Dave Grusin - Out of the Shadows

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 43:34
Size: 100,2 MB
Art: Front

(5:15)  1. Last Train To Paradiso
(5:19)  2. She Could Be Mine
(5:50)  3. Crystal Morning
(6:05)  4. Five Brothers
(6:58)  5. Anthem Internationale
(6:50)  6. Serengeti Walk
(1:59)  7. Hokkaido
(5:15)  8. Sweetwater Nights

Dave Grusin has been a highly successful performer, producer, composer, record label executive, arranger, and bandleader. As a pianist, Grusin tends toward the fusion and smooth end of jazz, but he's primarily an accomplished film and television soundtrack composer. Grusin played with Terry Gibbs and Johnny Smith while studying at the University of Colorado. He was the assistant music director and pianist for Andy Williams from 1959 to 1966, and then started his television composing career. Grusin recorded with Benny Goodman in 1960, and with a hard bop trio which included Milt Hinton and Don Lamond in the early '60s. He also played and did a session with a quintet including Thad Jones and Frank Foster. Grusin did arrangements and recorded with Sarah Vaughan, Quincy Jones, and Carmen McRae in the early '70s. He played electric keyboards with Gerry Mulligan and Lee Ritenour in the mid-'70s, then helped to establish GRP Records out of a production company. GRP developed into one of the top contemporary jazz and fusion companies; they were later taken over by Arista, then by MCA. Grusin continued recording through the '80s and '90s, doing numerous projects, from fusion and pop to working with symphony orchestras. He has also conducted the GRP Big Band, scored such films as The Fabulous Baker Boys, and performed duet sessions with his brother, Don, and Ritenour. In addition to his numerous GRP releases, Grusin has also recorded for Columbia, Sheffield Lab, and Polygram. 

In 2011, he released the concert album and DVD An Evening with Dave Grusin, which featured him backed by the 75-piece Henry Mancini Institute Orchestra revisiting works from throughout his varied career. ~ Ron Wynn https://itunes.apple.com/us/album/out-of-the-shadows/id21802007

Personnel: Dave Grusin (piano, Fender Rhodes piano, keyboards, synthesizer); Lee Ritenour (guitar, acoustic guitar, electric guitar); Don Grusin (Fender Rhodes piano, synthesizer); Lincoln Goines (upright bass, electric bass); Steve Gadd (drums); Rubens Bassini (percussion).

Out of the Shadows

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Harcsa Veronika - You Don't Know It's You

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 59:34
Size: 137,5 MB
Art: Front

(3:45)  1. Too Early
(3:13)  2. What Is Our Love For
(3:58)  3. Play Me, Play Me
(3:21)  4. If You
(5:21)  5. But I'm Not
(7:38)  6. Maybe Neverending
(6:43)  7. All That You Say
(4:14)  8. Nothing's Left
(4:35)  9. Losing Ground
(5:56) 10. Luring
(4:59) 11. Pirate Ballad
(1:28) 12. Something New
(4:19) 13. You Don't Know It's You

Harcsa Veronika was born in Budapest. During her school years she went to several music schools learning to play the piano, the saxophone, classical and jazz singing. She is graduating from the vocal jazz faculty of the Ferenc Liszt College of Music Budapest in June 2008. She formed her own jazz quartet in 2005, featuring leading young Hungarian jazz musicians. She produced and released their debut jazz standard album Speak Low in Hungary in 2005. . https://musicazon.com/artist/harcsa-veronika

You Don't Know It's You

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John Fedchock - Hit The Bricks

Styles: Trombone Jazz
Year: 2000
File: MP3@256K/s
Time: 62:18
Size: 114,6 MB
Art: Front

(5:59)  1. This Just In
(9:14)  2. Moon Alley
(6:24)  3. Steps En Trois (Giant Steps)
(8:48)  4. Twilight
(5:43)  5. Hit The Bricks
(6:10)  6. Cool Customer
(5:33)  7. I'm Thru With Love
(7:33)  8. Empty Promises
(6:51)  9. Brazilian Fantasy

His two big band albums are terrific. Now trombonist John Fedchock leads a quartet on a session that incorporates ballads with up-tempo romps and fresh originals with existing compositions. Three tracks add trumpet and tenor saxophone for a larger sound. The title track comes from Fedchock's vast experience, placing a big band chart in the hands of a sextet. Driving with a hard-nosed direction, the sextet covers the territory well. Kenny Barron's "Twilight" stands out as another high point of the album, with Fedchock's buttery trombone tone pushing a deliberate tempo. In 3/4 time, "Giant Steps" runs amok like a busy, intellectually occupied parody of "My Favorite Things." "Brazilian Fantasy" lays it out gently like a walk on the beach, while Fedchock's "Cool Customer," another session high point, lets loose with a Count Basie big band swing. Never one to pull any punches, John Fedchock has made a subtle change in direction while keeping the central focus of his music at its trombone-lover's best. ~ Jim Santella https://www.allaboutjazz.com/hit-the-bricks-john-fedchock-reservoir-music-review-by-jim-santella__1907.php

Personnel: John Fedchock- trombone, Scott Wendholt- trumpet (tracks 2,5, & 8 only), Chris Potter- tenor & soprano saxophones (tracks 2, 5, 8, & 9 only), Allen Farnham- piano, Rufus Reid- bass, Dave Ratajczak- drums, Adrian D Souza- percussion (track 9 only)

Hit The Bricks

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Charlie Barnet And His Orchestra - Clap Hands, Here Comes Charlie

Styles: Jazz, Big Band
Year: 1987
File: MP3@320K/s
Time: 63:49
Size: 151,6 MB
Art: Front

