Ann Richards - I'm Shooting High

Bitrate: MP3@320K/s
Time: 30:30
Size: 69.8 MB
Styles: Vocal jazz
Year: 1958/2005
Art: Front

[1:30] 1. I'm Shooting High
[2:44] 2. Moanin' Low
[2:31] 3. Nightingale
[3:29] 4. Blues In My Heart
[2:44] 5. I've Got To Pass Your House To Get To My House
[2:41] 6. Deep Night
[2:16] 7. Poor Little Rich Girl
[2:59] 8. Should I
[2:03] 9. I'm In The Market For You
[2:22] 10. Absence Makes The Heart Grow Fonder (For Somebody Else)
[2:59] 11. Lullaby Of Broadway
[2:05] 12. Will You Still Be Mine

Ann Richards, only in her early twenties at the time, had already sung with Charlie Barnet and would always be closely associated with Stan Kenton (whom she married and later divorced). Her life was short, but she did record a few albums as a leader, including this one, her debut. Backed by an unidentified big band conducted by Brian Farnon and arranged by Warren Barker, Richards displays an appealing voice and a swinging style. She was best at this point on upbeat material, so the highlights include "I'm Shooting High," "Poor Little Rich Girl" and "Will You Still Be Mine." ~Scott Yanow

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Richard Galliano - New York Tango

Bitrate: MP3@320K/s
Time: 51:41
Size: 118.3 MB
Styles: Avant garde, Accordion jazz
Year: 1996
Art: Front

[5:16] 1. Vuelvo Al Sur
[4:16] 2. Soleil
[4:05] 3. New York Tango
[5:10] 4. Ten Years Ago
[4:16] 5. Fou Rire
[4:56] 6. Sertao
[4:12] 7. A L'encre Rouge
[5:39] 8. Blue Day
[3:49] 9. Perle
[4:04] 10. To Django
[5:54] 11. Three Views Of A Secret

Accordion – Richard Galliano; Bass – George Mraz; Drums – Al Foster; Guitar – Biréli Lagrène. Recorded 11 -13 June 1996 at Clinton Recording Studios (New York).

A fascinating amalgam of personalities and styles, this 1996 release from Franco-Italian accordion virtuoso Richard Galliano achieves a wholly original musical synthesis. Bracketed by an opening track from tango ace Astor Piazzolla and a concluding piece from Jaco Pastorius, the session finds the common ground in such seemingly disparate choices. With nine Galliano originals in between, the result is a cohesive, uncompromising set of performances and an essential work in the leader's discography. The players with Galliano are a combination of Europeans and Americans equally at home in jazz and European folk music. Erstwhile Django Reinhardt prodigy Bireli Lagrene is a key contributor. Having emerged from his mentor's shadow in the late '80s, Lagrene reveals the range of his spectacular talents as a simpatico accompanist, a precise and articulate ensemble player, and a spellbinding soloist. Underscoring his evolution from his gypsy roots, Lagrene, on Galliano's "To Django," actually plays in a Wes Montgomery style or, more accurately, in the style of two or three Wes Montgomerys or Montgomery via Lenny Breau. Czech bassist George Mraz blends with and complements Lagrene so that the pair operates as an actual string section, not merely as bass and guitar. This stellar roster of talent is rounded out by modern drum legend Al Foster, who brings power, subtlety, and a jazz pulse to swing the whole affair. Throughout, the leader is a source -- as a writer, player, and soloist -- of romantic melodies, bright and melancholy, as well as sheer exuberance and technical dazzle, as he taps into the full polyphonic power of his accordion. Listeners who have yet to venture into jazz accordion will find a compelling introduction to the instrument with this set. ~Jim Todd

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Jimmy Smith - Plays The Hits

Bitrate: MP3@320K/s
Time: 41:30
Size: 95.0 MB
Styles: B3 Organ Jazz
Year: 2010
Art: Front

[4:23] 1. Satisfaction
[4:54] 2. Blueberry Hill
[5:00] 3. Chain Of Fools
[4:18] 4. What A Wonderful World
[7:36] 5. Papa's Got A Brand New Bag
[6:37] 6. Funky Broadway
[2:16] 7. Respect
[6:23] 8. Let's Stay Together

Jimmy Smith ignited a jazz revolution on an instrument associated at the time with ballparks, despite never playing one until the age of 28. His legendary multi-part technique on the Hammond B-3 organ, playing bass with the foot pedals and Charlie Parker-like single-line passages with his right hand, shook up the traditional trio as co-players could explore new roles. Yet, while the consensus is Smith's playing is a jazz landmark, his recordings fall short of such acclaim.

