Oscar Peterson - A Tribute To Oscar Peterson - Live At The TownHall

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 72:38
Size: 167,9 MB
Art: Front

(5:23) 1. Anything Goes
(6:36) 2. Reunion Blues (with Benny Green)
(8:08) 3. If Only You Knew (with Benny Green)
(7:25) 4. Bags Groove (with Milt Jackson)
(6:44) 5. Willow Weep For Me (with Milt Jackson)
(4:15) 6. Mumbles (with Clark Terry)
(3:48) 7. I Can't Face The Music (with Shirley Horn)
(5:09) 8. Here's To Life (with Shirley Horn)
(5:23) 9. In A Mellow Tone (with Stanley Turrentine)
(5:26) 10. My Foolish Heart (with Roy Hargrove)
(2:16) 11. The Duke Of Dubuque (with The Manhattan Transfer)
(4:10) 12. (Get Your Kicks On) Route 66 (with The Manhattan Transfer)
(7:49) 13. Mack The Knife (with Clark Terry)

This live concert was recorded on October 1, 1996 at The Town Hall in New York. Oscar Peterson was also present. The other musicians have certainly also made their mark in jazz: Ray Brown (bass), Herb Ellis (guitar), Benny Green (piano), Roy Hargrove (flugelhorn), Shirley Horn (vocals), Milt Jackson (vibraphone) , The Manhattan Transfer (vocals), Lewis Nash (drums), Niels-Henning Orsted Pedersen (bass), Clark Terry (trumpet / vocals) and Stanley Turrentine (tenor sax). The repertoire was certainly worthwhile, including: Reunion Blues, If You Only Knew (both with Oscar Peterson and Benny Green on piano), Willow Weep For Me, I Can't Face The Music, In A Mellow Tone, My Foolish Heart and "(Get your kicks on) Route 66. Oscar Peterson is still a very inspiring jazz musician, as can be heard on this CD with this animated live concert! https://www.muziekweb.nl/en/Link/JE15161/A-tribute-to-Oscar-Peterson-live-at-Town-Hall

Personnel: Oscar Peterson - piano; Niels-Henning Orsted Petersen - bass; Ray Brown - bass; Herb Ellis - guitar; Lewis Nash - drums.

Special guests: Benny Green - piano; Milt Jackson - vibes; Clark Terry - trumpet&flugelhorn; Shirley Horn - vocal; Stanley Turrentine - tenor sax; Roy Hargrove - trumpet; Manhattan Transfer - vocal

A Tribute To Oscar Peterson - Live At The TownHall

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George Shearing Quintet - Rare Form

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 35:57
Size: 83,6 MB
Art: Front

(2:51) 1. The Sweetest Sounds
(2:04) 2. Look No Further
(3:59) 3. Hallucinations
(3:06) 4. Sunny
(2:45) 5. They All Laughed
(2:50) 6. Station Break
(2:52) 7. Over The Rainbow
(3:28) 8. Why Not
(3:15) 9. I'll Never Smile Again
(8:41) 10. Stop, Look And Listen

For a long stretch of time in the 1950s and early '60s, George Shearing had one of the most popular jazz combos on the planet so much so that, in the usual jazz tradition of distrusting popular success, he tended to be underappreciated. Shearing's main claim to fame was the invention of a unique quintet sound, derived from a combination of piano, vibraphone, electric guitar, bass, and drums. Within this context, Shearing would play in a style he called "locked hands," which he picked up and refined from Milt Buckner's early-'40s work with the Lionel Hampton band, as well as Glenn Miller's sax section and the King Cole Trio. Stating the melody on the piano with closely knit, harmonized block chords, with the vibes and guitar tripling the melody in unison, Shearing sold tons of records for MGM and Capitol in his heyday.

The wild success of this urbane sound obscures Shearing's other great contribution during this time, for he was also a pioneer of exciting, small-combo Afro-Cuban jazz in the '50s. Indeed, Cal Tjader first caught the Latin jazz bug while playing with Shearing, and the English bandleader also employed such esteemed congueros as Mongo Santamaria, Willie Bobo, and Armando Peraza. As a composer, Shearing was best known for the imperishable, uniquely constructed bop standard "Lullaby of Birdland," as well as "Conception" and "Consternation." His solo style, though all his own, reflected the influences of the great boogie-woogie pianists and classical players, as well as those of Fats Waller, Earl Hines, Teddy Wilson, Erroll Garner, Art Tatum, and Bud Powell and fellow pianists long admired his light, refined touch. He was also known to play accordion and sing in a modest voice on occasion.

Shearing, who was born blind, began playing the piano at the age of three, receiving some music training at the Linden Lodge School for the Blind in London as a teenager but picking up the jazz influence from Teddy Wilson and Fats Waller 78s. In the late '30s, he started playing professionally with the Ambrose dance band and made his first recordings in 1937 under the aegis of fellow Brit Leonard Feather. He became a star in Britain, performing for the BBC, playing a key role in the self-exiled Stéphane Grappelli's London-based groups of the early '40s, and winning seven consecutive Melody Maker polls before emigrating in New York City in 1947 at the prompting of Feather. Once there, Shearing quickly absorbed bebop into his bloodstream, replacing Garner in the Oscar Pettiford Trio and leading a quartet in tandem with Buddy DeFranco. In 1949, he formed the first and most famous of his quintets, which included Marjorie Hyams on vibes (thus striking an important blow for emerging female jazz instrumentalists), Chuck Wayne on guitar, John Levy on bass, and Denzil Best on drums. Recording briefly first for Discovery, then Savoy, Shearing settled into lucrative associations with MGM (1950-1955) and Capitol (1955-1969), the latter for which he made albums with Nancy Wilson, Peggy Lee, and Nat King Cole. He also made a lone album for Jazzland with the Montgomery Brothers (including Wes Montgomery) in 1961, and began playing concert dates with symphony orchestras.

