Sant Andreu Jazz Band & Joan Chamorro - Jazzing 9 Vol.2

Styles: Jazz, Big Band
Year: 2019
File: MP3@320K/s
Time: 73:11
Size: 169,2 MB
Art: Front

(4:13) 1. Deeper
(4:26) 2. Meditacao
(5:11) 3. Yearnin’
(7:34) 4. Stardust Shine
(6:30) 5. I'll Be Seeing You
(7:32) 6. Duke Ellington's Sound of Love
(3:47) 7. Star Eyes
(5:15) 8. Doodlin'
(5:15) 9. Memories of You
(4:22) 10. As Long as I Live
(5:14) 11. Tricotism
(6:21) 12. Four
(4:30) 13. Doralice
(2:53) 14. Can't You Just See Me

Sant Andreu Jazz Band is a project arising from a music class. Conducted by Joan Chamorro, the big band brings together children between 6 and 18 years old, around a classic jazz repertoire with lots of swing, which gained the public and sold-out some of the most important music auditoriums in Spain.

Twelve years of relentless efforts and love, of magical achievements represented by eight recordings on CD and DVD. Nine albums within the Joan Chamorro presents collection, starred by some of the young talents that emerged from the Sant Andreu Jazz Band to become up-and-coming stars on their own right: Andrea Motis, Eva Fernandez, Magali Datzira, Rita Payes, Marc Martin, Joan Mar Sauque, Elia Bastida and the projected labeled as La Magia de la Veu ("The magic in the voice").

Sant Andreu Jazz Band
Joan Chamorro, direction

Jazzing 9 Vol.2

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Giovanni Mirabassi & Sarah Lancman - Intermezzo

Styles: Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 38:02
Size: 89,6 MB
Art: Front

(2:51) 1. Il poeta
(4:41) 2. Estate
(4:50) 3. Parlami d'amore mariù
(3:57) 4. Ah che sarà, che sarà
(3:42) 5. Vedrai, vedrai
(5:27) 6. La canzone di marinella
(5:32) 7. Almeno tu nell'universo
(3:36) 8. Sabato italiano
(3:21) 9. Senza fine

Giovanni Mirabassi remains one of my favorite Jazz pianists. I really love his trio efforts, be it on Terra Furiosa, Live in Toyko, or, probably my preferred one, Architectures.

Mirabassi is Italian, but has been living in Paris for many years. As mentioned above, he trio output (mainly with Gianluca Renzi and Leon Parker) is fantastic, but he’s also collaborated with some excellent singers, e.g. Angela Elvira Herrera Zaparta and Maikel Ante Fajardo on Adelante, and on Sarah Lancman’s previous 2018 albums A Contretemps and Inspiring Love. Both albums only featured Sarah on the title, now we have a recording where both Lancman and Mirabassi share the cover. The two already met in 2015 and have toured together.

Sarah Lancman is a young French singer, who studied in Paris, and has released three albums so far. There is no shortage of excellent Jazz singers today, but still, Lancman has a very recognisable, unique voice. Not suprisingly, she won the first price in a jazz contest hosted by Quincy Jones.

So what do you get? Well, you could argue, is this still Jazz?

You basically get beautiful duos where Mirabassi plays in a very intimate and connected way with Sarah, who singing exclusively in Italian (note the album cover kind of gives it away) on this album.

Every once in a while, Olivier Bogé joins playing the saxophone, with a sound somewhat reminiscent of Stan Getz. So who cares if this is Jazz or not? All of this is just hugely enjoyable, beautiful, intimate music, and really worth checking out
https://musicophilesblog.com/2019/06/07/an-excellent-new-vocal-jazz-album-with-giovanni-mirabassi-and-sarah-lancman/

Personnel: Sarah Lancman : vocal; Giovanni Mirabassi : piano; Olivier Bogé : saxophone

Intermezzo

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Brad Mehldau & Rossy Trio - When I Fall In Love

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 66:53
Size: 155,3 MB
Art: Front

( 8:48)  1. Anthropology
( 6:34)  2. At A Loss
(14:39)  3. When I Fall In Love
( 8:15)  4. Countdown
( 8:32)  5. Convalescent
(10:24)  6. I Fall In Love Too Easily
( 9:38)  7. I Didn't Know What Time It Was

Recorded way back in 1993 in Barcelona, pianist Brad Meldau was a kid just beginning to explore the deep science of the jazz piano trio with Mario and Jordi Rossy. He was also commencing his stint with Josh Redman and backing cats like Johnny Griffin, Jimmy Cobb, and others. His working with this trio reveals a young musician (Meldau was born in 1970) in solid command of the language he is attempting to simultaneously master and deepen. This is a club date and kicks off with an ambitious and wholly successful read of Charlie Parker's "Anthropology." The steaming rhythm leaves Meldau no choice but to careen through the melody as recklessly as a saxophonist.

