Cal Tjader - Concerts In The Sun

Styles: Vibraphone Jazz
Year: 1960
File: MP3@320K/s
Time: 53:52
Size: 127,1 MB
Art: Front

(5:11)  1. Love For Sale
(4:39)  2. Goodbye
(6:00)  3. Raccoon Straits
(7:14)  4. Walkin With Wally
(5:09)  5. My Romance
(5:28)  6. Sigmund Sten Groove
(4:26)  7. Cubano Chant
(5:03)  8. Afro Blue
(5:43)  9. Tumbao
(4:54) 10. Day In, Day Out

Concerts in the Sun languished in the vaults for 42 years, but it's now finally available on CD. The recording finds Cal Tjader in a state of transition between the West Coast cool jazz he helmed with Dave Brubeck and a full-blown commitment to integrating Afro-Cuban rhythms into jazz. Culled from two concerts, one in Honolulu and the other in San Francisco, the first half features well-mannered standards and a distinct lack of perspiration; unfortunately, the five song routine seems overly rehearsed and detached. Only in the second half, which features the dense polyrhythms of Willie Bobo and Mongo Santamaria, does the band really swing into gear. (Jazz historians will note the appearance of “Afro Blue,” a few years before Coltrane’s famous version.) However, despite the enthusiasm of the band, at this point Tjader wasn’t yet able to fully fuse the foreign rhythms and jazz concept into a convincing whole, so they come off like a bunch of guys who showed up at a black tie dinner wearing sombreros. The problem with much of Tjader’s music is that Tjader himself is frequently the least interesting thing about it; and only later, with classics like Black Orchid, was he able to create a distinctive and enjoyable Latin jazz hybrid. Of course Tjader fans will want to pick this up, but the mildly curious should explore the excellent Monterey concerts first. ~ David Rickert https://www.allaboutjazz.com/concerts-in-the-sun-cal-tjader-fantasy-jazz-review-by-david-rickert.php

Personnel: Cal Tjader-vibes; Lonnie Hewitt-piano; Victor Venegas, Eddie Coleman-bass; Willie Bobo-drums; Mongo Santamaria-congas, bongos.

Concerts In The Sun

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Eric Dolphy - Conversations

Styles: Clarinet, Flute Jazz 
Year: 1967
File: MP3@320K/s
Time: 33:51
Size: 78,4 MB
Art: Front

( 7:17)  1. Jitterbug Waltz
( 9:35)  2. Music Matador
( 3:22)  3. Love Me
(13:36)  4. Alone Together

In 1963 (probably July, though some sources place the dates in May or June), Eric Dolphy recorded some sessions in New York with producer Alan Douglas, the fruits of which were issued on small labels as the LPs Conversations and Iron Man. They've been reissued a number of times on various labels, occasionally compiled together, but never with quite the treatment they deserve (which is perhaps why they're not as celebrated as they should be). In whatever form, though, it's classic, essential Dolphy that stands as some of his finest work past Out to Lunch. Conversations is the more eclectic of the two, featuring radical re-imaginings of three standards, plus the jubilant, Caribbean-flavored "Music Matador" (by ensemble members Prince Lasha on flute and Sonny Simmons on alto). 

That cut, and a classic inside/outside reworking of Fats Waller's "Jitterbug Waltz" feature Dolphy leading ensembles of up-and-coming "new thing" players, which prominently feature vibist Bobby Hutcherson and trumpeter Woody Shaw. The second half of the album takes a far more minimalist approach, with Dolphy performing unaccompanied (extremely rare prior to Anthony Braxton's For Alto) on "Love Me." "Alone Together" is an over-13-minute duet between Dolphy and bassist Richard Davis, featuring some astoundingly telepathic exchanges that more than justify its length. Even if the selections don't completely hang together as an LP statement, they're united by Dolphy's generally brilliant playing and a sense that  after several years without entering the studio much as a leader Dolphy was really striving to push his (and others') music forward. The results are richly rewarding, making Conversations one of the landmarks in his catalog.~ Steve Huey https://www.allmusic.com/album/conversations-mw0000199276

Personnel:  Eric Dolphy – bass clarinet, flute, alto saxophone;  Richard Davis – bass;  Eddie Khan – bass;  Clifford Jordan – soprano saxophone;  Sonny Simmons – alto saxophone;  Prince Lasha – flute;  Woody Shaw – trumpet;  Bobby Hutcherson – vibraphone;  J.C. Moses – drums;  Charles Moffett - drums on "Music Matador"

Conversations

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John Handy - Recorded Live at the Monterey Jazz Festival

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 78:17
Size: 179,3 MB
Art: Front

(27:29)  1. If Only We Knew
(19:34)  2. Spanish Lady
(31:12)  3. Tears of Ole Miss (Anatomy of a Riot)(Bonus Track)

John Handy's performance at the 1965 Monterey Jazz Festival was a sensation and arguably the high point of his career. The altoist, using a quintet that included violinist Michael White, guitarist Jerry Hahn, bassist Don Thompson, and drummer Terry Clarke (all of whom were young unknowns at the time), played two lengthy songs: the 27-minute "If Only We Knew" and "Spanish Lady," which lasts a mere 19 and a half minutes. After a brief theme, "If Only We Knew" mostly features unaccompanied solos. Handy's opening statement immediately quieted the crowd, which was amazed by the altoist's courage and the logic of the advanced yet tonal music. "Spanish Lady" also has a long Handy statement and builds up to a very exciting conclusion. 

