Buddy Collette Big Band - In Concert

Bitrate: MP3@320K/s
Time: 55:48
Size: 127.7 MB
Styles: Big band
Year: 2000
Art: Front

[ 7:13] 1. Magali
[ 7:04] 2. Andre
[ 3:08] 3. Mr. And Mrs. Goodbye
[ 4:25] 4. Blues Number Four
[11:55] 5. Jazz By The Bay
[ 7:59] 6. Blues In Torrance
[ 7:00] 7. Point Fermin From Friendships Suite
[ 7:01] 8. Buddy Boo

Bass – Richard Simon; Cello – Fred Katz; Drums – Chico Hamilton, Leon Ndugu Chancler; Guitar – Al Viola; Piano – Gerald Wiggins; Trombone – Britt Woodman, Garnett Brown, George Bohanon, Les Benedict, Maurice Spears; Trumpet – Al Aarons, Anne King (2), Nolan Shaheed, Ronald Barrows; Woodwind – Ann Patterson, Buddy Collette, Ernie Fields, Jackie Kelson, John Stephens, Louis Taylor Jr., Steven Carr. Recorded at the Lincoln Theatre, Washington D.C.

A fluent multi-instrumentalist, and the composer of everything from TV jingles to chamber music to jam-session staples, Buddy Collette has tended to be a victim of his own versatility. But The Buddy Collette Big Band in Concert, which captures a 1996 performance in Washington, D.C., is probably his best calling card to date. For one thing, it demonstrates that the 75-year-old leader remains in fine form on the tenor sax, clarinet, and (especially) flute--check out his nuanced reading of "Blues in Torrance," and the way his ebullient solo keeps bumping up against the tune's descending harmonies. What's more, the disk showcases Collette's compositional gifts. He's concocted some rousing vehicles for his 19-piece band, and the bright, brassy arrangements on "Andre" and "Blues Number Four" suggest late-period Basie, alternating catchy riffing with piquant solo voices. Among the latter, Garnett Brown delivers some attractively gutbucket trombone, while saxophonist Louis Taylor comes out swinging on "Magali." There's also a guest appearance by the leader's old comrade-in-arms Chico Hamilton, who drives the ensemble through a heated version of "Buddy Boo." But despite his aversion to hogging the spotlight, this is clearly Collette's show--and it's about time, isn't it? ~James Marcus

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Tommy Emmanuel - Accomplice One

Bitrate: MP3@320K/s
Time: 63:52
Size: 146.2 MB
Styles: Assorted guitar styles
Year: 2018
Art: Front

[3:27] 1. Deep River Blues (With Jason Isbell)
[3:21] 2. Song And Dance Man (With Ricky Skaggs)
[2:34] 3. Saturday Night Shuffle (With Jorma Kaukonen, Patbergeson)
[2:52] 4. Wheelin' & Dealin' (With J.D. Simo, Charlie Cushman)
[4:12] 5. C-Jam Blues (With David Grisman, Bryan Sutton)
[4:50] 6. (Sittin' On) The Dock Of The Bay (With J.D. Simo)
[5:19] 7. Borderline 9with Amanda Shines)
[2:51] 8. You Don't Want To Get You One Of Those (With Mark Knopfler)
[5:00] 9. Keepin' It Reel (With Clive Carroll)
[4:25] 10. Looking Forward To The Past (With Rodney Crowell)
[4:04] 11. Purple Haze (With Jerry Douglas)
[3:13] 12. Rachel's Lullaby (With Jake Shimabukuro)
[3:26] 13. Djangology (With Frank Vignola, Vinny Raaniolo)
[5:30] 14. Watson Blues (With David Grisman, Bryan Sutton)
[5:13] 15. Tittle Tattle (With Jack Pearson)
[3:26] 16. The Duke's Message (With Suzy Bogguss)

Accomplice One is a testament to Tommy’s musical diversity, the range of expression that stretches from authentic country-blues to face-melting rock shredding, by way of tender and devastating pure song playing. The songs are a mix of new takes on indelible classics and brand new originals from Tommy and his collaborators. The artists who stepped forward to join Tommy in the studio are an impressive list of some of today’s most respected performers, from across the musical spectrum.

"Confession time – I’m not usually a fan of multiple collaborator type albums. Too often they strike me as a marketing wheeze in which the guest artists add little to the equation. Fair play to acoustic guitar man Tommy Emmanuel though, on Accomplice One he’s taken advantage of guests toting a variety of instruments to explore a wide range of musical styles.