There's a sameness to much of his work, and many of his "outside the box" efforts into genres such as fusion and soundtracks are less than stellar. Adding to this discouragement is a number of his best early albums are out of print. Still, it's hard to dispute the more than 100 albums in Smith's discography feature not only a rich collection of commercially popular music, but works of exceptional artistry. ~Mark Sabbatini

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Dave Liebman, Steve Gilmore, Bill Goodwin - Play The Music Of Cole Porter

Bitrate: MP3@320K/s
Time: 65:09
Size: 149.1 MB
Styles: Saxophone jazz
Year: 1992
Art: Front

[4:45] 1. I Love You
[9:13] 2. Dream Dancing
[7:41] 3. Begin The Beguine
[7:28] 4. I've Got You Under My Skin
[6:06] 5. True Love
[4:53] 6. Ridin' High
[5:46] 7. Why Do I Care
[6:46] 8. It's Allright With Me
[6:56] 9. Get Out Of Town
[5:30] 10. In The Still Of The Night

Bass – Steve Gilmore; Drums – Bill Goodwin; Soprano Saxophone [Sax Soprano] – Dave Liebman. Recorded and assembled Red Rock Recording Studio, Snydersville, Pennsylvania, USA - Fall 1988.

Saxophonist and educator David Liebman is a forward-thinking artist whose advanced improvisational style and association with trumpeter Miles Davis in the '70s combined to make him one of the most influential and successful jazz musicians of his generation. Heavily influenced by John Coltrane, Liebman has moved from tenor saxophone to soprano and flute throughout his career and more often than not played in a progressive, post-bop style that touched on fusion and avant-garde jazz.

Born in Brooklyn in 1946, Liebman studied classical piano and saxophone before focusing on jazz — a move he attributes to seeing Coltrane perform live in New York on multiple occasions. He continued his private jazz studies with such artists as Joe Allard, Lennie Tristano, and Charles Lloyd while earning a degree in American History from New York University. After graduating, he focused solely on a career in music and quickly became an active leader in the vibrant late '60s "loft" scene in New York City.

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Almaz Yebio, Aaron Parks - Art Of Song

Bitrate: MP3@320K/s
Time: 42:53
Size: 98.2 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:25] 1. Love
[3:37] 2. Minstrel Man
[3:09] 3. The Birds
[3:13] 4. Elsewhere
[2:32] 5. En Visa Från Roslagen
[3:05] 6. Akvarell
[3:07] 7. Ferry Me Across The Water
[4:06] 8. Omar's Lament
[2:57] 9. An Epitaph
[5:48] 10. Canción De Cuna Para Dormir A Un Negrito
[2:33] 11. Nana
[5:16] 12. Sov

Almaz Yebio: Vocals; Aaron Parks: Piano.

A truly contemporary style, where the essence of the music is all that matters. Where genres are respected but their boundaries explored, where composition and intuition melt together. That is what we searched for, and that is what we believe we’ve found!

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Ari Ambrose - Chainsaw

Styles: Saxophone Jazz 
Year: 1999
File: MP3@320K/s
Time: 71:15
Size: 163,3 MB
Art: Front

( 7:02)  1. Chainsaw
( 9:35)  2. Come Rain Or Come Shine
( 7:52)  3. Blues For Madlong
( 7:50)  4. Ghost Of A Chance
( 6:19)  5. Giant Steps
( 7:49)  6. Think Of One
( 7:21)  7. Zingaro
( 7:10)  8. Wheels
(10:13)  9. Cotton Tail

Ari Ambrose with this his third CD is no longer a new comer who need an introduction. Although he is still young (26) and relatively new on the scene, there is no doubt that here is an artist with tremendous potential. As his former teacher saxophonist Dick Oatts puts it, “ Of all the young talents, his is the one that has given me the most pleasure…a great player….He’s truly immersed himself in the music in the best possible way… ” “ In this impressive leader debut, tenor saxophonist Ari Ambrose steps to the fore as a fully formed stylist. …At 26, the brash New Yorker is a master of his horn …” (Chuck Berg, JazzTimes)

Personnel:  Tenor Saxophone – Ari Ambrose;  Bass – Carlo De Rosa;  Drums – Ari Hoeni;  Piano – Luis Perdomo

Chainsaw

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Arielle Dombasle - Diva Latina

Styles: Vocal, Chanson
Year: 2011
File: MP3@320K/s
Time: 38:59
Size: 90,3 MB
Art: Front

(3:01)  1. Porque Te Vas
(2:56)  2. Mala Vida
(4:06)  3. Hijo De La Luna
(3:06)  4. El Gato Montes
(2:16)  5. Gopher Mambo
(3:42)  6. La Luz
(2:55)  7. Mambo 5
(3:26)  8. La Colegiala
(2:49)  9. Pata Pata
(3:51) 10. Hasta Siempre
(2:54) 11. Salvaje Corazon
(3:50) 12. Yo Le Decia

