Bob Dylan - Highway 61 Revisited

Bitrate: MP3@320K/s
Time: 50:58
Size: 116.7 MB
Styles: Album rock, AM Pop
Year: 1965/2014
Art: Front

[ 6:07] 1. Like A Rolling Stone
[ 4:04] 2. It Takes A Lot To Laugh, It Takes A Train To Cry
[ 5:55] 3. Tombstone Blues
[ 3:15] 4. From A Buick 6
[ 5:56] 5. Ballad Of A Thin Man
[ 5:26] 6. Queen Jane Approximately
[ 3:26] 7. Highway 61 Revisited
[ 5:27] 8. Just Like Tom Thumb's Blues
[11:19] 9. Desolation Row

Taking the first, electric side of Bringing It All Back Home to its logical conclusion, Bob Dylan hired a full rock & roll band, featuring guitarist Michael Bloomfield, for Highway 61 Revisited. Opening with the epic "Like a Rolling Stone," Highway 61 Revisited careens through nine songs that range from reflective folk-rock ("Desolation Row") and blues ("It Takes a Lot to Laugh, It Takes a Train to Cry") to flat-out garage rock ("Tombstone Blues," "From a Buick 6," "Highway 61 Revisited"). Dylan had not only changed his sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster. Throughout the album, he embraces druggy, surreal imagery, which can either have a sense of menace or beauty, and the music reflects that, jumping between soothing melodies to hard, bluesy rock. And that is the most revolutionary thing about Highway 61 Revisited -- it proved that rock & roll needn't be collegiate and tame in order to be literate, poetic, and complex. ~Stephen Thomas Erlewine

Highway 61 Revisited mc
Highway 61 Revisited zippy

---

Dan Barrett - Harlem 2000

Bitrate: MP3@320K/s
Time: 77:48
Size: 178.1 MB
Styles: Trombone jazz
Year: 2009
Art: Front

[3:43] 1. Beyond The Blue Horizon
[7:39] 2. Four Or Five Times
[3:58] 3. Dreamy Mood
[4:14] 4. It's Been So Long
[4:41] 5. Solid Old Man
[4:17] 6. Angel's Idea
[4:22] 7. Echoes Of Harlem
[4:16] 8. Haven't Named It Yet
[6:20] 9. Drop Me Off In Harlem
[3:21] 10. Body And Soul
[5:29] 11. Harlem Sundown
[4:18] 12. I May Be Wrong
[5:04] 13. B-Flat Swing
[6:15] 14. Synthetic Love
[3:36] 15. A Lull At Dawn
[6:10] 16. Till Tom Special

Nothing pleases the straight-ahead jazz fan more than a long set of well-known and obscured classics played with integrity, soul, and swing by an ensemble of tight musicians, and this fills that bill in spades. Recorded over three days at a studio in Hamburg, the trumpeter and his merry men roll hard and brassy over the feisty rhythms of Christian Ramond (bass) and Oliver Mewes (drums) on such gems as "Beyond the Blue Horizon" and the Lionel Hampton-Charlie Christian classic "Haven't Named It Yet." There's lots of variety and joyful mood-swinging between the New Orleans-flavored "Four or Five Times" (with Engelbert Wrobel's whimsical clarinet) and the lighthearted, muted trumpet-driven romance "Dreamy Mood." The recording derives its name from its inclusion of two Duke Ellington classics, which give pianist Chris Hopkins (who wrote the colorful liner notes) some strong moments to shine: the mysterious "Echoes of Harlem" and the perky "Drop Me off in Harlem." You'll be glad you got off the bus. ~Jonathan Widran

Harlem 2000 

---

Cris Delanno, Nelson Faria - Bossa Is Her Name

Bitrate: MP3@320K/s
Time: 35:49
Size: 82.0 MB
Styles: Brazilian jazz, Bossa Nova
Year: 2018
Art: Front

[4:04] 1. Cry Me A River
[3:34] 2. I Should Care
[3:21] 3. I'm In The Mood For Love
[1:56] 4. I'm Glad There Is You
[2:04] 5. Can't Help Lovin' That Man
[2:13] 6. I Love You
[2:34] 7. Say It Isn't So
[2:27] 8. It Never Entered My Mind
[2:32] 9. Easy Street
[2:02] 10. 's Wondeful
[2:54] 11. No Moon At All
[3:17] 12. Laura
[2:45] 13. Gone With The Wind

About Cris Delanno: Born in the U.S. but raised in Brazil, Cris Delano began singing in a children's chorus before becoming a backup vocalist for local numbers. In 1999, she published a book called Mais Nunca E Preciso Cantar (More Than Ever Is Necessary to Sing). Delano made her debut with Em Tom Maior, a tribute to local star Tom Jobim. The album was produced in 2000 by composer/arranger Roberto Menescal, founder of Brazilian label Albatroz. The independent Filha Da Pátria followed in 2001. ~ Drago Bonacich