What this means though, is that your response to the material is liable to be very much a matter of personal taste. So for my part the jet-propelled bluegrassy picking on “Wheelin & Dealin’”, featuring banjo from Charlie Cushman and electric guitar from JD Simo, is a winner. Likewise the rattling Celtic folk of “Keepin’ It Reel”, with Clive Carroll. On a different note, the Americana ballad-styled reading of Madonna’s “Borderline”, colored by Amanda Shires’ fiddle and vocals, takes on an aching quality. And in another vein entirely, “Purple Haze” is a launchpad for a rousingly steely instrumental adventure with Jerry Douglas on Dobro.

On the other hand, the duet of “Song And Dance Man” with Ricky Scaggs, and “Looking Forward To The Past” with Rodney Crowell, are country songs with the kind of cloyingly maudlin lyrics that do the genre no favors, though at least the latter musters some chugging energy. Meanwhile if you like gypsy jazz then “Djangology” and a hornless version of Duke Ellington’s “C-Jam Blues”, may well float your boat. But they leave me cold, as does the sleepy duet with Mark Knopfler on “You Don’t Want To Get You One Of Those,” whose lyric about a beat-up automobile appears to be a shoddy metaphor for a woman past her best.

The balance of the 16 tracks are satisfying enough to differing degrees, including an affectionate cover of “(Sittin’ On) The Dock Of The Bay” with Simo on vocals, and a rendition of “Watson’s Blues” that puts me pleasantly in mind of Samantha Fish’s take on “Jim Lee Blues Part 1”. And the musicianship is top notch throughout of course, so if you’re an acoustic roots aficionado, Accomplice One is probably right up your street. But to a wider audience it’s likely to be a pick’n’mix affair." ~Iain Cameron

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Chantae Cann - Sol Empowered

Bitrate: MP3@320K/s
Time: 52:28
Size: 120.1 MB
Styles: Jazz/Funk/Soul
Year: 2017
Art: Front

[5:15] 1. U Gotta Love Ya
[7:30] 2. The Light
[3:36] 3. Happy Song
[1:30] 4. Happy Song Interlude
[4:57] 5. The Love Above
[2:28] 6. Sol Glo
[6:00] 7. Fruition
[4:08] 8. Craters
[4:03] 9. Hey Whatcha Say
[3:40] 10. The Sound
[4:26] 11. Reason To Live
[4:50] 12. Irise

Bass – Brian Cockerham (tracks: 1 to 5, 7 to 9); Drums – Big Ed Clark (tracks: 1 to 5, 7 to 9); Electric Piano [Rhodes] – Justin C Gilbert (tracks: 1, 3, 4, 7, 8); Piano – Justin C Gilbert (tracks: 7, 8, 10, 11); Vocals – Chantae Cann.

"I sing because I LOVE to. I sing because God has entrusted me with a gift purposed to CHANGE the WORLD one melody at a time. I sing to HELP. I sing to HEAL. I sing to COMFORT. I sing to LIBERATE. I sing to APPRECIATE. I sing to MOTIVATE. I sing to RELEASE. I sing to EXPRESS. I sing because honestly it's what I was MADE to do!" ;-)

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Yallopin' Hounds - Ghetto Swing Extreme

Bitrate: MP3@320K/s
Time: 63:59
Size: 146.5 MB
Styles: Retro Swing
Year: 2000
Art: Front

[ 5:10] 1. Hot Dog
[ 5:02] 2. Nobody Knows
[ 4:07] 3. Oops My Bad!
[ 6:01] 4. Daddy Make It Feel Good
[ 4:26] 5. Song For The Romantically Unrequited
[ 4:56] 6. We
[ 5:16] 7. You Ain't Shit
[ 6:04] 8. Where Have You Been
[ 8:11] 9. Ghetto Swing
[ 3:59] 10. Flat Foot Floogie
[10:03] 11. King Of The Mall
[ 0:38] 12. Musicology Criminology

Longtime Toasters fans were disgruntled in 1999 when trumpeter Brian Sledge aka Lord Sledge left the group to devote full-time attention to his side band the Yallopin' Hounds. While dubbed swing revival, the Hounds' music leans closer to Jazz Messengers' style of late-'50s hard bop than mainstream acts like the Cherry Poppin' Daddies and Big Bad Voodoo Daddy. The album contains 12 songs, 11 of which were written by alto player Joey Cavaseno. Most of the arrangements showcase Sledge's extremely wide range, but Cavaseno and tenor saxophonist Herman X are given a chance to take full advantage of their solos. On vocals Sledge is less than adequate when he tries to push his range. Part of the reason for this is the group's other vocalist, Queen Esther. Her raw jazz singing abilities prove that Sledge, while a great trumpet player, is a bit of an amateur on vocals. Still, this album should have a rather wide appeal, from fans of Sledge to jazz aficionado's who will no doubt take extreme pleasure from the group's stellar songwriting. ~Curtis Zimmermann