Influenced by the sounds of her Mexican upbringing, French-American singer/actress Arielle Dombasle's sixth studio album, Diva Latina, features 13 Spanish-language cover versions of her favorite Latin American standards. Produced by Dave Clark, the follow-up to Glamour a Mort features colorful renditions of Lou Bega's "Mambo No.5," Nilda Fernandez's "Yo Lo Decia," and Yma Sumac's "Gopher Mambo," alongside the lead single, an interpretation of Jeanette's "Porque Te Vas," and a collaboration with French MC, Mokobe, on a reworking of Miriam Makeba's "Pata Pata."~ Jon O'Brien https://www.allmusic.com/album/diva-latina-mw0002140753

Diva Latina

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George Coleman, Mike Stern, Ron Carter & Jimmy Cobb - 4 Generations Of Miles

Styles: Saxophone Jazz

Year: 2002

File: MP3@320K/s

Time: 67:04

Size: 154,9 MB

Art: Front

( 9:02)  1. There Is No Greater Love

( 7:03)  2. All Blues

( 7:20)  3. On Green Dolphin Street

( 7:28)  4. Blue In Green

( 6:30)  5. 81

( 6:34)  6. Freddie Freeloader

(10:01)  7. My Funny Valentine

( 8:02)  8. If I Were A Bell

( 5:02)  9. Oleo

George Coleman's muscular tone and passionate manner exemplify the core of Miles Davis' art. Along with Mike Stern, Ron Carter and Jimmy Cobb, the tenor saxophonist performed a tribute to Davis earlier this year, on May 12th. Their approach is straight-ahead and right down the middle. It's a comfortable fit. One look at the song listing and you know right away what this is all about. These are the songs Davis played, and here they're interpreted the way Davis believed in living this music. The four artists are a team. They share Davis' message. Cobb, 73, worked with the trumpeter from 1958 to 1962. Coleman, 67, worked with Davis in 1962 and again from 1963 to 1965. Carter, 65, joined the trumpeter in 1963 and stayed on for five years. Stern, 49, had started out with Blood, Sweat & Tears. His tenure with Davis began in 1981 and extended for two years. Their working experience with Miles Davis appears to have been instrumental in guiding the direction each has taken since then. ~ Jim Santella https://www.allaboutjazz.com/4-generations-of-miles-george-coleman-chesky-records-review-by-jim-santella.php

Personnel: George Coleman- tenor saxophone; Mike Stern- guitar; Ron Carter- bass; Jimmy Cobb- drums

4 Generations Of Miles

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Benny Golson - Up Jumped Benny

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 71:32
Size: 164,8 MB
Art: Front

( 8:48)  1. Up Jumped Spring
( 8:47)  2. Stablemates
( 0:23)  3. Talk Intro
(10:45)  4. Tiny Capers
( 0:24)  5. Talk Intro
(15:22)  6. I Remember Clifford
( 6:32)  7. For Old Time Sake
(10:02)  8. Whisper Not
(10:25)  9. Gypsy Jingle Jangle

Benny Golson had not appeared on an American jazz label in a long time, so Bob Karcy of Arkadia Jazz stepped in where others feared to tread, issuing this live gig from a jazz club somewhere in Switzerland on the last day of a tour. Armed with a rhythm section of competent young players (Kevin Hays, piano; Dwayne Burno, bass; Carl Allen, drums), Golson takes his dusky tenor sax tone frequently into Coltrane extended harmonic country when the tempos are up, his head figuratively in the clouds above the occasionally combustible trio. Yet he also ruminates in an almost withdrawn manner at ballad tempo on a lengthy treatment of his jazz standard "I Remember Clifford," concluding with a quiet solo elegy for Brownie based on a tenor (the vocal species) aria from Puccini's Tosca. Stanley Crouch's liner notes are full of his usual respect-your-elders blather and the sound quality is boxy, but Golson's fans will feel fortunate to have this. ~ Richard S.Ginell https://www.allmusic.com/album/up-jumped-benny-mw0000595037

Personnel: Benny Golson (tenor saxophone); Kevin Hays (piano); Dwayne Burno (bass); Carl Allen (drums).