Nelson Faria, one of the best guitarists of his generation, recorded and performed with some of Brazil's biggest artists, like Milton Nascimento, Edu Lobo, Cássia Eller, Nana Caymmi, Zélia Duncan, João Bosco, Wagner Tiso, and Toninho Horta, among others. Faria worked with Leila Pinheiro on the show Na Ponta da Língua, with Paulo Moura's septet on the show Rapsody in Bossa, and with Baby Do Brasil on her show Acústico. He released his first solo CD in 1993, Ioiô (Perfil Musical). With José Namen, Marcos Suzano, and Bororó, Faria recorded Beatles, Um Tributo Brasileiro. He recorded Janelas Abertas with Carol Saboya and Três/Three with Nico Assumpção and Lincoln Chieb. With Nico Assumpção, Carlos Malta, and Lincoln Cheib, he formed the group Ninho de Vespas. Faria studied at the Guitar Institute of Technology (Hollywood, CA) with Joe Diorio, Joe Pass, Scott Henderson, and Frank Gambale for one year, taking contemporary harmony and guitar classes with Ted Greene. He has developed music workshops throughout Brazil and the U.S., having recorded the first videoclass produced in Brazil for Giannini Instruments, Toque de Mestre, as well as the video Ginga Brasileira with Antônio Adolfo, released abroad as Secrets of Brazilian Music. Faria also wrote the books A Arte da Improvisação (Lumiar Editora) and The Brazilian Guitar Book (Sher Music Co.). ~Alvaro Neder

Bossa Is Her Name mc
Bossa Is Her Name zippy

---

Brass Band Bürgermusik Luzern, Ludwig Wicki - Brazz

Bitrate: MP3@320K/s
Time: 65:32
Size: 150.0 MB
Styles: Brass band
Year: 1999
Art: Front

[ 9:51] 1. An Ellington Portrait
[ 5:05] 2. Here's That Rainy Day
[ 3:47] 3. Jersey Bounce
[ 9:56] 4. A Touch Of Mancini
[ 4:15] 5. Am I Blue
[ 3:02] 6. It Don't Mean An Thing
[ 3:27] 7. Three Kings Swing
[ 3:01] 8. Light Walk
[ 4:55] 9. Minuano
[12:01] 10. Journeys
[ 6:06] 11. Riverdance

Brassband Bürgermusik Luzern (BML) has its roots in the 19th Century, but was formed officially in 1922. Since 1967 BML have played in brass band formation. In recent years, the band has enjoyed continued success and achieved high placings in various competitions.

Brazz mc
Brazz zippy

---

Bruce Barth - Somehow It's True

Bitrate: MP3@320K/s
Time: 57:31
Size: 131.7 MB
Styles: Bop, Piano jazz
Year: 2000
Art: Front

[ 0:34] 1. Criss Cross
[10:06] 2. Tom Tom Thing
[ 7:45] 3. Estate
[ 5:15] 4. Somehow It's True
[ 5:59] 5. Solitude
[ 0:32] 6. Criss Cross
[ 9:17] 7. Triste
[ 6:47] 8. Light Blue
[ 0:34] 9. Criss Cross
[ 6:16] 10. We See
[ 1:32] 11. Solitude
[ 2:50] 12. Criss Cross

Bruce Barth's third Double-Time release features Terell Stafford on trumpet and flugel, Adam Kolker on tenor and soprano sax (and alto clarinet), Ugonna Okegwo on bass, Duduka DaFonseca on percussion, and Billy Hart on drums. In a rather ingenious move, Barth intersperses three 30-second solo piano takes of Monk's "Criss Cross" throughout the program, finally giving us a nearly full-length take as the finale. Furthering the Monk theme, he also offers a trio rendition of "We See" and a full-band version of "Light Blue." Two standard bossas also appear: a mellow trio reading of "Estate" and a lively take on Jobim's "Triste" in seven. There are only three Barth originals, but they range widely, from the 6/8 modal fury of "Tom Tom Thing" to the melodic solo piano feature "Somehow It's True" to the quasi-free-form "Solitude," the last of which is reprised toward the end of the program. The consistently stellar playing and the uncommon conceptual moves make this one of Barth's most refreshing efforts to date. ~David R. Adler

Somehow It's True mc
Somehow It's True zippy

---

Various - Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1

Bitrate: MP3@320K/s
Time: 68:21
Size: 156.5 MB
Styles: Soul jazz
Year: 2012
Art: Front

[6:48] 1. B. Baker Chocolate Company - Snowblower
[5:01] 2. Dr. Lonnie Smith - Dreamer
[5:40] 3. Dr. Lonnie Smith - Carousel
[6:38] 4. Joe Thomas - Plato's Retreat
[5:47] 5. Joe Thomas - Masada
[4:38] 6. Joe Thomas - Poinciana
[4:44] 7. Joe Thomas - Gemini Flyin' High
[2:32] 8. O'Donel Levy - Where Is The Love
[4:40] 9. O'Donel Levy - People Make The World Go Round
[3:42] 10. O'Donel Levy - I Want To Make It With You
[6:04] 11. Dr. Lonnie Smith - Keep On Lovin
[6:07] 12. Dr. Lonnie Smith - Sweet Honey Wine
[5:54] 13. Dr. Lonnie Smith - Journey To Within

