Don Patterson - Holiday Soul

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 38:30
Size: 89,8 MB
Art: Front

(3:15) 1. Rudolph The Red-Nosed Reindeer
(5:38) 2. What Are You Doing New Year's Eve?
(3:01) 3. You're All I Want For Christmas
(2:57) 4. Silent Night
(3:13) 5. O Holy Night
(5:34) 6. Santa Claus Is Coming To Town
(6:05) 7. Merry Christmas Baby
(8:43) 8. Jingle Bells

With December ushering in the holiday season, it seemed logical to allow this month's column to address two items that fall under the category of jazzy Christmas fare. Although the repertoire in this area is really quite limited, some of the more memorable holiday jazz sides include works by Ella Fitzgerald and Jimmy Smith. For my money however, among the best sets is a pair of 1964 sides cut for Prestige by Bobby Timmons and Don Patterson. The idea for successful Christmas music adaptations has always been about utilizing the formats of such traditional pieces as a launching pad for substantial jazz performances and both Timmons and Patterson do that in a way that allows their own personalities to rise to the surface. A staple of the Prestige catalog, organist Don Patterson turned out a substantial number of albums for the label during the sixties, with Holiday Soul (Prestige 7415) being among his rarest and hardest to find. Serving somewhat as a house rhythm section for Prestige at the time, Patterson is heard with guitarist Pat Martino and drummer Billy James and the threesome generates the kind of energy that belies the group's modest size. The centerpiece is a lengthy groove on "Jingle Bells," launched by a modal vamp that leads into a string of choruses from both Patterson and Martino. "Merry Christmas Baby" takes on an azure hue with "down home" statements from our lead voices, a clarity of purpose evident in both the solos and Rudy Van Gelder's classic engineering for an organ combo. Even "Rudolf the Red Nosed Reindeer" swings like crazy, Martino's Wes-inflected octaves being of particular interest.

When it comes to pianist Bobby Timmons, most consider his main contribution to the music to be a gospel-tinged/funky outlook that ushered in a whole genre of soul-jazz that is still in favor among today's younger set. As such, his collection of Christmas favorites as assembled under the same banner of Holiday Soul (Prestige 7414) is even more individualistic than Patterson's. "White Christmas" is as far removed from its usual maudlin tone as is possible, with a bluesy feel that finds Timmons romping across the snow banks with blissful ease. It's a funky vamp that launches "Winter Wonderland" and over several choruses Timmons and bassist Butch Warren get to speak their piece, supported ever so tastefully by drummer Walter Perkins. Both of these holiday sets stand firmly on the grounds of being good Christmas music, but they also offer considerable jazz performances to boot. The shame is that even with Fantasy's ambitious reissue programs of late, each of these records has yet to be reissued on compact disc (however, two selections from each album do appear on the compilation The OJC Christmas Collection ). Their reappearance at some point will be a welcomed gift to jazz fans of the hard bop persuasion. In the meantime, keep a look out for these vinyl trinkets and best wishes for a healthy and happy holiday season! ~ C.Andrew Hovan https://www.allaboutjazz.com/don-patterson-bobby-timmons-holiday-soul-by-c-andrew-hovan.php

Personnel: Don Patterson - organ; Pat Martino - guitar; Billy James - drums

Holiday Soul

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Stacey Kent - Christmas in the Rockies

Styles: Christmas
Year: 2020
File: MP3@320K/s
Time: 13:57
Size: 32,6 MB
Art: Front

(3:14) 1. Sleigh Ride
(3:46) 2. Christmas Time is Here
(3:03) 3. Winter Wonderland
(3:53) 4. The Christmas Song - Bonus Remastered Version

Stacey Kent is a jazz singer in the mould of the greats, with a legion of fans worldwide, a host of honors and awards including a Grammy nomination, album sales in excess of 2 million, Gold, Double-Gold and Platinum-selling albums that have reached a series of No. 1 chart positions during the span of her career. Her most recent album, I Know I Dream: The Orchestral Sessions (Sony) has had more than 30 million streams, received glowing reviews, including a coveted five stars in Downbeat, won ‘Album of the Year’ in the vocal category at the 2018 Jazz Japan Awards, and was described by All About Jazz as “intoxicating understatement at its finest…one more jewel in a discography with many, it’s one that deserves singling out for its luster.”

This comparative literature graduate with a passion for music, travelled to Europe to further her studies, and after receiving her degree from Sarah Lawrence College in NY, through a series of twists of fate, she found herself in London where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson. Kent’s musical journey began in her childhood with piano lessons. A keen ear and true voice lead her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the path that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 11 studio albums, including the Platinum-selling, Grammy-nominated Breakfast On The Morning Tram (EMI/Blue Note 2007) and an impressive list of collaborations, Stacey has graced the stages of more than 55 countries over the course of her career. Kent paid her dues in the jazz clubs of London, before releasing the first of a series of albums for the Candid label, beginning with Close Your Eyes in 1997. Her second album, The Tender Trap (1999) brought her to the attention of US audiences with appearances on CBS Sunday Morning and NPR’s All Things Considered. Albums and awards followed, with Stacey winning the ‘Jazz Vocalist of the Year’ at the BBC Jazz Awards. The Boy Next Door (2003) was Stacey’s last Candid release and her first album to achieve Gold status.

During this period, Stacey cemented her reputation as a singer capable of putting a distinctive stamp on an impressive repertoire of standards. Her ability to communicate emotion through a nuanced and minimalist approach was showcased on Jim Tomlinson’s album, The Lyric (Token) which was awarded Album of The Year at the 2006 BBC Jazz Awards. This album brought her to the attention of Blue Note records with whom she signed in 2007. With each successive album, Stacey’s style has become more honed as her artistic outlook has broadened, leading her beyond the Great American Songbook to French chanson and Brazilian music which form an ever-larger part of her repertoire. Stacey’s repertoire also includes a growing number of songs written for her by Jim Tomlinson with various lyricists, most notably the Nobel Prize-winning author, Kazuo Ishiguro. The idea of singing original compositions came up during a lunch with Ishiguro. The conversation turned to music, and the idea was hatched to write a series of songs for Stacey that distilled themes of memory, travel and love, that so frequently surfaced in her repertoire. From this conversation, the songs for Breakfast On The Morning Tram were conceived.