Up Jumped Benny

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Kenny Burrell - Midnight Blue

Styles: Guitar Jazz
Year: 1963
File: MP3@320K/s
Time: 44:07
Size: 101,2 MB
Art: Front

(5:29)  1. Chitlins con Carne
(6:56)  2. Mule
(2:43)  3. Soul Lament
(4:01)  4. Midnight Blue
(5:48)  5. Wavy Gravy
(4:24)  6. Gee Baby, Ain't I Good to You
(6:17)  7. Saturday Night Blues
(4:44)  8. Kenny's Sound
(3:40)  9. K Twist

This album is one of guitarist Kenny Burrell's best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English, and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You."~ Scott Yanow https://www.allmusic.com/album/midnight-blue-mw0000187778

Personnel: Kenny Burrell (guitar); Stanley Turrentine (tenor saxophone); Major Holley, Jr. (bass); Bill English (drums); Ray Barretto (congas).

Midnight Blue

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Lennie Tristano, Warne Marsh - Intuition

Bitrate: MP3@320K/s
Time: 75:30
Size: 172.9 MB
Styles: Bop, Avant Garde jazz
Year: 1996
Art: Front

[3:34] 1. Smog Eyes
[5:13] 2. Ear Conditioning
[4:30] 3. Lover Man
[4:16] 4. Quintessence
[4:32] 5. Jazz Of Two Cities
[4:20] 6. Dixie's Dilemma
[3:58] 7. Tschaikovsky's Opus #42, Third Movement
[5:01] 8. I Never Knew
[5:14] 9. Ear Conditioning
[4:28] 10. Lover Man
[4:38] 11. Jazz Of Two Cities
[5:08] 12. I Never Knew
[3:19] 13. Wow
[2:48] 14. Crosscurrent
[2:48] 15. Yesterdays
[3:03] 16. Marionette
[2:59] 17. Sax Of A Kind
[2:27] 18. Intuition
[3:05] 19. Digression

Alto Saxophone – Lee Konitz (tracks: 13 to 19);Bass – Arnold Fishkin (tracks: 13 to 19), Ben Tucker (tracks: 1 to 12); Drums – Denzil Best (tracks: 16 to 19), Harold Granowsky (tracks: 13, 14), Jeff Morton (tracks: 1 to 12); Guitar – Billy Bauer (tracks: 13 to 19); Piano – Lennie Tristano (tracks: 13 to 19), Ronnie Ball (tracks: 1 to 12); Tenor Saxophone – Warne Marsh. Lennie Tristano's historic 1949 Capitol sessions with Lee Konitz and Warne Marsh & Marsh's 1956 classic Jazz Of Two Cities.

This CD brings back a formerly rare set by Warne Marsh, plus seven classic performances that serve as the high point of Lennie Tristano's career. Oddly enough, the Tristano date is programmed second. First is a full-length album which matches Warne Marsh with the cooler but complementary tone of fellow tenor Ted Brown (plus pianist Ronnie Ball, bassist George Tucker, and drummer Jeff Morton). The original eight selections are joined by four alternate takes recorded in mono. Marsh and Brown blend together well, Ball has several creative solos, and most of the "originals" are based closely on familiar standards. However, the main reason to acquire this CD is for the seven remarkable Tristano tracks which feature his finest group (consisting of the pianist/leader, altoist Lee Konitz, Marsh on tenor, guitarist Billy Bauer, bassist Arnold Fishkin, and either Harold Granowsky or Denzil Best on drums). Tristano's music was unique and even more advanced than most bop of the late '40s. While he confined the rhythm section to very quiet timekeeping, the vibrato-less horns and Tristano himself played very long melodic lines, constantly improvising. The stunning unisons performed by Konitz and Marsh (particularly on "Wow") still sound remarkable today, as does the interplay of the two horns on "Sax of a Kind." "Intuition" and "Digression" were the first recorded free improvisations in jazz, but are quite coherent due to the musicians' familiarity with each other. Due to the Lennie Tristano performances, this CD reissue (which has over 75 minutes of music) is essential for all jazz collections. ~Scott Yanow

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Janet Seidel - Comme Ci Comme Ca

Bitrate: MP3@320K/s
Time: 54:50
Size: 125.6 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[3:19] 1. And The Angels Sing
[4:05] 2. Dance In The Old Fashioned Way
[4:22] 3. I Wish You Love
[4:07] 4. Once Upon A Summertime
[2:52] 5. Smile
[3:47] 6. Windmills Of Your Mind
[6:03] 7. These Foolish Things
[3:29] 8. C'est Si Bon
[5:41] 9. L'eté 42 (Summer '42)
[3:21] 10. I Will Wait For You
[2:49] 11. A Man And A Woman
[3:22] 12. Tout Doucement
[2:51] 13. Padam
[4:38] 14. J'attendrai