Even over three decades later, the music sounds fresh, colorful, and innovative. The original Columbia LP (which has been long out of print) had reversed the order of the songs and even their titles so this Koch CD reissue is very welcome on several levels. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/live-at-the-monterey-jazz-festival-mw0000081959

Personnel:  John Handy – alto saxophone;  Mike White – violin;  Jerry Hahn – guitar;  Don Thompson – bass;  Terry Clarke – drums

On bonus track:   John Handy – alto saxophone;  Bobby Hutcherson - vibraphone;  Pat Martino - guitar;  Albert Stinson - bass;  Doug Sides - drums

Recorded Live at the Monterey Jazz Festival

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Glenn Zottola - Triple Play

Size: 109,7 MB
Time: 46:34
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Sunday (3:18)
02. How About You (2:56)
03. Moonlight In Vermont (3:31)
04. This Heart Of Mine (2:29)
05. Laura (3:26)
06. What Is This Thing Called Love (3:14)
07. Just You, Just Me (2:56)
08. Full Rush In (3:09)
09. Spring Is Here (3:11)
10. I Got It Bad (And That Ain't Good) (4:15)
11. Jupiter (2:43)
12. Darn That Dream (3:24)
13. Beta Minus (1:53)
14. Memories Of You (3:31)
15. Three Little Words (2:32)

Glenn Zottola is a multi-instrumentalist inspired by some of the great jazz icons of our time. He conquered the trumpet, alto saxophone and tenor saxophone with equal mastery. His new album, “Triple Play” explores this versatile artist’s unquestioned musicianship of the three instruments that have defined his career.

The inspiring play of Charlie Parker, Miles Davis, Clifford Brown, Stan Getz, Zoot Sims and others, have left a mark on this artist. His story told here more accurately reflects the blending of the different styles and approaches that have guided the development of Zottola’s own personal and individual style. In demonstrating his unique approach to jazz standards that comprise the fabulous repertoire of this album.

As he has professed his favorite instrument has always been the trumpet. It is with a crisp performance on the horn of the Jule Styne/Ned Miller composition “Sunday,” that Zottola opens up the album sharing the stage and the music with Raney, Getz on tenor, bassist George Duvivier and the drums of Ed Shaughnessey. Written for the film Babes on Broadway, Burton Lane’s familiar “How About You?” is presented here in more of a duet-styled format between Zottola’s sprite tenor voice and guitarist Raney as the dynamic duo lobby one salvo after another at each other keeping the music intimate and exciting.

“Moonlight in Vermont” has Zottola accompanied by a beautiful string section and featured on an expressive alto saxophone voice resulting in a delicate, spacious and yet very accessible version of this immortal classic.

The other two string-arranged standards just as atmospheric as the above track are, the 1945 David Raskin song “Laura” and Eubie Blake’s incomparable “Memories of You”. The 1946 Harry Warren song “This Heart of Mine” has the trumpeter returning to the muted horn displaying quick finger-play on the valves with nice backup play from flautist Hal McKusick, then emerges with his formidable alto saxophone voice on the unforgettable 1929 popular Cole Porter song “What Is This Thing Called Love?”. On this track, Zottola is at his best trading 4s with bassist Milt Hinton as drummer Osie Johnson delivers marvelous brush work.

The trumpeter then belts out three superb trumpet sounds on the oft-recorded “Just You Just Me,” while the Rodgers and Hart standard “Spring Is Here,” and the Jimmy Raney original “Jupiter,” are both reimagined on the muted horn where Zottola projects some of the finesse power play he is known for. Accompanied well by Getz on the tenor and Mckusick on clarinet, Zottola’s quick-paced interpretation of the 1940 Johnny Mercer classic “Fools Rush In” has a decidedly West Coast/Art Pepper feel to the approach. Offered in a small combo format with terrific instrumental support by both McKusick flute and Raney’s soft guitar strings, Zottola’s alto sings a lofty tender song in a warm rendition of Duke Ellington’s love ballad “I Got It Bad (and That Ain’t Good).”

If you listen closely to the arrangement of the Jimmy Van Heusen signature piece “Darn That Dream,” - you will hear a delicate duet of sorts with two great saxophonists (Getz and Zottola) delivering equally enchanting solo moments in one of the highlights of the album. The other Raney original “Beta Minus,” provides the last special showcase for Zottola’s muted horn exhibiting the Davis harmonized-style trumpet play with a decidedly Zottolian twist by design. Harry Ruby’s 1930 song “Three Little Words,” is the album closer and not only does it provide feature moments for the saxophonist on tenor, but also showcases the steady piano lines from Don Abney, Raney’s guitar solo and Kenny Clarke’s splashy brushes which introduces the tune and continues throughout resulting in a classy climax to a wonderful display of light jazz.