Almost overnight, Stacey transformed from being a singer of the Great American Songbook, to a singer with a highly distinctive and personal repertoire. The first collaboration between Ishiguro, the lyricist, and Tomlinson, the composer, The Ice Hotel, won first prize in the jazz category of the International Songwriting Competition. Since then, all of Stacey’s albums have been punctuated by original songs composed by Tomlinson with a variety of lyricists in English, French and Portuguese. Kent has continued to pursue a frenetic recording and touring schedule. Her first album for Blue Note was followed in 2009 by the Gold-selling, all-French, Raconte-Moi which was that year’s biggest selling French language album outside of France. She was invited to perform an all-French program at the Francofolies Festival and was awarded the Chevalier Dans L’Ordre Des Arts et Des Lettres. Her first ever live album, Dreamer In Concert (EMI 2011), was followed by The Changing Lights (Warner 2013), which more than any other album, reveals the ever-present influence of Brazil in Stacey’s music. Among French, Italian and German, Stacey also speaks Portuguese. She has toured widely in Brazil and collaborated with many of her heroes including Edu Lobo, Dori and Danilo Cayymi, Roberto Menescal, and most notably Marcos Valle, who invited her to celebrate his 50 years in music on the album, Ao Vivo (Sony 2013). A DVD and documentary of their collaboration and friendship was also released on Sony in 2016.

With Roberto Menescal, Stacey recorded Tenderly (Sony), an intimate collection of standards that showcases her crystalline voice and Menescal’s warm guitar. Jazzwise Magazine referred to the album as “an extremely beautiful meeting of minds” It is Menescal’s only full album as a jazz guitarist and demonstrates the debt he owes to the great Barney Kessel. As Kent’s first standards album in a decade, it shows her increasingly impressive and maturing interpretative gifts. Whilst the COVID 19 pandemic has put Stacey’s concert appearances on pause, she has been busy recording from home and staying in touch with her fans through social media. She has recently released a single of Bob Marley’s Three Little Birds, a message of hope for these troubled times, as well as the EP, Christmas In The Rockies (Token 2020). She is also working on a series of EPs with her long-standing accompanist, Art Hirahara and more singles are planned for the new year. Her forthcoming studio album, Summer Me, Winter Me, is now planned for release in the fall of 2021. https://staceykent.com/biography/

Christmas in the Rockies

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Emilie-Claire Barlow - The Beat Goes On

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 54:38
Size: 126,4 MB
Art: Front

(4:14) 1. Raindrops Keep Falling On My Head
(3:37) 2. Sunshine Superman
(5:13) 3. Breaking Up Is Hard To Do
(4:41) 4. Don't Think Twice, It's Alright
(4:40) 5. He Thinks I Still Care
(4:22) 6. The Beat Goes On / Soul Bossanova
(5:21) 7. These Boots Were Made For Walkin'
(3:30) 8. Until It's Time For You To Go
(2:59) 9. Little Boat (O Barquinho)
(3:54) 10. Comme Je Crie, Comme Je Chante
(3:48) 11. Will You (Still) Love Me Tomorro
(4:46) 12. Yester-Me, Yester-You, Yesterday
(3:28) 13. T'es Pas Un Autre

With “The Beat Goes On” Toronto-based jazz singer Emilie-Claire Barlow has done what a few wise singers are doing these days, namely looking to more recent eras and songwriters for fresh material rather than the overdone American Songbook. This time out, Barlow has focused her considerable talents and jazz sensibilities on the 60s. The opening track sets the tone for the album as Kelly Jefferson provides nuanced sax fills on a swingy 6/8 version of Bacharach's Raindrops Keep Falling on My Head. Barlow has written all the arrangements herself and the stripped down instrumentation that predominates fits her light, pretty voice like a Pucci print dress. We feel transported to a Yorkville coffeehouse as just bass and congas (Ross MacIntyre and Davide Direnzo) accompany These Boots Were Made for Walkin'. Very groovy. Iconic sounds of the 60s bubble up in the woodwinds on Soul Bossa Nova as it's mashed up with the classic Sonny & Cher title track.

An exploration of the 60s wouldn't be complete without a journey to that hotbed of musical innovation, Rio de Janiero, and the cover of O Barquinho (My Little Boat) featuring Reg Schwager’s nylon string guitar skills perfectly evokes a carefree Brazilian day. Barlow’s specialty is bossa nova (do yourself a favour and find her version of O Pato on YouTube) so when she surprisingly imposes that style on Dylan’s Don’t Think Twice, It’s Alright it actually works. https://www.thewholenote.com/index.php/booksrecords2/jazzaimprovised/7643-the-beat-goes-on-emilie-claire-barlow

The Beat Goes On

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Chet Baker - She Was Too Good To Me (CTI Records 40th Anniversary Edition)

Styles: Vocal And Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 40:33
Size: 93,9 MB
Art: Front

(7:02) 1. Autumn Leaves
(4:40) 2. She Was Too Good to Me
(6:06) 3. Funk In Deep Freeze
(5:27) 4. Tangerine
(4:05) 5. With a Song in My Heart
(3:54) 6. What'll I Do
(4:28) 7. It's You Or No One
(4:48) 8. My Future Just Passed

Producer Creed Taylor wisely avoided trying to shoehorn Chet Baker into the slick, fusion-oriented mid-'70s CTI Records sound. Fronting an all-star combo featuring Bob James' twinkling electric piano and Paul Desmond's lyrical alto sax, Baker remains true to his eternally hip '50s sides, tackling a bouncy, gently swinging "Autumn Leaves" and a cool, cerebral take on Hubert Laws' "Funk In Deep Freeze." Baker's two airy vocals, the wistful title track and the haunted "What'll I Do," testify to his gentle way with a ballad. ~ Editors’ Notes https://music.apple.com/us/album/she-was-too-good-to-me-40th-anniversary-edition/394301173

Personnel: Trumpet, Vocals – Chet Baker; Alto Saxophone – Paul Desmond ; Arranged By, Conductor – Don Sebesky; Bass – Ron Carter; Cello – George Ricci, Jesse Levy, Warren Lash; Drums – Jack DeJohnette (tracks: 5, 6, 7 ), Steve Gadd (tracks: 1 to 4, 8); Electric Piano – Bob James; Flute [Alto], Oboe [D'amore] – George Marge; Flute, Clarinet – Romeo Penque; Flute, Flute [Alto] – Hubert Laws; Vibraphone – Dave Friedman; Violin – Barry Finclair, David Nadien, Emanuel Green, Harold Kohon, Harry Glickman, Herbert Sorkin, Lewis Eley, Max Ellen, Paul Gershman

She Was Too Good To Me (CTI Records 40th Anniversary Edition)

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Lafayette Harris, Jr. - Hangin' with the Big Boys

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 56:50
Size: 131,8 MB
Art: Front

