Deborah Cox - Destination Moon

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 43:08
Size: 99,6 MB
Art: Front

(2:41)  1. Destination Moon
(4:07)  2. What A Difference A Day Made
(3:42)  3. Misery
(3:36)  4. Baby, You're Got What It Takes
(4:06)  5. This Bitter Earth
(2:23)  6. Squeeze Me
(3:00)  7. New Blowtop Blues
(4:08)  8. Blue Skies
(3:27)  9. I Don't Hurt Anymore
(4:33) 10. Smoke Gets In Your Eyes
(3:23) 11. September In The Rain
(3:55) 12. Look To The Rainbow

Artist tributes are tricky pieces of work. Most of the time, they aren't recorded by the biggest names of the moment, and they're usually sub-par. Instead of putting out an album of new music after a five-year hiatus, and twelve years into her career, Canadian R&B diva Deborah Cox released Destination Moon, a tribute to jazz legend Dinah Washington. Cox refers to this album as a personal tribute to her legend growing up. Frankly, she does justice to the works, which make for a strong representation of Washington's hits over her far too brief career. Cox's voice, in all its purity, has never sounded better, with the honey tones in her raspy instrument flourishing throughout the album's big moments. Unfortunately, the album is full of awkward missteps that steer this work off course: Cox doesn't always connect with the songs. Many of the tracks seem robotic; Cox sings them well, but doesn't emote to the best of her ability, something that has always been a flaw of hers in the past. Therefore, Moon appears to be more of a lifetime biopic of Dinah Washington's musical career than a genuine blockbuster. For an artist like Washington, who has garnered much respect even to this day for her creativeness and emotional capacity, Cox suffers in both attributes. Considering Moon is supposed to be a tribute, as such it seems flat. 

In addition, the timing of the album seems like an odd choice for Cox; there is a five-year gap between this album and The Morning After (excluding Remixed, a collection of dance re-recordings), but this may be because of her label shift from J-Records to Decca. And because she has stayed out of the limelight for some time, jumping back into the music scene with a tribute doesn't seem like the smartest move on her part. In addition, Cox is an R&B diva who is known for her dance tracks and smooth grooves. Jazz seems awkward for the Canadian superstar, who handles the shift well vocally, but seems to have missed the mark in most other places. Ultimately, the album is too indulgent on Cox's part, and in order for the whole piece to be credible, especially for Cox, whose popularity has slowly faded since her newest album, she needed to nail every part of the album, not just the vocals. ~ Matthew Chisling  http://www.allmusic.com/album/destination-moon-mw0000778238

Personnel: Deborah Cox - vocals, background vocais; Rob Mounsey – piano; David Spinozza – guitar; David Finck – bass; Victor Lewis – drums; Andy Snitzer - tenor saxophone; Lew Soloff - trumpet

Destination Moon

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Maurice Vander, Kenny Clarke, Pierre Michelot - Jazz At The Blue Note

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 43:59
Size: 101,9 MB
Art: Front

(4:51) 1. Take The A Train
(5:40) 2. Willow Weep For Me
(7:25) 3. Walkin'
(5:24) 4. Autumn Leaves
(6:24) 5. I'll Remember April
(4:30) 6. The Nearness Of You
(5:45) 7. Django
(3:58) 8. Blue Lester

After opening in June 1958, the “Blue Note” became the most cosmopolitan jazz club in all of Paris. Located on 27 rue d’Artois, in the 8th arrondissement, fans were usually crammed on the leather benches that dotted its large central hall, and if they couldn’t find a spot, there was always the bar. The acoustics of the room were excellent, and the house band included some of the best French jazzmen led by guitarist Jimmy Gourley. They, in turn, accompanied many of the top American soloists who visited the “Blue Note” during the splendor years of the club (1958-1965). The long list of names includes Sarah Vaughan, Zoot Sims, Stan Getz, Sonny Stitt, Ray Nance, Lester Young, Alice McCloud, Lucky Thompson, Johnny Griffin and Booker Ervin.

The “Blue Note” was also the club where the legendary bebop pianist Bud Powell established the base of operations for his trio, with Pierre Michelot on bass, and Kenny Clarke on drums. Their stay had really successful moments, and ran from 1959 until 1962, with daily performances where they alternated with the featured American guest of the week. In November 1960, Maurice Vander one of the most prominent jazz pianists in Europe at the time joined forces with the talents of Michelot and Clarke. The trio was warmly acclaimed by the audience at the “Blue Note”, and that good response led to the recording of these excellent live performances. There is no doubt that Vander, Michelot and Clarke were truly “three of a kind.” https://www.freshsoundrecords.com/maurice-vander-albums/6659-jazz-at-the-blue-note.html

Personnel: Maurice Vander (p), Pierre Michelot (b), Kenny Clarke (d)

Jazz At The Blue Note

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James Emery, Joe Lovano, Judi Silvano, Drew Gress - Fourth World

Styles: Free Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 66:47
Size: 153,6 MB
Art: Front

( 5:18) 1. Bellflower
( 8:59) 2. Golden Horn
(11:52) 3. Fourth World
( 8:57) 4. Worship
( 8:07) 5. Splendido
( 5:32) 6. La Scala
( 8:46) 7. The Next Level
( 5:12) 8. In A Secret Place
( 4:00) 9. Hannah's Song

The title of this newly issued recording might ordinarily imply notions of poverty and human rights, but in the liners, guitarist James Emery iterates that the Fourth World “is the world, or dimension, of vibration.” We are presented with four world-class musicians pursuing good vibes on this astutely constructed 2002 release. Joe Lovano performs on a variety of woodwind instruments here, yet on certain tracks he also mans the drum kit, also evidenced on his recent Flights Of Fancy outing. A minor beef is in order for the decision of not utilizing a seasoned drummer, as Lovano is prone to sound tentative amid choppy and uninteresting fills.