He inks it note for note and then begins to move through the lower register for sevenths and ninths, playing 16th and even 32nd notes to corral the rhythm section as he moves the scale over first a half, then a whole, and then two and a half steps. A ballad follows, Meldau's own "At a Loss," a bit of melodramatic glissando playing that nonetheless has at its heart an interesting harmonic series of shifts in timbre, moving from a light blue to a darker, richer chromatic that digs into the blues for a stuttering turn at swing before re-entering a balladic frame. The most exciting track on the set is Coltrane's "Countdown," with its rhythmic and mode changes occurring just before the end of each interval, blurring them somewhat and making the solos belled through. This may not be as great as some of Meldau's later trio work, but it is very impressive for such an early date.By Thom Jurek
http://www.allmusic.com/album/when-i-fall-in-love-mw0000046447

Personnel: Piano – Brad Mehldau; Bass – Mario Rossy; Drums – Jordi Rossy

When I Fall In Love

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Katie Noonan - Sweetest taboo

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 61:59
Size: 142,2 MB
Art: Front

(4:59) 1. Don't dream it's over
(4:21) 2. Blue
(6:03) 3. If I could
(4:45) 4. Just the way you are
(5:22) 5. True colors
(4:32) 6. Electric blue
(5:18) 7. I wanna dance with somebody (who loves me)
(5:24) 8. When tomorrow comes
(4:41) 9. Russians
(6:08) 10. Sign your name
(3:53) 11. Take on me
(6:27) 12. Running to stand still

For her 20th studio album, Katie Noonan takes listeners back to where it all began - the iconic pop songs of the 1980s that first ignited her passion for music. From pooling pocket money with her brother to buy the first Crowded House album, to having her mind blown by the incredible video clips of a-ha and 1927, to dancing around in stonewash denim singing Whitney Houston, Billy Joel and Cyndi Lauper songs into a hairbrush mike, these are the singers and the songs that inspired her to pursue a career in music a career that has seen her named one of the greatest Australian singers of all time by the Herald Sun, with five ARIA Awards from 25 nominations across a number of diverse genres.

On this album Katie is joined by four of the finest jazz musicians in Australia Zac Hurren (saxophones), Sam Keevers (piano), Phil Stack (double bass) and Evan Mannell (drums) all fellow babies of the 1970s who grew up with this music as their earliest influences. They put new jazz spins on these classic tunes that reveal just how good the songwriting was, despite the occasional daggy synth effect or over-the-top production. Terence Trent D'Arby's smash hit 'Sign Your Name' is reimagined as a sultry late-night groove, while Whitney Houston's 'I Wanna Dance With Somebody' is transformed into a piano ballad that exposes the heartache and longing at the core of what has long been a party-starter.

'Electric Blue' by Icehouse is given an irresistible cha cha makeover, while 'Don't Dream It's Over' and 'True Colors' are stripped right back to their bare bones, with Katie's extraordinary voice taking centre-stage and delivering performances of these songs as raw and moving as you have ever heard them. This is a joyous and heartfelt album, full of surprising and delightful takes on beloved classics. It's an album for that small part of us that is forever leaping around our bedrooms, singing along to the radio, and gazing adoringly at the posters of pop stars on our walls - even if nowadays that's a more accurate description of our children than ourselves! By Editorial Reviews
https://www.amazon.com/Sweetest-Taboo-Katie-Noonan/dp/B087RGBSV7

Sweetest taboo

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New York Jazz Lounge - Trio Masterpieces, Vol. 4

Styles: Jazz, Swing
Year: 2017
File: MP3@320K/s
Time: 78:21
Size: 180,6 MB
Art: Front

(4:57) 1. Round Midnight
(5:12) 2. Smoke Gets in Your Eyes
(5:00) 3. Perdido
(7:44) 4. Star Dust
(4:34) 5. Corcovado
(4:02) 6. I Can't Get Started
(4:19) 7. Tea for Two
(5:23) 8. Just the Way You Are
(4:06) 9. One Note Samba
(4:00) 10. Cantaloupe Island
(5:10) 11. The Days of Wine and Roses
(4:27) 12. Michelle
(4:40) 13. The More I See You
(5:28) 14. All Blues
(4:16) 15. Maiden Voyage
(4:55) 16. Mercy, Mercy

Where would jazz be without New York’s “joints’ of the 1920’s – 1950’s? If Ellington hadn’t been hired to play the Cotton Club, what direction would his orchestra have taken? Without the Royal Roost, would Parker play with Miles and Max Roach, and would Miles have had a venue to perform “Birth of the Cool” in? And, where would Monk and Coltrane have played if not at the Five Spot?