(3:18) 1. Blue Skies
(6:15) 2. In a Sentimental Mood
(3:32) 3. Hangin' with the Big Boys
(7:25) 4. We in the House
(0:54) 5. Don't Worry About It
(6:54) 6. The Zombie Blues
(6:30) 7. Little Kevin's Embrace
(5:42) 8. Drinking Wine Blues
(3:23) 9. The Wheelhouse
(7:40) 10. The Very Thought of You
(5:12) 11. They All Laughed

There truly is nothing like the real thing in jazz and in life in general. There’s plenty of the fake, lazy, and misleading but when a true jazz record comes across my desk, I’m truly grateful. Lafayette Harris Jr’s Hangin’ With The Big Boys is one such album. Baltimore native Harris is a veteran pianist and composer of the New York City jazz scene. He’s worked with such greats as Max Roach, Sheila Jordan, Roswell Rudd, Ernestine Anderson, Frank Wess, Cindy Blackman, and Don Braden to name a few. Harris’ previous album Bend To Light was a delightful trio recording. Hangin’ With The Big Boys explores a bigger band sound. Harris is joined by the legendary Houston Person, tenor saxophone, Antoine Drye, trumpet, George Delancey, bass, Will Terrill, drums, Caleb Curtis, alto & soprano sax, Jazzmeia Horn, vocals, and Noel Simone Whippler on vocals. The album kicks off with a hard swinging and pure rendition of Irving Berlin’s “Blue Skies” with fantastic vocals by both Jazzmeia Horn and Noel Simone Wippler and the most perfect tenor sax lines by the incomparable Houston Person. The rhythm section of Delancey and Terrill cooks. Harris’s piano work is slightly inspired by Thelonious Monk in its tonality and by Oscar Peterson in its attack and melodic sensibilities. But even with such strong influences, Harris has a unique style that is witty, soulful and most of all, sincere. The reading of Ellington’s “In A Sentimental Mood” is so exquisite and tender and features some of Houston Person’s most heartfelt ballad work ever recorded. Harris’ piano comping is subtle and tasteful. This performance alone makes this recording a must for all music lovers.

Harris’s originals such as the title track, “We’re In The House”, and “The Zombie Blues” bring to mind the dynamically funky ultra- precision of Ahmad Jamal’s late ’50s recordings; especially Will Terrill’s drumming which adds that sweet Vernell Fournier swing to the mix. Caleb Curtis’ thematic soprano sax lines deliver these beautifully poignant brush strokes while creating lush harmonic textures with trumpeter Antoine Drye. Harris’ own compositions delve into that post-bebop mode with imagination and dedication. “Little Kevin’s Embrace” and “Drinking Wine Blues” are exploratory blues based numbers featuring delicately haunting vocals by Jazzmeia Horn. On the first, trumpeter Antoine Drye shows off his tremendously diverse chops and on the second, that trademark Houston Person soul makes every nuance that much greater. The melody lines are syncopated, complex yet very catchy. Harris’ solos are stellar on all levels.

Caleb Curtis’ upbeat original “The Wheelhouse” is the perfect vehicle to let everyone strut their stuff. Curtis, Drye and Harris sound as if the are pushing themselves to greater heights and not just sticking with the easy and overly familiar. Just take a listen to Houston Person conjuring up the ghost of Gene Ammons while blowing over the changes of the Ray Noble standard “The Very Thought Of You”. If this doesn’t give you goose bumps, there’s something wrong with you. This is such an inspired performance. Harris’ piano playing is so thoughtful and complimentary of every soulful twist and turn by Person. This sounds like something recorded in 1957. The production quality is so pure that it makes you feel as if you’re witnessing a live performance. The album closes with a loving reading of George and Ira Gershwin’s “They All Laughed”. Here Harris demonstrates why he’s one of the most talented pianists on the scene today. You rarely hear such dynamics and versatility by a pianist like this these days. Harris isn’t trying to imitate Herbie Hancock or Chic Corea which in itself is most refreshing. If you’re looking for a pure, “straight ahead” jazz recording with some of the greatest players in the world, then you must purchase Lafayette Harris Jr’s Hangin’ With The Big Boys which will be released on May, 6, 2016 on Airmen Records. This is essential listening. ~ Devon “Doc” Wendell https://drjazzdotlive.wordpress.com/2016/04/05/lafayette-harris-hangin-with-the-big-boysairmen-records/

Hangin' with the Big Boys

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Mel Rhyne - Organ-Izing

Styles: Jazz, Hard Bop
Year: 1960
File: MP3@320K/s
Time: 43:18
Size: 99,4 MB
Art: Front

(10:59) 1. Things Ain't What They Used to Be
(10:44) 2. Blue Farouq
(12:52) 3. Barefoot Sunday Blues
( 8:42) 4. Shoo, Shoo Baby

Mel Rhyne is best known as Wes Montgomery's organist on and off in the late 1950s and '60s. He led few dates of his own until his rediscovery in the 1990s, so the CD reissue of this early jam session is quite welcome. Rhyne leads an all-star sextet that also includes trumpeter Blue Mitchell, tenor saxophonist Johnny Griffin, pianist Gene Harris (the piano and organ work quite well together), bassist Andy Simpkins, and drummer Albert "Tootie" Heath. Each of the four basic tunes are at least eight-and-a-half minutes long, with all but one exceeding ten-and-a-half minutes. However, with four strong soloists, the music never slows down or loses its momentum. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/organ-izing-mw0000103968

Personnel: Organ – Mel Rhyne; Bass – Andy Simpkins; Drums – Albert Heath; Piano – Gene Harris; Tenor Saxophone – Johnny Griffin; Trumpet – Blue Mitchell

Organ-Izing

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Alain Jean-Marie - Biguine Reflections - Tropical Blues

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 42:08
Size: 97,7 MB
Art: Front

(5:35) 1. Tropical Blues
(3:05) 2. Lézarde
(2:43) 3. Nanounath
(3:35) 4. Mi bel jounè mim
(3:22) 5. Macouba
(3:24) 6. I Need a Man - Traditional Calypso
(3:50) 7. Douce Kombass
(1:42) 8. Jumpin'
(2:38) 9. Létan
(2:08) 10. Biguine Esperanza
(3:10) 11. Monsieur Kombass à Paris
(3:08) 12. Abandon
(3:42) 13. Korigan's Love