However, his activities behind the kit do not detract from the recording when viewed upon as a whole, as the musicians surreptitiously translate polytonal pastiches of sound through often-compelling exchanges. On many of these works, the band is apt to break off into briefly actualized sub-groups. Alternatively, on pieces such as “Fourth World,” Judi Silvano renders whispery vocalise in unison with her associates’ complex themes. The quartet pronounces an airy backdrop via loosely formulated dialogue or when Lovano and acoustic guitarist James Emery partake in blistering cat-and-mouse like episodes.

Emery executes razor sharp single note lines and sweeping chord progressions during “La Scala,” while also counterbalancing Lovano with emphatically placed accents on their duet encounter titled “The Next Level.” Throughout this affair, bassist Drew Gress serves as the traffic director, while Ms. Silvano picks up the flute on the Caribbean tinged closer, “Hannah’s Song.” The musicians bring a mélange of experience to the table as they elicit notions of wide open terrain or expansive horizons, while touching upon the preternatural minutiae of the Fourth Dimension. Recommended.~Glenn Astarita https://www.allaboutjazz.com/fourth-world-joe-lovano-between-the-lines-review-by-glenn-astarita

Personnel: James Emery: acoustic guitar - Joe Lovano: tenor, soprano, C melody, straight alto saxophones, alto clarinet, bells, shakers, gongs, log drums & drums - Judi Silvano: flute & voice - Drew Gress: acoustic bass

Fourth World

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Enrico Granafei - Alone Together

Size: 158,3 MB
Time: 68:17
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Bebop
Art: Front

01. Christina (9:16)
02. Destiny (4:11)
03. I Love You (4:29)
04. Body and Soul (5:16)
05. Yardbird Suite (6:13)
06. Lana (6:31)
07. Estate (4:29)
08. Round Midnight (4:55)
09. Gentle Rain (5:30)
10. Alone Together (5:59)
11. The Peacocks (4:15)
12. Medley: Stablemates/Giant Steps/Cherokee (4:11)
13. I Wish You Love (2:56)

Harmonica virtuoso, classical guitarist, singer, songwriter, arranger, composerEnrico Granafei has a long history of musical experience which encompasses both Classical Music and Jazz. Enrico received a degree in classical guitar from the Conservatory of l'Aquila in Italy in 1976. His artistic career started in Rome where he soon became known in the musical community. In 1978 Enrico moved to Germany where he began to perform and to teach in two different "Musikschulen". In the early 80's, after returning to Italy, Enrico started to broaden his horizons by discovering Jazz through the harmonica. Following in the tradition of the legendary Toots Thielemans, he began to explore new possibilities for the harmonica, an instrument too often associated solely with Rock and Blues. Besides playing in the best jazz clubs in Italy during that period, Enrico performed regularly on national television where he was a member of the Pippo Caruso orchestra. His love for Jazz led him to New York City, the world capital of Jazz, where he soon started to perform in local jazz clubs, including The Blue Note, Birdland, Visiones, Angry Squire, and the Bottom Line.

In 1992 Enrico earned a masters' degree in Jazz Performance from the Manhattan School of Music where he was the only student of Toots Thielemans . During the time that he has resided in the New York area, he has performed extensively on the Chromatic Harmonica in the United States and continued to be a featured musician in major European Festivals, including Pori Jazz Festival (Finland), Euromeet Jazz Festival (Italy), Django Festival in Samois sur Seine (France) , Budapest Music Festival (Hungary) and major clubs throughout Europe. He has recorded with Eddie Gomez, Eliot Zigmund. Marc Johnson, Adam Nussbaum, Ted Curson, Nnena Freelon (Concord records) and many others. Enrico's latest accomplishment is his work on Hands-Free-Chromatic Harmonica. The revolutionary instrument invented by Vern Smith allows him to play Chromatic Harmonica and Guitar at the same time, something that nobody has ever done before in Jazz. Close your eyes and you will hear two or three musicians but in fact it's only one! Enrico is one of the most respected players of the Chromatic Harmonica in the world today and continues to cultivate an audience for the instrument through his international performances.

Alone Together

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New York Swing - Cole Porter Collective

Styles: Piano And Guitar Jazz
Year: 1992
File: MP3@320K/s
Time: 62:38
Size: 144,6 MB
Art: Front

(4:47)  1. What Is This Thing Called Love
(5:02)  2. Ev'ry Time We Say Goodbye
(5:51)  3. Dream Dancing
(6:18)  4. All Through the Night
(4:29)  5. Easy to Love
(5:22)  6. Let's Do It
(5:05)  7. From This Moment On
(3:48)  8. You're Sensational
(5:36)  9. Where Have You Been
(4:53) 10. Get Out of Town
(5:50) 11. Lookin' At You
(5:31) 12. It's Alright With Me

Originally issued by Sonny Lester on his LRC label, this tribute to the music of Cole Porter has reappeared under the Laserlight banner. The album's style recalls the George Shearing groups, with Bucky Pizzarelli's guitar taking on the role that Joe Roland and other vibes players had with Shearing. Under the name New York Swing, the ensemble features Pizzarelli joined by a bevy of top-drawer New York musicians led by pianist John Bunch. This paean to Porter follows other albums by the group honoring other major contributors to the Great American Songbook, like Jerome Kern and Rodgers & Hart. All of these musicians have played these Porter gems before. Rather than making the songs sound old hat and tired because of this close familiarity, the group members have successfully found fresh ways to express their ideas. And that is what makes this composer a favorite among virtually all jazz performers: His work promotes improvisation. 