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Neil Larsen - Forlana

Bitrate: MP3@320K/s
Time: 53:38
Size: 122.8 MB
Styles: Contemporary jazz, R&B
Year: 2015
Art: Front

[5:46] 1. Flying By
[5:04] 2. Brother Joe
[6:15] 3. Mere Larue
[4:46] 4. Winter Glow
[5:37] 5. Islamorada
[4:57] 6. Forlana
[5:55] 7. Satellite Beach
[3:55] 8. City Blue
[5:51] 9. At The Sunset Royale
[5:29] 10. Pastoral

All Instruments Played by Neil Larsen. Neil’s first album in 8 years, ‘Forlana’ contains 10 new songs that feature him playing organ and piano, as well as trumpet, saxophone, oboe, trombone and a variety of other instruments. Touching on R&B, jazz & world music, this is a unique project, destined to be a cornerstone in Neil’s discography.

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Stan Kenton - Artistry Jumps

Bitrate: MP3@320K/s
Time: 42:49
Size: 98.0 MB
Styles: Big band
Year: 2017
Art: Front

[2:35] 1. Artistry Jumps
[2:36] 2. Balboa Bash
[2:15] 3. Harlem Folk Dance
[2:41] 4. Tampico
[3:51] 5. End Of The World
[2:51] 6. Around The Town
[2:33] 7. Shoo Fly Pie And Apple Pan Dowdy
[4:28] 8. Capitol Punishment
[2:25] 9. Are You Livin' Old Man
[2:01] 10. Lover
[2:59] 11. Taboo
[3:04] 12. I 've Been Down In Texas
[2:53] 13. Painted Rhythm
[3:19] 14. Two Moose In A Caboose
[2:13] 15. Everybody Swing

Stan Kenton’s life might best be described as one long battle: to win over public acceptance in his struggle to elevate “popular” music by combining elements of jazz and classical sounds in to a new, artistic style of American music. “You’ve got to believe in something to achieve whatever goal you’re shooting for. My own ideas may be wrong, but I’m going to stick with them until they break me,” declared Kenton in 1943. At the same time, and from the opposite perspective, several classical composers like Stravinsky and Villa-Lobos, were incorporating elements of jazz into their music. “Artistry in Rhythm” was Kenton’s most radical example to date of his innovative conceptions to effect a combination of the two styles. When Kenton opened at the Rendezvous Ballroom in Balboa Beach, CA, for the summer season in 1941, he lacked the essential feature of an identifying song. Every band needed its own instantly recognizable signature tune, so rather than chose an already-known melody, Stan set to and composed a 45-second original piece which he called simply “Theme.”By July 1943, Kenton had expanded the work into the fully developed, semi-symphonic orchestration that he called “Production on Theme.” But when it was recorded at the band’s first Capitol session on November 19, 1943, Capitol executives balked at the highbrow title, and persuaded Kenton it was better named after the orchestra’s slogan—“Artistry in Rhythm.” “And, of course,” commented Stan, “It’s stuck ever since.”

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Horace Silver - You Gotta Take A Little Love

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 39:11
Size: 92,3 MB
Art: Front

(5:24)  1. You Gotta Take A Little Love
(4:37)  2. The Risin' Sun
(6:42)  3. It's Time
(4:14)  4. Lovely's Daughter
(4:30)  5. Down And Out
(7:26)  6. The Belly Dancer
(6:14)  7. Brain Wave

One of the final Horace Silver Quintet Blue Note albums, this somewhat forgotten LP, dedicated to "the Brotherhood of Men," is an instrumental set that introduced six new compositions by the pianist/leader (none of which caught on as standards) along with Bennie Maupin's "Lovely's Daughter." Maupin (on tenor and flute), trumpeter Randy Brecker, bassist John Williams, and drummer Billy Cobham comprise Silver's excellent late-'60s hard bop group. [In 2007 Blue Note reissued You Gotta Take a Little Love in a remastered Rudy Van Gelder edition.] ~ Scott Yanow https://www.allmusic.com/album/you-gotta-take-a-little-love-mw0000559874

Personnel:  Horace Silver - piano;  Randy Brecker - trumpet, flugelhorn;  Bennie Maupin - tenor saxophone, flute;  John Williams - bass;  Billy Cobham - drums

You Gotta Take A Little Love

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Della Reese - Della On Stage

Styles: Vocal
Year: 1962
File: MP3@320K/s
Time: 42:08
Size: 97,8 MB
Art: Front

(2:21)  1. Comes Once In a Lifetime
(3:12)  2. Bye Bye Blackbird
(4:27)  3. Misty
(5:05)  4. Medley: The Lamp Is Low / After the Lights Go Down Low / Fly Me to the Moon
(4:57)  5. You Came a Long Way from St. Louis
(5:35)  6. His Eye Is On the Sparrow
(4:15)  7. Mad About Him, Sad About Him, How Can I Be Glad Without Him Bues
(3:05)  8. Ol' Man River
(4:25)  9. If Ever I Would Leave You
(4:40) 10. Someday (You'll Want Me to Want You)

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s. Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller. 

Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades. Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978. On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86. ~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

Della On Stage

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Richard Elliot - Ricochet

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 43:45
Size: 100,8 MB
Art: Front

(5:19)  1. Corner Pocket
(4:00)  2. Ricochet
(4:20)  3. Rendezvous
(4:19)  4. Sweet Memories
(3:58)  5. So Good
(4:13)  6. Seven Sacred Pools
(4:14)  7. Slam
(4:34)  8. You Make Me Feel Brand New
(4:25)  9. Sake For Two
(4:18) 10. Sly

It is unfortunate that a musician with such "funky" credentials as saxophonist Richard Elliot  he played for Tower of Power, for cryin' out loud keeps churning out the same overly programmed, drum-machine-heavy, melodically "lite" Cheez Whiz. The guy has the chops to deliver a lot better than what he comes up with on Ricochet arrangements are laid down with a kind of presumptuous "soulfullness," as if Elliot is "really gonna dig in to something here." Instead, listeners get predictable melodies played over stiff rhythm tracks that underline the general lack of funk on Ricochet. 

Granted, if you are a big fan of instrumental pop or smooth jazz, you'll probably enjoy Elliot's adequate if uninspired cover of the Stylistics' hit "You Make Me Feel Brand New," and a few of the original tunes on the album are pleasant enough as musical wallpaper, but there is little here that can be recommended to anyone but the most die-hard pop-jazz fanatics. ~ Matt Collar https://www.allmusic.com/album/ricochet-mw0000022533

Personnel: Richard Elliot - tenor saxophone;  Lenny Castro - percussion;  Luis Conte - percussion;  Lee Thornburg - trumpet;  Nick Lane - trombone;  Tony Maiden - guitar;  Rex Rideout - keyboards, programming;  Ronnie Garrett - bass;  Ron Reinhardt - keyboards

Ricochet

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Joe Farrell - Canned Funk

Styles: Saxophone And Flute Jazz
Year: 1975
File: MP3@320K/s
Time: 34:04
Size: 78,6 MB
Art: Front

(7:21)  1. Canned Funk
(9:53)  2. Animal
(9:05)  3. Suite Martinique
(7:45)  4. Spoken Silence

Joe Farrell's final of six CTI dates has fairly lengthy versions of four of his originals. Farrell, who adds baritone to his usual trio of instruments (tenor, soprano and flute), once again welcomes guitarist Joe Beck as his co-star, along with bassist Herb Bushler, drummer Jim Madison and percussionist Ray Mantilla. The music is melodic, sometimes funky, and enjoyable if not essential, but all of Joe Farrell's CTI sets are worth acquiring. ~ Scott Yanow https://www.allmusic.com/album/canned-funk-mw0000904447

Personnel:  Joe Farrell – tenor saxophone, soprano saxophone, baritone saxophone, flute;  Herb Bushler – bass;  Joe Beck – guitar;  Jim Madison – drums;  Ray Mantilla – conga, percussion.

Canned Funk

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Ivo Perelman - Introspection

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 79:20
Size: 187,3 MB
Art: Front

( 5:38)  1. Introspection
( 9:50)  2. Karmic Forces
( 8:40)  3. Divine Awareness
( 8:18)  4. Extended Consciousness
(14:56)  5. Spiritual Destiny
( 4:27)  6. Self-Forgiveness
( 5:56)  7. All Power Emanates From One Source
(10:44)  8. Angel of Forgetfulness
(10:47)  9. Faith