Jean-Marie taught himself to play piano from age eight. He played in dance orchestras in Guadeloupe (especially that of Robert Mavounzy), lived in Canada from 1967 to 1970 and then in the Antilles. He made his first recordings in 1969 (released in 1997 as piano biguines). At the same time he played regularly with the trio of Winston Berkley and Jean Claude Montredon. In 1973, he moved to Paris, where he accompanied jazz musicians such as Chet Baker, Sonny Stitt, Art Farmer, Johnny Griffin, Lee Konitz, and Max Roach. In 1979, he debuted with his own trio (Al Levitt on percussion, Gus Nemeth and later Riccardo Del Fra on bass). Since the 1980s, he has regularly performed with Barney Wilen, including as a duo on albums such as La Notenbleue (1986) and Dreamtime (1992). In 1986, he regularly accompanied Dee Dee Bridgewater. In 1987 he recorded the album Latin Alley in a duo with Niels-Henning Ørsted Pedersen. In 1990 he accompanied Abbey Lincoln on the album World Is Falling Down with Jackie McLean, Billy Higgins and Charlie Haden. In 1991 he played with Henri Texier (bass) and Aldo Romano (drums) on The Scene Is Clean. His 1992 trio album Biguine Reflections was influenced by the music of the Antilles as well as bebop. He also played in a trio with Gilles Naturel and John Betsch (Lazy Afternoon, 2000) and recorded his first solo album in 1999 (Afterblue, which received the Prix Boris Vian).

Jean-Marie also played with Guadeloupe musicians such as the guitarist André Condouant (Clean & Class, 1997), a group of musicians from Guadeloupe under the trumpeter Franck Nicolas (Jazz Ka Philosophy) and the saxophonist Jocelyn Ménard (Men Art Works). He also worked with Jacques Vidal / Frédéric Sylvestre, with Michel Graillier (Portrait in Black & White, 1995), Boulou and Elios Ferré (Intersection, 2001, Live in Montpellier, 2006), with Xavier Richardeau, Sara Lazarus and Ted Curson (In Paris, Live At The Sunside, 2006). In 1979 he received the Prix Django Reinhardt and in 2000 the Django d'Or. https://en.wikipedia.org/wiki/Alain_Jean-Marie

Personnel: Piano – Alain Jean-Marie; Bass – Eric Vinceno; Drums – Jean-Claude Montredon

Biguine Reflections - Tropical Blues

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Richard "Groove" Holmes - Blue Groove

Styles: Jazz, Post Bop
Year: 1994
File: MP3@320K/s
Time: 72:33
Size: 167,5 MB
Art: Front

(5:42) 1. Get up and Get It
(5:11) 2. Lee-Ann
(9:23) 3. Body and Soul
(5:26) 4. Broadway
(8:04) 5. Groove's Blues Groove
(6:28) 6. Pennies from Heaven
(4:41) 7. Autumn Leaves
(6:45) 8. There Is No Greater Love
(5:30) 9. Denise
(7:57) 10. Things Ain't What They Used to Be
(7:21) 11. Up Jumped Spring

This CD, which reissues two former LPs by Richard "Groove" Holmes (Get Up & Get It and Soul Mist), showcases the organist in a quintet featuring the tenor of Teddy Edwards and guitarist Pat Martino, with his trio, and (on two standards) with trumpeter Blue Mitchell and tenor saxophonist Harold Vick. Overall, this 73-minute set has many fine solos, spirited ensembles, and two well-rounded programs. ~ Scott Yanow https://www.allmusic.com/album/blue-groove-mw0000111626

Personnel: Bass – Paul Chambers (3) (tracks: 1 to 6); Drums – Billy Higgins (tracks: 1 to 6), Freddie Waits (tracks: 9, 11), George Randall (tracks: 7 to 8, 10); Guitar – Gene Edwards (tracks: 7 to 11), Pat Martino (tracks: 1 to 6); Organ – Richard "Groove" Holmes; Tenor Saxophone – Harold Vick (tracks: 8, 10), Teddy Edwards (tracks: 1 to 6); Trumpet – Blue Mitchell (tracks: 8, 10)

Blue Groove

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Donna Burke, Ganime Jazz - Encore

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 37:11
Size: 86,2 MB
Art: Front

(4:46) 1. Eyes on Me
(6:37) 2. Inner Universe
(5:23) 3. Radical Dreamers
(4:38) 4. Simple & Clean
(2:45) 5. Still Alive
(4:37) 6. The Real Folk Blues
(4:02) 7. To Zanarkand
(4:20) 8. Unravel

Donna Burke gained millions of fans in 2010 when “Heaven’s Divide” from the hit video game "Metal Gear Solid Peace Walker" was released worldwide. Since moving to Tokyo in 1996 and establishing her Dagmusic studio in 2004, she has been busy writing and producing music and comedy, while acting and recording and touring. The 2015 epic “Sins of the Father” from "MGS Phantom Pain" cemented Donna's status as a game music legend. Donna's poignant “Glassy Sky” from anime "Tokyo Ghoul" has over 70 million plays on YouTube as well as 20,000+ cover versions by fans -with one fan's cover being sampled by Eminem on his 2018 Kamikaze album. Donna has voiced Raising Heart from the "Magical Girl Lyrical Nanoha" anime series since 2004, the iDroid in Metal Gear’s "Ground Zeroes" and "Phantom Pain"and starred in cult horror video games "Silent Hill 2" as sad Angela and "Silent Hill 3" as crazy Claudia.

In 2017, Nintendo’s "ARMS" added Doctor Coyle, a big boss voiced by Donna, to the delight of fans world wide and in August 2020, Final Fantasy Crystal Chronicles Remastered will be released, with Donna narrating each chapter and singing the opening and ending songs. In 2016, Donna formed quintet Ganime Jazz to perform her own hits from anime and games and well loved classics to audiences worldwide. Their debut album "Game + Anime" was released in 2017. In March 2020, the group released "Encore". Since 2017 Donna regularly performs with symphony orchestras around the world in "Metal Gear in Concert".https://www.donnaburke.com/

"Gee Donna, to think we used to tell you to shut up!" Donna's mother

Encore

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Nancy Wilson - Sophisticated Lady

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 33:04
Size: 76,3 MB
Art: Front

(2:52) 1. Back in Your Own Backyard
(3:29) 2. Miss Otis Regrets
(3:15) 3. Listen, Little Girl
(2:58) 4. When Sunny Gets Blue
(1:54) 5. Put on a Happy Face
(2:37) 6. You Don't Know What Love Is
(2:48) 7. Nina Never Knew
(2:52) 8. Little Girl Blue
(2:29) 9. When a Woman Loves a Man
(2:34) 10. Sophisticated Lady
(2:08) 11. Hello, Young Lovers
(3:03) 12. A Good Man Is Hard to Find