Soul-Jazz, which was the most popular jazz style of the 1960s, differs from bebop and hard bop (from which it originally developed) in that the emphasis is on the rhythmic groove. Although soloists follow the chords as in bop, the basslines (often played by an organist if not a string bassist) dance rather than stick strictly to a four-to-the bar walking pattern. The musicians build their accompaniment around the bassline and, although there are often strong melodies, it is the catchiness of the groove and the amount of heat generated by the soloists that determine whether the performance is successful. Soul-jazz's roots trace back to pianist Horace Silver, whose funky style infused bop with the influence of church and gospel music, along with the blues. Other pianists who followed and used similar approaches were Bobby Timmons, Junior Mance, Les McCann, Gene Harris (with his Three Sounds), and Ramsey Lewis. With the emergence of organist Jimmy Smith in 1956 (who has dominated his instrument ever since), soul-jazz organ combos (usually also including a tenor, guitarist, drummer, and an occasional bassist) caught on, and soulful players became stars, including Brother Jack McDuff, Shirley Scott, Jimmy McGriff, Charles Earland, and Richard "Groove" Holmes, along with such other musicians as guitarists Grant Green, George Benson and Kenny Burrell; tenors Stanley Turrentine, Willis "Gator" Jackson, Eddie "Lockjaw" Davis, David "Fathead" Newman, Gene "Jug" Ammons, Houston Person, Jimmy Forrest, King Curtis, Red Holloway, and Eddie Harris; and altoist Hank Crawford. Despite its eclipse by fusion and synthesizers in the 1970s, soul-jazz has stayed alive and made a healthy comeback in recent years. ~AMG

Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1 mc
Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1 zippy

---

Bob Dorough - Live at the Deer Head Inn

Styles: Vocal And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 59:13
Size: 136,1 MB
Art: Front

(0:18)  1. Announcement by Denny Carrig
(5:58)  2. The Touch of Your Lips
(7:50)  3. Flamingo
(5:45)  4. Learnin' the Blues
(4:47)  5. Casanova's Lament
(5:48)  6. Wily Wily Woman
(2:59)  7. Alfie
(6:28)  8. It's Bound to End in Tears
(8:07)  9. The Sweetest Sounds
(5:38) 10. Summer Solstice
(5:30) 11. Devil May Care

The oldest continuously running jazz club in America isn’t in New York, Chicago or New Orleans but in the Delaware Water Gap of Pennsylvania, where for nearly seven decades the Deer Head Inn has hosted everyone from Stan Getz to Keith Jarrett. If the Deer Head can claim a resident headliner, it is surely Bob Dorough, who, nearing 94, still makes regular appearances. This particular set, featuring trio-mates Steve Berger (guitar) and Pat O’Leary (bass), plus two special guests, was captured on Dec. 12, 2015, Dorough’s 92nd birthday. Dorough’s rank among the sharpest songwriters of his (or any) generation is beyond question, as is his prowess as a pianist. As a singer he is utterly unique, a peerless blend of grit and charm, imps dancing with angels. And Dorough is superb at shaping set lists, as evidenced here with a marvellous intermingling of Richard Rodgers, Bacharach and David, Ray Noble, Jack Teagarden and originals familiar (“Devil May Care”), new (the beautifully contemplative “Summer Solstice”), witty (“Wily Wily Woman”) and sly (“It’s Bound to End in Tears,” co-written with the equally crafty Fran Landesman). Ever the gentleman, Dorough leaves plenty of room for laudable contributions from across the bandstand, including daughter Aralee’s keenly navigated, three-and-a-half-minute flute intro to “Flamingo,” thoughtful solos from O’Leary and Berger on Rodgers’ wishful “The Sweetest Sounds” and, on harmonica, Larry Fink’s bluesy, mischievous propulsion of “Wily Wily Woman.”~ Christopher Loudon https://jazztimes.com/reviews/vox/bob-dorough-live-deer-head/

Personnel:  Bob Dorough - piano, vocals;  Steve Berger - guitar;  Pat O'Leary - bass;  Aralee Dorough - flute;  Larry Fink - harmonica.

Live at the Deer Head Inn

---

Polly Gibbons - Many Faces of Love

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 66:04
Size: 152,2 MB
Art: Front

(6:05)  1. Please Send Me Someone To Love
(6:09)  2. Love Me Like A Song
(4:51)  3. So Good
(4:06)  4. Make It Last
(4:49)  5. That's Enough For Me
(6:11)  6. Not Like This
(5:39)  7. City Lights
(4:47)  8. After Hours
(4:43)  9. Since I Fell For You
(5:12) 10. Company
(7:11) 11. I Have the Feeling I've Been Here Before
(6:17) 12. Love Comes and Goes