(2:59)  1. Knockin' At The Famous Door
(3:22)  2. The Girl From Joe's
(3:20)  3. Cherokee
(3:04)  4. The Duke's Idea
(3:23)  5. The Count's Idea
(3:14)  6. The Right Idea
(2:56)  7. Between 18th And 19th On Chestnut Street
(2:42)  8. Clap Hands, Here Comes Charlie
(2:45)  9. Leapin' At The Lincoln
(3:25) 10. Afternoon Of A Moax
(2:55) 11. Flying Home
(2:53) 12. Six Lessons From Madame La Zonga
(3:09) 13. Rockin' In Rhythm
(3:00) 14. Pompton Turnpike
(3:15) 15. Wild Mab Of The Fish Pond
(3:24) 16. Southern Fried
(2:39) 17. Redskin Rhumba
(2:29) 18. Lumby
(3:15) 19. You're My Thrill
(2:37) 20. Charleston Alley
(2:54) 21. Murder At Peyton Hall

Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s.  And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson.

In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.  By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966. ~ Scott Yanow http://www.allmusic.com/artist/charlie-barnet-mn0000166767/biography

Clap Hands, Here Comes Charlie

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John Lewis & Sacha Distel - Afternoon In Paris

Bitrate: MP3@320K/s
Time: 43:10
Size: 98.8 MB
Styles: Bop, Piano jazz
Year: 1958/2006
Art: Front

[6:51] 1. I Cover The Waterfront
[6:04] 2. Dear Old Stockholm
[9:20] 3. Afternoon In Paris
[5:13] 4. All The Things You Are
[6:09] 5. Bags' Groove
[9:31] 6. Willow Weep For Me

It was in Paris that John Lewis co-led this 1956 date with Sacha Distel, a French guitarist who never became well-known in the U.S. but commanded a lot of respect in French jazz circles. The same can be said about the other French players employed on Afternoon in Paris -- neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.S., although both were well-known in European jazz circles. With Lewis on piano, Distel on guitar, Wilen on tenor, Michelot or Percy Heath on bass, and Kenny Clarke or Connie Kay on drums, the part-American, part-French group of improvisers provides an above-average bop album that ranges from "Willow Weep for Me," "All The Things You Are," and "I Cover the Waterfront" to Milt Jackson's "Bags' Groove" and Lewis' title song. The big-toned Wilen was only 19 when Afternoon in Paris was recorded, but as his lyrical yet hard-swinging solos demonstrate, he matured quickly as a saxman. It should be noted that all of the Americans on this album had been members of the Modern Jazz Quartet; the only MJQ member who isn't on board is vibist Jackson. ~Alex Henderson

Afternoon In Paris

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Jack McDuff - The Prestige Years (Remastered)

Bitrate: MP3@320K/s
Time: 78:40
Size: 180.1 MB
Styles: Soul jazz
Year: 2004
Art: Front

[8:13] 1. The Honeydripper
[2:59] 2. Brother Jack
[4:49] 3. Sanctified Waltz
[8:55] 4. Yeah, Baby
[5:00] 5. Mellow Gravy
[6:01] 6. He's A Real Gone Guy
[6:22] 7. Candy
[7:00] 8. Tough 'Duff
[2:23] 9. Grease Monkey
[6:46] 10. Jive Samba
[2:59] 11. Organ Grinder's Swing
[7:18] 12. Screamin'
[2:56] 13. Hot Barbeque
[6:54] 14. Opus De Funk

Alto Saxophone – Leo Wright; Bass – Wendell Marshall; Drums – Bill Elliot, Joe Dukes; Guitar – Bill Jennings, Eddie Diehl, George Benson, Grant Green, Kenny Burrell; Organ – Brother Jack McDuff; Tenor Saxophone – Gene Ammons, Harold Vick, Jimmy Forrest, Red Holloway; Vibraphone – Lem Winchester.

The history of jazz is full of great musicians who died tragically young; Clifford Brown, Bix Beiderbecke, Eric Dolphy, Fats Navarro, Charlie Christian, Booker Little, and the seminal Charlie Parker were among the many legendary improvisers who died in their twenties or thirties. But when Jack McDuff passed away on January 23, 2001, at the age of 74, his fans could take some comfort in knowing that he had lived a long and productive life. The soul-jazz/hard bop organist left behind a huge catalog, which is why best-of releases like The Prestige Years and The Best of the Concord Years are sorely needed. While the latter is devoted to McDuff's Concord Jazz recordings of the '90s and early 2000s, this 79-minute CD focuses on his Prestige output of 1960-1965. Although McDuff only spent a fraction of his career at Prestige and was still keeping busy 35 years after leaving the label, Prestige was the company that put him on the map as a recording artist -- and most soul-jazz enthusiasts would agree that he recorded some of his most essential work there. The Prestige Years bears that out; "Rock Candy," "Yeah, Baby," and McDuff's 1960 version of Joe Liggins' "The Honeydripper" are required listening for anyone with even a casual interest in gritty, down-home organ combos. The list of musicians who join McDuff on these recordings reads like a who's who of '60s soul-jazz; Gene Ammons, George Benson, Red Holloway, Jimmy Forrest, and Grant Green are among the major names appearing in the credits. The Prestige Years is far from the last word on McDuff's long recording career -- for that matter, it's far from the last word on his Prestige output. But if one is seeking an introductory overview of McDuff's five years at that label, The Prestige Years wouldn't be a bad investment at all. ~Alex Henderson

The Prestige Years (Remastered)

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Christie Winn - C'est Magnifique