He allows good players to borrow the song, add his or her interpretative imprimatur to it, and then return it intact. "Easy to Love," for example, is presented in a chamber music setting featuring Jay Leonhart's bowed bass. In addition to those customary Porter gems, there are also a few songs that are not so often heard, like "Where Have You Been," which he wrote for an appropriately titled musical The New Yorkers. These are given the same high level of respectful treatment by the group as the more famous Porter material. With nary a bad track in the set, this album of outstanding small group performing is highly recommended. ~ Dave Nathan  http://www.allmusic.com/album/new-york-swing-cole-porter-mw0000280391

Personnel: John Bunch (piano), Bucky Pizzarelli (guitar), Jay Leonhart (bass), Joe Cocuzzo (drums).

Cole Porter Collective

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Maria Postell - Maria Postell With Dave Mckenna & Don Thompson

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 44:40
Size: 102,6 MB
Art: Front

(3:29) 1. Make Me Rainbows
(5:02) 2. The Very Thought of You
(3:13) 3. I've Got the World on a String
(4:52) 4. When Sunny Gets Blue
(4:41) 5. Come Rain Or Come Shine
(2:39) 6. Lovewise
(4:19) 7. My Funny Valentine
(3:25) 8. Isn't It A Pity
(3:42) 9. Can't We Be Friends
(4:35) 10. I've Grown Accustomed To His Face
(4:37) 11. Don't Take Your Love From Me

Maria Postell is a consummate performer and vocalist. Her voice has been compared to that of Nancy Wilson, Barbara Streisand and Jane Monheit. Her vocal and emotional range is as impressive as it is authentic, with the ability to soothe and arouse one’s sensibilities. One critic notes: "This is music to soothe the heart in a spastic world. Maria Postell's beautifully expressive voice is complimented by very engaging instrumentation."

Maria began her career in the 1970s, in Boston, gigging and collaborating with innovative musicians from the Berklee School of Music. During that time she had the opportunity to work with many established jazz greats such as, Dave McKenna, Dick Johnson, Claudio Roditi, Joe Lovano, and Paul Broadnax. On many occasions she made guest appearances on WGBH in Boston with music impresario, Ron Della Chiesa. After moving to NYC in the 1980’s, Maria has performed in the top NYC music establishments and toured throughout North America.

In 1985 Maria recorded her first solo album with Dave McKenna, considered the pianist’s pianist, and Don Thompson, a renowned Canadian jazz pianist, bassist and vibraphonist. Four songs from this album were recorded with Dave McKenna and Maria: The Very Thought of You, Isn’t It a Pity, Funny Valentine and When Sunny Gets Blue. https://webbg.com/jazz/6603-maria-postell-with-dave-mckennadon-thompson-free-download.html

Maria Postell With Dave Mckenna & Don Thompson

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Kristen Lee Sergeant - Falling

Styles: Vocal
File: MP3@320K/s
Time: 39:09
Size: 90,1 MB
Art: Front

(4:04) 1. Let's Fall
(4:19) 2. Sisyphus
(3:37) 3. Birdsong
(4:30) 4. Chiaroscuro
(3:39) 5. Honey
(4:11) 6. Infinity Blues
(3:18) 7. Better Off
(3:48) 8. Orpheus
(3:23) 9. Autumn Nocturne
(4:16) 10. That Old Black Magic

Kristen Lee Sergeant is a jazz vocalist and composer of effervescent energy, musical intensity and dramatic flair. DownBeat Magazine has given both her albums the distinction of being an Editor’s Pick, citing how she “crafts moments of engaging drama, whether she’s seductively sliding into a note with a near-whisper, delivering a breathy revelation or belting out a lyric with full-throated muscularity.” She commits to telling a story in her music and performance style, while sparking spontaneous sonic conversation with her fellow musicians. Such commitment, and its results, captivate her audiences, whether in live performance or listening to her recordings.

Kristen’s current release, Smolder, is a story of fire love ignited, ablaze and extinguished. DownBeat critic Bobby Reed writes “This elegant album illustrates what can happen when admirable ambition is paired with vocal vibrancy.” Alongside her inventive arrangements of jazz standards and pop hits, she also makes her debut as a songwriter of originality and craft. “Balm/Burn”, one of the originals, also provides the music for her first music video that has been lauded by pop and jazz critics alike. NeuFutur commented that with this video Kirsten “is able to refresh a storied jazz vocal tradition that traces its way back about 100 years.”

What brought her here is a journey of searching and curiosity that imbues her work with many influences. Growing up in Manchester-by-the-Sea, Massachusetts, she devoted herself to theater, and worked professionally through school, graduating from Brandeis University with a degree in music. “I left my high school graduation early, with a costume underneath my robe, for an evening show. Same in college: couldn’t celebrate since there was a matinee that day!” Kristen recalls. She left Brandeis having received the Ira Gershwin Prize in Music. Although classical vocal training interested her in pursuing opera as well as musical theater, jazz is what won her heart when she moved to New York City. “The intimacy of performance in smaller venues, and the nature of improvised music opened up entirely new possibilities for me as a musician and performer. It wasn’t really a choice; I was captured by the music.”

Kristen recollects, citing Marilyn Maye and Carmen McRae as inspirations, then and today. She began singing with a big band, worked with small combos in cigar bars, hookah lounges, nursing homes, “wherever I could”, she adds. Coupled with intensive study with singer/composer Tom Lellis, she evolved her vocal style and musicianship in a totally new direction, taking the best of what stage training offered and crafting her approach to jazz with intensive work. She won the Jazz Forum Arts vocal competition in 2014, and in addition to enthusiastic acclaim for her first album, Kristen also performed at Birdland, Iridium, Zinc Bar, the Metropolitan Museum of Art, Joe’s Pub and more.