Polly Gibbons is hardly the first female vocalist to bend an album to the arc of a love affair, but her navigation of an infatuation-to-rebound storyline is among the smartest. Though new to American audiences, the 30-year-old Gibbons, whose dusky style hints at the great Cleo Laine, has deservedly earned hearty kudos in her native England. And she attracts all-star accompanists, including two from the Tierney Sutton Band, drummer Ray Brinker and bassist Kevin Axt; longtime Diana Krall guitarist Anthony Wilson; violinist Christian Howes; and, as leader and sole arranger, pianist Tamir Hendelman. Gibbons is also a gifted songwriter, but here opts for an eclectic assortment of pop, jazz and soul covers. Her romantic loop begins with an Axt-propelled reading of Percy Mayfield’s “Please Send Me Someone to Love,” progressing to the laidback contentment of Al Jarreau’s “So Good” and Bob Haymes’ “Make It Last” and the sensuous fulfillment of Patti Austin’s “That’s Enough for Me.” Breakup ensues, defined by the Jarreau-associated tearjerker “Not Like This” and Dr. John’s drown-your-sorrows “City Lights.” Regret follows, the ebony dejection of “Since I Fell for You” paired with Rickie Lee Jones’ ruminative “Company.” Finally, rounding remorse’s curve, comes the discernment of Roger Kellaway and Alan and Marilyn Bergman’s “I Have the Feeling I’ve Been Here Before” and clear-eyed wisdom of British songwriter Carroll Coates’ “Love Comes and Goes.”~ Christopher Loudon https://jazztimes.com/reviews/albums/polly-gibbons-many-faces-of-love/

Many Faces of Love

---

Pasadena Roof Orchestra - Breakaway

Styles: Big Band
Year: 1991
File: MP3@320K/s
Time: 57:19
Size: 132,2 MB
Art: Front

(3:20)  1. Breakaway
(2:54)  2. Jeepers Creepers
(3:01)  3. Piccolo Pete
(3:32)  4. The Very Thought of You
(3:18)  5. The Continental
(3:27)  6. Temptation Rag
(3:11)  7. Sweet Georgia Brown
(5:01)  8. Ain't Misbehavin'
(3:02)  9. Play That Hot Guitar
(3:44) 10. Rockin' Chair
(3:04) 11. That's A Plenty
(2:55) 12. Zing! Went the Strings of My Heart
(3:51) 13. Tom Thumb's Drum
(3:09) 14. Love Is Good for Anything That Ails You
(3:21) 15. Stompin' at the Savoy
(3:40) 16. Just One More Chance
(2:38) 17. The Man From the South

The Pasadena Roof Orchestra was formed in Nov. 1969 by Johnny Arthy, a lover of 1920's jazz who sought to lead a dance-oriented jazz-influenced big band specializing in music from the 1923-37 period. The British band gained its name because Arthy liked the obscure song "Pasadena." The orchestra had its first gig in April 1970 and soon Arthy came across a windfall, 1, 500 original arrangements from the 1920's practically given away by an elderly lady whose father had been musical director of a dance band in the twenties. The P.R.O. started out playing once a week but, after the success of their first album in 1974, they turned professional and began working much more often. A European tour in 1975 added to the group's momentum and since then they have worked constantly and recorded fairly regularly (in the early days for Transatlantic and later on mostly for their own P.R.O. label). No famous soloists are among their alumni since the Pasadena Roof Orchestra is very much a dance band, but the group has long featured colorful ensembles, period vocals and brief individual spots, very much in the early pre-swing style which they treat with great respect. ~ Scott Yanow https://itunes.apple.com/us/album/breakaway/1190860175

Breakaway

---

Vincent Ingala - Can't Stop Now

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 37:30
Size: 90,7 MB
Art: Front

(4:15)  1. Can't Stop Now
(4:16)  2. If I Could Fly
(4:22)  3. Read Between the Lines
(4:19)  4. Wish I Was There
(4:05)  5. Kimi Trick (feat. Jonathan Fritzen)
(3:38)  6. This Time Baby
(4:02)  7. Groovin' U (feat. Gregg Karukas)
(4:04)  8. Sexy Mama
(4:24)  9. Just Imagine

Though by the 2010s, the terrestrial smooth jazz radio format was long on the wane and most of the festivals and cruises were headlined by previously established A-listers, a batch of promising younger talents began popping up a new generation of funk-filled "smoothies" who could keep the grooves and melodies hopping, with the potential to attract younger fans. Among the most dynamic of these was Vincent Ingala, whose rise in the genre as an indie artist was probably destined from the time he was 16 and asked to open a show for genre superstar Dave Koz. His second album, Can't Stop Now, is full of infectious melodies, irresistible pocket grooves, and a sense of self-assurance that bodes well for the multi-talented saxophonist to create his own destiny as an artist, no matter the fortunes of the format itself. One of the ways new fans can tell when a young urban jazz artist is going places is his ability to get well-established genre artists to collaborate with him. In this case, he hits the trifecta of keyboardists Jonathan Fritzen (the elegantly soulful, midtempo duet "Kimi Trick") and Gregg Karukas (the soulful, eloquently tropical "Groovin' U"), and saxman/superproducer Darren Rahn, who lends his mixing expertise. Key tracks that dig deep enough to be emotional but are light enough for extensive radio play are the opening title track and the bouncy, danceable "Wish I Was There," both of which feature the extra sizzle of horn doubling on the hook. Another score for Ingala is his unique choice of R&B cover tunes (in a genre where most artists aim for the obvious when they do this). He mines funky jamming gold from the O'Jays' "This Time Baby" and gets gritty yet sexy on a fresh take on the Moments' "Sexy Mama" both of which define an era but could use some fresh appreciation by the likes of a hot young artist like Ingala. The title of the album says it all about the momentum he achieves with this solid set. ~ Jonathan Widran https://www.allmusic.com/album/cant-stop-now-mw0002404596

