films with such notable film directors as Rob Reiner, Wolfgang Petersen, Jonathan Lynn and Ken Kwapis. She continued her vocal training with Dan Balestrero. She began to perform in the L. A. Jazz scene with the Jon Mayer trio and recorded her first record ‘Black and White’ , a straight ahead standards record with them. After appearing in many of the local clubs she began to branch out and work with established musicians recording her second cd with Paul Smith, Jim DeJulio and Joe LaBarbera. This cd ‘Regarding Frank’ was a tribute record to Sinatra and his 50’s Capitol years. Shortly after this she formed her own trio which featured guitarist song writer Hirth Martinez. Out of this trio ‘The Girl Who Dreams Out Loud’ was conceived. This new cd, “Joseph City”, combines straight ahead covers, with some very unique arrangements, and original tunes by Carmela. The superb rhythm section is led by Pete Snell on guitar, Armando Compean on bass, Lee Spath on drums, Chase Morrison on cello, Stu Elster on Hammond B3, Steve Marsh on saxophones, John Fumo on trumpet and Scott Breadman on persussion. Also featured on this cd is tango master Coco Trivisonno on bandoneon. Carmela now resides in New Mexico and continues to perform and write her own music.

Joseph City

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Camille Thurman - Inside The Moment: Recorded Live At Rockwood Music Hall

Size: 113,8 MB
Time: 49:14
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. The Night Has A Thousand Eyes (7:22)
02. Sassy's Blues (7:40)
03. Road Song (6:12)
04. Detour Ahead (7:43)
05. Nefertiti (7:43)
06. Flower Is A Lovesome Thing (7:41)
07. Cherokee (4:50)

The world of Jazz has been graced by many great female vocalists through the decades -- Ella Fitzgerald, Sara Vaughan, Nina Simone, Billie Holiday, to name just a few. Chesky Records is excited to introduce a name we feel will one day be in their company...Camille Thurman. On her Chesky Records debut, Thurman shows her versatility with stunning performances on both saxophone and vocals.

The multi-talented Camille Thurman is an award-winning composer, a formidable saxophonist, and a second-place winner of the prestigious Sarah Vaughan Vocal Competition. She has performed with artists ranging from Dr. Billy Taylor, George Coleman, Lew Tabackin, and George Benson, to Chaka Khan, Alicia Keys, and Missy Elliot. She recently made her Jazz at Lincoln Center debut during the Generations in Jazz Festival, leading a killer quartet as she sang, played, and showcased original compositions and some classics. She also recently gave an improvised scatting performance during Battle of the Big Bands that brought down the house in The Appel Room.

The inaugural release of the new Virtual Audio Series from Chesky Records, this album was recorded in front of a live audience at Rockwood Music Hall in the SoHo neighborhood of Manhattan, using a single binaural microphone. This technique places the listener in the middle of a live show. If you didn't know any better, you'd swear you can smell the perfume of the young lady seated to your left.

MQA is an award winning technology that delivers the sound of the studio. The Master MQA file is fully authenticated and is small enough to stream, but also being backward compatible, so you can play MQA music on any device.

Imagine being present at the original studio performance of your favorite recording artist. Every nuance, every subtlety, every tiny drop of emotion delivered to your ears.

Inside The Moment

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Tom Kubis - If It Doesn't Hurt It's Not The Blues!

Size: 126,9 MB
Time: 54:00
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Blues
Art: Front

01. Pearl For Merle (2:45)
02. Back In A Second (2:50)
03. Blues My Sweaty Nighty Gives To Me (3:13)
04. Exactly! (3:46)
05. Cloud 9 1-2 (3:20)
06. Down And Dirty Blues (4:08)
07. Bluesit (2:03)
08. I Just Got Hit With The Blues (4:29)
09. Hey Joja! (2:47)
10. If It Doesn't Hurt It's Not The Blues (2:50)
11. Trainafinado (2:30)
12. Just Preachin' (3:34)
13. I Love Sax (3:24)
14. Little Waltz In Retro (2:41)
15. Lime Juice Greens (2:45)
16. I Remember The Good Old Days (3:46)
17. What Is This Thing Called (3:01)

This jazz album has alway been a dream of mine since I heard Lockjaw Davis do this with 4 tenor saxes. This is a hard swinging, hard bopping bluesy project with the cool sound of the 3 tenor saxophones blasting through ensembles and jazz lines. There are up tempo burners and jazz shuffles and even a waltz to round off all the tunes here. Feet will be tapping for sure! (Tom Kubis All saxes and Organ and Production).