Orrin Evans And The Captain Black Big Band - The Intangible Between

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 64:54
Size: 149,4 MB
Art: Front

( 6:01) 1. Proclaim Liberty
( 7:44) 2. This Little Light of Mine
( 6:24) 3. A Time for Love
( 6:55) 4. That Too
( 7:28) 5. Off Minor
( 7:56) 6. Into Dawn
(15:50) 7. Tough Love
( 6:32) 8. I'm so Glad I Got to Know You

Pianist Orrin Evans has a deep understanding of the unshakeable bond between fellowship, humanity and the creative process. That knowledge has guided him through creating a remarkable catalog of music as both a leader and sideman, along the way, experiencing the fellowship of a collective of musicians he often refers to as "The Village." The Village is indeed real, and most aptly expressed musically through the Captain Black Big Band, Evans' ensemble of anywhere between nine and seventeen players. The band sports the interpretive elasticity of a post-bop quintet, while maintaining the elegance and sophistication of a more traditional orchestral jazz setting. The band's first two releases featured the full ensemble with a rotating cast of musicians with whom Evans has performed, and in many cases, mentored. For the third release, Presence (Smoke Sessions, 2018), Evans pared the band down to nine members, and took it on the road. The result was a Grammy nomination, and perhaps more importantly, a well deserved degree of respect and recognition of the leader's remarkable legacy that now had spanned a quarter century. In addition, Evans had taken on the piano chair of The Bad Plus in 2017 and the associated time commitment to touring and recording with them. The Village was growing ever larger, at times even reaching out west as far as Seattle.

For the fourth recorded effort of CBBB, the studio at Sear Sound more resembled a family gathering, with Evans setting the vibe with food and fellowship. The warm embrace of the atmosphere was the norm when the band gathered, and this was to be no exception. Evans entered the fray with a well defined plan down to the individual musician, laid it out, and then let spontaneity take over. The approach led to many unexpected detours from the trail blazed by the leader, which of course, would be the objective. With The Intangible Between (Smoke Sessions, 2020), CBBB has found true footing in originality. On the session are players with whom Evans has played for many years, such as trumpeter Sean Jones and bassist Eric Revis, as well as newcomers such as young bassist Dylan Reis. There are bandmates that have been mentored by Evans in Philadelphia and beyond, such as bassist Luques Curtis, trumpeters Josh Lawrence and Thomas Marriott, saxophonists Caleb Wheeler Curtis and Troy Roberts, and drummers Anwar Marshall and Mark Whitfield. No matter the specific players on each track, there is a unity and intuitive sense expressed throughout. Each contributor seems to have a fearless inspiration to create individually to benefit the full collective of sound. This is expressed plainly in the title of the album itself, referring to a jumping off point into the unknown and taking on the risks that follow. The band's first two albums featured Evans' compositions arranged by other members of the band. The third featured the music of trombonist David Gibson, trumpeters Lawrence and John Raymond, and saxophonist Roberts. The new record for the first time features the arrangements of Evans himself, a different notion altogether. The opening salvo, "Proclaim Liberty," and Evan's arrangement of "This Little Light of Mine" opens the listener's ears to the possibilities, featuring fleet, imaginative orchestral sketches and fluid soloing, most notably from Evans himself. Alto Saxophonist Todd Bashore's arrangement of "A Time For Love" features elegant soloing from Jones on flugelhorn. Bashore kicks in along with soprano saxophonist Immanuel Wilkins for the more adventurous "That Too," the tune opening up the portal to what is to come.

Lawrence's mad, frenetic arrangement of Thelonious Monk's "Off Minor" features fourteen players, including four bassists and two drummers. Evans' Tarbaby band mate Revis makes his CBBB debut. Lawrence seems to view the piece, and Monk himself, as a wormhole leading from bebop to the great unknown, with marvelous results. Evans' arrangement of Andrew Hill's, "Tough Love" is joined with poetry, with Evans playing, conducting and reciting. The source of the album's title is "Love Poem," a piece commissioned by Evans from John "Doc" Holiday, whom Evans met in Philly. The piece is recited by friends and loved ones, while Evans himself recites "Yo! Bum Rushing the Door," written by his brother Todd Evans, aka Son of Black. This is not a new notion for Evans, having recited Donald Brown's "A Free Man," on his 2014 release, Liberation Blues (Smoke Sessions, 2014). Evans festoons the piece with heavy handed harmony while expressing as the voice of love, the mantra to "wake up unity, stir up charity, sober up justice." The layered effect is in a sense seamless, while at the same time darting in many directions. The message is clear, and essential. The joining of Hill's masterpiece with Evans' brilliant recitation is brilliantly powerful. The Gibson arrangement of Roy Hargrove's lush "Into Dawn," is a tribute to the late trumpeter who passed so suddenly in late 2018, marking the first of two very personal losses for the band. The tragic death of drummer Lawrence Leathers inspired Evans' loving remembrance "I'm So Glad I Got to Know You." The album ends with the vocal chant descending to a peaceful whisper. Captain Black has always traveled to wonderful places on the shoulders of a community of insight and imput. This record is no exception. The band walks on the edge of traditional and free jazz, dipping into the waters of brilliant form and exuberant liberty. The Intangible Between is most certainly a transcendent listen. ~ Paul Rauch https://www.allaboutjazz.com/the-intangible-between-orrin-evans-and-the-captain-black-big-band-smoke-sessions-records

Personnel: Orrin Evans: piano; Luques Curtis: bass; Eric Revis: bass; Madison Rast: bass; Mark Whitfield Jr.: drums; Anwar Marshall: drums; Thomas Marriott: trumpet; Josh Lawrence: trumpet; Sean Jones: trumpet; Caleb Wheeler Curtis: saxophone, alto; Troy Roberts: saxophone; Immanuel Wilkins: saxophone; Todd Bashore: saxophone, alto; David Gibson: trombone; Stafford Hunter: : trombone; Reggie Watkins: trombone; Stacy Dillard: saxophone; Jason Brown: drums; Joseph Block: keyboards; Dylan Reis: bass.