Can't Stop Now

---

Teddy Wilson - Interaction

Bitrate: MP3@320K/s
Time: 36:17
Size: 83.1 MB
Styles: Swing, Piano jazz
Year: 1995/2017
Art: Front

[2:03] 1. If Dreams Came True
[3:07] 2. Untitled
[2:52] 3. After You've Gone
[2:25] 4. Sweet Lorraine
[3:06] 5. Red Bank Boogie
[3:02] 6. How High The Moon
[3:12] 7. Tea For Two
[4:19] 8. The Way You Look Tonight
[3:47] 9. Stompin' At The Savoy
[3:19] 10. You're My Favorite Melody
[4:58] 11. The Sheik Of Araby

Bass – Oscar Pettiford; Clarinet – Edmond Hall; Drums – Morey Feld, Big Sid Catlett, Specs Powell; Guitar – Remo Palmieri; Piano – Teddy Wilson; Trombone – Benny Morton; Trumpet – Charlie Shavers, Cootie Williams, Roy Eldridge; Vibraphone – Red Norvo. Recorded June 15 & December 22, 1944, these recording were made for broadcasts.

The tracks on this album were recorded between June 15 and December 22, 1944. Featured in these great sessions are Teddy Wilson on piano; Roy Eldridge, Charlie Shavers and Cootie Williams on trumpet; Benny Morton on trombone; Edmund Hall on clarinet; Red Norvo on vibraphone; Remo Palmieri on guitar; Al Hall, Oscar Pettitford and Slam Stewart on bass; and Big Sid Catlett, Morey Feld and Specs Powell on drums. What all-star swinging lineups.

This is brilliant music. Note that there is actually an untitled Track 2, which is a great tune, bringing the total number of tracks to 11. Highly recommended. ~Jack J. Bieler

Interaction mc
Interaction zippy

---

Lori Carsillo - A Dream Or Two

Bitrate: MP3@320K/s
Time: 30:40
Size: 70.2 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[4:24] 1. Alone Together
[3:58] 2. Key Largo
[6:31] 3. There's No You
[4:28] 4. Lullaby Of The Leaves
[4:10] 5. Slow, Hot Wind
[3:06] 6. What'll I Do
[4:00] 7. Out Of The Blue

Lori Carsillo vocals; Jeffrey Burr guitar; Eric Markowitz bass; James Gallagher drums; Erik Jekabson trumpet (tracks 3, 5, 7); Brian Kendrick vibes (track 7).

On A Dream or Two, San Francisco Bay Area jazz vocalist Lori Carsillo offers six stunning jazz gems and an original song co-written with guitarist and arranger on the session, Jeffrey Burr. Noted as a singer with “superb phrasing, an impressive range” (Christopher Loudon, JazzTimes), Carsillo emphasizes her deftness for ballads by touching upon several slower-tempo songs in the session.

A Dream Or Two mc
A Dream Or Two zippy

---

Les Baxter - The Soul Of The Drums

Bitrate: MP3@320K/s
Time: 31:12
Size: 71.4 MB
Styles: Easy Listening, Exotica
Year: 1963/2005
Art: Front

[2:25] 1. The Girl Behind The Bamboo Curtain
[3:57] 2. Lord, What A Morning
[2:15] 3. Coffee Bean Calabash Annie
[2:55] 4. Sunrise At Kowloon
[1:58] 5. Which Doctor
[2:16] 6. Mai Tai
[0:33] 7. Drum Intro From A Day In Rio
[2:53] 8. A Day In Rio
[2:12] 9. River Of Dreams
[1:35] 10. Nina
[3:19] 11. Shadow Of Love The Enchanted Reef
[1:30] 12. Jacaranda
[3:19] 13. Ceremony

The Soul Of The Drums is no more remarkable than any other of Baxter’s albums of one’s choice, but does thankfully emit a strictly uplifting, mirthful aura which is only fugaciously interrupted – or alternatively improved – by mystical heterodynes, otherworldly phantasms and ritualistic drum patterns. It is not as cineastic as his first forerunner and pre-Exotica blueprint Ritual Of The Savage (1951), but this works to its advantage, as the flow or fluxion is uninterrupted. While there are a few pinpointable real-world locations such as Kowloon and Rio on board, this is no dedicated travelog LP rather than a concoction of delight. What role do the drums play? How do the melodies unfold? And why are these things of importance in an Easy Listening work? Someone’s gonna explicate these things below.