b. 1951, Los Angeles, California, USA. After studying, Kubis began playing alto, tenor and soprano saxophones with various bands. He also played piano for Bobby Vinton. However, Kubis’ chief interest was in writing and his arrangements were in much demand, especially from big band leaders. He formed his own big band expressly to play his charts and this attracted the attention of Jack Sheldon who became an informal co-leader of the band. Apart from writing for the band, Kubis continues to provide charts for others, including Bill Watrous, the BBC Radio Big Band, and his work is also performed by youth and college bands in the USA and UK. His writing is always lively and entertaining, often difficult but never simply for the sake of being hard to play. His own recording career has been relatively meagre, beginning with Dimitri Pagalidis and only in later years has his own big band been heard and appreciated by fans of contemporary big band music around the world.

If It Doesn't Hurt It's Not The Blues!

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Sylvia Brooks - The Arrangement

Size: 150,3 MB
Time: 64:30
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Perhaps, Perhaps, Perhaps (4:12)
02. Cold, Cold Heart (4:18)
03. Body & Soul (5:34)
04. Eleanor Rigby (4:34)
05. What Was I Thinking (4:23)
06. Midnight Sun (5:46)
07. Maybe I'm A Fool (5:31)
08. Guess Who I Saw Today (3:51)
09. Besame Mucho (6:20)
10. Tender Trap (4:11)
11. Sweet Surrender (3:59)
12. Night And Day (4:23)
13. Never Let Me Go (3:39)
14. Angel Eyes (3:44)

With her first two critically acclaimed albums, jazz vocalist Sylvia Brooks introduced a sensuous jazz-noir sound redolent of femme fatales and tough guys, crooked deals and deep-shadowed urban nightscapes. But no great artist wants to be typecast, and with her third album, The Arrangement, she steps out of the mist and fog into the sunlight, where she reveals herself as a singer at home in just about any narrative. An intimate collaboration with an array of brilliant Los Angeles arrangers.

When an artist succeeds in a particular niche she always faces pressure to repeat the performance, but Brooks had no intention of limiting herself. “I wanted to explore different musical styles,” she says. “I love Latin influenced music, big band swing, and rich ballads. I want to explore the whole spectrum musically.”

With a sumptuous velvet-rich voice and emotionally incisive phrasing, Brooks is far too protean a talent to be confined to any particular plotline. In creating The Arrangement, she didn’t just set out to investigate different moods and rhythms. She invited a dazzling cast of writers to craft bespoke charts tailored stylishly for her voice, while giving them casting carte blanche, an act of trust that led to a project marked by a glorious diversity of settings.

Starting with Kim Richmond, who collaborated on her first two albums, she connected with a superlative collection of accompanist/arrangers, including Venezuelan-born pianist Otmaro Ruiz (Dianne Reeves), pianist Jeff Colella (Lou Rawls), French-born pianist Christian Jacob (Tierney Sutton, Betty Buckley), and pianist Quinn Johnson (Steve Tyrell, Diana Ross) “who all have very different styles,” Brooks says. “Quinn is very different from Otmaro, who’s got an entirely different sensibility from Christian.”

Brooks choose the songs, and gave the arrangers two directives. They had to use a combination of brass and reeds, and they could choose the musicians they felt would best serve the direction of the piece, “so it was a real collaboration,” Brooks says. “I wanted them to have complete freedom.”

The album opens with Ruiz’s lush setting for “Perhaps, Perhaps, Perhaps (Quizas, Quizas, Quizas),” an intoxicating piece that connects Brooks to the Cuban music she heard growing up in Miami. He provides Brooks with another sleek and sensuous Latin vehicle on the oft-interpreted standard “Besame Mucho,” which she delivers as a passionate fever dream accelerated by a simmer tenor sax solo by the reed master Bob Sheppard.

Brooks takes an unexpected left turn as Johnson’s brassy, briskly swinging arrangement transforms Hank Williams’ classic country lament “Cold Cold Heart.” He also proved to be an ideal songwriting collaborator for Brooks, who contributes original lyrics to three beautifully wrought pieces, starting with their slyly funky anthem about mistaken first impressions “What Was I Thinking (The Mirage).” She teamed with the multi award-winning composer Patrick Williams on “Maybe I’m A Fool,” a lovely portrait of romantic self-doubt arranged with rollercoaster energy by Johnson.