Bitrate: MP3@320K/s

Time: 38:29

Size: 88.1 MB

Styles: Jazz vocals

Year: 2011

Art: Front

[2:55] 1. You Don't Know What Love Is

[2:30] 2. Angel Eyes

[3:29] 3. Bye Bye Blackbird

[3:09] 4. C'est Magnifique

[2:00] 5. Sai Dessa

[4:41] 6. Like A Lover

[3:18] 7. Dos Gardenias

[1:33] 8. Paper Moon

[5:48] 9. Body And Soul

[3:51] 10. Inutil Paisagem

[3:24] 11. Estate

[1:45] 12. C'est Magnifique (Reprise)

Vocalist/Pianist Christie Winn switches gears on her latest release, ʻCʼest Magnifiqueʼ, her first truly solo endeavor without the support of her band, ʻThe Lowdownsʼ. While her former recordings highlight her songwriting, this new release is comprised of jazz standards from around the globe. The minimalistic treatments of these classics conjure an intimate feel, allowing Winnʼs smoky vocal stylings to be in the spotlight. Accompanied only by Joe Kyle on bass and herself on piano (and occasionally melodica), Christie Winn sings her way to your heart, imbuing each phrase with pure emotion. Be it sadness or joy, Winn explores the depths on ʻCʼest Magnifiqueʼ.

C'est Magnifique   

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Guy Sebastian - The Memphis Album

Bitrate: MP3@320K/s
Time: 57:07
Size: 130.8 MB
Styles: Soul/R&B
Year: 2007
Art: Front

[2:55] 1. Soul Man
[3:13] 2. Hold On I'm Coming
[3:15] 3. In The Midnight Hour
[3:59] 4. I Can't Stand The Rain
[5:29] 5. Take Me To The River
[3:41] 6. Knock On Wood
[4:21] 7. Respect Yourself
[3:35] 8. Guy Sebastian - (Sittin' On) The Dock Of The Bay
[2:53] 9. Hard To Handle
[4:08] 10. Let's Stay Together
[4:09] 11. I've Been Loving You Too Long
[3:22] 12. Hallelujah I Love Her So
[4:11] 13. I'd Like To Get To Know You
[5:00] 14. Under The Boardwalk
[2:49] 15. That's It, I Quit, I'm Movin' On

2007 release from the acclaimed Malaysian-born and Australian-raised Pop singer who won the coveted title of Australian Idol on the show's first season. On The Memphis Album, Guy pays tribute to a selection of classic Soul tunes, with his own fantastic versions of tracks including 'Soul Man', 'In The Midnight Hour', 'Knock On Wood', 'Take Me To The River' and 'I Can't Stand The Rain'. Guy recorded the album in Memphis with various legendary Stax musicians including Steve Cropper, Donald `Duck' Dunn, Steve Potts, Lester Snell and Dave Smith.

The Memphis Album

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Dave Moretti Blues Revue - That's Swing!

Bitrate: MP3@320K/s
Time: 40:11
Size: 92.0 MB
Styles: Swing, Jump Blues
Year: 2014
Art: Front

[4:09] 1. Good Morning Judge
[4:11] 2. That's Swing!
[3:27] 3. Dancin'
[2:49] 4. Straighten Up & Fly Right
[5:35] 5. Just Like A Dog
[3:42] 6. Bad
[4:31] 7. Gsus
[4:45] 8. Cattle Raiding
[3:26] 9. I Walked Away
[3:32] 10. You Know Why

These Italian bluesmen certainly know, love and play the blues with a devoted intensity. Dave Moretti is a first class harmonica player. His gruff voice is fitting for the blues, but his heavy accent tends to detract from enjoying the songs at times. The first track is relatively easy to understand. After that deciphering the words gets to be a chore. That said, the musicianship throughout is top notch and possessing an authentic vibe along with genuine enthusiasm. Damir Nefat is in command of his jump blues guitar skills. The rhythm section can stop on a dime and give you nine cents change.

“Good Morning Judge” draws you right in with its’ energy. It’s great! It sounds like Louis Prima sings the blues. The title track is the first sign of accent problems and the song is too repetitive. We get it already…”That’s Swing”. We want the funk and we get it on “Bad” with jumpy saxes, harmonica and guitar fighting it out with the tricky rhythm section. These guys can surely play.

Blues perfection rears its’ head on “Gsus” were Dave displays his flexible harmonica chops along with Damir’s slow, well thought out guitar solo. “Cattle Raiding” could of just as well been sung in a Italian. You can pick out the occasional word. As usual the music is just fine. Maurizio Pugno contributes some nice guitar to the splendid jump blues of “I Walked Away”. Things close out with the snappy “You Know Why” which features for my money the best harmonica workout on this recording.

At the conclusion I’m left in a quandary. The music is superb and uplifting. Getting through the thick accent detracts from the listening experience. After all music is a form of communication as well as a means of enjoyment. If the message or story doesn’t get across there is a problem. It’s too bad because everyone involved delivers quality and heartfelt music. ~Greg "Bluesdog" Szalony

That's Swing!