This would not be a Les Baxter album if there were no compositions dedicated to adolescent girls and women on this album, and sure enough, the opener The Girl Behind The Bamboo Curtain both glorifies female intuition and beauty; this, however, does not happen via whitewashed strings but in the shape of a rather uplifting upper midtempo Latin base frame. The congas, tonewoods and diffuse maracas create a dense thicket which is lit by polyphonic fairy flutes, warmhearted pianos, short vibraphone additions and many brass instruments. Shuttling between excitement and soothingness, the opener is everything at once, but first and foremost utterly exotic. The odd follow-up Lord, What A Morning by Michael Carlton Clough is a true-spirited Gospel gone wild. Launching with rufescent sunset guitars and yearning strings, the constant bongocalypse nurtures and drives the tempo ever-forward. Mellifluous flutes and distant horn spirals traverse through the percussion placenta, which is later revved up, as are the strings around which a female vocalist orbits. Occasional show tune-resembling protrusions round off a Latinized corker.

The Soul Of The Drums mc
The Soul Of The Drums zippy

---

Jake Mason Trio - The Stranger In The Mirror

Bitrate: MP3@320K/s
Time: 51:14
Size: 117.3 MB
Styles: Jazz/Funk/Soul, Organ jazz
Year: 2018
Art: Front

[5:33] 1. The Grain Store
[4:22] 2. The Stranger In The Mirror
[4:46] 3. Rib Eye
[5:08] 4. Please Please Please
[7:07] 5. People Two & One
[5:27] 6. Smile Awhile
[4:35] 7. Butter Melt
[5:07] 8. Sunfall
[4:10] 9. Lemon Twist
[4:54] 10. Candy Smack

Jake Mason is a Melbourne based ARIA-nominated songwriter, producer, educator and touring artist with over twenty years experience in the Australian music industry. A graduate of the Victorian College of the Arts the multi-instrumentalist and prolific songwriter has released twelve albums; gained platinum sales in Australia; and established his own label and production house. An APRA member since 1997, Jake co-wrote and co-produced the Kungs Vs Cookin’ On 3 Burners chart topper “This Girl”, hitting the #1 spot in 10 countries and reaching the Top 10 in 37 territories. Nominated for ARIA song of the year the track became the most shazammed dance song of 2016 worldwide. Published by Origin Music, Jake is a member of the Australian Guild of Screen Composers with television credits including Underbelly and Kath and Kim. An accomplished live performer he has worked with artists such as Richard Clapton, Clare Bowditch and Hugh Jackman and has co-written with Kate Ceberano, Eric McCusker and Tania Doko to name a few.

Mentor to young songwriters across tertiary and secondary schools, plus a member of Music Victoria’s Artist Advisory Panel, Jake is a passionate advocate for equality and the rights of Australian songwriters and musicians.

The Stranger In The Mirror mc
The Stranger In The Mirror zippy

---

Leslie Pintchik - So Glad To Be Here

Bitrate: MP3@320K/s
Time: 59:23
Size: 136.0 MB
Styles: Piano jazz
Year: 2004
Art: Front

[6:15] 1. All The Things You Are
[4:37] 2. You Keep Coming Back Like A Song
[5:57] 3. Scamba
[5:42] 4. Hopperesque
[4:43] 5. Let's Get Lucky
[5:11] 6. Happy Dog
[7:17] 7. Mortal
[5:30] 8. Terse Tune
[4:52] 9. Luscious
[5:06] 10. Something Lost
[4:09] 11. We See

Leslie Pintchik (piano), Scott Hardy (bass), Satoshi Takeishi (percussion).

Pianist and composer Leslie Pintchik has played clubs in New York for several years, and it shows in the natural approach that predominates on this her first release. She gives plenty of space to skillful bassist Scott Hardy, who's also her husband, and to drummer Satoshi Takeishi, whose style is imaginative yet unobtrusive. The three players demonstrate their easy rapport on the opening standard "All the Things You Are," taken in a comfortable samba-like groove. Supporting Pintchik's supple line is the active melodic interplay of Hardy and Takeishi, the latter remarkable for his light and high percussion palette that includes colorful oriental cymbals. On Berlin's "You Keep Coming Back Like a Song," Pintchik plays a plain but emotive line with a gorgeous sound. Hardy contributes one composition, "Scamba," a samba tune with some triplets for rhythmic variety. After Pintchik introduces and improvises on the tune, Hardy's solo explores and reveals the core of the piece.