The Intangible Between

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Lafayette Harris Jr. - You Can't Lose with the Blues

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 57:07
Size: 132,0 MB
Art: Front

(3:26) 1. He's My Guy
(4:10) 2. I Love You, Yes I Do
(5:03) 3. Blues for Barry Harris
(4:20) 4. Don't Let the Sun Catch You Crying
(4:55) 5. Ev'ry Time We Say Goodbye
(3:28) 6. Things Ain't What They Used to Be
(5:33) 7. Love Me in a Special Way
(3:34) 8. Bloomdido
(6:42) 9. You Can't Lose with the Blues
(5:15) 10. Wonder Why
(5:31) 11. Please Send Me Someone to Love
(5:05) 12. The Juicy Blues

Can’t lose? Well, not if you command a soulful touch and a wealth of resources, something that Lafayette Harris Jr., bassist Peter Washington, and drummer Lewis Nash demonstrate time and again on this intimate, colorfully programmed trio session. Give Harris, the Baltimore-bred, Manhattan-based pianist, a fundamental blues progression and it won’t sound fundamental for long. Without compromising a familiar theme’s emotional or bop-ish slant, he never fails to offer fresh perspectives, whether introducing lyrical melodic variations, vibrant octave shifts, or orchestral-shaded codas. Of course, he consistently benefits from the exceptionally well-matched pairing of Washington and Nash, veteran session mates who shine in a wide variety of interpretations a haunting take on Cole Porter’s “Ev’ry Time We Say Goodbye” and an invigorating reboot of Charlie Parker’s “Bloomdido,” for example. Subtle ornamentation, rhythmically charged sprints, and delightful exchanges and turnarounds are in copious supply.

Harris’ reconfiguring of DeBarge’s “Love Me in a Special Way” fits in surprisingly well here, but it’s no match for the vintage tunes associated with Bull Moose Jackson, Louis Jordan, and Duke Ellington. Or for that matter, the album’s title track, which Harris composed for Houston Person. Suffice to say, it’s performed here with ample authority. Then again, the same can be said for Harris’ “The Juicy Blues,” which serves as the album’s swinging, bass-resonating closer, or the pianist’s deeply expressive solo arrangement of Percy Mayfield’s signature lament, “Please Send Me Someone to Love.”~Mike Joyce https://jazztimes.com/reviews/albums/lafayette-harris-jr-you-cant-lose-with-the-blues-savant/

You Can't Lose with the Blues

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Anne Paceo - Triphase

Styles: Jazz, Post Bop
Year: 2008
File: MP3@320K/s
Time: 69:54
Size: 161,5 MB
Art: Front

(5:45) 1. Cloe
(4:27) 2. Attendre
(6:30) 3. Duas Velas
(1:27) 4. Camino
(5:03) 5. Les petites choses positives
(6:59) 6. Ineffable
(2:46) 7. Menthe à l'eau
(7:59) 8. Minas
(4:04) 9. Traverse
(5:59) 10. Sete Passos
(7:48) 11. Regrets
(3:01) 12. L'île aux coquillages
(8:00) 13. Oblique

Anne Paceo appears as one of the more brilliant young French drummers in France. Her subtile touch on drums and cymbals is very personal. She met pianist Leonardo Montana and bassist Joan Eche-Puig at the CNSM in Paris (National music school) as they were students. Triphase is the name of the album and the name of the trio. If that stands apart from the rest of today’s productions, the themes and melodies remain in your mind as soon as you hear them. Much more than just another Trio, this is a brilliant mix of 3 souls and 3 characters offering a taste of Catalonia, Brasil and Africa. Both three young artists are simple, spontaneous, full of energy and humour, found of encounters and exchange. Triphase is now touring with success all over the world.

Personnel: Anne Paceo : Drums; Joan Eche-Puig : Double bass; Leonardo Montana : Piano

Triphase

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Bob Brookmeyer - Bob Brookmeyer & Friends

Styles: Trombone Jazz
Year: 1964
File: MP3@320K/
s Time: 55:12
Size: 127,7 MB
Art: Front

(4:40) 1. Jive Hoot
(5:17) 2. Misty
(5:18) 3. The Wrinkle
(4:57) 4. Bracket
(5:00) 5. Skylark
(4:04) 6. Sometime Ago
(5:04) 7. I've Grown Accustomed To Her Face
(7:02) 8. Who Cares
(5:18) 9. Day Dream
(3:37) 10. Time For Two
(4:50) 11. Pretty Girl

This somewhat obscure session was reissued on LP by Columbia in 1980. Valve trombonist Bob Brookmeyer and tenor-great Stan Getz (who had played together regularly a decade prior) had a reunion for this date, performing five standards and three Brookmeyer originals. The young rhythm section (pianist Herbie Hancock, vibraphonist Gary Burton, bassist Ron Carter, and drummer Elvin Jones) uplifts what would have been a fairly conventional (although high quality) bop date. https://www.allmusic.com/album/bob-brookmeyer-and-friends-mw0000030917

Personnel: Valve trombone - Bob Brookmeyer; Tenor saxophone - Stan Getz; Vibraphone - Gary Burton; Piano - Herbie Hancock; Bass - Ron Carter , Drums - Elvin Jones; Vocals - Tony Bennett (track 9).

Bob Brookmeyer & Friends

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Debby Yeager - Psychology of Jazz

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 42:05
Size: 97,4 MB
Art: Front

(4:13) 1. Visit Me
(3:48) 2. Devil May Care
(3:16) 3. Suddenly
(2:03) 4. Hear Me Blow
(3:43) 5. Tomorrow's Another Day
(2:19) 6. L’ Étang
(3:58) 7. I Could Write a Book
(4:18) 8. In the Land of Oo Bla Dee
(6:00) 9. Without Rhyme or Reason
(3:44) 10. Relaxin' at Camarillo
(4:39) 11. Happy Endings

During the mid-1950’s I was born into a Bohemian environment. Music was like breathing. At the age of three, pop tunes were blasting from a little radio in our kitchen. And in another direction, the ocean breeze carried jazz sounds from our neighbor's hi fi record player, while someone from down the street played bag pipes every morning! Venice, California (known for its eccentric artists and beatniks) was a magical place in time. "Harry Belafonte to the left, Miles Davis to the right, Bob Dorough in back, Scotland coming through the front, and Chet Baker around the corner! I guess I breathed it all in, got a good dose of early ear training and was labelled the goofy kid!”

By the time I was five, the family took a financial tumble and relocated to the inner city of Lynwood, CA, where I first heard Gospel music. Since it came from a small church on the corner of our shabby street, I believed those glorious voices were sent from the heavens above. Ballet training came shortly after and continued well into my teens, dancing and singing my way through a disheveled childhood. At about eight or nine, every bit of my weekly allowance was spent on vinyl and a record collection began to grow like wildfire. Jazz, pop, blues, African rhythms, Broadway, R&B... and then a new sound, the Bossa Nova, which stopped me in my tracks! I discovered the voice of Wanda De Sah. It was true! Brazilian music (at that time) seduced the world. Who would have thought that thirty-seven years later, I'd be recording "Reza" on my debut disc, "Mood Swing" History played the same trick on me when I also recorded a duet with the legendary, Bob Dorough.