In no uncertain terms: the Brazilian Ivo Perelman with this remarkable recording confirms himself as one of the most important tenor saxophonists of the free-of-today scene. Perelman has favored the trio formula, a training that allows him to act with the necessary freedom of expression and with which he recorded his latest work Black on White for the Portuguese Clean Feed. On Introspection instead we find him at the helm of a quartet that includes the violinist Rosie Hertlein. It is a group of musicians, however, with 'variable geometry', for example "Divine Awareness" is a duo between Dominic Duval's leader and powerful double bass, while other songs develop into a trio, without drums or without contrabass ( "All Power Emanates from One Force"). The magnetism of a series of songs constructed with extreme concentration and a deep sense of the construction of the sentence, however, also lies in this alternation of formulas. Perelman and the violinist do not disdain magmatic moments, as in "Karmic Forces", balding the ghosts of a free historian who is always around the corner and never denied. But the whole album takes place on other coordinates, escaping the temptation to offer a music in which the expressiveness of the gesture prevails over any formal preoccupation. There is a precise way to structure palpitating and intense atmospheres for a path that exploits dilated spaces without rhetoric or pretentiousness, simply necessary in order to allow to express everything possible. The solos are developed along arcs of tension that intertwine with the rhythm in a coherent whole, without flaws or moments in search of a common thread. A free structured therefore, and yet participates in the shady, dark, spontaneous contents in their long unraveling, witness of a mainly interior artistic growth, without which so much balance and spirituality of intent would end up slipping without escape in the daily routine. Perelman chose not only music but also abstract painting as a means of expression. The paintings inside the booklet are, like the music, the testimony of an artist in continuous growth.~  AAJ ITALY STAFF https://www.allaboutjazz.com/introspection-ivo-perelman-leo-records-review-by-aaji-staff.php

Personnel: Ivo Perelman (tenor saxophone); Rosie Hertlein (violin); Dominic Duval (double bass); Newman Baker (drums)

Introspection

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Charlie Parker - Talkin' Bird

Bitrate: MP3@320K/s
Time: 57:25
Size: 131.5 MB
Styles: Bop, Saxophone jazz
Year: 1999
Art: Front

[ 3:24] 1. Bloomdido
[ 3:24] 2. K.C. Blues
[ 2:43] 3. Tico Tico
[12:16] 4. Lester Leaps In
[ 3:21] 5. La Cucaracha
[ 3:07] 6. My Little Suede Shoes
[ 2:56] 7. Confirmation
[ 2:46] 8. Au Privave
[ 3:01] 9. Okiedoke
[ 2:38] 10. La Paloma
[ 3:03] 11. Now's The Time
[14:41] 12. Jam Blues

Part of the Verve re-issue series, TALKIN' BIRD culls 12 Parker tracks from the Norman Granz-produced sessions in the early 1950s. As one would expect from Verve, the sound quality is immaculate, and the personnel for these sessions reads like a who's who of jazz history. Thelonious Monk, Buddy Rich, Miles Davis, Max Roach, Roy Eldridge, Lester Young, Johnny Hodges, Ben Webster, and Oscar Peterson all put in appearances, and Bird's playing seems even freer, more fiery, and more precise than ever in such company.

On five cuts, including one with Machito and His Afro-Cuban Orchestra, TALKIN' BIRD emphasizes Parker's penchant for Latin inflections. Such classics as "KC Blues" and "Lester Leaps In" (imagine-Pres and Bird on the same song!) are included for good measure. Like most of the Verve re-issues, the packaging and liner notes target a younger audience, championing the music as just as fresh, innovative and, incendiary today as it was when it was created. Nothing could be truer. ~AMG

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Kayla Taylor Jazz - The Big Big Show

Bitrate: MP3@320K/s
Time: 73:52
Size: 169.1 MB
Styles: Easy Listening, Jazz vocals
Year: 2010
Art: Front

[ 0:15] 1. Intro
[ 8:28] 2. Just Friends
[ 5:18] 3. Singin' In The Rain
[ 5:58] 4. Straighten Up And Fly Right
[ 7:52] 5. So In Love
[ 5:00] 6. (I Love You) For Sentimental Reasons
[ 5:05] 7. Sway
[ 5:09] 8. You Are My Sunshine
[ 2:30] 9. America The Beautiful
[11:06] 10. Other Lover's Eyes
[ 6:59] 11. Witchcraft
[ 5:28] 12. I Only Have Eyes For You
[ 4:37] 13. Your Cheatin' Heart

A LIVE ALBUM that really does FEEL live! Recorded September 11, 2010 at the Mable House Barnes Amphitheater in Mableton, GA. Jazz Standards and more from a jazz combo that understands the art of entertaining.

A metro-Atlanta native, Ms. Taylor grew up singing standards in the school chorus and gospel tunes in the choir. Everything else she sang in the shower . . . . . as loud as possible! No one is really certain how the singing career came about. Kayla just always sang. Period. As an adopted child she had a vivid imagination – that’s still true today. “But as an adoptee – you have a lot of other things to wonder about. I think most adoptees wonder who their birth parents are. In my case, there was no discussion. I decided at a very early age that my birth parents were Bette Midler and Dean Martin!” Of course, no one from either of those families has contacted Kayla to let her know that she is the long lost love child of Bette and Dean. “But”, Kayla adds, “They haven’t contacted me to let me know that I’m NOT either!”