Pintchik's compositions predominate, and her more balladic are particularly notable. Outstanding is "Hopperesque," which evokes and interprets the work of American painter Edward Hopper, with a '50s-style Afro-Cuban beat and interludes in which Takeishi plies his cymbals. Pintchik seems to favor diminished chords, and the major-minor seventh that closes the work suggests film noir-associated pieces like Washington's "Invitation." Pintchik's "Something Lost" is masterful, a work that sounds through-composed and influenced by impressionistic Bill Evans ballads such as "Time Past." Pintchik's "Mortal" is perhaps the most original and emotive work on the disc, lyrical and pensive, a little foreboding but peaceful. Takeishi starts with spooky cymbals and Japanese-sounding melodic drumming, and the drums continue to wash over and converse with Pintchik's melodic line. Gradually the pace picks up as Hardy's bass turns higher-pitched and more active. ~Virgina A. Schaefer

So Glad To Be Here mc
So Glad To Be Here zippy

---

Sammy Price - Sammy Price On Tour

Bitrate: MP3@320K/s
Time: 52:15
Size: 119.6 MB
Styles: Boogie woogie, Jump blues
Year: 2013
Art: Front

[3:10] 1. Sammy Price Boogie Woogie #1
[3:41] 2. Just A Gigolo
[5:46] 3. One Sweet Letter From You
[3:23] 4. New Orleans #1
[5:26] 5. Poor Butterfly
[5:08] 6. Isabelle
[1:33] 7. Sammy Price Boogie Woogie #2
[3:08] 8. New Orleans #2
[4:28] 9. Shakin' That Thing
[6:42] 10. Lover Come Back To Me
[6:43] 11. It's Only A Paper Moon
[3:03] 12. C Jam Blues

GHB's 2013 disc Sammy Price on Tour relies largely on a set boogie-woogie pianist Price recorded in Sydney, Australia on April 25, 1982 with guitarist Lars Edegran, clarinetist Orange Kellin, and trumpeter Geoff Bull, with the final three songs deriving from a 1969 London concert with clarinetist John Defferary, saxophonist Sammy Rimington, drummer Dave Evans, and an unknown bassist. If the London cuts are a little more raucous, they also veer toward straight New Orleans jazz, whereas the 1982 cuts often find Price indulging in gregarious, cheerful New Orleans blues, jazz, and boogie-woogie. Bull was the bandleader on this 1982 tour, so, unsurprisingly, there is plenty of space for the trumpeter to prowl, but it's little wonder this is released under Price's name: it showcases his big-hearted boogie-woogie roll to great effect. ~Stephen Thomas Erlewine

Sammy Price On Tour

---

Louis Armstrong - Louis Armstrong Sparks, Nevada 1964!

Size: 103,7 MB
Time: 44:21
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. When It's Sleepy Time Down South (2:59)
02. Back Home In Indiana (4:08)
03. I Got A Lot Of Livin' To Do (2:44)
04. Tiger Rag (1:17)
05. Hello Dolly (7:05)
06. When I Grow Too Old To Dream (3:45)
07. Blue Berry Hill (3:31)
08. How High The Moon (8:02)
09. Lover Come Back (2:33)
10. Have You Heard About Jerry (4:48)
11. When The Some Marchin' In (3:23)

Personnel:
Louis Armstrong: trumpet and vocals
Russell “Big Chief” Moore: trombone
Eddie Shu: clarinet
Billy Kyle: piano
Arvell Shaw: bass
Danny Barcelona: drums
Jewel Brown: vocals

When the Beatles came to America in 1964 and took over the number one spot on the charts for 14 straight weeks, it must have seemed like their reign would last forever. Surely someone would topple them at some point–but who would it be? Few, if any, would have placed their bets on a 62-year-old legendary trumpeter and vocalist from New Orleans but that’s just what happened when “Hello, Dolly!” improbably became the number one record in the country on May 9, 1964.

Armstrong sounds positively energized by the popularity of his hit record on this previously unissued set from the Circus Room of the Nugget Casino in Sparks, Nevada in June 1964. People who discovered Armstrong when “Dolly” became a hit had no idea that Armstrong was such a staggering musical genius, but as this set makes clear, if you went to see him perform during this period, you got a pretty complete picture of the wide array of Armstrong’s talents: the warmth of “When It’s Sleepy Time Down South” and “Blueberry Hill,” the fiery instrumentals of “Indiana” and “Tiger Rag,” the swinging hit show tunes of “A Lot of Livin’ to Do” and “Hello, Dolly!” each one establishing to all the kiddies in the audience that this fun-loving old entertainer was also a ferociously talented musician.

Sparks, Nevada 1964">Louis Armstrong Sparks, Nevada 1964!

---

Carlos Dias - Copacabana Station

Size: 76,4 MB
Time: 32:32
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Bossa Nova, Vocals
Art: Front

01. Mona Lisa (2:50)
02. Come Fly With Me (3:21)
03. Nature Boy (2:46)
04. Quizas Quizas Quizas (3:37)
05. Samba E Amor (4:05)
06. Straighten Up And Fly Right (2:22)
07. My Funny Valentine (3:44)
08. It Was A Very Good Year (3:52)
09. South Of The Border (2:40)
10. So Nice (Duet) (Feat. Vanessa Falabella) (3:11)

Brazilian-born jazz vocalist Carlos Dias, now based in Manhattan, brings his significant talent to your living room on his recently released ten-song album… song like the fantastic opener, “Mona Lisa“, use backing vocals and superb arrangements in a most professional way to hold you enchanted under his spell… very nicely done.