A singer with a side hustle is no anomaly, but a singer who is also a certified sommelier, serving on the floor of NYC’s top restaurants, while forging her career onstage, is quite unique. While debuting her first record at Birdland, she was a sommelier at Gotham Bar & Grill; while finishing her second record, Smolder, she brought her wine expertise to The Grill (the New York Times’ restaurant of the year in 2017). “I’m lucky to have had work in wine that allowed me to develop individuality in my musical approach”, Kristen explains. “There is something of a connection between them in that both music and wine can be intoxicating, and in their highest expression, bring us into a transcendent state.”

Not surprisingly, her creativity found its way into her work with wine. Two Notes, a wine Kristen created with Grammy winner Ted Nash, is a Bordeaux blend from California soon to be in its second vintage. “There comes a time to contribute to the the narrative of the things you love, not just be a consumer or a critic. Two Notes is our contribution to the wine world.”Her passion for wine and song is leading to exciting places, as her international career begins, and Smolder’s spark begins to blaze. Certainly, there will be much to toast to as time goes on. https://www.allaboutjazz.com/musicians/kristen-lee-sergeant

Falling

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Julio Resende - Fado & Further (Live)

Size: 171,4 MB
Time: 74:22
File: MP3 @ 320K/s
Released: 2015
Styles: Piano Jazz, Fado, Latin Jazz
Art: Front

01. Uma Outra Mariquinhas ( 9:18)
02. Fado Loucura/Sou Do Fado (10:45)
03. Da Alma (11:46)
04. Gaivota ( 8:35)
05. Lagrima (Feat. Silvia Perez Cruz) ( 6:55)
06. Cucurrucucu Paloma (Feat. Silvia Perez Cruz) ( 8:49)
07. Pare Meu (Feat. Silvia Perez Cruz) ( 9:52)
08. Enfrentar O Medo ( 8:17)

“Fado & Further”, consists of live excerpts from concerts performed by Júlio Resende between 2014 and 2015, while touring in support of his previous work – “Amália por Júlio Resende”, rated 5 “Choc-Disc” stars by prestigious magazine CLASSICA – FRANCE.

Being a two-parted album, the first half brings us a solo performance by the pianist, who presents new takes on the Fado songbook, alongside an original piece and a traditional hispanic song; the second part brings along the charming Sílvia Pérez Cruz – who began her collaboration with Júlio Resende in a sold-out show at the Fundação Calouste Gulbenkian, in Lisbon and is considered by critics and the public “Spain’s best singer right now”.

Júlio Resende embraced the heritage of Carlos Paredes and Amália Rodrigues and from his fingertips sprang a new approach to Fado.

After having sold out venues in Dili and Tokyo, the pianist’s next destination is Paris, where he will perform at the JazzyColors Festival before returning to Portugal to present his new record.The “Fado & Further” concerts are scheduled for November 27th at the Auditório Municipal de Olhão, in Algarve and November 28th at the Grande Auditório do Centro Cultural de Belém, in Lisbon.

Along with Sílvia Pérez Cruz, Júlio Resende will also be joined on stage by the great brazilian singer-songwriter Moreno Veloso, musical heir to one of the greatest brazilian icons – his father Caetano Veloso.

Fado & Further

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Melissa Collard - Endless Stars

Styles: Vocal, Guitar
Year: 2013
File: MP3@320K/s
Time: 55:47
Size: 128,4 MB
Art: Front

(4:35) 1. Beatrice
(5:28) 2. I Hear a Rhapsody
(4:11) 3. Inside a Silent Tear
(3:42) 4. Soul Eyes
(5:40) 5. Endless Stars
(4:31) 6. Like Someone in Love
(5:47) 7. Desafinado
(3:35) 8. Everlasting Night
(6:30) 9. Syeeda's Song Flute
(5:11) 10. I Should Care
(3:40) 11. Take the Light Rail
(2:52) 12. Nice Weather for Ducks

Melissa Collard is an excellent swing singer and guitarist based in Northern California. She grew up in Southern California and was introduced to early jazz through her grandmother, who played ragtime and stride piano. She was also interested in more modern jazz and rock as a teenager, performing as a backup singer with her brothers' rock band. Collard began playing guitar at 12, stretching from Django Reinhardt and Eddie Lang to Pat Metheny and Jimi Hendrix. She first sang regularly at a lounge on the Redondo Beach Pier when she was 14. Collard graduated from high school and studied English at Berkeley, where she met the local traditional jazz musicians.

She played early jazz with such musicians as Dick Oxtot, Bob Mielke, Bob Helm, Ray Skjelbred, Leon Oakley, Jim Goodwin, and Bob Schulz. She also worked with a quartet that was inspired by Django Reinhardt's music. After moving to Sacramento in the late '80s, Collard sang more modern standards with piano trios in hotels, worked with the ghost bands of Tommy Dorsey and Nelson Riddle, sang Western swing with the Lost Weekend big band, and traveled to Europe with the Cosumnes River College Jazz Band. In 2004 she made her recording debut on Old Fashioned Love, a CD also featuring trombonist Dan Barrett and banjoist/guitarist Eddie Erickson.~Scott Yanow https://www.allmusic.com/artist/melissa-collard-mn0000427119/biography

Endless Stars

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Melody Diachun - Dreams & Places

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 52:00
Size: 119,7 MB
Art: Front

(3:39)  1. The closer I Get To You
(3:55)  2. Little Red Address Book
(4:02)  3. By Your Side
(3:38)  4. In The Meantime
(4:37)  5. Lazy Afternoon
(3:26)  6. I'm Tellin' You Jack
(5:31)  7. October
(4:49)  8. Never Do You Wrong
(3:29)  9. Please Bring Me Back My Home
(4:05) 10. The Love Of You
(3:19) 11. Good For Me
(4:11) 12. Table For One
(3:12) 13. Nowhere Else

As seen on BravoTV and the B.E.T. Network, Juno nominated singer Melody Diachun offers you Pop Jazz at its finest.