In addition to jazz and standards, Kayla has performed country, gospel, R&B, classic and original rock ‘n’ roll. “I love the jazz and standards from the 1940’s and 1950’s. I always have. So when Steven and I decided to start a jazz combo and perform this music – I was elated.” So was her husband, Scott. “Scott told me for years that he would love to hear me sing the jazz and standards. Whenever we were grocery shopping or doing housework, I would just break out into song and it was always a standard of some sort. He was right – this is the music I was born to sing.”

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John Tropea - Standard Influence

Bitrate: MP3@320K/s
Time: 61:18
Size: 140.3 MB
Styles: Guitar jazz
Year: 2003
Art: Front

[6:54] 1. Sandu
[5:41] 2. How Insensitive
[3:26] 3. It Don't Mean A Thing
[5:38] 4. Full House
[5:57] 5. Sir Richard
[6:38] 6. Sack O' Woe
[5:28] 7. If You Don't Know Me By Now
[5:12] 8. I Can't Get Started
[5:13] 9. The Thumb
[3:38] 10. What Are You Doing The Rest Of Your Life
[7:27] 11. No Trix, No Clix, No Fix

Featuring: Tropea (Guitar), Steve Gadd (Drums), Anthony Jackson (Bass), Nicki Parrot (Upright Bass), Lou Marini (Sax) & Chris Palmaro (Hammond B3). Produced by John Tropea & Kiyoshi Itoh. Recorded at Clinton Recording, NYC. Engineered & by Jay Messina.

John Tropea is one of the most admired and highly regarded guitar players of his generation. His playing shows a vast knowledge and respect for the tradition of the instrument as well as an original style that continues to define how the guitar best serves a wide variety of musical styles. He is a musician’s musician who attracts the finest players for his own projects.

Tropea has written for and played with major recording artists from around the world. In his long career, his contributions to other artist’s successes have been numerous, including his solo work with Deodato, (2001 theme), projects with Laura Nyro, Harry Chapin (Cat’s in the Cradle), Paul Simon (Fifty Ways), Alice Cooper (Goes to Hell), Eric Clapton (Journey Man), Dr. John, and many others. He is also a composer, arranger, and producer whose vital work is ably demonstrated by his personal projects. Tropea has a deserved worldwide reputation as an artist of quality among both audiences and other musicians.

"At this time in my life now, it is my passion to continue to play with this format.” Tropea’s band plays live regularly these days and has produced two CDs, “Standard Influence,” and “Standard Influence II/Rock Candy,” both “must haves” in any CD collection. Made up of world-class players, this is no pick up band; this is a REAL band that plays with the refined sense of ensemble one finds in the finest string quartet or chamber music group. Made up of: Ronnie Cuber, baritone sax, Clint de Ganon, drums, or Steve Gadd, drums, Anthony Jackson, electric bass, Dave Mann, tenor sax, Lou Marini, tenor sax, and Chris Palmaro, Hammond B3; everyone in this band is a virtuoso, yet no one ever over-plays.

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Bakelite Radio - Volume 1

Bitrate: MP3@320K/s
Time: 42:02
Size: 96.2 MB
Styles: Blues/Roots/Jazz
Year: 2009
Art: Front

[4:26] 1. Yellow Roses
[2:50] 2. Tryin' To Win
[3:34] 3. Hang My Head And Cry
[2:44] 4. Holy Cow
[3:24] 5. Just For The Thrill
[3:06] 6. Be Real
[3:02] 7. Insurance
[3:17] 8. Blues All Around My Head
[3:42] 9. Let It Be Me
[3:37] 10. Anna
[2:22] 11. Good Times
[2:54] 12. Nobody's Fault But Mine
[2:59] 13. Come Back Baby

Featuring: Joe Camilleri, Joe Creighton, Claude Carranza, Tony Floyd, James Black, Ed Bates, Wayne Burt, Simon Starr, Nicky Bomba, Stephen Hadley, Wilbur Wilde, John McAll.

Bakelite Radio have charted a strange path in the making of their CDs. The story began in late '99 during their first studio sessions. The tracks were sounding great but a shift in direction arose. The band did more demo's, recorded some of those originals and completed the disc. It didn't seem right to call the release anything but Volume II.

Moving forward nearly nine years to Volume IV sessions and an odd thing happened. Bakelite Radio had moved back to the feel of the '99 sessions. These tracks reminded the guys of that starting point years before. Old demo's were dusted off, other tracks tweaked and, combining the sounds from Volume IV sessions felt right. Bakelite Radio Volume I, where it all began.