For her sixth release, Australian singer Janet Seidel continues to mine gems from the huge lode of popular music, this time focusing on tunes with a Gallic bent. Several of the tunes on the play list have a French origin, such as "A Man and a Woman" from the 1966 classic French film of the same name and "I Will Wait for You" from the soundtrack to The Umbrellas of Cherbourg. Virtually all of these, including the American pop tunes, are sung in French (like a native) and English. For those who need translating help, the lyrics are printed in both languages in the liner notes. The use of French helps set the intimate tone that is the hallmark of this session. As in all of her albums, Seidel brings some of Australia's finest jazz musicians to the studio with her. The impressive alto and tenor saxophones of Bob Jeffery are present on nine of the 14 tracks. Seidel's favorite piano player, Kevin Hunt, continues his sympathetic support, and brother David Seidel's bass lays down the foundation along with drummer Billy Ross, who's especially adept with the brushes. That this album has a decidedly jazzy flavor throughout is in small part due to Jeffery's sax on such tunes as "Tout Doucement" and "J'attendrai." Whatever language she sings in -- English, French, or anything else -- Janet Seidel makes any song sound better than it should. This album is another winner for her and is recommended. ~Dave Nathan

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Rein De Graaff - Nostalgia

Bitrate: MP3@320K/s
Time: 62:55
Size: 144.0 MB
Styles: Mainstream jazz
Year: 1995
Art: Front

[4:38] 1. How High The Moon
[6:23] 2. Alone Together
[2:32] 3. Afternoon In Paris
[5:52] 4. I Cover The Waterfront
[3:46] 5. Cherokee
[6:02] 6. Au Privave
[8:12] 7. Nostalgia
[7:58] 8. Ablution
[5:48] 9. Lennie's Pennies
[6:25] 10. Dreamstepper
[5:13] 11. Subconscious-Lee

Bass – Koos Seriese; Drums – Eric Ineke; Orchestra – Metropole Orchestra; Piano – Barry Harris; Saxophone – Gary Foster, Marco Kegel.

Dutch self-taught pianist who's made himself one of Europe's best session players. De Graaff led a trio from 1959 to 1962, then joined The Jazzopters for a year. He then headed his own quartet until 1964, at the same time playing with Erwin Some and Gijs Hendriks. De Graaff formed a new group in 1964 that stayed together until the '80s. He also played with a number of visiting American musicians, among them Hank Mobley, Lee Morgan, Johnny Griffin, Art Taylor, Clifford Jordan, Cecil Payne, Dexter Gordon, Clark Terry, Sonny Stitt, Philly Joe Jones and Arnett Cobb. He made several appearances in New York, and was awarded the Dutch National Jazz Prize in 1980. ~ Ron Wynn

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Arturo Serra - Locomotive

Bitrate: MP3@320K/s
Time: 59:54
Size: 137.1 MB
Styles: Vibraphone jazz
Year: 2017
Art: Front

[7:58] 1. Dual Force
[4:27] 2. El Gaucho
[6:02] 3. I Waited For You
[4:06] 4. L's Bop
[5:46] 5. Locomotive
[6:38] 6. Wild Flower
[7:09] 7. Litltte Melonae
[4:50] 8. Rounder's Mood
[6:57] 9. So Far, So Near
[5:56] 10. Giant Steps

Arturo Serra (vibes), Enrique Oliver (tenor sax), José Carra (piano), Bori Albero (bass), Ramon Prats (drums) Recorded at FJR Studios, Granada, December 3, 2015.

Born in Valencia. He had his training as a percussionist in the superior conservatory of Valencia, being his training and his first interventions in classical music. His beginnings in the world of jazz began as part of the Big Band of Sedavi (Valencia). He has studied with professors such as Gary Burton, Ed Saindon, Jerry Bergonzi, David Santoro. He has participated in masters class taught by musicians such as Mulgrew Miller, Pat Metheny, Barry Harris, Kenny Barron, Cedar Walton, Hal Galper, Steve Nelson Frits Landesbergen, Bruce Barth, Jim Snidero etc. He has worked with musicians of international prestige such as; Jerry Bergonzi, Dave Santoro,, Dick Oatts, Joe Magnarelli, Andrea Michelutti etc As national as roger mas, xavi hinojosa, ramon prats, jay foster, marko lohikari, bori albero, david pastor, juan galiardo, pedro cortejosa, jose carra, ernesto aurignac, enrique oliver, francis pose, carlos pino, paco charlin, miquel casany, albert palau, sambeat parakeet, vicente macian, david pastor, julian sanchez, celia mur etc ...

Winner of the first prize of the Jazz Festival of Getxo in 1993. Since these years he works in different formations as well as leading his own group, both quartet and quintet and sextet. Since 1993 he has participated in numerous national festivals as well as teaching jazz improvisation courses throughout the Spanish territory. He is currently a professor of Philharmonic Orchestra of Malaga. (Translated from Spanish.)