After leaving Capitol, Shearing began to phase out his by-then-predictable quintet, finally breaking it up in 1978. He started his own label, Sheba, which lasted for a few years into the early '70s and made some trio recordings for MPS later in the decade. In the '70s, his profile had been lowered considerably, but upon signing with Concord in 1979, Shearing found himself enjoying a renaissance in all kinds of situations. He made a number of acclaimed albums with Mel Tormé, raising the singer's profile in the process, and recorded with the likes of Ernestine Anderson, Jim Hall, Marian McPartland, Hank Jones, and classical French horn player Barry Tuckwell. He also recorded a number of solo piano albums where his full palette of influences came into play. He signed with Telarc in 1992 and from that point through the early 2000s continued to perform and record, most often appearing in a duo or trio setting. Shearing, who had remained largely inactive since 2004 after a fall in his New York City apartment, died of congestive heart failure at New York's Lenox Hill Hospital on February 14, 2011. He was 91.~ Richard S. Ginell https://www.allmusic.com/artist/george-shearing-mn0000642664/biography

Personnel: George Shearing - piano, arranger; Armando Peraza - percussion; Gary Burton - vibraphone; Ron Anthony - guitar; Gene Cherico - double bass; Vernel Fournier - drums

Rare Form

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Cyril Stapleton And His Orchestra - Just For You

Styles: Jazz, Big Band
Year: 1958
File: MP3@320K/s
Time: 30:06
Size: 83,8 MB
Art: Front

(1:55) 1. I'm Forever Blowing Bubbles
(2:01) 2. Bye Bye Blackbird
(3:20) 3. Tell Me Tonight
(2:55) 4. April Showers
(2:21) 5. Ain't She Sweet
(2:38) 6. For Me And My Gal
(2:01) 7. Charmaine
(2:22) 8. I Wonder Who's Kissing Her Now
(2:49) 9. Me And My Shadow
(2:38) 10. If You Were The Only Girl In The World
(2:35) 11. Beer Barrel Polka
(2:25) 12. Anything Goes

Cyril Stapleton was a ubiquitous figure in English pop music across three decades, initially by way of the BBC and later as an independent bandleader. Born on the last day of the year 1914 in Mapperley, Nottingham, he took to music easily and early in life, taking up the violin at age seven, and he made his first local radio appearance at age 12. He made regular appearances on the BBC as a boy, from their Birmingham studios. In his early teens which coincided with the tail-end of the silent movie era he frequently played in movie theater orchestras, playing accompaniment to silent films. He later attended Trinity College of Music in London on a scholarship, and during this time he auditioned for and won a spot in a new dance band being formed by leader Henry Hall under the auspices of the BBC. In addition to broadcasts, Stapleton played on several of Hall's recordings for EMI's Columbia label. Stapleton eventually lost the spot, however, owing to his youth, and returned to Nottingham. He then had ambitions as a bandleader himself, however, and formed his own group, which got work locally in theaters.

He subsequently toured South Africa with Jack Payne's orchestra, and played on records by Payne's group. In the second half of the '30s, Stapleton's band moved to London, and by March of 1939 they'd made their BBC debut. He still occasionally worked in other bands, including the Jack Hylton Orchestra, however, and the outbreak of the Second World War late in 1939 forced Stapleton to abandon his career he served in the Royal Air Force for the duration. Although he was initially an air gunner, he was eventually able to put his musical abilities to work organizing entertainment, and by the end of the war he'd become a member of the RAF Symphony Orchestra.

Stapleton continued working in his field after leaving the RAF, and in the period immediately after the war he played with the London Symphony Orchestra, the National Symphony Orchestra, and the newly founded Philharmonia Orchestra. He soon wearied of the limited repertory in the classical field, and re-formed his own band in 1947. In short order he was also back on the BBC, and one of the singers he featured in those broadcasts was Dick James, the future music publisher, immortalized by his signing of members of the Beatles as songwriters in 1962.

In 1952, Stapleton was appointed leader the BBC Show Band, the radio service's most prestigious performing unit for popular music, with its biggest audience in addition to featuring top homegrown talent, only the biggest visiting American singers -- including Frank Sinatra appeared with this orchestra. Stapleton became a ubiquitous presence in English entertainment and popular culture across the mid-'50s his mere selection of a song could make or break it, and like Sinatra (and, later, Elvis Presley) among singers in America, Stapleton as a bandleader was given first refusal on new tunes by profit-minded publishers. He was also able to make the leap to the big-screen by way of the widescreen feature Just for You (1955). By that time, the orchestra had become so successful that several members, including Bill McGuffie and Tommy Whittle, had started their own separate careers as bandleaders in their own right, and the band had introduced one huge star, Matt Monro, to his first national exposure.

And then, in the spring of 1957, for reasons that have never been clear, the BBC decided to disband the orchestra. Stapleton was cut loose from his longtime employers, but he never broke stride, organizing his own orchestra again and going out on the road, in addition to cutting more records and still appearing on radio. Surprisingly, even amid the rise of rock & roll, he didn't find any interruption in his work, and he tried to understand the new music. In the mid-'60s, he occasionally tried to record and sign promising rock bands that crossed his path. In 1965, he became the head of A&R (artists and repertory) at Pye Records, one of England's three major recording organizations. His audience was still there, however, and in the early '70s he resumed recording and touring with a re-formed orchestra. Stapleton passed away in early 1974, at the age of 59.~Bruce Ederhttps://www.allmusic.com/artist/cyril-stapleton-mn0000148919/biography

Just For You

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Eydie Gorme - The Look Of Love

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 27:12
Size: 63,0 MB
Art: Front

(3:02) 1. The Look Of Love
(2:23) 2. Life Is But A Moment
(2:39) 3. What Makes Me Love Him
(2:59) 4. Crazy
(2:30) 5. Make The World Go Away
(3:12) 6. I Walk The Line
(3:20) 7. I Really Don't Want To Know
(2:38) 8. You Don't Know me
(2:28) 9. As Long As He Needs Me
(1:56) 10. Shall We Dance