This deluxe collection of originals and choice covers features Melody’s stunning vocals and playing from some of Canada’s very best, including Dave Restivo, Tom Keenlyside, Chris Andrew, Doug Stephenson, Tilden Webb… Includes a full color, 12-page booklet with complete original lyrics.

"'Sensual' is the word!" ~  Katie Malloch, host of TONIC, CBC Radio

"A breathy yet funky sound…" ~  Tim Tamashiro, weekend host of TONIC, CBC Radio  http://www.cdbaby.com/cd/melody2

Dreams & Places

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Alessandro Galati - Traction Avant

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 62:06
Size: 143,8 MB
Art: Front

(6:12) 1. How Sweet Is The Ozone
(4:04) 2. Floating 1
(7:44) 3. Andrè
(5:39) 4. Traction Avant
(5:49) 5. J.S.What
(8:14) 6. Wassily
(7:59) 7. Solar
(5:33) 8. Floating 2
(8:31) 9. Amaxonia
(2:16) 10. Blues As You Please

Born in Florence, Italy, in 1966, pianist Alessandro Galati has studied both classical and jazz, under the guiding eye of renowned artist Bruno Tommaso. After playing at numerous clubs and festivals in both Europe and the U.S., Galati began issuing albums on a regular basis, including 1995's Traction Avant, 1997's Jason Salad, and 1999's Europhilia (the latter of which was commissioned by the town council of Sesto Fiorentino, and dedicated to the European United Nations). Since 1988, Galati has been teaching both piano and jazz combo arrangement at the Accademia Musicale di Firenze and the Centro Attivita' Musicali. In addition to his own recordings, Galati has collaborated with numerous other artists, including Steve Lacy, Kenny Wheeler, Lee Konitz, and Bob Sheppard.~Greg Pratohttps://www.allmusic.com/artist/alessandro-galati-mn0001821825/biography

Personnel: Alessandro Galati: piano, keys; Palle Danielsson: double bass; Peter Erskine: drums.

Traction Avant

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New York Swing - Live At The 1996 Floating Jazz Festival

Styles: Piano And Guitar Jazz
Year: 1998
File: MP3@320K/s
Time: 78:54
Size: 181,4 MB
Art: Front

(5:37)  1. Till Tom Special
(6:48)  2. The Song Is You
(6:32)  3. Dot's Cheesecake
(6:36)  4. Have You Met Miss Jones?
(8:31)  5. Always
(4:21)  6. All Too Soon
(3:57)  7. Benny's Bugle
(3:31)  8. Nobody's Heart Belong To Me
(6:38)  9. What Is This Thing Called Love
(6:32) 10. I'll Wind
(7:41) 11. Stars In My Eyes
(8:38) 12. If I Had You
(3:27) 13. Wholly Cats

Consisting of pianist John Bunch, guitarist John Pizzarelli and bassist Jay Leonhart, New York Swing is an acoustic trio that pretty much lives up to its name all three are New York-based, and they favor what is essentially '40s-type swing. The trio uses the same combination of instruments as the Nat King Cole Trio of the '40s (piano, guitar, and bass, but no drums), and their repertoire is pretty much what one would have expected from a swing-playing small group of that era. Enjoying a nice rapport on these intimate live performances (all of them from a Caribbean "jazz cruise" aboard the S.S. Norway), the trio turns its attention to the music of Benny Goodman ("Benny's Bugle," "Wholly Cats"), Duke Ellington (the lovely "All Too Soon"), Rodgers & Hart ("Have You Met Miss Jones?," "Nobody's Heart Belongs to Me"), and others with pleasing results. Although neither earth-shattering nor terribly original, this is a decent, if conventional, CD that lovers of small-group swing will enjoy. ~ Alex Henderson  http://www.allmusic.com/album/live-at-the-96-floating-jazz-festival-mw0000039314

Personnel:  John Buch – Piano; Bucky Pizzarelli – Guitar; Jay Leonhart – Bass.

Live At The 1996 Floating Jazz Festival

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David Hazeltine - The Time is Now

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 64:20
Size: 151,7 MB
Art: Front

(6:45)  1. The Time is Now
(5:25)  2. The Odd Couple
(5:44)  3. Smoke Gets in Your Eyes
(6:45)  4. Cabin in the Sky
(5:08)  5. Blues for Eddie
(5:09)  6. Don't Let Me Be Lonely Tonight
(5:35)  7. When I'm Here with You
(4:41)  8. The Parlayer
(7:47)  9. In a Sentimental Mood
(6:24) 10. Muse of Montgomery
(4:53) 11. Signals

If you’re going to put together a rhythm section for a piano trio date, you could certainly do a lot worse than Ron Carter and Al Foster. Although the two gentlemen are getting up there in the years (bassist Carter is 81, drummer Foster 74; pianist David Hazeltine himself just turned 60), both are still sharp, instinctual players who adapt easily to any given situation. Hazeltine and Foster first did some gigs together at Smoke in New York in 2016 and with Carter aboard, cut the 11 tracks on a single date in the spring of this year it was the trio’s first time playing together.Unsurprisingly, the music flows easily. Save for a few adventures that take him off the beaten path his “Smoke Gets in Your Eyes” here takes some thrilling detours Hazeltine is a relatively conventional, albeit outstanding pianist who prefers to keep his melodies in check. Six of these songs are self-penned, the others come from sources ranging from Duke Ellington to James Taylor, and while all musicians demonstrate superior technique and confidence as a leader, Hazeltine is largely content to keep the arrangements and performances within bounds. 