Most professional musicians stake their claim to fame by association with one or two instruments of choice. While Glenn Zottola continues to profess his preference for the trumpet over other wind instruments, Triple Play perhaps makes a musical statement that one cannot judge or assume that an artist’s entire career can only be assessed by the performance delivered on any single instrument. There have been few, if any in jazz history that have been able to double on various instruments to the degree and at the level Zottola continues to maintain. As documented quite well here, Zottola is a gifted trumpeter and saxophonist, a triple threat if you will, a world-class player who has spent a career performing with some of the best musicians on the planet. ~Edward Blanco

Triple Play

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Jacqueline Petroccia - Champagne & Moonshine

Size: 47,7+56,0 MB
Time: 20:22+23:54
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Country Vocals, Big Band
Art: Front

CD 1:
01. Crazy / Crazy He Calls Me (5:13)
02. Sooner Or Later (4:22)
03. Mambo Italiano (3:29)
04. No Bout Adoubt It (2:57)
05. I'll Be Seeing You (4:19)

CD 2:
01. My Church (3:24)
02. Your Name In Lights (3:48)
03. Sin Wagon (3:29)
04. Tennesse Whiskey / Tennessee Waltz (5:31)
05. Do You Think About Me (3:34)
06. Tin Man (4:05)

With a voice described as "dark velvet" and "golden honey," Jacqueline Petroccia's voice and soulful performance have been repeatedly compared to the late country legend Patsy Cline. With a career spanning musical theatre, classical, pop, country and big band, Petroccia is best known for her award-winning portrayal of Cline across the United States in the hit musical ALWAYS... PATSY CLINE. On this 2 disc EP collection, she seamlessly delivers big band, swing and country, not unlike the music legend herself.

Champagne & Moonshine

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Josephine Howell - Josephine

Size: 88,5 MB
Time: 38:07
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Fever (4:36)
02. I Don't Know Why (6:15)
03. I Can't Stand The Rain (3:24)
04. All Blues (4:25)
05. Stand By Me (Original Arrangement) (4:02)
06. I Hope You Dance (4:42)
07. Hallelujah (5:34)
08. Stand By Me (5:05)

Josephine Howell (Josie) was born in Chicago, IL. She has always been fascinated with music and the arts, captivating family and friends at an early age. She first explored her interest and abilities for singing in the children’s choir at her childhood church, The True Right M. B. Church. It was the beginning of the foundation that would sustain her through a life filled with the type of experiences that inspire every song, every word, and every moment she is on stage.

Because Josephine recognizes the importance of each hand, helping another, she participates often in many local community events, performing, entertaining, but also sometimes speaking very candidly to those who need to hear from someone who’s walked in their shoes. She is active in not only local affairs, but has also committed her time and talent to advocate for the homeless. She believes that it is important not just to entertain, but to use her gifts, her singing, her speaking, her acting, her directing to better the community, city and country in which she lives.

Josephine

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Pat Becker & Rex Bell - Feel The Love

Size: 101,3 MB
Time: 43:27
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Smooth Operator (4:19)
02. Both Sides Now (5:11)
03. Softly As In A Morning Sunrise (4:35)
04. New Autumn Leaves (4:00)
05. Lover Come Back To Me (3:50)
06. Why Do You Have To Go Home (3:13)
07. Straighten Up And Fly Right (3:09)
08. Lover Man (5:22)
09. Summertime (4:17)
10. Let Me Sing It For You (5:05)

Pat Becker’s career has spanned many facets as an author of books, singing, movies, television and radio.

Pat began her singing career at the age of eight years old for the “Free Milk And Ice Fund” in Fort Worth, Texas. At the age of ten her parents moved to Houston, where she began singing at various events from the age of 10 to 13 years old.

At the age of 15 she sang with the “Buddy Brock Swing Band” in Houston. When she turned sixteen she was booked by the Brock and Martin agency for all Houston venues on their roster. At the age of nineteen she was booked by the “ABC Booking Agency” of Dallas, where she performed at the “The Village Club”, “Executive Inn Club” and many other Dallas venues.

Pat at the age of twenty was put under contract to “The William Morris Agency”, The agency set up a night club act for her and was booked at major hotels across the U.S.A. She also appeared at the various “Play Boy Clubs”, “The Living Room” New York, “Tidelands” Houston, “Caesars Palace” and “The Desert Inn” in Las Vegas.

She has performed with “The Guy Lombardo Orchestra”, and was the opening act for comedians Mort Sahl and Godfrey Cambridge, she also appeared on the national television show “Hollywood Talent Scouts”. Pat was sponsored and introduced by actor Glen Ford, which in turn led to appearances at various clubs in England, Jamaica and Aruba.

She was offered a contract with 20th Century Fox movie studio, which she accepted and put her singing career on hold to pursue acting. As an actress she had roles in “A Guide for the Married Man (1967)”, “In Like Flint (1967)” and “Batman (1966)”. After her contract ended at Fox she started her own band in Oklahoma called “Hart and Soul”, her band has recently retired.