Around 1977, divorced as a young mother, music was still the guiding force. Vocal lessons became necessary when I auditioned as a lead vocalist and landed my first job as a singer. Formal training was essential in order to belt out rock tunes for several hours, five nights a week. A few years later with an intensive vocal study regimen and carrying a beautiful daughter in my arms, I landed a gig on a Japan tour as a lead vocalist for a Funk band. As time marched on, I was fortunate to have studied under Grammy winning composer/arranger Alan Copeland, jazz genius Horace Silver and Jim Mooney from the original Sage and Sound Recording Studio in Hollywood, and jumped into the Jazz Scene. Lucky to work with some of the most gifted musicians in LA, my performance level continued to progress, especially in regard to improvisation. Eventually I became a band leader and began to teach vocal technique and therapy while playing jazz clubs, concerts and various venues. But living the dream ended abruptly when repressed memories of childhood abuse surfaced and all hell broke loose. Suffice it to say life got in the way. Early June 1996, “Mood Swing” was released. The album was remastered and re-released in 2017, with a bonus track. Now recording and producing a variety of music, my second disc, "Precocious", was released January 2018, following up with a vocal project, "Psychology of Jazz", to be released in mid 2018.

'A portion of proceeds is donated to the education of child abuse prevention services'https://debbyyeager.com/bio/

Personnel: Debby Yeager - vocals; Stu Goldberg - piano; Tony Dumas - bass; Willie Jones III - drums; Doug Webb - tenor & soprano saxophones; Ron Stout - trumpet & flugelhorn; Ron Escheté - guitar; Melissa Hasin - cello;Yayo Morales - percussion

Psychology of Jazz

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George Coleman - A Master Speaks

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 66:03
Size: 153,1 MB
Art: Front

(12:40) 1. Invitation
( 6:54) 2. The Shadow Of Your Smile
( 6:56) 3. Blues For B.B. (Feat. Peter Bernstein)
( 6:00) 4. Blondie's Waltz
( 6:39) 5. You'll Never Know What You Mean To Me
( 8:07) 6. Darn That Dream
( 5:15) 7. Sonny's Playground
( 8:00) 8. These Foolish Things
( 5:28) 9. Time To Get Down

Like the pronouncements of a sage, legendary tenor saxophonist George Coleman's new recording A Master Speaks communicates both wisdom and wonder that bespeaks Coleman's half century in music. At 80-years-old, Coleman sounds, as ever, both vital and timeless. He's obviously invigorated by the deep sense of swing and classic hard-bop feel of the quartet he's assembled. A Master Speaks is Coleman's first release as a leader in nearly 20 years and first recording since the 2002 all-star live tribute album Four Generations of Miles. The rarity of the session is remarkable in itself; even more special is the fact that it grew out of a desire shared by Coleman and his son, drummer George Coleman Jr., to finally record together.

They're joined by a stellar band featuring pianist Mike LeDonne and bassist Bob Cranshaw, with guitarist Peter Bernstein making a special guest appearance. A man of few words, Coleman nonetheless conveys his thoughts with unparalleled eloquence when he speaks through his instrument, as profoundly evidenced by the nine tracks on A Master Speaks, his long overdue return to the studio.
https://www.amazon.com.au/MASTER-SPEAKS-GEORGE-COLEMAN/dp/B01C4HDL0M

Personnel: Tenor Saxophone – George Coleman; Bass – Bob Cranshaw; Drums – George Coleman, Jr. ; Guitar – Peter Bernstein; Piano – Mike LeDonne

A Master Speaks

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Abbey Lincoln - Tender As a Rose

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 44:06
Size: 101,8 MB
Art: Front

(2:59) 1. Tender as a Rose
(3:26) 2. That's Him
(3:59) 3. I Must Have That Man
(4:27) 4. Porgy
(4:29) 5. When a Woman Loves a Man
(3:01) 6. Can't Help Lovin' Dat Man
(6:41) 7. Don't Explain
(5:05) 8. Strong Man
(5:57) 9. Happiness Is Just a Thing Called Joe
(3:58) 10. My Man

As with her hero Billie Holiday, Abbey Lincoln always meant the lyrics she sang. A dramatic performer whose interpretations were full of truth and insight, Lincoln actually began her career as a fairly lightweight supper-club singer. She went through several name changes (including Anna Marie, Gaby Lee, and Gaby Woolridge) before settling on Abbey Lincoln. She recorded with Benny Carter in 1956 and performed a number in the 1957 Hollywood film The Girl Can't Help It. Lincoln's first of three albums for Riverside (1957-1959) had Max Roach on drums and he was a major influence on her; she began to be choosy about the songs she sang and to give words the proper emotional intensity. Lincoln held her own on her early dates with such sidemen as Kenny Dorham, Sonny Rollins, Wynton Kelly, Curtis Fuller, and Benny Golson. She was quite memorable on Roach's Freedom Now Suite, showing some very uninhibited emotions. Lincoln's Candid date Straight Ahead (1961) had among its players Roach, Booker Little, Eric Dolphy, and Coleman Hawkins, and she made some important appearances on Roach's Impulse! album Percussion Bitter Suite. Abbey Lincoln and Max Roach were married in 1962, an association that lasted until 1970. They worked together for a while but Lincoln (who found it harder to get work in jazz due to the political nature of some of her music) became involved in acting and did not record as a leader during 1962-1972. She finally recorded for Inner City in 1973 and gradually became more active in jazz. Her two Billie Holiday tribute albums for Enja (1987) showed listeners that the singer was still in her prime, and she recorded several excellent sets for Verve in the 1990s. In the following years, she released a handful of recordings including Over the Years in 2000; It's Me in 2003; and her final recording, Abbey Sings Abbey, in 2007. Abbey Lincoln died in New York City on August 14, 2010; she was 80 years old. Because she put so much thought into each of her recordings, it is not an understatement to say that every set she issued is well worth owning. ~ Scott Yanow https://www.allmusic.com/artist/abbey-lincoln-mn0000487535/biography

Tender As a Rose

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RP Quartet - Chicken Do It

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 49:49
Size: 116,1 MB
Art: Front

(3:58) 1. Ouverture
(2:02) 2. Epistrophy
(5:09) 3. My Favorite Things
(2:24) 4. Limehouse Blues
(4:14) 5. Ugly Beauty
(4:15) 6. Evidence
(3:21) 7. Nuages
(3:48) 8. Monk's Dream
(1:39) 9. Giant Steps
(2:58) 10. Djangologie
(3:54) 11. April in Paris
(2:59) 12. May I
(4:20) 13. Good Bye Pork Pie Hat
(0:53) 14. Intro
(3:49) 15. Boogie Stop Shuffle