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Gary LeMel - How Fast Forever Goes

Bitrate: MP3@320K/s
Time: 37:33
Size: 86.0 MB
Styles: Contemporary jazz vocals
Year: 2002
Art: Front

[2:51] 1. (I'm Afraid) The Masquerade Is Over
[4:21] 2. Bluesette
[4:30] 3. Everything Must Change
[3:48] 4. Forget To Remember
[4:15] 5. How Fast Forever Goes
[3:05] 6. Satin Doll
[3:37] 7. Send In The Clowns
[3:47] 8. Softly As I Leave You
[4:07] 9. She Was Too Good To Me Since You Stayed Here
[3:08] 10. I'm All Smiles

Less well known as a performer than as a music industry executive, Gary LeMel began his showbiz career as vice president at Jerry Weintraub's Management III. A stint at First Artists Music followed, and it was there that LeMel was tapped by Warner Bros. to supervise the music for the Barbra Streisand films A Star Is Born and The Main Event; the soundtrack to the former was particularly successful, selling over six million copies in the U.S. alone. After serving as senior VP at Neil Bogart's Boardwalk Company, LeMel moved to Columbia Pictures in 1983; there he supervised a series of smash soundtracks including The Big Chill, Ghostbusters, Against All Odds and St. Elmo's Fire. Three years later he accepted an offer from Warner Bros., in the years to follow moving up the corporate ladder to become the president of the company's music division; again working extensively in film soundtracks, he launched hits including The Bodyguard, Singles and Space Jam. As a jazz vocalist, LeMel also recorded the occasional LP, including 1994's Romancing the Screen and 1999's Bobby Darin tribute Moonlighting. Lost In Your Arms appeared in summer 2001. ~bio by Jason Ankeny

How Fast Forever Goes

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The Deep River Boys - London Harmony (2-Disc Set)

The Deep River Boys left a legacy of fine recordings during their 50 years of performing, setting a standard for professionalism and longevity that is to be envied. They began recording as a gospel act in the late '40s and later switched over and became an R&B act and were more popular in Europe for periods of time before coming home to the States for triumphant return engagements.

Their story begins in 1936, when all of the Boys — Harry Douglas (baritone), Vernon Gardner (first tenor), George Lawson (second tenor), Jimmy Lundy, and Edward Ware (bass) — were still students at Hampton Institute in Virginia in the mid-'30s, singing in the school choir. They began appearing on radio and in 1937, landed a job on the CBS network replacing the Oleanders (whose lead singer, Billy Williams, had left to form the Charioteers). The Deep River Boys signed with Bluebird Records in 1940 and began recording material, including "By the Light of the Silvery Moon" (which featured Fats Waller on piano). When Harry Douglas went into the Army, he was replaced by Leroy Wayman, who in turn was replaced by Rhett Butler. Douglas returned to the group in 1946 and the Deep River Boys began enjoying their biggest success, appearing on Milton Berle's and Kate Smith's shows and touring with Bill "Bojangles" Robinson.

Like many vocal groups in their day, the Deep River Boys had more success with live performance than record sales, and it wasn't until 1948's "Recess in Heaven" that they enjoyed their first hit. Unfortunately, the newer R&B was just then emerging and their gospel sound was being pushed aside by popular vocal groups like the Dominoes, the Orioles, and the Ravens. Unlike the 5 Royales (a gospel group who began recording R&B sides for Apollo), the Deep River Boys were reluctant to change; instead, they followed the path of another great gospel group of the '40s — the Delta Rhythm Boys — and began performing more often in Europe.

They spent the early '50s shuttling back and forth, working in America with the Count Basie Band during 1951 and Erskine Hawkins, but also signed on for a record-breaking ten-week engagement at the London Palladium. They later left RCA for the independent Beacon Records label, which had been reactivated by owner Joe Davis. However, several singles for Beacon failed to generate any new interest and the Boys returned to RCA. In September of 1953, Cam Williams replaced Jim Lundy and the newly configured Deep River Boys returned to England and signed on for a nine-week appearance at the London Palladium. In the springtime of 1954, they once again found themselves back on Davis' Beacon Records for a second time. Throughout the rest of their career, the Deep River Boys continued to have sporadic releases on labels such as the RCA-subsidiary Vik Records, as well as Gallant and Wand.

George Lawson retired in 1950, followed six years later by Ed Ware in 1956 (he died shortly after). Vernon Gardner also left in 1956. Bass vocalist Ronnie Bright replaced Ware (he'd previously been in the Cadillacs). In 1963, Bright had a hit of his own, "Mr. Bass Man" (number 16) with Johnny Cymbal. He later joined Carl Gardner's lineup of the Coasters. Amazingly, a Harry Douglas-led Deep River Boys (with a revolving lineup of new members) continued to make appearances well into the 1980s, 50 years after their founding. In his 80's, Douglas continues to perform occasionally.

Album: London Harmony (Disc 1)
Bitrate: MP3@320K/s
Time: 63:28
Size: 145.3 MB
Styles: R&B, Vocal harmonies
Year: 2004
Art: Front

[2:23] 1. That Lucky Old Sun
[3:00] 2. Too-Whit, Too Whoo
[3:15] 3. Down In The Glen
[3:08] 4. Oh Tell Me Gypsy
[2:52] 5. Bewitched
[2:44] 6. Ashes Of Roses
[2:09] 7. I Still Love You
[2:39] 8. Sept..Ember Song
[2:41] 9. The Stars Are The Windows Of Heaven
[3:07] 10. Mister & Mississippi
[2:46] 11. May The Good Lord Bless & Keep You
[3:04] 12. Too Young
[3:24] 13. My Yiddisher Momma
[3:43] 14. Eili Eili
[2:22] 15. Deep Water
[2:38] 16. I Won't Cry Anymore
[2:46] 17. (It's No) Sin
[2:56] 18. Glad Rag Doll
[3:06] 19. Don't Trade Your Love For Gold
[3:41] 20. Only Fascination
[2:45] 21. Trying
[2:07] 22. Tennessee News Boy

London Harmony (Disc 1)

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Album: London Harmony (Disc 2)
Bitrate: MP3@320K/s
Time: 54:24
Size: 124.5 MB
Styles: R&B, Vocal harmonies
Year: 2004
Art: Front