Eydie Gorme was born in New York on August 16, 1928 to Sephardic Jewish parents. Her father, Nessim Garmezano, was a tailor, from Sicily, who changed his last name when he arrived in the United States. Gorme began singing straight out of high school, with various big bands. But her big break came after she auditioned for, and joined, "The The Tonight Show (1953) Show" in 1953. There, for $90 a week, she sang solos and sang duets with the up-and-coming Steve Lawrence. The two performed on the show for five years, and married in 1957. After their "Tonight Show" stint, the pair had a short-lived TV show of their own, The Steve Lawrence-Eydie Gorme Show (1958). Then, Lawrence entered the Army leaving Gorme, a new mother, to frequent the night club circuit on her own. Two years later, when Lawrence was discharged, the couple came to a decision to enter show business more professionally. Their career took off, with audiences drawn to their penchant for the classics in favor of rock 'n' roll, as well as their spontaneous banter. https://www.imdb.com/name/nm0331171/bio

The Look Of Love

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Simon Mulligan - Christmas At Steinway Hall

Styles: Piano, Christmas
Year: 2017
File: MP3@320K/s
Time: 59:47
Size: 137,9 MB
Art: Front

(3:20) 1. Baby, It's Cold Outside
(5:25) 2. The Christmas Song
(4:29) 3. Winter Wonderland
(5:19) 4. O Holy Night
(4:48) 5. Hark! The Herald Angels Sing
(4:27) 6. The First Noel
(4:46) 7. I Saw Three Ships
(5:37) 8. While Shepherds Watched Their Flocks
(5:16) 9. Away In A Manger
(3:23) 10. O Little Town Of Bethlehem
(5:19) 11. I'll Be Home For Christmas
(3:03) 12. Have Yourself A Merry Little Christmas
(4:27) 13. Silent Night

The U.S. Steinway & Sons label has made a strong impact with albums by performers who evoke the concert atmosphere of a hundred years ago: the era, as it happens, when the Steinway piano was supreme. British pianist Simon Mulligan does this, but not with quite the same classical repertoire as other pianists on the label. Mulligan has played both classical music and jazz, but here he offers a kind of salon music that has improvised elements, but for the most part is not jazz. (The exception is the upbeat I'll Be Home for Christmas.) The music consists entirely of Christmas or holiday-season tunes, but even such a chestnut as Winter Wonderland is fresh, a bit meditative in Mulligan's hands. Steinway's engineers have made great strides forward in showcasing their home hall at its best, and the mood struck by the sound design here is deep. For a classy soundtrack to your Christmas gathering you couldn't do better than this, but there's more to Mulligan's album than simply background music.~ James Manheim https://www.allmusic.com/album/christmas-at-steinway-hall-mw0003113994

Christmas At Steinway Hall

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Monica Mancini - Cinema Paradiso

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 49:00
Size: 113,5 MB
Art: Front

(4:32) 1. Cinema Paradiso
(4:02) 2. A Day In The Life Of A Fool
(4:49) 3. The Summer Knows
(3:42) 4. A Love Before Time
(3:31) 5. Soldier In The Rain
(3:59) 6. Alfie
(5:00) 7. Too Late Now
(5:12) 8. The Shadow Of Your Smile
(4:26) 9. Baby Mine
(2:43) 10. Senza Fine
(3:46) 11. I'll Never Say Goodbye
(3:11) 12. Over The Rainbow

Monica Mancini has been careful in her recording projects to reflect her heritage and promote it without exploiting it. Her first album, Monica Mancini, was, naturally enough, a collection of songs written by her father, Henry Mancini. Her second, The Dreams of Johnny Mercer, was a tribute to one of her father's main collaborators. Cinema Paradiso features songs by many different songwriters, but its source is the kind of movie theme music in which her father worked successfully for his entire career. Mancini deliberately mixes things up in her choices of material, going back in time as far as the late '30s for "Over the Rainbow" and as far forward as "Senza Fine" from Ghost Ship, a film that opened 11 days before her album was released. And she mixes well-known songs like "Alfie" and "The Shadow of Your Smile" with worthy but lesser-known efforts such as Burton Lane and Alan Jay Lerner's "Too Late Now" from Royal Wedding and her father's "Soldier in the Rain" from the movie of the same name with lyrics by Alan and Marilyn Bergman. She has also considered the arrangements carefully, using eight different arrangers to create settings for the songs. Some of the charts are lush, while three songs employ a single instrument as accompaniment. Yet they all work together well. And the material and arrangements prove to be good choices for Mancini's voice, which is fully showcased. It is a rich voice, and if her interpretations have their precious moments and are at times too deliberate, she also exudes warmth and feeling for the songs, making this another successful collection.~ William Ruhlmann https://www.allmusic.com/album/cinema-paradiso-mw0000227963

Cinema Paradiso

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Rhoda Scott - Rhoda Scott Lady All Stars

Styles: Soul Jazz, Post Bop
File: MP3@320K/s
Time: 44:17
Size: 102,5 MB
Art: Front

(5:32) 1. R & R
(4:45) 2. City of the Rising Sun
(5:28) 3. Les Châteaux de Sable
(6:04) 4. Laissez-moi
(5:59) 5. Golden Age
(6:03) 6. Escapade
(5:11) 7. I Wanna Move
(5:12) 8. Short Night Blues

Rhoda Scott is one of the greatest musicians in the history of jazz, playing on the most important international stages with Lionel Hampton, Dizzy Gillespie, Kenny Clarke, Count Basie… She returns this year, after her much appreciated stint in 2007, at the head of an incredible all-female octet made up of major musicians in today's jazz: Anne Paceo, Geraldine Laurent, Airelle Besson, Céline Bonacina, Sophie Alour… Groove and swing await you!Translate By Google https://www.rendezvouserdre.com/portfolio/rhoda-scott-ladies-all-stars/