Here is the eagerly awaited Great Return of the RP Quartet whose secret formula consists in crossing the swing of Django with the bop of Monk and Mingus. Frenchy combo that mixes ardor and class, daring and modernity, these young people from the Parisian swing scene have now achieved a solid reputation that goes beyond the oceans. Assisted by the formidable singer Lou Tavano and an incisive brass section with an always unstoppable groove, this third album sees the RP gain in maturity. A case of high quality, with breathtaking precision; throughout these 15 tracks, there is perfection, power and lightness. France has tableware, good wine, fashion, cheese and PR! Augustin BONDOUX

For those eagerly waiting, this is the Great Return of the RP Quartet, the band whose secret formula mixes Django's swing with the bop of Monk and Mingus. This young French combo from the Parisian swing scene shows class and fi re in a daringly modern return that justifi es the solid reputation they've acquired internationally. Assisted by the wonderful vocals of Lou Tavano alongside biting brass, the incomparable groove in this third album proves the RP has matured even further. While the quality setting shows astounding precision, the power and clarity of the band shine perfectly across all fi fteen tracks. France had gastronomy, wine and fashion; now you can add the RP! Augustin BONDOUX...
Translate By Google https://www.fremeaux.com/index.php?page=shop.product_details&category_id=64&flypage=shop.flypage&product_id=1739&option=com_virtuemart

THE RP QUARTET: BASTIEN RIBOT (VIOLIN) • ÉDOUARD PENNES (GUITAR) • RÉMI OSWALD (RHYTHMIC GUITAR) • DAMIEN VARAILLON (DOUBLE BASS). WITH: LOU TAVANO (VOCAL) • ARNO DE CASANOVE (TRUMPET) • MAXIME BERTON (TENOR SAXOPHONE) • BENOÎT BERTHE (ALTO SAXOPHONE).

Chicken Do It

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Kate Rusby - Angels and Men

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 52:31
Size: 122,3 MB
Art: Front

(3:47) 1. Hark Hark
(3:31) 2. Let It Snow
(4:56) 3. Paradise
(3:46) 4. The Ivy and the Holly
(4:19) 5. Sweet Chiming Bells
(5:20) 6. See Amid the Winter Snow
(4:49) 7. Rolling Downward
(3:20) 8. Deck the Halls
(4:13) 9. We'll Sing Hallelujah
(0:08) 10. Banjo Banjo
(4:46) 11. Santa Never Brings Me a Banjo
(5:40) 12. Let the Bells Ring
(3:50) 13. Big Brave Bill Saves Christmas

There’s a style that’s become synonymous with the 21st-century Christmas: the sound of a grown adult singing like a child, their breath misting on a window like a spray of fake snow, old classics being turned into virtuous, fragile facsimiles. Kate Rusby has one of these voices pretty to many, mawkish to others and it has little variety or power on her fourth collection of festive songs. Let It Snow and Deck the Halls are delivered in the same disengaged, delicate way; each lyric falls and then melts, leaving no mark behind. Modern songs such as Santa Never Brings Me a Banjo feel slushily tailored to tug the heart (“maybe it’s too tricky for the elves”, Rusby sings); heavenly gleam is only offered on the traditional ballad Paradise, which recalls the ambient atmospheres of Clannad. Overall, though, this feels like a John Lewis Christmas advert extended to 52 minutes, its mannered naivety never knowingly undersold. https://www.theguardian.com/music/2017/nov/23/kate-rusby-angels-men-review-pure-records-christmas

Angels and Men

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Anita Harris - Swinging On A Star

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 73:13
Size: 169,8 MB
Art: Front

(4:36) 1. Somewhere Over the Rainbow
(3:01) 2. Sunshine Superman
(2:48) 3. Swinging On a Star
(2:45) 4. The Clapping Song
(2:44) 5. Watermelon Man
(3:17) 6. When You Were a Child
(3:45) 7. Yes We Have No Bananas
(3:45) 8. Lullaby of the Leaves
(2:58) 9. Maxwell's Silver Hammer
(3:14) 10. Messing About On the River
(2:04) 11. Old Queenie Cole
(2:27) 12. Oranges and Lemons
(2:54) 13. Right Said Fred
(3:25) 14. Somebody's in My Orchard
(4:03) 15. A Taste of Honey
(2:33) 16. Bad For Me
(3:45) 17. Butterfly with Coloured Wings
(2:46) 18. Cherry Ripe
(3:12) 19. Do You Know the Way to San Jose
(3:00) 20. Don't Sit Under the Apple Tree
(2:41) 21. Eleanor Rigby
(2:28) 22. Flash Bang Wallop
(3:08) 23. He's a Tramp
(1:41) 24. Honeysuckle Rose

Anita Harris is known as an all-round entertainer, singing, acting, and dancing all part of her repertoire. Sharing musical arranger Kenny Clayton with Petula Clark, her clear vocal quality invited comparisons with Clark and other top female singers from the mid- to late '50s. She was born on June 3, 1942, in Midsomer Norton, Somerset, and began her show business career as soon as she had left school, traveling to Las Vegas to train in choreographed skating. Her first professional engagement, however, was a singer with the easy listening vocal ensemble the Cliff Adams Singers, who enjoyed an extended run on BBC radio with the program Sing Something Simple, a selection of mainly MOR ballads and show tunes that ran from 1959 through to the death of its creator, Cliff Adams, in 2001. She made her debut on record backed by the John Barry Seven, but the single, a double A-side of "I Haven't Got You" and "Mr One And Only," was not a success. Moving into acting, she became famous for very cheeky performances in two of the Carry On films, particularly Carry on Doctor and Follow That Camel, both from 1967. This was her peak year for chart activity too as her friend Dusty Springfield provided her with a hit single written by her brother Tom, "Just Loving You," which peaked at number six. Two further singles were released, both cover versions of the songs "Anniversary Waltz" and "Dream a Little Dream of Me." Her one and only visit to the album charts was with the album also called Just Loving You, which hit number 29 early in 1968. In the 1970s, she appeared on various television programs, including The Morecambe & Wise Show, and she also co-hosted the David Nixon Magic Show and was still appearing as herself on programs up to 2001, notably Boom Boom: The Best of the Original Basil Brush Show, French & Saunders, and Bob Monkhouse: A BAFTA Tribute.~ Sharon Mawer https://www.allmusic.com/artist/anita-harris-mn0000574671/biography

Swinging On A Star

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