No one here needs to strut the liner notes indicate that it’s his 34th leader session, after all and the music is better for it. One place the trio does toy with the formula is with its reading of the Neal Hefti/Sammy Cahn theme from The Odd Couple. Slowed to a shuffling pace, it provides an opportunity for the trio to rethink a familiar tune from the inside out, and both Hazeltine and Carter enjoy seeing how far they can go without losing sight of the original intent. “Blues for Eddie,” meanwhile (a nod to Eddie Harris), is all about Carter, and who’s gonna complain about that? ~ Jeff Tamarkin https://jazztimes.com/reviews/albums/david-hazeltine-time-is-now-smoke-sessions/

Personnel: David Hazeltine - Piano; Ron Carter - Bass; Al Foster - Drums

The Time is Now

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Alexis Cole - Close Your Eyes

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 60:17
Size: 139,5 MB
Art: Front

(4:50) 1. My Heart Belongs to Daddy
(4:50) 2. I've Got You Under My Skin
(4:31) 3. Teach Me Tonight
(4:39) 4. Cry Me a River
(4:52) 5. In the Still of the Night
(4:23) 6. You Don't Know What Love Is
(4:54) 7. Small Fry
(5:23) 8. Witchcraft
(5:41) 9. You and the Night and the Music
(5:22) 10. Close Your Eyes
(3:01) 11. Sway
(7:46) 12. Lover Man

Called “one of the great voices of today,” by Jonathan Schwartz, Alexis Cole has been compared to classic jazz singers such as Sarah Vaughan and Anita O'Day. She's performed with the Boston Pops and New York Philharmonic on stage at venues from Avery Fisher Hall to the Kennedy Center. She records for Motéma Music, NY, Chesky Records, NY and Venus Records, Japan. Her nine recordings, which feature musical luminaries such as Fred Hersch, Eric Alexander, Matt Wilson, Harry Pickens, Don Braden and Pat LaBarbara, have received high praise in the jazz press and are spun on radio world-wide. In addition to her many performances on great stages, Alexis can be seen at top jazz venues like Dizzy's Club at Jazz at Lincoln Center, Birdland, The Jazz Standard, Blues Alley, and Billboard Live, Tokyo. Cole is the recipient of a Swing Journal Gold Disk award, and was a winner of the NY Jazzmobile and Montreux Jazz Festival vocal competitions, and a finalist of the Sarah Vaughan Competition. Alexis studied voice and piano at the University of Miami and William Paterson University, and holds a Masters of Music from Queens College. She has also trained in Indian Classical singing at the Jazz India Vocal Institute in Mumbai. She heads the Jazz Voice Program at SUNY Purchase. She performs and conducts master classes around the world.

Awards & Grants 2007 New York City Jazzmobile Vocal Competition 1st Place Winner 2004 Montreux Jazz Festival Shure Vocal Competition, 3rd Prize Winner 2003& 2005 Montreux Jazz Festival Shure Vocal Competition finalist 2004 Council for Arts and Humanities on Staten Island Emerging Artist Grant 1998National Endowment for the Arts Charles Cinnamon Grant 1994 National Endowment for the Arts A.R.T.S. Scholarshiphttps://www.allaboutjazz.com/musicians/alexis-cole

Personnel: Alexis Cole (vocal); John di Martino (piano); James Cammack (bass); Daduka Da Fonseca (drums)

Close Your Eyes

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Shorty Rogers & Andre Previn - In Collaboration

Styles: Trumpet And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 60:53
Size: 140,5 MB
Art: Front

(2:37)  1. Heat Wave
(3:35)  2. Everything I’ve Got
(3:00)  3. It Only Happens When I Dance With You
(2:24)  4. You Stepped Out Of A Dream
(3:00)  5. General Cluster
(2:41)  6. 40º Below
(3:23)  7. Claudia
(3:22)  8. Some Antics
(2:26)  9. It’s Delovely
(2:45) 10. Porterhouse
(3:06) 11. You Do Something To Me
(2:16) 12. Call For Cole
(3:00) 13. Lullaby Of Birdland
(2:50) 14. You’re Driving Me Crazy
(3:25) 15. Tomorrow Mountain
(2:47) 16. Treat Me Rough
(2:33) 17. Mountain Greenery
(2:47) 18. You Took Advantage Of Me
(2:30) 19. Sidewalks Of Cuba
(3:23) 20. My Man’s Gone Now
(2:53) 21. Island In The West Indies

This is a really unusual and outstanding album. It presents two of the most celebrated and creative personalities of the Hollywood jazz and studio fields in collaboration. In the early Fifties, trumpeter, bandleader, composer and arranger Shorty Rogers was the head of the flourishing West Coast school of jazz, and André Previn was one of the most gifted pianists, conductors and composers of the scene; he wielded an awesome command of almost every kind of music. In addition to writing the challenging instrumental sides, they also wrote together the scores for André’s wife Betty Bennett, a respected well-known jazz & pop singer who never had had a chance to show how she really sanguntil Shorty’s Giants backed her, that is. 

Featuring: Shorty Rogers (tp), Milt Bernhart, Frank Rosolino (tb), Bud Shank (as, fl), Harry Klee (as), Bob Cooper (ts), Jimmy Giuffre (bars), André Previn (p), Al Hendrickson, Jack Marshall, Barney Kessel (g), Joe Mondragón, Curtis Counce, Ralph Peña (b).