Personnel: Rhoda Scott: Hammond organ / Sophie Alour: tenor saxophone / Lisa Cat-Berro: alto saxophone / Julie Saury: drums / Anne Paceo: drums / Géraldine Laurent: alto saxophone / Airelle Besson: trumpet / Céline Bonacina: baritone saxophone

Rhoda Scott Lady All Stars

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Buddy Rich, Harry 'Sweets' Edison - Buddy And Sweets

Styles: Swing, Bop
Year: 1955
File: MP3@320K/s
Time: 38:54
Size: 90,0 MB
Art: Front

(4:35) 1. Yellow Rose Of Brooklyn
(8:20) 2. Easy Does It
(2:13) 3. All Sweets
(4:07) 4. Nice Work If You Can Get It
(9:43) 5. Barney's Bugle
(4:43) 6. Now's The Time
(5:10) 7. You're Getting To Be A Habbit With Me

The powerhouse drums of Buddy Rich together with the understated trumpet of Harry "Sweets" Edison? Seems like an odd pairing, but they really clicked on this 1955 quintet session-this is small-group swing at its liveliest and most captivating: Yellow Rose of Brooklyn; Easy Does It; Now's the Time; Nice Work if You Can Get It , and more!~Editorial Reviews https://www.amazon.com/Buddy-Sweets-Rich-Harry-Edison/dp/B0000ACAJJ

Personnel: Harry Sweets Edison – trumpet; Buddy Rich – drums; Jimmy Rowles – piano; Barney Kessel – guitar; John Simmons – bass

Buddy And Sweets

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Jan Lundgren - Lonely One

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 57:25
Size: 132,2 MB
Art: Front

(5:02) 1. Will You Still Be Mine
(4:12) 2. The Lonely One
(5:11) 3. Jitterburg Waltz
(5:01) 4. When Sunny Gets Blue
(6:54) 5. Blues For Jesper
(5:47) 6. Trubbel
(4:54) 7. Caravan
(5:13) 8. A New Town Is A Blue Town
(4:35) 9. Falling In Love With Love
(4:50) 10. One For My Baby
(5:41) 11. Who I Can I Turn To

A fine bop-based pianist, Jan Lundgren has visited the United States several times since the mid-'90s and been gradually gaining a very strong reputation. Even while undergoing extensive classical piano training, Lundgren was playing jazz locally and by the time he was 20, he had begun working with Arne Domnérus and Putte Wickman. Lundgren has picked up valuable experience accompanying many visiting Americans (including Herb Geller, Johnny Griffin, and Mark Murphy). In 1994, he recorded his debut as a leader for the Four Leaf Clover label. Since then, Lundgren has recorded separate sets with Herb Geller and Bill Perkins for Fresh Sound and led further albums for Alfa and Four Leaf Clover. https://www.jazzmusicarchives.com/artist/jan-lundgren

Personnel: Jan Lundgren (piano); Jesper Lundgaard (bass); Alex Riel (drums)

Lonely One

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Roger Kellaway - Live at Maybeck Recital Hall, Vol. 11

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 61:24
Size: 140,8 MB
Art: Front

(0:12) 1. Introductory Announcement
(9:04) 2. How Deep Is The Ocean
(6:03) 3. I'm Still In Love With You
(4:47) 4. Love Of My Life
(7:23) 5. Close Your Eyes
(9:44) 6. New Orleans
(9:12) 7. My One And Only Love
(7:58) 8. Creole Love Call
(6:58) 9. I'm Getting Sentimental Over You

Leave it to Roger Kellaway to come up with one of the most strikingly individual editions of the exhaustive Live at Maybeck series. Overall, the disc captures a more reflective side of Kellaway in a typical Maybeck program of mostly standards mixed with a pair of originals. Yet Kellaway's stride-grounded manner still veers off unpredictably and delightfully into the ozone, sometimes invoking Debussy-like whole-tone scales and skirting the lower orbits of bitonality and atonality before neatly extricating himself. His own shuffling stride tune, "I'm Still in Love With You," is a match for any of the standards, and he's not afraid to take it outside with flashes of bitonal color. He also gives "Creole Love Call" a similar treatment which fits the rhythm of the tune with a rumbling, murky intro deep in the bass. Though this is not one of his more endearingly off-the-wall recordings, it is one of the best listeners have that is still widely available.~Richard S. Ginellhttps://www.allmusic.com/album/live-at-maybeck-recital-hall-vol-11-mw0000675314

Personnel: Roger Kellaway – piano

Live at Maybeck Recital Hall,Vol. 11

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Monica Mancini - The Dreams Of Johnny Mercer

Bitrate: MP3@320K/s
Time: 44:20
Size: 101.5 MB
Styles: Vocal jazz, Standards
Year: 2000
Art: Front

[3:36] 1. Ac-Cent-Tchu-Ate The Positive
[3:21] 2. Something Tells Me
[2:26] 3. Skylark
[3:24] 4. The Weekend Of A Private Secretary
[3:55] 5. With My Lover Beside Me
[5:32] 6. When October Goes
[4:39] 7. On The Atchison, Topeka And The Santa Fe
[4:27] 8. When The Meadow Was Bloomin'
[3:18] 9. It Had Better Be Tonight
[2:27] 10. Love Is Where You Find It
[2:55] 11. At Last
[4:14] 12. Just Remember