The heavy-duty percussion intro on “Quizas Quizas Quizas” (Maybe Maybe Maybe) melds right into gentle guitar strains from Wesley Amorimand and a silky-smooth vocal that are totally tasty – one of the best Latin performances I’ve heard (yet) in 2018… in addition to Carlos fine singing, he also has special guest appearances by other very talented players like Gene Perla, Vanessa Falabella, Helio Schiavo, Cesar Garabini, Negah Santos and Clark Gayton… arrangements were done by Carlos and Wesley throughout the album.

Though the release comes with strong (& wonderful) Brazilian flavors, it’s also Carlos’s tribute to two of his jazz heroes, Frank Sinatra and Nat King Cole… his inspiring rendition of “My Funny Valentine” is among the best I’ve ever heard… laid-back style, yet highly charged with the energy that romance can bring, and full of the joy that LIVING life can bring.

There was no question in my mind what my personal favorite of the ten songs offered up for your aural adventure would be, though… the closer, “So Nice“, is a vocal duet with Vanessa, and they will (easily) wrap you into their magical spell… I predict that this tune will garner a lot of airplay… perfect pacing and full of soul. ~by Dick Metcalf

Copacabana Station

---

Jerry Weldon - Those Were The Days

Size: 132,4 MB
Time: 56:55
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Love Won't Let Me Wait (6:13)
02. Strangers In The Night (5:54)
03. Sunny V (6:39)
04. Where Is Love (4:31)
05. Rosetta (6:38)
06. Walk On By (5:52)
07. This Is Always (4:03)
08. The Sermon (8:33)
09. Those Were The Days (8:29)

It's no longer certain what music cold be classified as "mainstream" jazz. One can argue that the genre (and all others, for that matter) have atomized to the point of each performance being considered a genre in itself (a desirable outcome to the music anarchists among us). That said, some type of classification remains useful in describing music, if for no other reason than to let a listener know that "this sounds a great deal like that." Which brings us to tenor saxophonist Jerry Weldon. Weldon presently serves featured soloist in Harry Connick, Jr.'s long serving big band, who presently provide tafelmusik for Connick's Harry weekday talk show on ABC. The present Those Were the Days is Weldon's debut on Cory Weeds' Cellar Live label. The saxophonist has released seven previous recordings.

The touchstone of Those Were the Days is economy. Everything about this recording smacks of a scrupulous efficiency borne of an extended tenure in a big band like Connick's. This begins with his judicious use of an organ trio format augmented with a percussionist not unlike that employed in the 1950s and '60s Blue Note organ blowing dates. Organist Kyle Koehler is a conservative sort, favoring understated organ stop positions and thoughtful solo excursions. His tone reveals the best of a sepia-tinged style that could have been heard introducing The Edge of Night. Koehler's contribution to this date cannot be understated and is splendidly emotive and orchestral. He is most present introducing the title cut, which closes the recording, framing Weldon's muscular and exacting tenor tone with a soft glow, propelled by the gentle loping rhythm of drummer Colby Inzer.

Weldon favors modern ballads like the full-throated "Strangers in the Night" and the Bacharach/David "Walk on By" played samba style in a breezy and laconic mode. Weldon's own "Sunny V," retaining a bit of samba itself, is bright and inventive. The saxophonist and organist reach a precise critical mass playing Jimmy Smith's "The Sermon," the only blowing blues on the set. Everything comes into relief focus on this tune with all instruments well synced and calibrated. This is an excellent penultimate piece to introduce the closing "Those Were the Days." This could definitely be called "mainstream" jazz, that brand of jazz immediately recognizable, durable and expressive, a joy to behold and listen to. ~C. Michael Bailey

Personnel: Jerry Weldon: tenor saxophone; Kyle Koehler: Hammond B3 Organ; Colby Inzer: drums; Daniel Sadownick: percussion.

Those Were The Days

---

Rosey - Be Somebody Blues

Size: 78,4 MB
Time: 33:26
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. It’s A Ruse (3:27)
02. Who Am I (4:15)
03. Love (3:45)
04. Those Eyes (2:28)
05. Be Somebody Blues (4:02)
06. The Old Fashioned Way (2:32)
07. It’s Easier On Me (4:48)
08. I Remember (4:40)
09. Luckiest Girl (3:25)

Singer/songwriter Rosey has been surrounded by music since her early childhood and credits her big family for keeping the excitement alive. First, it was the Beatles. She found her parents' record collection around age seven and couldn't resist the infectious pop sounds of the Fab Four. By college, she was spinning world music at her college radio station and absorbing the vast selection of urban fusion. And through countless music industry jobs, Rosey found her calling. She packed her bags and left New York for San Francisco in the late '90s. There, she formed a band and molded into a soulful, blues-tinged songstress. Her big break came when her sultry song "Love" appeared in the 2001 film Bridget Jones's Diary. Several months later, "Afterlife" was showcased in the Farrelly Brothers comedy Shallow Hal. In June 2002, Rosey made her debut with the studio full-length Dirty Child. That summer she toured with Meredith Brooks and Melissa Etheridge in support of the album. ~by MacKenzie Wilson

Be Somebody Blues

---