[2:22] 1. A Kiss & A Cuddle Polka
[2:27] 2. Sweet Mama Tree Top Tall
[2:42] 3. My Castle On The Nile
[2:22] 4. Lucky Black Cat
[2:49] 5. Romance Al A Mode
[2:18] 6. Shake Rattle & Roll
[2:49] 7. St Louis Blues
[2:58] 8. Smack Dab In The Middle
[2:33] 9. I Wonder
[2:36] 10. Rock Around The Clock
[3:08] 11. Adam Never Had A Mummy
[2:34] 12. Rock A Beatin' Boogie
[2:20] 13. Just A Little Bit More
[2:45] 14. That's Right
[2:13] 15. Honey Honey
[2:36] 16. Whole Lotta Shaking Goin' On
[2:38] 17. There's A Goldmine In The Sky
[2:04] 18. Not Too Old To Rock And Roll
[2:18] 19. Slow Train To Nowhere
[3:17] 20. I'm Confessin'
[2:26] 21. TItchy Twitchy Feelin'

London Harmony (Disc 2)

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Tori Sparks - La Huerta

Bitrate: MP3@320K/s
Time: 54:04
Size: 123.8 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:54] 1. Nature Boy
[3:07] 2. Bitter Seeds
[4:54] 3. La Leyenda Del Tiempo
[5:27] 4. Kashmir
[4:00] 5. La Huerta
[5:15] 6. Until Morning
[4:45] 7. Veinte Anos
[3:24] 8. Little Wars
[3:29] 9. On My Mind
[4:05] 10. Vete
[5:55] 11. Malena
[5:43] 12. Wade In The Water

American singer-songwriter Tori Sparks made the move from Nashville, TN (US) to Barcelona. Her fifth album El Mar (Glass Mountain Records, 2014) was a collaboration with flamenco fusion trio Calamento. The album began as a curious experiment after a chance meeting at a benefit concert. Over months of rehearsals in a basement in Barcelona, a strange and beautiful synthesis sprang from the mix of Tori's blues, rock, and folk sensibilities with the Spanish musicians' atypical take on flamenco and jazz fusion. The bilingual project was an unexpected international success, called "indescribable, incredible" (Deruting), "adventurous, pushing the envelope" (Rolling Stone), and "extremely special, a monster of a record [Top 20 Albums of the Year]" (Orpheo). The band went on to triumph on the festival circuit (Voll-Damm International Jazz Festival, (In)Fusion Flamenca, the GREC Festival, others) as well as in tours in Germany, Spain, Portugal, Italy, and beyond. Two years later, Tori Sparks + Calamento have returned to the studio, but with one major difference: The quartet has become a quintet.

“La Huerta” (la ware-tah), means “the garden” in Spanish. This isn’t a garden composed of hothouse flowers and luxury landscaping – it’s the garden you’d find behind your house, full of nourishing plants, wild creatures, and weeds. It’s the patch of land where you plant your expectations, decisions, dreams, hopes, hatreds, losses, wishes, loves, mistakes. This is where the fruit of every seed you have ever planted grows… and grows.

Tori Sparks, Calamento and El Rubio presented the new album La Huerta for the first time in concert at Luz de Gas in Barcelona on February 23rd, and at Sala Clamores in Madrid on March 30th.

La Huerta

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The Chico Hamilton Quintet - The Three Faces Of Chico Hamilton

Bitrate: MP3@320K/s

Time: 35:42

Size: 81.8 MB

Styles: Bop, West Coast jazz

Year: 1959/2013

Art: Front

[2:13] 1. Miss Movement

[2:47] 2. She's Funny That Way

[4:25] 3. Trinkets

[5:51] 4. More Than You Know

[2:36] 5. The Best Things In Life Are Free

[2:25] 6. Where Or When

[2:11] 7. Happy Little Dance

[4:35] 8. Newport News

[2:57] 9. I Don't Know Why (I Just Do)

[5:38] 10. No Speak English, Man

A fine showcase for Chico Hamilton as a triple-threat artist: drummer extraordinaire ("Miss Movement," "Trinkets," etc.), vocalist ("She's Funny That Way," "The Best Things in Life Are Free," "Where or When"), and, of course, leader. His vocals are reminiscent of Nat King Cole, with subtleties all his own, and his drumming is just as impressive amid its own set of superlatives, many of which are shown off on the Hamilton originals "Happy Little Dance" and "Trinkets." The other members of the group, Wyatt Ruther (bass), Eric Dolphy (flute, reeds), Dennis Budimer (guitar), and Nathan Gershman (cello), get their own moments to shine, on "Newport News," "I Don't Know Why (I Just Do)," etc. Hamilton also brought in a full reed section for several numbers here, in acknowledgement of his own appreciation of the classic 1940s big-band sound. And the contrasts with the quartet and solo numbers make this one of the most diversely textured and wide-ranging of all Chico Hamilton albums. ~Bruce Eder

The Three Faces of Chico  

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Gene Krupa - Drums Drums Drums

Styles: Jazz, Swing
Year: 2002
File: MP3@320K/s
Time: 61:04
Size: 140,5 MB
Art: Front

(3:00)  1. Drummin' Man
(3:04)  2. Leave Us Leap
(3:10)  3. Drum Boogie
(3:23)  4. Boogie Blues
(2:53)  5. Bolero At The Savoy
(2:55)  6. Lover
(3:17)  7. Massachusetts
(2:55)  8. Symphony In Riffs
(2:58)  9. Opus One
(2:39) 10. After You've Gone
(2:35) 11. Do You Wanna Jump, Children
(2:59) 12. Tuxedo Junction
(3:25) 13. Boog-It
(3:25) 14. Body & Soul
(3:13) 15. That's What You Think
(3:17) 16. Wire Brush Stomp
(2:30) 17. Nagasaki
(3:12) 18. Disk Jockey Jump
(2:43) 19. Rhumboogie
(3:20) 20. How High The Moon