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Ilya Portnov - Strong Brew

Bitrate: MP3@320K/s
Time: 40:30
Size: 92.7 MB
Styles: Harmonica blues/jazz
Year: 2017
Art: Front

[3:34] 1. Sunny Afternoon Blues
[4:25] 2. Surfin' The Baltic Sea
[3:50] 3. Dance Of A Lonely Doll
[2:56] 4. Cincinnati Flow Rag
[5:13] 5. In A Town Garden
[3:25] 6. Behind The Wall
[5:38] 7. Strong Brew
[5:14] 8. 1928
[6:10] 9. Till The Early Morning

The twenty-eight year old Ilya Portnov grew up in Russia and started playing piano at the age of four. His father exposed him to British rock but he mostly studied classical and folk music. His first harmonica teacher introduced him to the music of Jason Ricci, Howard Levy, and Carlos del Junco.

Portnov came to the U.S. to further study at the New England Conservatory in Boston. He was the first person to be accepted with the diatonic harmonica as his main instrument and has since earned a Master’s degree. Using a technique he learned to play a full chromatic scale on a diatonic harp. Since living in the States he has been playing a lot of blues, roots and jazz. This all instrumental album includes seven originals and two covers in a variety of musical styles.

This is Portnov’s solo debut and the album was recorded, mixed and mastered by Kid Anderson at Anderson’s Greaseland Studios in San Jose. Portnov plays both diatonic and chromatic harmonicas; included also are Anderson, guitar and bass; Chris Burns, piano and keyboards; and June Core, drums and percussion.

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Nancy Ames - Spiced With Brasil

Bitrate: MP3@320K/s
Time: 26:55
Size: 61.7 MB
Styles: Bossa Nova, Easy Listening
Year: 1967
Art: Front

[2:27] 1. Pow Pow Pow (Mas Que Nada)
[2:06] 2. Love's Like Wine (Love Are Wine)
[3:10] 3. Cherish
[2:50] 4. Laia La Daia (Reza)
[2:51] 5. Meditation
[2:36] 6. I Feel Fine
[2:35] 7. A Man And A Woman
[2:46] 8. Reach Out I'll Be There
[2:46] 9. Someone To Light Up My Life (Se Todos Fossem Iguais A Vocé)
[2:43] 10. So Nice (Summer Samba)

Nancy Ames (born 1937 as Nancy Hamilton Alfaro) is an American folk singer and songwriter. She regularly appeared on the American version of the television series That Was the Week That Was. The TW3 Girl, as she was known, sang the show theme and special material. She was born in Washington, DC. She is the granddaughter of Ricardo Joaquín Alfaro (1882–1971), who served as President of Panama from 1931 to 1932. The daughter of a physician, she grew up in Washington. She attended Holton Arms College and Bennett College, both of them for girls. By 1964 she was married to Romanian hypnotist Triaian Boyer. By 1968, they had divorced. After the divorce, she married Jay Riviere, a golf course designer. Ames has resided in Houston, Texas since 1972. She and her husband Danny Ward are the co-founders of Ward and Ames Special Events.

A folk singer with a partially Latin repertoire, she was signed to Liberty Records; her first album was entitled Cu Cu Rru Cu Cu La Paloma. She broke the top 100 twice in 1966; "He Wore the Green Beret," her answer song to Staff Sgt. Barry Sadler's "Ballad of the Green Berets," hit number 89, and later in the year "Cry Softly" also placed in the charts.

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Al Smith - Midnight Special

Bitrate: MP3@320K/s
Time: 32:15
Size: 73.9 MB
Styles: Urban blues, Soul-blues
Year: 1961/1996
Art: Front

[7:00] 1. Five Long Years
[4:30] 2. You're A Sweetheart
[3:32] 3. Don't Worry 'bout Me
[2:33] 4. Ride On Midnight Special
[4:08] 5. The Bells
[3:21] 6. Goin' To Alabama
[3:37] 7. I'll Never Let You Go
[3:30] 8. I Can't Make It By Myself

Bass – Leonard Gaskin; Drums – Bobby Donaldson; Guitar – Jimmy Lee; Organ – Robert Banks; Tenor Saxophone – King Curtis; Vocals – Al Smith. Recorded at Van Gelder Studio, Englewood Cliffs, NJ; August 11, 1960.