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The Temptations - For Lovers Only

Bitrate: MP3@320K/s
Time: 57:41
Size: 132.1 MB
Styles: Soul
Year: 1995
Art: Front

[5:24] 1. Some Enchanted Evening
[5:48] 2. I've Grown Accustomed To Her Face
[4:32] 3. At Last
[3:54] 4. Night And Day
[4:59] 5. Time After Time
[1:22] 6. Melvin's Interlude
[4:25] 7. Life Is But A Dream
[6:26] 8. What A Difference A Day Makes
[5:15] 9. I'm Glad There Is You
[0:58] 10. South Shell Interlude
[4:40] 11. That's Why (I Love You So)
[5:59] 12. Medley For Your Love You Send Me
[3:54] 13. Night And Day (Remix)

The Temptations that made For Lovers Only in 1995 were far from the group that stormed the charts in the '60s and '70s--only baritone Otis Williams remained from the original lineup (he gets all of one lead vocal here), and they were still shaken by the recent death of founding bass man Melvin Franklin. So they went back to first principles--the radiant close harmonies, each voice leaning on the others, that have been their secret weapon from the beginning--and beyond, to pop standards of the 1930s, '40s, and '50s. The album's synthy instrumental arrangements already sound dated (especially a G-funk take on "Time After Time"), despite respectful cameos from Milt Jackson and Stevie Wonder. But the singing (most of the leads are handled by Ali-Ollie Woodson and Ron Tyson, who both joined in the '80s) is splendid: rough-edged and vulnerable, audibly taking refuge in standards like "Night and Day," recasting familiar lyrics about romance as wrenching eulogies. This reissue adds a remix of "Night and Day" that originally appeared on the What Women Want soundtrack to the original track listing as well as new liner notes. ~Douglas Wolk

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George Shearing - Tippin' In

Bitrate: MP3@320K/s
Time: 85:51
Size: 196.5 MB
Styles: Piano jazz
Year: 2018
Art: Front

[2:27] 1. Mambo In Chimes
[4:18] 2. Darn That Dream
[2:41] 3. Young And Foolish
[2:43] 4. One Note Samba
[2:35] 5. Basie's Masement
[2:43] 6. As I Love You
[2:42] 7. Let There Be Love
[2:59] 8. High On A Windy Hill
[2:21] 9. Lullaby Of Birdland
[2:46] 10. If I Had You
[4:49] 11. Little White Lies
[2:32] 12. All Too Soon
[2:34] 13. For Every Man There's A Woman
[2:35] 14. Black Satin
[3:46] 15. Double Deal
[2:51] 16. Isn't It Romantic
[2:47] 17. If
[3:08] 18. Pick Yourself Up
[2:29] 19. Autumn Leaves
[3:32] 20. Bernie's Tune
[3:14] 21. Guilty
[3:58] 22. Caravan
[2:47] 23. You Came A Long Way From St. Louis
[4:17] 24. Joy Spring
[2:50] 25. On The Street Where You Live
[3:27] 26. Fly Me To The Moon
[2:53] 27. Baubles, Bangles And Beads
[2:53] 28. A Tune For Humming

George Shearing enjoys an international reputation as a pianist, arranger and composer. Equally at home on the concert stage as in jazz clubs, Shearing is recognized for inventive, orchestrated jazz. He has written over 300 compositions, including the classic “Lullaby of Birdland,” which has become a jazz standard.

Shearing was born in 1919 in the Battersea area of London. Congenitally blind, he was the youngest of nine children. His father delivered coal and his mother cleaned trains at night after caring for the children during the day. His only formal musical education consisted of four years of study at the Linden Lodge School for the Blind. While his talent won him a number of university scholarships, he was forced to refuse them in favor of a more financially productive pursuit…playing piano in a neighborhood pub for the handsome salary of $5 a week! Shearing joined an all-blind band in the 1930’s. At that time he developed a friendship with the noted jazz critic and author, Leonard Feather. Through this contact, he made his first appearance on BBC radio.

In 1947, Mr. Shearing moved to America, where he spent two years establishing his fame on this side of the Atlantic. The Shearing Sound commanded national attention when, in 1949, he gathered a quintet to record “September in the Rain” for MGM. The record was an overnight success and sold 900,000 copies. His U.S. reputation was permanently established when he was booked into Birdland, the legendary jazz spot in New York. Since then, he has become one of the country’s most popular performing and recording artist. In 1982 and 1983 he won Grammy Awards with recordings he made with Mel Torme. Mr. Shearing was the subject of an hour-long television documentary entitled “The Shearing Touch” presented on the Southbank Show with Melvyn Bragg on ITV in the UK.