Feel The Love

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Lionel Hampton & His Giants Of Jazz 1979 - Hamp In Haarlem

Styles: Vibraphone Jazz
Year: 1979
File: MP3@320K/s
Time: 44:37
Size: 104,2 MB
Art: Front

( 7:35)  1. Glad Hamp
( 6:02)  2. Ol' Man River
( 6:21)  3. Greasy Greens
( 2:43)  4. Mr. P.C.
(12:05)  5. Hamp's Got The Blues
( 9:50)  6. Salsa, Ein Burgermeister De Francoise

Lionel Hampton was the first jazz vibraphonist and was one of the jazz giants beginning in the mid-'30s. He has achieved the difficult feat of being musically open-minded (even recording "Giant Steps") without changing his basic swing style. Hamp started out as a drummer, playing with the Chicago Defender Newsboys' Band as a youth. His original idol was Jimmy Bertrand, a '20s drummer who occasionally played xylophone. Hampton played on the West Coast with such groups as Curtis Mosby's Blue Blowers, Reb Spikes, and Paul Howard's Quality Serenaders (with whom he made his recording debut in 1929) before joining Les Hite's band, which for a period accompanied Louis Armstrong. At a recording session in 1930, a vibraphone happened to be in the studio, and Armstrong asked Hampton (who had practiced on one previously) if he could play a little bit behind him and on "Memories of You" and "Shine"; Hamp became the first jazz improviser to record on vibes. It would be another six years before he found fame. Lionel Hampton, after leaving Hite, had his own band in Los Angeles' Paradise Cafe, until one night in 1936 when Benny Goodman came into the club and discovered him. Soon, Hampton recorded with B.G., Teddy Wilson, and Gene Krupa as the Benny Goodman Quartet, and six weeks later he officially joined Goodman. An exciting soloist whose enthusiasm even caused B.G. to smile, Hampton became one of the stars of his organization, appearing in films with Goodman, at the famous 1938 Carnegie Hall concert, and nightly on the radio. In 1937, he started recording regularly as a leader for Victor with specially assembled all-star groups that formed a who's who of swing; all of these timeless performances (1937-1941) were reissued by Bluebird on a six-LP set, although in piecemeal fashion on CD. Hampton stayed with Goodman until 1940, sometimes substituting on drums and taking vocals. In 1940, Lionel Hampton formed his first big band, and in 1942 had a huge hit with "Flying Home," featuring a classic Illinois Jacquet tenor spot (one of the first R&B solos). 

During the remainder of the decade, Hampton's extroverted orchestra was a big favorite, leaning toward R&B, showing the influence of bebop after 1944, and sometimes getting pretty exhibitionistic. Among his sidemen, in addition to Jacquet, were Arnett Cobb, Dinah Washington (who Hampton helped discover), Cat Anderson, Marshall Royal, Dexter Gordon, Milt Buckner, Earl Bostic, Snooky Young, Johnny Griffin, Joe Wilder, Benny Bailey, Charles Mingus, Fats Navarro, Al Gray, and even Wes Montgomery and Betty Carter. Hampton's popularity allowed him to continue leading big bands off and on into the mid-'90s, and the 1953 edition that visited Paris (with Clifford Brown, Art Farmer, Quincy Jones, Jimmy Cleveland, Gigi Gryce, George Wallington, and Annie Ross) would be difficult to top, although fights over money and the right of the sideman to record led to its breakup. Hampton appeared and recorded with many all-star groups in the 1950s including reunions with Benny Goodman, meetings with the Oscar Peterson Trio, Stan Getz, Buddy DeFranco, and as part of a trio with Art Tatum and Buddy Rich. He also was featured in The Benny Goodman Story (1956). Since the 1950s, Lionel Hampton has mostly repeated past triumphs, always playing "Hamp's Boogie Woogie" (which features his very rapid two-finger piano playing), "Hey Ba-Ba-Re-Bop," and "Flying Home." However, his enthusiasm still causes excitement and he remains a household name. Hampton has recorded through the years for nearly every label, including two of his own (Glad Hamp and Who's Who). Despite strokes and the ravages of age, Lionel Hampton remained a vital force into the 1990s. In January 2001, a vibraphone he had played for 15 years was put into the National Museum of American History. On August 31, 2002, at age 94, Lionel Hampton suffered major heart failure and passed away. ~ Scott Yanow https://www.allmusic.com/artist/lionel-hampton-mn0000833150/biography

Personnel: Lionel Hampton - vibraphone, drums, piano, vocals; Joe Newman, Wallace Davenport - trumpet; Curtis Fuller - trombone; Steve Slagle - alto saxophone; Paul Moen - tenor saxophone;  Paul Jeffrey - baritone saxophone;  Wild Bill Davis - organ, piano;  Gary Mazzaroppi - bass;  Richie Pratt - drums

Hamp In Haarlem

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Don Braden - Landing Zone

Styles: Saxophone Jazz 
Year: 1995
File: MP3@320K/s
Time: 58:40
Size: 134,9 MB
Art: Front

(4:55)  1. Landing Zone
(5:48)  2. You Are The Sunshine Of My Life
(7:58)  3. Nightline
(7:10)  4. Body And Soul
(1:47)  5. The Break
(6:21)  6. Hillside
(7:06)  7. Come Rain Or Come Shine
(5:11)  8. Have You Met Miss Jones
(7:51)  9. A Blue Spree
(3:03) 10. Amsterdam Jam
(1:26) 11. Quadralog