Vocalist Monica Mancini follows up her chart-topping self-titled debut with an outstanding collection of 12 songs written by one of America's greatest songwriters, Johnny Mercer. The Dreams of Johnny Mercer features the stunning vocalist performing seven songs with previously unpublished lyrics written by Mercer with great new music by Barry Manilow. Great American Songbook standards like an Italian version of "It Had Better Be Tonight," one of many Mercer and Henry Mancini collaborations, and the guest appearance of Alvin Chea, the bass singer of Take 6, on an excellent a cappella arrangement of "Ac-cent-tchu-ate the Positive" adds to the beauty of this insightful and intimate collection of songs. The lush orchestral arrangements by Patrick Williams, Randy Waldman, and David Torres on "Just Remember," "At Last," and "Love Is Where You Find It" unfold to provide a layer of musical precision that expand the lovely, warm, and supple vocals of Mancini. Her voice is irresistible and her mastery of these melodies is a sure sign that she feels what she is singing. The Dreams of Johnny Mercer are sung with tender passion in a voice that tells their innermost stories. ~Paula Edelstein

The Dreams Of Johnny Mercer

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Elia Bastida - The Magic Sound Of The Violin

Styles: Violin, Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 74:23
Size: 199,1 MB
Art: Front

(2:35) 1. Someone to Watch Over Me
(3:08) 2. Ella y Yo
(4:42) 3. How High the Moon
(3:49) 4. Reflections
(2:02) 5. Uma Estrela
(4:14) 6. Out of Nowhere
(4:43) 7. Sweet Adeline
(1:16) 8. Ao Lado Teu
(4:23) 9. Eu Sei Que Vou Te Amar
(5:47) 10. Jitterbug Waltz
(4:19) 11. A Kiss to Build a Dream On
(5:04) 12. You Are Too Beautiful
(2:43) 13. Beriwaltz
(5:11) 14. Round Midnight
(3:45) 15. J'Attendrai
(6:34) 16. Alfonsina y el Mar
(4:10) 17. Day Dream
(3:07) 18. How About You
(2:40) 19. Rabo de Nube

Two years after the CD “Joan Chamorro presents Èlia Bastida”, in which she appeared in her different facets as a performer (violinist as main instrument, vocalist and tenor sax), we give birth to this “The magic sound of the violin”. Èlia, during the 8 years that she has been part of the Sant Andreu Jazz Band, a project that I have directed for almost 14 years, has had an interest, a dedication, such a passionate dedication to music and specifically to jazz, that she has made May her evolution lead her to be, today, a great soloist, especially with the violin. The violin is an instrument that, in my opinion, still has a lot to contribute to jazz. There have been and are great violinists (Grappelli, Venuti, Ponty, Lockwood, to name just a few). Without neglecting the musicality, strength, intensity of Grappelli as the first reference, and adding everything contributed by bebop, hardbop and other music, Èlia's search for a discourse that collects all the aspects that she incorporates, the finally, they walk along their own musical path, rich in nuances, open and free of labels, but, above all, passionate, with which they manage to extract all the wonderful possibilities that “the magical sound of the violin” has. The Magic Sound of the Violin Èlia Bastida joins the universe of jazz violinists. Our next appointment is “Èlia Bastida meets Scott Hamilton”, of which we have already recorded 5 songs and which will recall the meeting that the great saxophonist had with Joe Venuti back in the eighties. Joan Chamorro

Two years after the CD "Joan Chamorro presents Èlia Bastida", in which she appeared in her different facets as a performer (violinist as main instrument, vocalist and tenor saxophone), we give birth to this "The magic sound of the violin". Èlia, during the 8 years that she has been part of the Sant Andreu Jazz Band, a project that I have directed for almost 14 years, has had an interest, a dedication, such a passionate dedication to music and specifically to jazz, that her evolution has made her become, nowadays, a great soloist, especially with the violin. The violin is an instrument that, in my opinion, still has a lot to contribute to jazz. There have been and are great violinists (Grappelli, Venuti, Ponty, Lockwood, to name just a few). Without leaving aside the musicality, the strength, the intensity of Grappelli as the first reference, and adding all the contributions of bebop, hardbop and other music, Èlia's search for a discourse that gathers all the aspects she incorporates, finally make her walk along her own musical path, rich in nuances, open and free of labels, but, above all, passionate, with which she manages to extract all the wonderful possibilities that "THE MAGIC SOUND OF THE VIOLIN" has. Èlia Bastida joins the world of jazz violinists. Our next appointment is "Èlia Bastida meets Scott Hamilton", of which we have already recorded 5 tracks and which will recall the encounter the great saxophonist had with Joe Venuti back in the eighties.~Translate By Google https://santandreujazzband.bandcamp.com/album/the-magic-sound-of-the-violin

Personnel: Èlia Bastida, violin, tenor sax; Joan Chamorro, bass & baritone sax; Carla Motis, guitar; Josep Traver, guitar; Guillermo Soler, drums; David Xirgu, drums; Scott Hamilton, tenor sax

The Magic Sound Of The Violin

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Frank Foster Loud Minority Big Band - We Do It Diff'rent

Styles: Jazz, Big Band
Year: 2003
File: MP3@320K/s
Time: 67:56
Size: 156,1 MB
Art: Front

( 4:35) 1. G'on an' Git It Y'all
( 7:39) 2. Stella by Starlight
( 7:03) 3. WLD Women Don't Worry
( 4:46) 4. Fos' Alarm
( 6:43) 5. Lover
(11:30) 6. Shiny Stockings
( 4:12) 7. Where or When
( 9:40) 8. Cecilia Is Love
( 6:27) 9. You Go to My Head
( 5:16) 10. Skull-Doug-Ery

Frank Foster’s Loud Minority Big Band is more limber than loud although it doesn’t shrink from shouting whenever that’s appropriate on this persuasive in-concert album recorded in June ‘02 at NYC’s Jazz Standard, when the seventy-three-year-old Foster was recovering from a stroke that immobilized his left arm and left leg and limited his role to that of emcee. As one would expect from an old hand who joined the Count Basie Orchestra half a century ago and fronted the band for nine years (1986-95), Foster salutes the Count’s buoyant spirit in almost every way save repeating well-traveled numbers from the Basie book (with one exception, his classic “Shiny Stockings,” handsomely renovated for the occasion). Foster’s other originals (“G’on an’ Git It Y’all,” “Fos’ Alarm,” “Cecilia Is Love,” “Skull-Doug-Ery”) were written especially for the seven-year-old Loud Minority ensemble. Completing the program are four standards (“Stella by Starlight,” “Lover,” “You Go to My Head,” “Where or When”) and one blues, “Wild Women Don’t Worry,” the last three featuring the seductive baritone of special guest and ex-Basie vocalist Dennis Rowland.