Three presidents have invited Mr. Shearing to play at the White House.. Ford, Carter and Reagan. He performed at the Royal Command Performance for Queen Elizabeth II and Prince Philip. He is a member of the Friars Club and the Lotos Club in New York and the Bohemian Club in San Francisco.

Tippin' In mc
Tippin' In zippy

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Stephen Riley - Lucky Seven

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 62:46
Size: 143,9 MB
Art: Front

( 7:19)  1. Heigh Ho, The Gang's All Here
( 9:11)  2. Dance Cadaverous
( 9:07)  3. Lovely To Look At
( 9:51)  4. 26-2
( 9:38)  5. Sandu
(10:27)  6. Try To Forget
( 7:10)  7. Lucky Seven

“…Playing jazz is not simply about mood, emotion, creativity; it has technical aspects reliable reed did it’s job to perfection and a further challenging chapter in the musical Life of Riley was written.” ~ Mark Gardner

"Stephen is an impressive player, with his own approach, his own sound and the conviction to keep it that way: he shows that it's possible to create something unique at this time. 5  Stars." ~ Lew Tabackin

Personnel:  Stephen Riley , tenor saxophone;  Ernest Turner, piano;  Neil Caine, bass;  Jason Marsalis, drums

Lucky Seven

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Nancy Sinatra - You Go-Go Girl!

Styles: Vocal
Year: 1965
File: MP3@320K/s
Time: 45:52
Size: 106,9 MB
Art: Front

(2:30)  1. How Does That Grab You, Darlin'?
(3:01)  2. Day Tripper
(2:46)  3. The Last Of The Secret Agents
(2:57)  4. Your Groovy Self
(2:40)  5. In Our Time
(3:15)  6. Love Is Strange
(2:50)  7. Call Me
(3:22)  8. Good Time Girl
(2:57)  9. Sorry 'Bout That
(3:13) 10. Zodiac Blues
(2:57) 11. You Only Live Twice
(2:51) 12. The City Never Sleeps At Night
(3:07) 13. So Long, Babe
(2:31) 14. Happy
(2:04) 15. Geronimo
(2:44) 16. These Boots Are Made For Walkin'

Although it's missing her duet with her dad on "Something Stupid," this 16 track collection is just about all the Nancy Sinatra you'll ever need for the collection, as it covers all the bases from her truncated, but highly successful, career. Pitting the hits against album cuts and movie soundtrack entries, this shows that Nancy had a flair for putting over a song with a strong sexual undertone, doing it back in the mid 60s when such trailblazing was more open to criticism. Includes "These Boots Are Made For Walkin'," "How Does Grab You, Darlin'?," "The Last Of The Secret Agents," You Only Live Twice," "Geronimo," and "Love Is Strange." ~ Cub Koda https://www.allmusic.com/album/you-go-go-girl-mw0000669560

You Go-Go Girl!

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Rick Braun - Can You Feel It

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 49:13
Size: 113,7 MB
Art: Front

(4:06)  1. Can You Feel It
(4:26)  2. Back to Back
(4:35)  3. Take Me to the River
(4:09)  4. Mallorca
(4:25)  5. Get up and Dance
(4:57)  6. Another Kind of Blue
(4:11)  7. Delta
(5:35)  8. Silk
(3:52)  9. Radar
(4:39) 10. The Dream
(4:13) 11. Dr. Funkenstein

Celebrated trumpeter Rick Braun's release can you feel it is aptly titled. The veteran purveyor of the smooth jazz sound does not disappoint on his latest offering. Some of Braun's musical friends on this eleven song collection include: Brian Culbertson-piano, Euge Goove-tenor sax, Jeff Lorber-keyboards and guitar, Dave Koz-tenor sax, and Nate Phillips-bass.  In typical Braun fashion, the entire record production is clean and at a high standard. The title and first track "Feel It" has a breezy summer's day sensitivity to it that should put you in a relaxed state of mind. On the second song "Back To Back," the dependable band led by Braun, continues to roll along in the groove established by the opening track.