Tenor saxophonist Don Braden is a highly-competent young hard bopper with an attractively reedy tone, flexible technique, and a sure sense of time. This is a straightahead jazz album like dozens of others released in the mid-to-late '90s  better than many, no different from most. Pleasant, untroubling, and ultimately forgettable. Braden's a decent player who might have the potential to be something more. His is an agreeable musical personality, but he's got some stretching to do if he wants to make a lasting contribution. ~ Chris Kelsey https://www.allmusic.com/album/landing-zone-mw0000627954

Personnel:  Don Braden - tenor saxophone;  Kevin Hays - piano;  Cecil Brooks III - drums;  Joris Teepe - bass

Landing Zone

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Mel Torme & The Marty Paich Dek-Tette - In Concert Tokyo

Styles: Vocal, Post Bop 
Year: 1988
File: MP3@320K/s
Time: 51:09
Size: 121,8 MB
Art: Front

(3:30)  1. It Don't Mean A Thing (If It Ain't Got That Swing)
(3:56)  2. Sweet Georgia Brown
(3:12)  3. Just In Time
(4:11)  4. When The Sun Comes Out
(3:23)  5. The Carioca
(4:41)  6. More Than You Know
(4:16)  7. Too Close For Comfort
(3:38)  8. The City
(5:35)  9. Bossa Nova Potpourri
(3:02) 10. On The Street Where You Live
(6:58) 11. Cotton Tail
(3:42) 12. The Christmas Song
(0:59) 13. It Don't Mean A Thing (reprise)

Mel Tormé and arranger Marty Paich (leading his ten-piece "Dek-tette") recorded several classic albums in the late '50s. On Reunion earlier in 1988 they had an enjoyable collaboration and this live set was a follow-up. In general these in-concert performances are livelier with Tormé sounding quite exuberant at times. Highlights include "Just in Time," "When the Sun Comes Out," "The Carioca," "The Christmas Song" and an instrumental version of "Cotton Tail" featuring clarinetist Ken Peplowski and Tormé on drums. A joyful outing. ~ Scott Yanow https://www.allmusic.com/album/in-concert-tokyo-mw0000076461

Personnel:  Mel Tormé - vocals, drums;  Warren Luening - trumpet;  Dan Barrett - trombone;  Chuck Berghofer - double bass;  Bob Efford - baritone saxophone;  Bob Enevoldsen - valve trombone;  Allen Farnham - piano;  Gary Foster - alto saxophone;  Marty Paich - arranger, conductor;  Ken Peplowski - clarinet, tenor saxophone;  Jim Self - tuba;  John Von Ohlen - drums

In Concert Tokyo

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Andrew Hill - Eternal Spirit

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 67:42
Size: 155,3 MB
Art: Front

( 9:57)  1. Pinnacle
(10:24)  2. Golden Sunset
( 4:53)  3. Samba Rasta
( 6:19)  4. Tail Feather
( 7:47)  5. Spiritual Lover
( 8:44)  6. Bobby's Tune
( 7:32)  7. Pinnacle (alternate take)
( 5:16)  8. Golden Sunset (alternate take)
( 6:45)  9. Spiritual Lover (alternate take)

Andrew Hill returned to the Blue Note label (where he made many significant releases during 1963-80) for a stimulating quintet date with vibraphonist Bobby Hutcherson, altoist Greg Osby, bassist Rufus Reid and drummer Ben Riley in 1989. The pianist's six originals (which are joined by three alternate takes on the CD) his dense chords behind the other improvisers and his own unpredictable solos are not all overshaowed by his talented sideman, even Osby who is heard in particularly inspired form. 

There are no weak performances on this superb post bop effort, Andrew Hill's strongest recording in several years. ~ Scott Yanow https://www.allmusic.com/album/eternal-spirit-mw0000202207

Personnel:  Andrew Hill - piano;  Greg Osby - alto saxophone;  Bobby Hutcherson - vibes;  Rufus Reid - bass;  Ben Riley - drums

Eternal Spirit

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Alexandra Shakina - All The Way

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 53:29
Size: 176,3 MB
Art: Front

(6:08)  1. All The Way
(5:24)  2. Let Me Love You
(5:07)  3. Get Out Of Town
(4:38)  4. Dedicated To You
(4:48)  5. I Concentrate On You
(5:12)  6. Weaver Of Dreams
(6:19)  7. I'm Just Lucky So And So
(4:23)  8. That Old Black Magic
(6:41)  9. Come Fly With Me
(4:43) 10. Where Or When

The debut album from Russian vocalist Alexandra Shakina, performing standards with backing from the Massimo Farao' Trio.
 

Personnel:  Alexandra Shakina, vocals;  Massimo Farao', piano;  Aldo Zunino, bass;  Ruben Bellavia, drums

All The Way

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Laura Taylor - Mountain Greenery

Size: 125,9 MB
Time: 53:48
File: MP3 @ 320K/s
Released: 1997
Styles: Jazz Vocals, Big Band
Art: Front

01. Mountain Greenery (3:38)
02. Straighten Up And Fly Right (2:22)
03. These Foolish Things Remind Me Of You (4:50)
04. Lost In A Dream Of You (7:03)
05. Porgy And Bess Medley (9:58)
06. Spellbound (3:31)
07. Hello Love (6:08)
08. Cottontail - I've Got Rhythm (4:53)
09. Lovelight (5:19)
10. One Note Samba (3:45)
11. Scrapple From The Apple - Honeysuckle Rose (2:16)

Critical acclaim and national radio airplay have been given to Laura’s five jazz CDs: Have Mercer on Me, features pianist and Ben Vereen conductor David Loeb, bassists Bob Sachs and Derek Jones, pianist Bob Rozario, drummer Michael Mecham, guitar great Joe Lano and percussionist Lenny Lopez. My Funny Valentine…a tribute to Chet Baker, features jazz legends Eddie Gomez, Steve Kuhn and Louis Nash. Mountain Greenery features jazz greats Jack Sheldon, Pete and Conte Condoli Red Holloway and guitarist Joe Lano; Cry Me a River, a tribute to the late Julie London, features Joe Lano and Tom Warrington, and Songs of the Winter Season, also featuring Joe Lano and Tom Warrington.