This 20-song collection, evidently made up of radio airchecks that are effectively out of copyright overseas, makes a good companion to Sony's Gene Krupa hits and Anita O'Day/Roy Eldridge collections. It doesn't have "Let Me Off Uptown," but it does include O'Day's extraordinary "Boogie Blues," "Bolero at the Savoy," and "Massachusetts," and performances by scat-singing star Leo Watson. Further, Roy Eldridge is featured on at least half the cuts here in prominent solos, but the producers have also included tracks by the later Krupa line-ups, which included Charlie Ventura and Gerry Mulligan, working in leaner, more modern jazz surroundings. The sound quality is above average for the period, with minimal distortion and a clean, close sound. The drums, of course, are prominent (nowhere more so than on "Wire Brush Stomp"), but the solos by Eldridge and the other featured members of Krupa's various bands also come out loud and richly textured. Of the music itself, there's only one really weak link here, Krupa's much-too-fast treatment of the Richard Rodgers/Lorenz Hart waltz "Lover," and it is more than made up for by the presence of O'Day's singing on "That's What You Think." And it's all budget priced too. ~ Bruce Eder http://www.allmusic.com/album/drums-drums-drums-mw0000533832

Personnel:  Drums – Gene Krupa;  Saxophone – Charlie Ventura (tracks: 14);  Trumpet – Roy Eldridge (tracks: 10);  Vocals – Anita O'Day (tracks: 4, 5, 7, 9, 15), Irene Daye (tracks: 1, 3, 13, 19), Leo Watson (tracks: 11, 17)

Drums Drums Drums

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Patricia Dean - Moments like this

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 49:53
Size: 114,3 MB
Art: Front

(2:43)  1. I can't believe that you're in love with me
(5:27)  2. Stairway to the stars
(5:31)  3. Come back my love
(5:46)  4. For heaven's sake
(3:21)  5. Give me the simple life
(3:47)  6. Never let me go
(3:33)  7. Garota de Ipanema
(4:04)  8. There's no you
(4:15)  9. Close your eyes
(5:54) 10. Round midnight
(3:02) 11. Moments like this
(2:25) 12. But beautiful

This self-produced project has the distinction of being mastered by 2006 Record of the Year Grammy award winner Arnie Acosta. Recorded and engineered at Eastern Sky studios in Orlando, FL by Dave Brown (featured in Mix Magazine) this album has a warm ambience that makes it a pleasure to listen to.

A collection of choice ballads, bossa novas and swing tunes demonstrating Patricia’s rich vocal quality, paying tribute to her favorite singers: Nancy Wilson, Sarah Vaughan, Shirley Horn and Julie London. In addition, she also happens to be an accomplished drummer featured on several tracks. Her exquisite treatment of the album's six ballads reveals her innate sense of timing and expression, leaving the listener wanting more of this enchanting songstress. "Come Back My Love" an original melody written by her father the late Don Dean, Sr. features the gorgeous trombone sound of Herb Bruce. Her arrangement of Jobim's classic "Garota de Ipanema" is reharmonized to give this timeless standard a fresh sound with an authentic reading of the original Portuguese lyric. "Close Your Eyes" has an exotic Middle Eastern flavor thanks to guitarist Mark Speights featured on the Choral Sitar with a haunting clarinet interlude by Jim Snyder paying homage to the original Benny Goodman recording. Pianist Charlie Prawdzik is all taste and bassist Jay Mueller provides a solid groove on all but one of the tracks. Patricia Dean is a respected musician and vocalist who began her career at the age of 14 performing with her father and brother in the Tampa Bay area. A native Floridian, Patricia has travelled extensively with her own trio, and has performed with Harry Allen, Kenny Drew, Jr., as well as Jazz legends Nat Adderley, John LaPorta and Ira Sullivan. On a personal note...11/15/10, Our wonderful pianist on this project, Charlie Prawdzik passed away 10/31/10 after a year long battle with Lou Gehrig's disease. His contribution to this project was priceless and he will always be remember for his tasteful and supportive  playing and his dry wit. Thank you, Charlie..  https://store.cdbaby.com/cd/patriciadean

Moments like this

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The Frank Capp Juggernaut - Play It Again Sam

Styles: Jazz, Bop
Year: 1997
File: MP3@320K/s
Time: 55:01
Size: 129,2 MB
Art: Front

(3:09)  1. The Heat's On
(6:35)  2. Warm Breeze
(6:07)  3. Ja-Da
(3:48)  4. Sweet Georgia Brown
(2:17)  5. Katy
(3:32)  6. Wind Machine
(3:46)  7. Soft As Velvet
(3:15)  8. Ya Gotta Try
(6:16)  9. Freckle Face
(4:16) 10. Satin 'N' Glass
(6:46) 11. 88 Basie Street
(5:06) 12. Night Flight