The popular trumpeter provides a pleasant surprise with Al Green's 1974 gospel flavored hit "Take Me To The River." This is the sole vocal track presented here with a cool Braun intro and Elliot Yamin's bouncy interpretation of this soul/gospel classic. (Bryan Ferry, Levon Helm, Talking Heads and Foghat also recorded the song.) The Braun/Harner composition "Get Up And Dance" is another fine example of Braun's signature sound. The horns are clear with the trumpet and saxophone working competently together. "Another Kind Of Blue" is a mellow ballad delivered with Braun's lonely flugelhorn, giving the song a nice melancholy tinge. "Radar" is approached with the easy alacrity that Braun has consistently demonstrated throughout his long career. "Mallorca," "Delta," "Silk," and "The Dream" help contribute to the CD's overall ambience. The album closes strongly with the Braun/Phillips/Gonzalez song "Dr. Funkenstein." In addition to the horns, the very capable rhythm section gets to stretch out. Bass and drums are prominent on the finale that actually rocks. This stand out tune is a great way to conclude Braun's latest record.  Successful songwriter/multi instrumentalist Rick Braun has recorded and produced another polished disc to add to your contemporary jazz collection. Braun's can you feel it will appeal to his loyal fans and supporters of the smooth jazz genre. ~ Walter Atkins https://www.allaboutjazz.com/can-you-feel-it-rick-braun-artistry-music-review-by-walter-atkins.php

Personnel: Rick Braun, trumpets, trombone, flugelhorn and keyboards; Brian Culbertson, piano; Phil Davis, piano; Brandon Fields, tenor and baritone sax; Mike Finnigan, Hammond B3; Richard Fremont, flute; John Gilutin, Hammond B3; Sergio Gonzalez, drums; Euge Goove, tenor sax; Adam Hawley, guitar; Randy Jacobs, guitar; Nathaniel Kearny Jr, bass; Dave Koz, tenor sax; Braylon Lacey, bass; Jeff Lorber, keyboards and guitar; Tony Moore, drums; Nate Phillips, bass; Frank Richardson, drums; Philippe Saisse, keyboards; Freddie Washington, bass; Elliot Yamin, vocals; Ramon Yslas, percussion

Can You Feel It

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Patrick Bradley - Can You Hear Me

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 47:06
Size: 108,8 MB
Art: Front

(4:58)  1. All In
(4:00)  2. Blue Skies (Feat. Eric Marienthal)
(5:01)  3. North Of Evermore (Feat. Jeff Lorber, Michael Thompson & Jimmy Hasslip)
(5:04)  4. Can You Hear Me (Feat. Dave Koz)
(4:27)  5. Daylight (Feat. Eric Marienthal & Dwight Sills)
(4:35)  6. Shoreline (Feat. Eric Marienthal)
(5:01)  7. Catalan (Feat. Jeff Lorber & Eric Marienthal)
(4:49)  8. For Her
(4:36)  9. Sierra (Feat. Dwight Sills)
(4:31) 10. Voyage (Feat. Rick Braun)

Can You Hear Me is Patrick Bradley’s third solo release. Bringing Bradley’s music to life are top flight musicians such as saxophonists Eric Marienthal (Chick Corea Elektric Band) and Dave Koz, trumpeter Rick Braun, guitarists Michael Thompson and Dwight Sills, bassist Jimmy Haslip (formerly of the Yellowjackets) and drummer Gary Novak. At the helm of it all is prolific producer/composer/keyboardist Lorber who Bradley swears fits his musicality like a glove. Collaborating on their second album together, Bradley and Lorber composed and arranged all ten songs on “Can You Hear Me.” Bradley nimbly emotes graceful harmonies on piano, adds depth and texture via Moog synthesizer embellishments and uncorks feverish organ blasts with reckless abandon when the mood to pontificate strikes. A variety of jazz visages fusion, contemporary and smooth emerge from tracks rooted in R&B that reflect prisms of funk, soul and blues with the deep-pocketed grooves stitched by bassist Jimmy Haslip and drummer Gary Novak. David Mann’s fiery horns and crisp horn arrangements fatten the sound on “Blue Skies,” “Daylight,” “For Her” and “Voyage” with hitman Rick Braun captured blowing away on trumpet on a pair of cuts (“Blue Skies” and “Voyage”) and Eric Marienthal chiming in some swinging sax on a few numbers (“Blue Skies,” “Shoreline” and “Catalan”). Lorber’s keyboard and Dwight Sills’ guitar riff rhythmically throughout the session with Sills and guitarist Michael Thompson dousing kerosene before slash and burn solos. Both Bradley and Lorber solo on the blistering progressive rock thrill ride “North Of Evermore.” The first radio single “Can You Hear Me” featuring Dave Koz on soprano sax is a beautiful melody written for Bradley’s mother who passed away in 2008.  “I’ve been playing my whole life and I’m trying to be heard in this noisy world as a musician. My mom passed before hearing my last album (“Under The Sun”) including the song I wrote for my (late) father (“Tears From The Sky”). I wonder if she can hear me and my music. I wrote ‘Can You Hear Me’ with her in mind” said Bradley, a man of faith who hails from Southern California. https://store.cdbaby.com/cd/patrickbradley4

Can You Hear Me

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