Mountain Greenery

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Evelyn Laurie - A Little Bit Of Me

Size: 95,7 MB
Time: 41:02
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Close Your Eyes (4:20)
02. Who Knows Where The Time Goes (5:19)
03. I Fall In Love Too Easily (3:52)
04. I Love The Way Your Breaking My Heart (3:12)
05. Lullaby Of Birdland (3:13)
06. I Love Your Smile (3:27)
07. In The Dark (4:51)
08. Wichita Lineman (4:38)
09. I'm A Fool To Want You (4:36)
10. Fly Away (3:30)

It could be argued that today we share too much of ourselves, that we find ways to harm our souls by shedding our skins in the wrong place, we find solace in being able to be comforted by strangers, that we seek validation from those who do not care for our welfare or for the stories we want to impart.

There is nothing wrong with seeking out people in which we can trust, we are all connected by the thought of wanting to be part of something bigger than ourselves, and yet we sacrifice the allure of unfolding mystery by opening our own personal Pandora’s Box to all and sundry in one fell swoop, not content with patience and declaring that we say, here is A Little Bit of Me.

There is beauty to be found, to be explored with great delicacy, in opening up the soul a fraction at a time, of understanding that the delivery is as important as the message, and it is one espoused with great charm by Evelyn Laurie in her debut album. whilst the artist may say, “it has taken her a while”, the album should be seen as example of how music can guide you to a place where you are comfortable in your own time, of being honest, sincere, of repairing your skin instead of flagellating it to the point where all anyone can see is scars.

Joining Ms. Laurie on the album are the talented musicians Euan Stevenson, Mario Caribe, Tom Gordon, Frank Bolam and Konrad Wiszniewski; it is a team approach that makes the album special and gives Evelyn Laurie’s distinctive voice an even greater lift, one that is enhanced by the trust so richly deserved by the band in her delivery and message.

A sense of a delicate blooming, of a coloration of time and preciseness comes forth in songs such as Sandy Denny’s Who Knows Where The Time Goes, I Love The Way You’re Breaking My Heart, I Love Your Smile, the femininity that surrounds the cover of Jimmy Webb’s Wichita Lineman and Joel S. Herron, Frank Sinatra and Jack Wolf’s I’m A Fool To Want You. It is a dynamic that at first hints, and then indicates with absolute clarity, all that you need to know about allowing your whole life to be put on show. It is in the careful unpeeling of the orange that we learn to savour the fruit inside, it is unveiling the person in by saying here is A Little Bit of Me, that kindness and appreciation soon follows. ~Ian D. Hall

A Little Bit Of Me

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Megan Lee - Meet Me

Size: 72,2 MB
Time: 30:36
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals
Art: Front

01. Medicine Man (4:14)
02. All These Men (2:40)
03. Why Don't You Do Right (2:28)
04. Meet Me (3:55)
05. You Took Your Time (3:45)
06. Up All Night (4:11)
07. Since You've Been Gone (2:42)
08. Brown Eyes Blue (2:47)
09. At Last (3:50)

Megan Lee is an acclaimed and much loved singer, known throughout Cheshire and the North West as a skilled, versatile interpreter of songs by artists ranging from Peggy Lee and Etta James to Adele.
Now she is set to release her debut album and forge a new exciting path in her evolving career.

For the making of this she has collaborated with noted producer/multi-instrumentalist Nigel Stonier (who has worked with Clare Teal, Thea Gilmore, and The Waterboys among many others) and Duncan Thompson (of Sandi Thom collaboration fame) to create an exciting body of original material which embraces all the Jazz stylings Megan is known and loved for, while throwing in some contemporary pop shapes for good measure.

The 9 track album ranges from moody to sultry to punch-the-air uplifting.

Megan's ever engaging, airy, light soprano imbues all the songs with her unique stamp, soaring, swooping and taking you on a journey of many emotions.
"Meet Me" is set to establish Megan Lee as not just a singer, but also a songwriter, to be reckoned with.
As well as Stonier's contributions, the album features legendary drummer Paul Burgess (who plays with 10cc, Elkie Brooks, and Joan Armatrading)

Meet Me

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Sam Levine & Jack Jezzro - Christmas In The Fifties

Size: 115,1 MB
Time: 49:08
File: MP3 @ 320K/s
Released: 2000
Styles: Jazz Pop, Xmas
Art: Front

01. Jingle Bell Rock (3:30)
02. Winter Wonderland (3:55)
03. Rockin' Around The Christmas Tree (3:32)
04. I Saw Mommy Kissing Santa Claus (4:32)
05. Santa, Bring My Baby Back (To Me) (3:35)
06. Here Comes Santa Claus (3:04)
07. The Chipmunk Song (Christmas Don't Be Late) (2:48)
08. Rudolph, The Red-Nosed Reindeer (3:48)
09. White Christmas (4:23)
10. Holly Jolly Christmas (3:16)
11. Blue Christmas (4:08)
12. Santa Baby (4:22)
13. Please Come Home For Christmas (4:09)

This fourth installment features the classic Christmas songs of the 50's as well as Christmas favorites transformed into 50's sounding gems. No other era in pop music history produced more Christmas songs that became chart successes than the 1950's.