Foster’s other guest, trumpeter Jon Faddis, shakes the rafters on “Wild Women” and “Cecilia,” and trumpeters Jeremy Pelt and Cecil Bridgewater glisten and glow on “Stella” and “Stockings,” respectively. Baritone saxophonist James Stewart is showcased on “Fos’ Alarm,” tenor Bill Saxton and drummer Sylvia Cuenca (a last-minute replacement whose forceful timekeeping earned her a permanent gig with band) on “Lover,” tenor Keith Loftis on “Skull-Doug-Ery,” while pianist Daniel Mixon has a number of engaging ideas to impart on “G’on an’ Git It,” “Cecilia,” “Skull-Doug-Ery” and (uncredited) “Shiny Stockings.” There are some other minor errors on the playlist, with trombonist Clark Gaton listed as trumpet soloist on “G’on an’ Git It,” trumpeter Derrick Gardner as trombonist on “You Go to My Head,” Rowland as vocalist (he’s not) on “Shiny Stockings.” Echoing Basie’s philosophy, Foster writes that “you can’t keep a band of brilliant players together and burning without challenging them with a constant stream of fresh new music.” Let’s hope that Foster keeps challenging the Loud Minority for years to come.~ Jack Bowershttps://www.allaboutjazz.com/we-do-it-diffrent-frank-foster-mapleshade-recordings-review-by-jack-bowers

Personnel: Frank Foster, leader, arranger; Bruce Williams, Joe Ford, alto sax; Bill Saxton, Keith Loftis, tenor sax; James Stewart, baritone sax; Frank Greene, Derrick Gardner, Kenyatta Beasley, Jeremy Pelt, Cecil Bridgewater, trumpet; Vincent Gardner, Clark Gaton, Stafford Hunter, trombone; Bill Lowe, bass trombone, tuba; Daniel Mixon, piano; Earl May, bass; Sylvia Cuenca, drums.

We Do It Diff'rent

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Monica Mancini - S/T

Bitrate: MP3@320K/s
Time: 45:51
Size: 105.0 MB
Styles: Vocal
Year: 1998
Art: Front

[3:53] 1. Moment To Moment
[4:48] 2. Two For The Road
[3:42] 3. Dreamsville
[2:59] 4. Crazy World
[2:17] 5. Anywhere The Heart Goes (Meggie's Theme)
[3:10] 6. Loss Of Love
[4:30] 7. Whistling Away The Dark
[2:57] 8. Charade
[4:25] 9. The Days Of Wine And Roses
[3:40] 10. Slow Hot Wind
[2:45] 11. Dear Heart
[3:32] 12. Moon River
[3:07] 13. Music On The Way

Henry Mancini's daughter takes a daring debut step as a vocalist right into her father's shadow. On an album covering her father's songs, she makes her mark with a sweet, smooth voice and a nice sense of phrasing. Her gamble pays off with lushly orchestrated versions of "Two for the Road," "Moon River," "Moment to Moment," and others. ~Tim Sheridan

Monica Mancini

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Emily Remler - Retrospective, Volume Two "Compositions"

Styles: Guitar Jazz
Year: 1981
File: MP3@320K/s
Time: 60:53
Size: 139,4 MB
Art: Front

(4:30) 1. Mocha Space
(5:02) 2. Nunca Mais
(6:39) 3. Waltz For My Grandfather
(7:24) 4. Catwalk
(6:28) 5. Blues For Herb
(8:03) 6. Transitions
(4:10) 7. The Firefly
(6:17) 8. East To Wes
(4:30) 9. Antonio
(7:46) 10. Mozambique

Emily Remler (September 18, 1957 – May 4, 1990) was an American jazz guitarist who rose to prominence in the 1980s. She recorded seven albums of hard bop, jazz standards and fusion guitar.

Born in New York City, Remler began to play the guitar at the age of ten. Initially inspired by rock artists such as Jimi Hendrix and Johnny Winter as well as other popular styles of music, she experienced a musical epiphany during her studies from 1974 to 1976 at the Berklee College of Music in Boston, Massachusetts. She began to listen to such legendary jazz greats as Wes Montgomery, Joe Pass, Pat Martino, Charlie Christian, Miles Davis and John Coltrane and took up jazz with a ferocious intensity, practicing almost constantly and never looked back. After graduating Berklee at age 18 she started her professional career touring around the USA.

Remler's first significant and formative step as a fledgling professional musician was to settle in New Orleans where she played in blues and jazz clubs working with bands such as FourPlay and Little Queenie and the Percolators before beginning her recording career in 1981. She was championed by guitar great Herb Ellis, who referred to her as "the new superstar of guitar". Ellis introduced her to the world at the Concord, CA Jazz Festival in 1978. In an interview with People magazine, she once said of herself: "I may look like a nice Jewish girl from New Jersey, but inside I’m a 50-year-old, heavyset black man with a big thumb, like Wes Montgomery." ~People Mag. 1982~ Recorded for the famous Concord label, Remler's albums showcase the diverse influences of a fast-developing artist who quickly attained a distinctive jazz style on the guitar through her interpretations of jazz standards and her own compositions.

Her first album as a band leader, Firefly, won immediate acclaim and her bop guitar on the follow-up, Take Two, was equally well received. Transitions and Catwalk traced the emergence of a more individual voice, with many striking original tunes, while her love of Wes Montgomery shone through on the stylish East to Wes. When the rhythm section is floating, I'll float too, and I'll get a wonderful feeling in my stomach. If the rhythm section is really swinging, it's such a great feeling, you just want to laugh Emily Remler In addition to her recording career as a band leader and composer, Remler played with artists as diverse as Larry Coryell, with whom she recorded an album entitled Together, and the singer Rosemary Clooney. She played on Broadway for the Los Angeles version of the show 'Sophisticated Ladies' from 1981 to 1982 and produced two popular guitar instruction videos. She also toured for several years in the early eighties as guitarist for Astrud Gilberto.