In Collaboration

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Michela Lombardi & Renato Sellani Trio - Still in My Heart (Thinking of Chet, Vol.2)

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 58:50
Size: 135,3 MB
Art: Front

(3:51) 1. I Wish I Knew
(4:35) 2. If You Could See Me Now
(4:48) 3. I Wish I Knew (Duo Version)
(3:42) 4. I Should Care (Alternative Take)
(5:16) 5. Embraceable You (Alternative Take)
(2:00) 6. There's a Small Hotel (Alternative Take)
(4:50) 7. There's a Small Hotel
(3:40) 8. I Should Care
(4:54) 9. I'm Through with Love
(2:48) 10. But Not for Me
(4:52) 11. Embraceable You
(3:49) 12. That Old Feeling
(5:39) 13. Polka Dots and Moonbeams
(4:00) 14. Time After Time

Renato Sellani (8 January 1926 – 31 October 2014) was an Italian jazz pianist and composer. Born in Senigallia, Sellani started his professional career in 1954, when he entered the Basso-Valdambrini Quintet. In 1958 he started a long collaboration with his longtime friend Franco Cerri. He was part of the RAI National Symphony Orchestra directed by Gorni Kramer. As a pianist, he collaborated with Chet Baker, Billie Holiday, Dizzie Gillespie, Lee Konitz, Bill Coleman, Gerry Mulligan, Enrico Rava and Tony Scott, among others.

Sellani was an incidental music composer for stage plays, and his works include several scores for the Piccolo Teatro in Milan and a long collaboration with the stage company of Tino Buazzelli. https://peoplepill.com/people/renato-sellani

Still in My Heart (Thinking of Chet,Vol.2)

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Kenny Shanker - Steppin' Up

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 53:22
Size: 123,0 MB
Art: Front

(4:19) 1. Winter Rain
(5:31) 2. Fifth And Berry
(2:56) 3. Rhapsody
(6:06) 4. Quirk
(6:51) 5. E.J...
(5:28) 6. Sarah
(4:55) 7. Prowl
(5:53) 8. Saints
(6:34) 9. Home Sweet Home
(4:44) 10. Somewhere

Alto Saxophonist Kenny Shanker is proof that an artist's direction isn't always reflected in their tonal personality. Shanker possesses a sleek-and-sweet tone that has served him well on dates with big name ghost band, like the Tommy Dorsey Orchestra and the Nelson Riddle Orchestra, as well as smooth-leaning pianist David Benoit, but his own music operates outside of the "contemporary jazz" orbit.

Shanker occasionally hints at the simpler side of jazz, with an easily appealing, less-is-more melody ("Home Sweet Home") or a heart-wrenching ballad ("Sarah") that showcases his tender side, but he also puts his silky saxophone to good use in more striking fashion. He throws caution to the wind on the urgent "Fifth And Berry," which showcases a bevy of bravura solos from various band members, turns up the heat during his solo on "Quirk," and brings a sense of elation to "E.J."

While Shanker didn't invite any horn players to join him here, guitarist Lage Lund occasionally serves as his front line partner. Both men complement each other when working in tandem, but Lund's greater contributions come with his solos. He pushes at the boundaries of Shanker's songs in pleasurable ways and brings a thoroughly modern slant to this music. Pianist and label mate Art Hirahara also shares Lund's sense of adventure when soloing, and his comping pushes Shanker in some unexpected directions during the saxophonist's solo flights.

While Hirahara mans the keys for the majority of this music, Mike Eckroth takes over on three numbers, and his playing is in-line with Shanker in every way. His soloing on Leonard Bernstein's "Somewhere" is a sparkling example of measured contemplation and musicality, and completely captures the emotional essence of "Sarah."

It took Shanker eight post-college years to step out and record this debut, and the album aged on the shelves for another two-plus years, but it was worth the wait. Steppin' Up signals the arrival of another unique and promising saxophone personality in the ever-impressive Posi-Tone stable.~Dan Bilaswskyhttps://www.allaboutjazz.com/steppin-up-kenny-shanker-posi-tone-records-review-by-dan-bilawsky

Personnel: Kenny Shanker: alto saxophone; Art Hirahara: piano; Lage Lund: guitar; Yoshi Waki: bass; Brian Fishler: drums: Mike Eckroth: piano.

Steppin' Up

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Don Sebesky - I Remember Bill - A Tribute To Bill Evans

Styles: Crossover Jazz, Hard Bop

Year: 1998

File: MP3@320K/s

Time: 78:34

Size: 183,6 MB

Art: Front

(4:46)  1. Waltz for Debby

(5:29)  2. I Remember Bill

(8:24)  3. So What

(4:07)  4. Quiet Now

(6:16)  5. All the Things You Are

(6:47)  6. Peace Piece

(5:58)  7. Bill, not Gil

(7:22)  8. Very Early

(4:22)  9. (T.T.T.T.) Twelve Tone Tune Two

(4:52) 10. Autumn Leaves

(5:06) 11. Blue in Green

(7:52) 12. I'm Getting Sentimental over You

(1:18) 13. Epilogue

(5:53) 14. Bill Evans Interview

Veteran arranger Don Sebesky crafts an often-glowing portrait of famed jazz pianist Bill Evans in this quite welcome orchestral jazz tribute. While he is too often derided (and unfairly) as the guy who mucked up Wes Montgomery and other CTI stars with strings and horn sections, Sebesky often presents subtle arrangements that offer keen respect for a soloist's musicianship. When a listener notices Sebesky's work, it's often in the occasional punctuation mark or interesting sound combinations he creates. But it's his respect for the featured musician that sets him apart and probably drew him to this project. Here, Sebesky has gathered a prominent collection of top-shelf jazz musicians, many of whom actually worked with Evans during his career. But one instrumentalist he did not recruit was a pianist. A wise move. This permits appropriate direction from the bassist and drummer and allows reliance on a rhythm player who is not burdened by aping or avoiding Bill Evans' style. Such daunting responsibility falls to the guitarist; in most cases, Larry Coryell, who is outstanding in his eight appearances here and, perhaps, emerges as this session’s real star.