On the one hand, the music on this set, which features the Frank Capp Juggernaut performing a dozen Sammy Nestico arrangements, is quite predictable. After all, the Juggernaut's playing has always been based on the style of Count Basie, so its interpretations of Nestico's music (ten of the 12 songs are his) is very much in the Basie tradition. But on the other hand, the enthusiasm of the band, the high musicianship and the many exciting solos make this into a very enjoyable performance that all fans of swinging big bands will want. Among the many top soloists are trumpeters Conte Candoli, Carl Saunders, Bob Summers and Bill Berry, trombonists Andy Martin and Thurman Green, pianist Gerry Wiggins and the tenors of Pete Christlieb and Rickey Woodard. In fact, on "88 Basie Street," all 18 musicians in the orchestra get four-bars apiece. Other highlights include "The Heat's On," "Wind Machine," "Ya Gotta Try" and "Freckle Face."~ Scott Yanow http://www.allmusic.com/album/play-it-again-sam-mw0000096900

Personnel: Frank Capp (drums); Barry Zweig, John Pisano (guitar); Jackie Kelso, Steve Wilkerson (alto saxophone); Pete Christlieb, Rickey Woodard (tenor saxophone); Bob Efford (baritone saxophone); Conte Candoli, Bill Berry , Frank Szabo, Bob Summers, Carl Saunders (trumpet); George Bohannon, Dana Hughes, Alan Kaplan, Andy Martin , Thurman Green, Wendell Kelly (trombone); Gerry Wiggins (piano).

Play It Again Sam

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'Papa' John Defrancesco - Walking Uptown

Styles: Jazz, Jazz Funk
Year: 2004
File: MP3@320K/s
Time: 58:10
Size: 133,4 MB
Art: Front

(5:36)  1. One For Jack Mac
(7:58)  2. Sunny
(7:28)  3. People Get Ready
(7:58)  4. 160 Million Dollar Chinese Man
(6:55)  5. Mojo
(8:07)  6. Walking Uptown
(5:06)  7. Delaware Fox
(8:59)  8. What Happened

Papa John DeFrancesco, the father of Joey DeFrancesco, is a talented organist himself. On this informal set with his quartet (which also includes tenor-saxophonist Tim Warfield, his other musical son, guitarist Johnny DeFrancesco, and drummer Glenn Ferracone), Papa John mostly sticks to the blues and bluish material. In addition to a swinging version of "Sunny," the gospel-ish "People Get Ready," the funky "160 Million Dollar Chinese Man" (from the remake of Ocean's 11), and a vamp piece ("What Happened"), there are four blues at various tempos and levels of funk. Joey DeFrancesco makes guest appearances on two tracks (one apiece on trumpet and piano) and bassist Paul Klinefelter is on one number but otherwise the basic quartet is showcased romping and stomping out their brand of soulful blues. ~ Scott Yanow http://www.allmusic.com/album/walking-uptown-mw0000165873

Personnel: Papa John DeFrancesco (Hammond b-3 organ); Johnny DeFrancesco (guitar); Paul Klinefelter (double bass); Tim Warfield (soprano saxophone, tenor saxophone); Joey DeFrancesco (trumpet, piano); Glenn Ferracone (drums, percussion).

Walking Uptown

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Christine Tassan & Les Imposteures - De Bon Matin

Size: 104,8 MB

Time: 44:31

File: MP3 @ 320K/s

Released: 2007

Styles: Gipsy Jazz, Vocals

Art: Front

01. De Bon Matin (3:52)

02. Chanson Non Violente (3:12)

03. Bluesette (2:34)

04. Lit Vert (2:41)

05. Venez Donc Chez Moi (3:32)

06. Libertango (4:11)

07. En Tombant Gentiment (5:01)

08. L'Homme A La Moto (2:36)

09. Swing 2006 (3:47)

10. Les Rendez-Vous (4:20)

11. La P'tite Vite (2:33)

12. Le Pouding A L'Arsenic (2:45)

13. Sweet Georgia Brown (3:24)

Personnel:
Christine Tassan: guitare soliste, rythmique et voix
Martine Gaumond: violon et voix
Lise-Anne Ross: guitare rythmique et voix
Karine Chapdelaine: contrebasse et voix

Guests:
Sonia Racine (voix), Ghislaine Betie Dubuc (accordéon), Eric Khayat (Saxophone), Mohamed Masmoudi (Oud).

It has been ten years since Christine Tassan et les Imposteures started tending their craft in the gypsy jazz milieu and performing standards, and there is no doubt that they are definitely here to stay. Pioneers in a domain usually reserved for men and precursors of the gypsy wave that swept across Québec, this all-woman quartet continues to reinvent this timeless music while integrating new ideas and influences with an originality and flair we have become familiar with. From standards to original compositions, the Imposteures’ musical arrangements innovate, rejuvenate and leave room for unbridled creativity from four talented and accomplished young women.

Since their inception in 2003 the group has solidified their reputation. With more than 400 concerts in various venues and festivals, including numerous appearances in major events Christine Tassan, Lise-Anne Ross et Blanche Baillargeonand tours across Canada and France, they have cultivated the adoration and loyalty of an ever growing fan base. We have had the chance to see them at the Montreal International Jazz Festival, at the Lévis Jazz Festival, at the Guitar Festival in Rouyn-Noranda, at the April in Paris Vancouver festival and in St-Pierre-et-Miquelon. On two occasions, their show has been taped and broadcasted by CBC Radio as part of the Concerts on demand, in Montreal and Saskatoon. Over the years, the band has shared the stage with illustrious gypsy swing musicians, including John Jorgenson, Tchavolo Schmit, Angelo Debarre, Rodolphe Raffalli and David Reindhart.

In June 2014, they had the great pleasure to be invited at the Django Reinhardt Festival of Samois-sur-Seine (France), one of the most prestigious gypsy jazz festivals since it takes place in the town where the great manouche guitarist lived his last years. In front of more than 2000 enthusiastic people, they stood out with their “finesse” and “joie de vivre” as the very first women and furthermore Québécois gypsy jazz band to perform on this famous stage !