Jack Jezzro has nearly 100 albums to his credit, a Grammy nomination, and four Dove award nominations. His projects have collectively sold over 5 million copies. As an internationally accomplished guitarist, his music has been featured on Entertainment Tonight, The Olympics, The Nashville Network, and jazz radio stations around the world. Jack currently resides in Nashville, Tennessee. Sam Levine is known for his tender and heartfelt renditions of contemporary hits. Sam has been featured in live performances with such superstars as Whitney Houston and Al Jarreau, has recorded with Michael McDonald, The Neville Brothers, and Amy Grant, and has contributed musically to such motion picture soundtracks as Honeymoon in Vegas and Sweet Dreams. He currently resides in Nashville, Tennessee with his wife, Lee, and their children, Sybil and Reed.

Christmas In The Fifties

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Dana Marcine - To The Horizon

Size: 168,0 MB
Time: 72:25
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. So Fabulous (3:29)
02. Driving To The Horizon (4:56)
03. Small Peace (3:33)
04. Someone Else (5:12)
05. Los Cabos (5:21)
06. Sparkling Threads (4:18)
07. Sweet Livin' (4:45)
08. Phone At Home (6:06)
09. Satellites (6:55)
10. A Dream Of You (5:07)
11. Say.. (5:31)
12. Cry (6:12)
13. While Waiting Here (5:10)
14. All Because Of You (5:44)

Dana Marcine is a singer and songwriter of jazz music. She is also the bandleader of Jazz It Up and the Dana Marcine Quartet.

From her beginnings in Brooklyn, NY, music has always been central to Dana’s life. Born to a musical family, Dana was constantly surrounded by the sounds of opera, classical, and popular songs, eventually earning an MS in music. She has always loved singing for family, friends and audiences in the US and Europe.

In addition to performing well known standards from the Great American Songbook, Dana composes, music and lyrics, her own acclaimed originals. A previous recording of standard and originals, So Unexpected, received outstanding reviews, recognition and airplay.

A vocalist of great versatility, Dana has performed in madrigal and a cappella ensembles, enjoyed many roles with regional and off-Broadway theater companies, graced the opera stage, and sung the national anthem on ESPN. A chance meeting and friendship with jazz great Paul Bley introduced her to the genre of jazz music. Since then, being creative in jazz is where her focus is.

Throughout this journey, Dana has had the pleasure of collaborating with respected names in jazz, and has also performed at many wonderful venues. Recently, since making Austin, TX her home, she has become an active member of the Austin jazz scene, working with many outstanding musicians including Jeff Hellmer, Mitch Watkins, and John Fremgen, among many others. In “The Live Music Capital of the World”, she has performed at a long list of great venues, including The Brass House, The Elephant Room, the Four Seasons, Austin Bergstrom Airport, and other fine clubs. Her quartet has provided music at several fundraising events for St. David’s Hospital, Zach Theater, and Austin Opera.

A recent career highlight for Dana was an incredible opportunity to experience the music and culture of Portugal. Dana was chosen by the Center for Music Connections to represent American jazz music in comparison and contrast to Portuguese fado music. A series of concerts throughout Lisbon featured the collaboration between acclaimed fado artists, Fernanda Paulo and Mucio Sa, and American jazz artists, Dana Marcine and Renato Diz. The tour concluded with a music event in Washington, DC at the Portuguese Ambassador’s residence. It was attended by a multitude of ambassadors to the US from many other countries.

To The Horizon

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Kenny Garrett - Black Hope

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 65:54
Size: 154,3 MB
Art: Front

( 6:08)  1. Tacit Dance
( 4:09)  2. Spanish Go-round
(10:04)  3. Computer G
( 7:39)  4. Van Goghs Left Ear
( 3:53)  5. Black Hope
( 7:01)  6. Jackie And The Bean Stalk
( 4:46)  7. Run Run Shaw
( 5:24)  8. 2 Step
( 4:53)  9. Bone Bob
( 4:42) 10. Books And Toys
( 5:34) 11. Bye Bye Blackbird
( 1:35) 12. Last Sax

Alto saxophonist Kenny Garrett hasn't been as heavily publicized as his fellow young lions, but he can play with as much authority, conviction, and sheer energy as anyone. Only some uneven material keeps his '92 album from being exceptional, and even on the weak songs, Garrett's playing forces you to pay attention. ~ Ron Wynn https://www.allmusic.com/album/black-hope-mw0000082568