Jacob, who wrote the widely hailed score for Clint Eastwood’s 2016 film Sully, collaborated with Brooks on one of the album’s most arrestingly beautiful pieces, “Sweet Surrender,” an intimate piano and voice duet with a graceful melody that needs no embellishments. Another standout track is Jacob’s quietly dramatic setting of Lennon and McCartney’s “Eleanor Rigby,” a rendition so effective and unforgettable as a jazz vehicle (listen to the deft interplay of Jacob’s Fender Rhodes chords and Larry Koonse’s guitar) that one can only marvel at her ingenuity.

Clearly undaunted by legendary artists, Brooks puts her personal stamp on “Guess Who I Saw Today,” the forlorn narrative indelibly linked to Nancy Wilson. She closes the album with an unforgettable version of “Angel Eyes,” a haunting Richmond arrangement that links back to Brooks earlier jazz-noir albums. She’s still a riveting raconteur when it comes to tales of loss and heartbreak, but she’s got a lot of other stories to tell on The Arrangement.

The Arrangement

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Tommy Emmanuel - Live! At The Ryman

Size: 181,4 MB
Time: 77:15
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Tall Fiddler (Live) (2:44)
02. The Mystery (Live) (4:29)
03. Windy & Warm (Live) (2:33)
04. Deep River Blues - Doc's Guitar - Blue Smoke - Cannonball Rag (Live) (6:28)
05. Saturday Night Shuffle - Nine Pound Hammer (Live) (6:29)
06. Angelina (Live) (3:27)
07. Blood Brother (Live) (5:27)
08. Beatles Medley - Classical Gas (Live) (7:40)
09. Sails (Live) (5:37)
10. San Antonio Stroll (Live) [Feat. John Knowles & Steve Wariner] (3:54)
11. Guitar Boogie (Live) (9:26)
12. Somewhere Over The Rainbow (Live) (6:34)
13. I Still Can't Say Goodbye (Live) (3:42)
14. Workin Man Blues (Live) [Feat. Steve Wariner] (3:57)
15. Eva Waits (Live) (4:41)

The new album was captured during a special show at the famed Nashville venue on February 27th of last year where Emmanuel was joined on stage by Steve Wariner and John Knowles (who are the only other two living CPGs, a.k.a. Certified Guitar Players, a moniker bestowed on four guitarist that he admired by music icon Chet Atkins.

Tommy shared his excitement about being able to share the show with the new album, "It was an unforgettable experience playing my first solo show at the historic Ryman Auditorium in Nashville.

Live! At The Ryman

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Bria Skonberg - With A Twist

Size: 117,2 MB

Time: 49:57

File: MP3 @ 320K/s

Released: 2017

Styles: Jazz Vocals

Art: Front

01. My Baby Just Cares For Me (3:04)

02. Sway (3:12)

03. Alright, Okay, You Win Soul Bossa Nova (3:18)

04. Cocktails For Two (3:19)

05. Whatever Lola Wants (2:58)

06. Dance Me To The End Of Love (5:33)

07. It's Oh So Quiet (4:57)

08. How I Know (4:10)

09. High Hat, Trumpet, And Rhythm (3:17)

10. Back In Your Own Back Yard (4:34)

11. Same Kind Of Crazy (3:50)

12. Thinking Out Loud (4:45)

13. Time To Go (2:53)

Vocalist, trumpeter and songwriter Bria Skonberg re-imagines it all on her new OKeh/Masterworks album, With a Twist. Coming off a recent Juno Award (Canada’s version of The Grammys) for her first OKeh collection, Bria, Skonberg spins her cool and confident vocal style---and her sleek and timeless jazz chops---into a program that playfully nods to tradition while always looking ahead.

Of the mood she was going after on With a Twist, Skonberg says: “The inspiration was love and adventure, and the many twists and turns and tunnels you can get into. It’s a little about my time in New York, a little bit of cocktail culture. The musical inspiration was a modern-day Esquivel, Perez Prado, maybe some Spike Jones. It’s just important to me to put some love and positivity out into the world right now.”

With a Twist reunites Skonberg with producer Matt Pierson, whom she credits with helping her realize the album’s concept. The album features 5-time Grammy winner Gil Goldstein (who arranged six of the tracks and plays keyboards and accordion), Sullivan Fortner (piano), Scott Colley (bass), Matt Wilson (drums).