For many decades, African-American churches have worried about losing their best singers to secular music. And inevitably, many of them will, in fact, explore secular music instead of devoting 100 percent of their time to gospel. Al Smith is a perfect example. The obscure singer's roots were gospel, but he favored a jazz-influenced approach to blues and soul when he recorded two albums for Prestige/Bluesville: Hear My Blues in 1959 and Midnight Special in 1960. Recorded at Rudy Van Gelder's famous New Jersey studio, Midnight Special finds Smith backed by a rock-solid quintet that consists of King Curtis on tenor sax, Robert Banks on organ, Jimmy Lee Robinson on electric guitar, Leonard Gaskin on acoustic bass, and Bobby Donaldson on drums. While the lyrics are totally secular, Smith's gospel background never goes away. You can tell that the passionate, highly expressive singer has a church background whether he is embracing straight-up blues on "Goin' to Alabama" and Eddie Boyd's "Five Long Years" or getting into soul on "I Can't Make It By Myself," "You're a Sweetheart," and "The Bells." Smith has a big, full, rich voice, and he uses it to maximum advantage throughout this excellent album (which Fantasy reissued on CD in 1996 for its Original Blues Classics series). With the right exposure, Smith might have become a major name in 1960s blues and R&B -- he certainly had the chops and the talent. But, unfortunately, he never enjoyed the commercial success that he was most deserving of. Nonetheless, Midnight Special is an album to savor if you're the type of listener who holds classic soul and the blues in equally high regard. ~Alex Henderson

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The Great Jazz Trio - The Club New Yorker

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 43:23
Size: 99,9 MB
Art: Front

(4:45)  1. 'S Wonderful
(4:00)  2. Autumn in New York
(3:57)  3. Love Is Here to Stay
(5:39)  4. I've Got a Crush on You
(2:53)  5. Manhattan
(4:46)  6. Someone to Watch over Me
(4:16)  7. They Can't Take That Away from Me
(4:11)  8. Isn't It Romantic?
(4:22)  9. Embraceable You
(4:30) 10. But Not for Me

By 1983, the only original member remaining from the first Great Jazz Trio was pianist Hank Jones, though this CD is the best overall among the many put out under the group's name. Predominantly a Gershwin songbook, the trio (with Eddie Gomez on bass and Jimmy Cobb on drums) brings out the best in Jones' swinging arrangements, especially "S' Wonderful" and "Our Love Is Here to Stay." Violinist Lewis Eley is added on several numbers, including an elegant "Autumn in New York" and a lush "Isn't It Romantic," though his style is closer to classical than jazz. But it is Jones' playing that makes this CD particularly worth acquiring. ~ Ken Dryden https://www.allmusic.com/album/the-club-new-yorker-mw0000649543

Personnel:  Hank Jones - piano;  Lewis Eley - violin;  Eddie Gomez - bass;  Jimmy Cobb - drums.

The Club New Yorker

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Pamela Luss - Your Eyes

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 51:55
Size: 119,4 MB
Art: Front

(4:22)  1. Baby, Don't You Quit Now
(4:06)  2. Our Day Will Come
(3:32)  3. How Do You Keep the Music Playing?
(3:14)  4. Get Here
(4:01)  5. In Passing Years
(5:12)  6. Over the Rainbow
(4:37)  7. Your Eyes
(5:04)  8. Ev'ry Time We Say Goodbye
(3:13)  9. Wild Is Love
(5:39) 10. Send in the Clowns
(4:16) 11. Look of Love
(4:32) 12. Those Who Were

Pamela Luss' Your Eyes seems to feature two distinctive singers in one. On the midtempo material, Luss shows that she is a superior jazz singer, whether being sensual on "Baby, Don't You Quit Now," finding surprising life in a faster than usual "Over the Rainbow," or swinging on "Our Day Will Come." However, on ballads, her renditions are mostly very straight, closer to cabaret and even light pop than jazz, as if she is fearful of straying from the lyrics and the melody line for more than a moment. Quite a few of the younger jazz-inspired singers have difficulty making ballads their own and finding ways to improvise on slower material while also paying respect to the songwriters' intent. Luss' ballad renditions are listenable but not at all adventurous, and one wonders why "Send in the Clowns" was revived for the umpteenth time. On the plus side are four guest appearances apiece from tenor great Houston Person and altoist Aaron Heick, while Hendrik Meurkens is featured on harmonica on one of the few ballads that works on this set, "Ev'ry Time We Say Goodbye." Overall, this is a mixed bag. ~ Scott Yanow https://www.allmusic.com/album/your-eyes-mw0000746671

Personnel:   Pamela Luss - vocals;  Houston Person - Saxophone;  John Di Martino - Piano;   Aaron Heick - Saxophone, Flute;   Richie Goods - bass;  Greg Hutchinson - drums.

Your Eyes

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