Personnel:  Kenny Garrett: alto saxophone, soprano saxophone;  Joe Henderson: tenor saxophone;  Kenny Kirkland: piano, synthesizer;  Donald Brown: synthesizer;  Charnett Moffett: bass;  Brian Blade, Ricky Wellman: drums;  Don Alias: percussion

Black Hope

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Viktoria Tolstoy - Meet Me at the Movies

Styles: Vocal 
Year: 2017
File: MP3@320K/s
Time: 48:44
Size: 112,0 MB
Art: Front

(5:44)  1. Calling You
(5:31)  2. As Time Goes By
(3:56)  3. En Man (Marlowe's Theme)
(4:29)  4. Out Here on My Own
(3:56)  5. Why Should I Care
(3:14)  6. The Book of Love
(4:33)  7. Love Song for a Vampire
(3:48)  8. Kiss from a Rose
(4:49)  9. Angel
(5:30) 10. New World
(3:10) 11. Smile

The box office is not really in sight when Viktoria Tolstoy starts to sing. But everything is different on this CD. But this time, the Swede has selected film scores of well-known strips and dipped heavily into the jazz pot. The result is newly dressed and yetunadulterated classics. Sometimes it takes 20-30 bars, until one becomes aware: "Of course, that's it ..." Because often outweighs listening first, Exact-listening, sound pearl capturing. Tolstoy abducts, seduces and strokes gently, smiles mischievously and makes you listen with every tone where you otherwise stick to the picture on the big screen. Sure, it's the old songs and yet they sound so different from the movies - pearly, smoky, groovy. Modern and new. Together with Mattias Svensson (bass), Rasmus Kihlberg (drums) and Krister Jonsson (guitar), Tolstoy brings back a hundred-fold reproduced sound. A thousand-fold musical throats and ancient classics become crystal clear and subtly nuanced jazz. "As time goes by", "Dancer in the Dark", "Kiss from a rose" - Tolstoy presents it soft and smooth in one place, rough and handy on another. Glanzlichter puts in several songs Nils Landgren with his red trombone, who is also the producer of the CD. He cleans even the smallest song passages musically bright, makes it flash brightly and gives the film titles radiant sound accessories. In addition, Tolstoy has brought the Finnish pianist Iiro Rantala as a guest. He succeeds on the piano a leap in time: With a light finger, he drives out the kitsch from the well-known wise men, transforms the dusty into modern-jazzy. Melancholic gets intensity, soft feeling ends in sounds with verve and modernity. And Tolstoy shows together with their musicians: full orchestra and Hollywood bombast are not necessary for the classics. The small, almost sparse cast brings to light Tolstoy's clear voice and lively, jazzy interpretation, setting the musicians in particular passages great scene and convinces with a fine sound universe. Very nicely done! I think the cinemas in this country should once again arrange film music evenings. Viktoria Tolstoy and her musicians would be the right choice for a matinee. Until a cinema owner dares, the CD offers a 48-minute cinema experience of a special kind. ~ Sabine Meinert https://www.aboutjazz.de/2017/01/viktoria-tolstoy-meet-me-at-the-movies.html

Personnel:  Viktoria Tolstoy / vocals;  Krister Jonsson / guitars;  Mattias Svensson / electric & acoustic bass;  Rasmus Kihlberg / drums;  Iiro Rantala / piano;  Nils Landgren / trombone & vocals

Meet Me at the Movies

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Don Byas - Ballads For Swingers

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 42:17
Size: 98,6 MB
Art: Front

(8:51)  1. Yesterdays
(7:01)  2. All The Things You Are
(8:21)  3. Lady Bird
(8:21)  4. Lover Man
(9:42)  5. I'll Remeber April

One of the greatest of all tenor players, Don Byas' decision to move permanently to Europe in 1946 resulted in him being vastly underrated in jazz history books. His knowledge of chords rivalled Coleman Hawkins, and, due to their similarity in tones, Byas can be considered an extension of the elder tenor. He played with many top swing bands, including those of Lionel Hampton (1935), Buck Clayton (1936), Don Redman, Lucky Millinder, Andy Kirk (1939-1940), and most importantly Count Basie (1941-1943). An advanced swing stylist, Byas' playing looked toward bop. He jammed at Minton's Playhouse in the early '40s, appeared on 52nd Street with Dizzy Gillespie, and performed a pair of stunning duets with bassist Slam Stewart at a 1944 Town Hall concert. After recording extensively during 1945-1946 (often as a leader), Byas went to Europe with Don Redman's band, and (with the exception of a 1970 appearance at the Newport Jazz Festival) never came back to the U.S. He lived in France, the Netherlands, and Denmark; often appeared at festivals; and worked steadily. Whenever American players were touring, they would ask for Byas, who had opportunities to perform with Duke Ellington, Bud Powell, Kenny Clarke, Dizzy Gillespie, Jazz at the Philharmonic (including a recorded tenor battle with Hawkins and Stan Getz), Art Blakey, and (on a 1968 recording) Ben Webster. Byas also recorded often in the 1950s, but was largely forgotten in the U.S. by the time of his death. ~ Scott Yanow https://www.allmusic.com/artist/don-byas-mn0000172350/biography

Personnel:  Don Byas (tenor saxophone); Bengt Axen (Piano);  Niels-Henning Frsted Pedersen (bass) ;  Axel Riel (drums)

Ballads For Swingers

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