With A Twist

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Donna Byrne - Don't Dream Of Anybody But Me

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 68:38
Size: 157,3 MB
Art: Front

(4:57)  1. I'm Afraid The Masquerade Is Over
(7:37)  2. Street Of Dreams
(3:38)  3. It Don't Mean A Thing (If It Ain't Got That Swing)
(3:15)  4. In A Sentimental Mood
(3:10)  5. The Surrey With The Fringe On Top
(6:37)  6. Don't Dream Of Anybody But Me
(6:25)  7. The Two Lonely People
(3:12)  8. All Alone On My Own
(5:16)  9. My Melancholy Baby
(4:23) 10. East Of The Sun (And West Of The Moon)
(4:21) 11. He Was Too Good To Me
(5:23) 12. Someone To Light Up My Life
(6:52) 13. A Cottage For Sale - A House Is Not A Home
(3:26) 14. I Hear Music

A gem of a singer, Donna Byrne's latest is a 14-track journey through the pages of the Great American Songbook, and she brilliantly captures the essence of each of these chestnuts. The Boston vocalist knows how to extend herself far beyond mere recitation of words. Her delivery is so engaging, so dazzling, so bright, that each tune is an entertaining foray into the world of the art of jazz vocal. Not only is she equipped with an extraordinary set of vocal chords, as well as excellent and top-of-the-line timing and phrasing, but she does not get hemmed in by conventional vocal wisdom  she lets her imagination provide the direction for the session. Whether it be on a rousing up-tempo number like "It Don't Mean a Thing (If It Ain't Got That Swing)" (where she uncharacteristically indulges in some scatting going back and forth with Mike Turk's harmonica), to her poignant delivery of "He Was Too Good to Me," Byrne uses the appropriate combination of swing, elan, wit, or romanticism  whatever is needed to make the performance go. Another factor that makes this CD go are two sets of exemplary musicians who perform their duties as Byrne's supporters, adding their own inventive musical musings. Jazz piano institution and fellow New Englander Dave McKenna once again joins Byrne. But while he makes no attempt to overshadow the singer, his years as a top-flight jazzman come through clearly on tunes such as "My Melancholy Baby." The other pianist on the set, Tim Ray, also shines as he helps with a swinging melody on "The Surrey With the Fringe on Top." Erstwhile reedman Mike Monaghan's slightly biting tenor is in front on tracks such as "East of the Sun (and West of the Moon)." Byrne's regular rhythm section, Jim Gwin on drums and husband Marshall Wood on bass, shows that familiarity in no way breeds contempt but respect, harmony, and mutual admiration. The last two cuts are not on the play list: Track 13 is a lovely medley of "A Cottage for Sale"/"A House Is Not a Home," and track 14 is an off-to-the-races "I Hear Music." Don't Dream of Anybody but Me only solidifies Byrne's position as a major contemporary jazz singer. ~ Dave Nathan http://www.allmusic.com/album/dont-dream-of-anybody-but-me-mw0000722605

Personnel:  Donna Byrne -Vocals;  Dave McKenna -Piano;  Tim Ray -Piano/Fender Rhodes;  Jim Gwin -Drums;  Marshall Wood -Bass;  Mike Monaghan -Tenor Sax/Flute;  Kenny Wenzel -Trombone/Flugelhorn;  Mike Turk -Harmonica

Thank You my Friend!!!!

Don't Dream Of Anybody But Me

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George Shearing Trio - Getting In The Swing Of Things

Styles: Piano Jazz
Year: 1980
File: MP3@320K/s
Time: 44:57
Size: 106,2 MB
Art: Front

(6:18)  1. Don't Get Around Much Anymore
(5:12)  2. Consternation
(7:06)  3. Sweet And Lovely
(3:47)  4. My Little Anna
(4:00)  5. Sweet Lorraine
(2:57)  6. Louis Ann
(5:50)  7. G and G
(3:18)  8. Poinciana
(6:25)  9. This Can't Be Love

This particular George Shearing Trio (with guitarist Louis Stewart and bassist Niels Pedersen) recorded three albums for MPS during 1977-79 and provided an excellent outlet for the brilliant pianist just prior to his association with the Concord label. The Pausa reissue LP has the trio's renditions of five standards and four obscure originals including two ("Consternation" and "G & G") by Shearing. His renditions of "Don't Get Around Much Anymore" and "This Can't Be Love" are most memorable among these generally swinging tracks. ~ Scott Yanow http://www.allmusic.com/album/getting-in-the-swing-of-things-mw0000943446

Personnel:  Piano – George Shearing;  Bass – Niels Henning Ørsted-Pedersen;  Guitar – Louis Stewart

Getting In The Swing Of Things

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