In 1985, she won the ‘Guitarist Of The Year’ award in Down Beat magazine’s international poll. In 1988, she was 'Artist in Residence' at Duquesne University and, in 1989, received Berklee's Distinguished Alumni award. She married Jamaican jazz pianist Monty Alexander in 1981, the marriage ending in 1984. Her first guitar was her elder brother's Gibson ES-330, and she played a Borys B120 hollow body electric towards the end of the 1980s. Her acoustic guitars included a 1984 Collectors Series Ovation and a nylon string Korocusci classical guitar that she used for playing bossa nova. When asked how she wanted to be remembered she remarked: "Good compositions, memorable guitar playing and my contributions as a woman in music…. but the music is everything, and it has nothing to do with politics or the women’s liberation movement." She appealed to all audiences with her wide understanding of all forms of jazz. She gained respect from fellow musicians and critics because of her dedication, enthusiasm and remarkable skill. Remler, who was a heroin addict, died of heart failure at the age of 32 at the Connells Point home of musician Ed Gaston, while on tour in Australia. Two tribute albums were recorded after her death, Just Friends volume one and two, featuring contributions from Herb Ellis, David Benoit, Bill O'Connell and David Bromberg among many others. In 2006 the Skip Heller Quartet recorded a song called "Emily Remler" in her memory. https://www.jazzmusicarchives.com/artist/emily-remler

Personnel: Guitar – Emily Remler; Bass – Bob Maize, Buster Williams, Don Thompson, Eddie Gomez; Drums – Jake Hanna, Marvin "Smitty" Smith, Terry Clarke; Drums, Percussion – Bob Moses; Piano – Hank Jones, James Williams ; Trumpet – John D'Earth

Retrospective, Volume Two "Compositions"

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Roger Kellaway - Cello Quartet

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 42:03
Size: 96,7 MB
Art: Front

(3:01) 1. Saturnia
(7:49) 2. Sunrise
(5:39) 3. Morning Song
(8:24) 4. Jorjana 2
(2:45) 5. Esque
(5:07) 6. On Your Mark Get Set Blues
(2:57) 7. Invasion Of The Forest
(6:18) 8. Jorjana 8

Roger Kellaway launched his reputation as a consummate iconoclastic musician with this album, which was considered an elegant breakthrough in its time. He assembled a novel quartet featuring his piano, the late Edgar Lustgarten's classical cello (Kellaway's favorite instrument), Chuck Domanico on bass, and Emil Richards on marimba and percussion, writing pieces using chord symbols and notes without stems to allow for improvisation. The resulting album falls ever so neatly between the cracks of classical music and jazz, sometimes leaning in the latter direction (e.g., the Latinized groove of "Jorjana #2"), but mostly occupying a never-never land of Kellaway's own invention. Lustgarten's lush, dark tone establishes a haunting classical ambience, which creates weird stylistic juxtapositions in pieces like the boogie-based "Esque"; on a few tracks, there is some truly quirky writing for a full studio symphony orchestra conducted by Kellaway. The most memorable composition of the lot is the instantly winning, deceptively simple "Morning Song" (later published in a version for tuba and piano!), where Kellaway throws in more than a hint of barrelhouse piano. This album became a cult favorite, in and out of print on LP and CD, but never too difficult to locate.~ Richard S. Ginellhttps://www.allmusic.com/album/roger-kellaway-cello-quartet-mw0000696916

Personnel: Piano – Roger Kellaway; Acoustic Bass – Chuck Domanico; Cello – Edgar Lustgarten; Guitar – Joe Pass ; Percussion – Emil Richards; Violin – Erno Neufeld

Cello Quartet

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Lesley Gore - I'll Cry If I Want To

Styles: Vocal
Year: 1963
File: MP3@320K/s
Time: 26:00
Size: 68,4 MB
Art: Front

(2:22) 1. It's My Party
(2:15) 2. Cry Me a River
(2:07) 3. Cry
(2:15) 4. Just Let Me Cry
(2:01) 5. Cry and You Cry Alone
(2:23) 6. No More Tears
(2:11) 7. Judy's Turn to Cry
(1:53) 8. I Understand
(2:24) 9. I Would
(2:19) 10. Misty
(1:46) 11. What Kind of Fool Am I
(2:00) 12. The Party's Over

Lesley Gore's debut album was rushed out on the heels of her debut smash, "It's My Party," and suffered from being made into a contrived concept album of sorts. Most of the songs were about -- as the title indicated crying, since the key hook of "It's My Party" had Gore boasting that she could cry if she wanted to. The effect, if only temporarily, was to make her out to be something of a novelty artist, even if one of the songs other than "It's My Party" (its inferior follow-up, "Judy's Turn to Cry") turned out be a big hit as well. Aside from the limited lyrical themes, a bigger problem was that the material, other than the two big hits, largely veered between tame treatments of pop standards ("Misty," "Cry Me a River," "What Kind of Fool Am I") and unmemorable soppy pop ballads by contemporary writers that tapped into the weaker aspects of doo wop-influenced girl group music.

this point, Gore seemed to be as interested in being an adult torch singer as a teen rocker, but her teenaged pipes were simply far more suited toward girl group-style songs than trying to be another Julie London. The big flaw is one that seems obvious in retrospect, but probably wasn't even seen by many who were helping to direct her career at the time: Aside from the hits, nothing here rocked respectably, or swung as Quincy Jones' arrangements were capable of doing, though "Cry Me a River" wasn't too bad. Gore would, perhaps to the surprise of many, go on to establish a respectable career with a series of hits that didn't always milk the self-pity bucket, though this first effort gave all the indication of her being a one-hit wonder.~ Richie Unterberg https://www.allmusic.com/album/ill-cry-if-i-want-to-mw0000845050