The material is carefully drawn from Evans' originals and standards associated with the pianist. But, in a quest for variety, the result is something of a mixed bag. Standouts include sterling takes of "All the Things You Are" (with Lee Konitz), Sebesky's oddly-titled "Bill, Not Gil" and "T.T.T.T." (both featuring Bob Brookmeyer and Eddie Daniels) and, of course, "Waltz for Debby" (with Joe Lovano and Tom Harrell). But Sebesky achieves greatness with his transformation of Evans' lovely "Peace Piece" into an elegant adagio. Effectively coordinating strings, harp, percussion and Hubert Laws' flute, he has surely crafted one for the ages here. His boisterous take on "So What" (with solid contributions from Joe Lovano, Tom Harrell and Larry Coryell) is also worthwhile, but seems reminiscent of his showy work with Wes Montgemery. The three vocal tunes (separately featuring Chet Baker-like John Pizzarelli, Jeannie Bryson and the intolerable New York Voices), though, all are quite unnecessary and seem to break any mood Sebesky may have been aiming for. Still, it's refreshing to hear high-quality orchestral jazz being made in the late nineties  and one hopes Don Sebesky will be in the forefront of keeping it alive. ~ Douglas Payne https://www.allaboutjazz.com/i-remember-bill-a-tribute-to-bill-evans-don-sebesky-rca-victor-review-by-douglas-payne.php

Personnel: Tom Harrell: flugelhorn; Bob Brookmeyer: valve trombone; Joe Lovano: tenor sax; Lee Konitz: alto sax; Eddie Daniels: clarinet; Hubert Laws: flute; Larry Coryell, Ken Sebesky: guitar; John Pizzarelli: guitar, vocals. Marc Johnson, Eddie Gomez: bass; Joe LaBarbera, Marty Morell, Dennis Mackrel: drums; Toots Thielmans: harmonica; Sue Evans, Joe Passaro: percussion; Dave Samuels: vibraphone; New York Voices (Darmon Meader, Lauren Kinhan, Peter Eldridge, Kim Nazarian), Jeanie Bryson: vocals; with brass, woodwinds and strings.

I Remember Bill - A Tribute To Bill Evans

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Alessandro Galati - Traction Avant Vol .2

Styles: Piano Jazz
File: MP3@320K/s
Time: 49:29
Size: 114,6 MB
Art: Front

(7:42) 1. Red Milk
(6:09) 2. Someday My Prince Will Come
(7:07) 3. Ripple
(6:51) 4. Blues If and as You Please
(1:38) 5. Palle's Solo
(7:06) 6. You Don't Know What Love Is
(4:52) 7. Crinkle
(7:59) 8. Solar

Born in Florence, Italy, in 1966, pianist Alessandro Galati has studied both classical and jazz, under the guiding eye of renowned artist Bruno Tommaso. After playing at numerous clubs and festivals in both Europe and the U.S., Galati began issuing albums on a regular basis, including 1995's Traction Avant, 1997's Jason Salad, and 1999's Europhilia (the latter of which was commissioned by the town council of Sesto Fiorentino, and dedicated to the European United Nations). Since 1988, Galati has been teaching both piano and jazz combo arrangement at the Accademia Musicale di Firenze and the Centro Attivita' Musicali. In addition to his own recordings, Galati has collaborated with numerous other artists, including Steve Lacy, Kenny Wheeler, Lee Konitz, and Bob Sheppard.~Greg Pratohttps://www.allmusic.com/artist/alessandro-galati-mn0001821825/biography

Personnel: Alessandro Galati - piano; Palle Danielsson - bass; Peter Erskine - drums

Traction Avant Vol.2

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Melissa Collard - In A Mellow Tone

Size: 153,5 MB
Time: 65:20
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz Vocals
Art: Front

01. Out Of Nowhere (4:02)
02. How Am I To Know (3:42)
03. I'm Confessin' (3:52)
04. I Don't Want To Set The World On Fire (4:16)
05. In A Mellow Tone (2:47)
06. Jitterbug Waltz (5:16)
07. Love You Madly (4:05)
08. Lullaby Of The Leaves (4:32)
09. Indian Summer (4:43)
10. As Long As I Live (3:16)
11. We'll Be Together Again (5:31)
12. If I Had You (3:06)
13. You're Driving Me Crazy (2:42)
14. Azure (2:46)
15. Save Your Sorrow (2:29)
16. Love Locked Out (3:11)
17. O Barquinho (Little Boat) (4:54)

Melissa Collard is an excellent swing singer and guitarist based in Northern California. She grew up in Southern California and was introduced to early jazz through her grandmother, who played ragtime and stride piano. She was also interested in more modern jazz and rock as a teenager, performing as a backup singer with her brothers' rock band. Collard began playing guitar at 12, stretching from Django Reinhardt and Eddie Lang to Pat Metheny and Jimi Hendrix. She first sang regularly at a lounge on the Redondo Beach Pier when she was 14. Collard graduated from high school and studied English at Berkeley, where she met the local traditional jazz musicians. She played early jazz with such musicians as Dick Oxtot, Bob Mielke, Bob Helm, Ray Skjelbred, Leon Oakley, Jim Goodwin, and Bob Schulz. She also worked with a quartet that was inspired by Django Reinhardt's music. After moving to Sacramento in the late '80s, Collard sang more modern standards with piano trios in hotels, worked with the ghost bands of Tommy Dorsey and Nelson Riddle, sang Western swing with the Lost Weekend big band, and traveled to Europe with the Cosumnes River College Jazz Band. In 2004 she made her recording debut on Old Fashioned Love, a CD also featuring trombonist Dan Barrett and banjoist/guitarist Eddie Erickson. ~by Scott Yanow

In A Mellow Tone

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