Their first two albums, De bon matin (2007) and Pas manouche, c’est louche (2010), achieved rapid critical acclaim. Only a few weeks after it was released, De bon matin went to the top of Radio-Canada’s Coup de Coeur hit list and reached number one on the Radio Couleur Jazz top 4. In turn, Pas manouche, c’est louche was nominated for Best Jazz Album Creation at the ADISQ awards, alongside other great artists such as Jordan Officer, Julie Lamontagne and Christine Jensen.

On stage, we bear witness to four musicians who have mastered their talents. They improvise with ease, interpret their repertoire with dynamism, and blend their voices together in refined harmonies. But it’s their communicative energy and the personal bondBlanche Baillargeon, Martine Gaumond et Lise-Anne Ross between them that hits home the most. Christine Tassan et les Imposteures, are first and foremost four friends who have harnessed their energies and their voices to give rise to, year after year, the fruit of their creativity.

Their third album, released in October 2012, follows in the same lively spirit. Like its two predecessors, it weaves together a clever mix of original compositions and standards, songs and instrumental pieces. The album brims with a ripe confidence that clearly reveals the evolution of the group. C’est l’heure de l’apéro marks the beginning of a new chapter for Christine Tassan et les Imposteures, who are once again touring Québec, Canada and the world to showcase their new sparkling and savory show..

De Bon Matin 

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Denise King & Massimo Farao - Between Us

Size: 107,4 MB
Time: 46:11
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Save Your Love For Me (5:16)
02. St. Luois Blues (6:43)
03. Amazing Grace (5:16)
04. Easy Living (5:37)
05. My Baby Just Cares For Me (3:21)
06. I'm A Fool To Want You (3:56)
07. Polka Dots And Moonbeams (6:35)
08. What A Difference A Day Made (4:20)
09. A Nightingale Sand In Berkeley Square (5:04)

Denise King is a Philadelphia vocalist who has made the world her oyster with her unique ability to navigate between rhythm and blues and sultry jazz standards. Discovered in the 1980s by an R&B songwriter-producer, King quickly found her way in the City of Brotherly Love with some of the top musicians in both popular and jazz settings. In the New Millennium, she has been shuttling back and forth between the U.S. and Europe delivering stellar performances on both continents. With her smooth and sultry voice, impeccable sense of timing, interpretive depth, and immersion in the tradition of the great singers, King brings out the best in any genre. For example, in just one of her albums, Fever, she is equally at home with Antonio Carlos Jobim's "Wave," the unsung ballad, "Never Let Me Go," the Shirelles' pop song, "Will You Still Love Me Tomorrow," and the rocking "I've Got My Mojo Workin.'" She takes each song on its own merit while adding her unmistakable personal stamp. Among her various projects, she does a traveling Tribute to Sarah Vaughan, one of her idols with whom she shares many fine qualities. King also has a strong personality and life story that can be entertaining and at the same time cut deeply into the soul. ~by Victor L. Schermer

Between Us

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Vijay Iyer - Blood Sutra

Size: 135,6 MB
Time: 58:13
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz
Art: Front

01. Proximity (2:12)
02. Brute Facts (6:10)
03. Habeas Corpus (5:57)
04. Ascent (1:22)
05. When History Sleeps (6:07)
06. Questions Of Agency (5:10)
07. Kinship (6:09)
08. Stigmatism (4:02)
09. That Much Music (2:31)
10. Imagined Nations (6:10)
11. Because Of Guns (7:42)
12. Desiring (4:36)

You get the feeling that piansist Vijay Iyer is shifting into a period of transition with the opening track on his new CD, Blood Sutra. "Proximity (Crossroads)" is – uncharacteristicaly for Iyer – a slow tempo bit of introspection, with a swish of brush and stickwork painting washes behind the hard-edged piano notes. But the "Brute Facts" jolts out of the speakers next, in a full frontal assault, in very Iyer-esque fashion. Propulsive, urgent, jarring even, riding a relentless rhythmic momentum, forward, always forward with Iyer.

The pianist is becoming the new standard bearer of the percussive school of playing, and he has picked some very simpatico bandmates to help him push his musical vision out there. As on his ground-breaking Panoptic Modes (Red Giant, 2001), Rudesh Mahanthappa is back blowing alto sax; and his is a rather flat, low resonance tone that compliments Iyer's ringing aggressivness. Stephan Crump is here again, too, on bass, and his sound lends a bit of fluidity and looseness to the drive; while drummer Tysheen Sorey (new to me) asserts his timekeeping chops – no small feat when playing with Iyer.

An initial listen to Blood Sutra had me thinking "no new ground broken here" since Panoptic Modes and You Life Flashes (Pi Records, 2002) by Fieldwork, an Iyer trio vehicle. But a "sit down and concentrate on the sounds" session reveals nuances and subtle shadings creeping in. "A Question of Agency" is particularly interesting with its four way interplay; and "Because of Guns/ Hey Joe Redux" resurrects – in fittingly ominous fashion – the old blues tune, done probably most famously by Jimi Hendrix on his first album.

"Stigmatism" plays as I write this, and Stephan Crump's bass seems to be trying to push Iyer's sharp notes – that the piansist drives down like tent stakes – around, with mixed, but beautiful results. And now "This Much Music" brings Cecil Taylor to mind.

Vijay Iyer evolves in fascinating fashion. ~by Dan McClenaghan

Personnel: Vijay Iyer--piano; Rudresh Mahanthappa--alto sax; Stephan Crump--bass; Tyshawn Sorey--drums

Blood Sutra

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