I'll Cry If I Want To

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Bette Midler - Bette Midler Sings The Rosemary Clooney Songbook

Size: 73,1 MB
Time: 30:57
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz/Pop Vocals
Art: Front

01. You'll Never Know (1:44)
02. This Ole House (3:02)
03. On A Slow Boat To China (Duet With Barry Manilow) (2:31)
04. Hey There (3:30)
05. Tenderly (3:11)
06. Come On-A My House (1:50)
07. Mambo Italiano (2:50)
08. Sisters (Duet With Linda Ronstadt) (2:53)
09. Memories Of You (3:20)
10. In The Cool, Cool, Cool Of The Evening (2:44)
11. White Christmas (3:16)

Cabaret icon Bette Midler reunites with her old piano partner Barry Manilow for the first time in over 30 years to toast one of their mutual idols on Sings the Rosemary Clooney Songbook. Clooney was one of the top jazz/pop vocalists of the '50s whose clear, bright tone, impeccable melodicism, and smiling, girl-next-door image came together to make classics out of tunes like "In the Cool, Cool, Cool of the Evening" and "Hey There" -- both covered here. In that tradition, Midler's plucky blonde persona and genre-crossing style and Manilow's modern day blend of Mercer and Porter make this album work -- most of the time. Mostly what you get is the Divine Miss M and "Mister Manila," as Midler affectionately refers to Manilow, returning to their '70s New York roots on "On a Slow Boat to China," a solid and classy version of "Sisters" with Linda Ronstadt taking the Betty Clooney role, and a very Dixie Chicks-esque contemporary bluegrass reworking of "This Ole House." Least of all, you get limp, hip-hop-lite arrangements of "Come On-A My House" and "Mambo Italiano," which only serve to drain the songs of any swing and makes the twee-period lyrics all the more cloying. Nonetheless, Midler -- who can carry a tune on personality alone -- sounds elegant and alive here and Manilow's classy orchestral arrangements frame the proceedings with the urbane glow of nostalgia for a time -- be it the '50s or the '70s -- when a big band, a great song, and blonde with a nice voice were all you needed for a good time. ~by Matt Collar

Sings The Rosemary Clooney Songbook

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Dan Nimmer Trio - Horizons

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 63:17
Size: 146,6 MB
Art: Front

(4:25) 1. Lisa
(6:34) 2. Rain
(5:01) 3. Teef
(3:52) 4. Horizons
(5:40) 5. On Green Dolphin Street
(4:29) 6. South Seas
(3:31) 7. Theme From M.A.S.H.
(5:01) 8. Open Sesami
(5:43) 9. Flamenco Sketches
(4:43) 10. Mr. Lucky
(5:53) 11. Old Forks
(3:26) 12. The Fall Of Love
(4:53) 13. Untitles #5

An old soul in a young body, Dan Nimmer plays with the spirit, the passion and the soul of someone who has been on the planet much longer. With prodigious technique and an innate sense of swing, his playing often recalls that of his own heroes, specifically Oscar Peterson, Wynton Kelly, Erroll Garner and Art Tatum. As a young man, Mr. Nimmer's family inherited a piano and he started playing by ear; he was, if you will, "called" by the instrument. He studied classical piano and eventually became interested in jazz.

In 2005, Mr. Nimmer became a member of Wynton Marsalis's Jazz at Lincoln Center Orchestra and the Wynton Marsalis Quintet, both in which he has been a member ever since. In addition to Wynton Marsalis, Mr. Nimmer has performed and or recorded with Jimmy Cobb, Norah Jones, Willie Nelson, Paul Simon,Chick Corea, George Benson, Houston Person, Eric Clapton, Tom Jones, Jon Faddis, Benny Golson, Brian Lynch, Lewis Nash, Peter Washington,Fareed Haque and many more.https://store.acousticsounds.com/d/143117/Dan_Nimmer_Trio-Horizons-Single_Layer_Stereo_SACD

Personnel: Dan Nimmer - piano; David Wong - bass; Pete Van Nostrand - drums

Horizons

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Aga Zaryan - Looking Walking Being

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 62:34
Size: 143,8 MB
Art: Front

(2:42) 1. Cherry Tree Avenue
(4:48) 2. Looking Walking Being
(5:02) 3. Let Me
(4:02) 4. For The New Year, 1981
(5:06) 5. The Stars Are As Lonely As Us
(7:42) 6. Seeking My Love
(4:04) 7. February Evening In New York
(5:53) 8. My Name
(6:32) 9. Temptation Game
(5:23) 10. Waiting The Moon
(4:40) 11. What Is This Thing Called Happiness
(6:36) 12. The Thread

Aga Zaryan (born Agnieszka Skrzypek January 17, 1976) is an internationally recognized jazz vocalist of the new generation. She is known for her distinctive style, class and intimate approach to singing, with a characteristic lightness of phrasing and warm, slightly matte-toned voice. Aga Zaryan has been successful in integrating ambitious artistic goals with popular appeal, recording four albums to date, all of which have earned gold, platinum or multi-platinum status in Poland. Aga was also named Jazz Vocalist of The Year in the European Jazz Forum Magazine's yearly Jazz Top readers' poll in 2007, 2008 and 2009. She has appeared in clubs and at festivals in Poland, England, the USA, Germany, Israel, France, Sweden, Norway, the Czech Republic, Montenegro, Bulgaria, Turkey, Portugal, Russia and Iceland. https://www.last.fm/music/Aga+Zaryan/+wiki

Personnel: Aga Zaryan (Vocal); David Doruzka (Guitar); Michal Baranski (Bass); Lukasz Zyta (Drums); Munyungo Jackson (Percussion)

Looking Walking Being

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