I came upon this terrific history today, “Jazz Joints Through the Ages.” Written by noted jazz historian Ashley Kahn and originally published in Jazz Times in 2006, the feature provides short biographies of many of the most important clubs in jazz music’s past. It is an incredibly entertaining read…

Jazz joints come and jazz joints go especially in New York City. From tightly packed bars downtown to spacious dinner clubs uptown, it’s a historic lineage. Much has changed over the years (Birdland’s smoky elegance in the ’50s would be impossible with Mayor Bloomberg’s ban on indoor smoking) and much has not, like set lengths, drink minimums and the apparent majority view that jazz sounds best in New York City one floor below street level (Dizzy’s Club Coca-Cola notwithstanding).

One jazz rule seems immutable: Before musicians can reach those grand uptown theaters or the big festival stages, they must first make it in the clubs of New York City. They are still the proving ground. It’s been that way since the ’20s. The nightclubs that follow are celebrated less for being the most popular in their day many were not and more for accurately representing the music and spirit of the time. Often they predicted sounds and societal shifts just around the corner.

It was a challenging process selecting one from each decade. Some eras, like the ’40s when 52nd Street was in full swing, offered far too many choices: Every club on “The Street” (Three Deuces, Onyx Club) and, of course, Minton’s Playhouse in Harlem held the seeds of modern jazz. Also, to which decade does the Village Vanguard belong? It has consistently presented visionary music during its 71-year history. And what about all those great neighborhood bars in Brooklyn? The list was limited to venues with a Manhattan address. Save for one, none remain standing in their original form.
https://jerryjazzmusician.com/short-history-new-yorks-iconic-jazz-clubs/

Trio Masterpieces, Vol. 4

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Herb Alpert & The Tijuana Brass - Greatest Hits

Styles: Trumpet Jazz, Easy Listening
Year: 1970
File: MP3@320K/s
Time: 32:01
Size: 76,6 MB
Art: Front

(2:20) 1. Lonely Bull
(2:11) 2. Spanish Flea
(2:15) 3. Getting Sentimental Over You
(3:05) 4. Love Potion #9
(2:45) 5. Never On Sunday
(2:15) 6. Mexican Shuffle
(2:48) 7. Taste Of Honey
(2:10) 8. Tijuana Taxi
(2:13) 9. South Of The Border
(2:52) 10. America
(2:39) 11. Whipped Cream
(4:24) 12. Zorba The Greek

Released in 1970, a bit too late to capitalize on the Tijuana Brass at the peak of their appeal, this early hits collection compounded the error of its tardy timing by only including selections from the TJB's first five albums.

Still, since the CDs of three of the five albums are currently out of print, this can serve as a decent, if brief, overview of the development of Herb Alpert's vehicle from its clever ethnic novelty beginnings into a cosmopolitan septet that could actually bridge the yawning generation gap of the 1960s. But for a more sweeping look at the TJB, there are better, more economical packages around. By Richard S. Ginell
https://www.allmusic.com/album/greatest-hits-mw0000194109

Greatest Hits

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Radka Toneff - Butterfly

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 51:42
Size: 118,4 MB
Art: Front

(4:12) 1. It's Been a Long Long Day
(3:58) 2. Pre-Dawn Imagination
(4:16) 3. Antonio's Song
(3:47) 4. Nature Boy
(5:43) 5. Sometime Ago
(4:37) 6. Like That
(2:11) 7. The Butterfly
(2:53) 8. Before Love Went Out of Style
(4:31) 9. Black Coffee
(5:37) 10. My One and Only Love
(6:18) 11. He Ain't Heavy, He's My Brother
(3:33) 12. Don't Weep for the Indy

Born Ellen Radka Toneff on 25.06.1952, died on 21.10.1982.

Radka was a Norwegian/Bulgarian jazz composer and singer. She was born in Oslo, and was the daughter of the Bulgarian folk singer, Toni Toneff.

From 1975 unto 1980 she played in the group "Radka Toneff Quintet" with, among others, Arild Andersen and Jon Eberson.

Radka leaves us the legacy of three albums; "Winter Poem", "It don't come easy", and "Fairytales" (the last one actually released after her death).

Posthumously: "Live in Hamburg" and "Her finest moments", has been released
.
Her album "Fairytales" was the first Norwegian album to be digitally recorded, it also reached nr 12 in the contest "Best Norwegian album ever made".
https://www.last.fm/music/Radka+Toneff/+wiki

Personnel: Radka Toneff -vocals; Jon Balke / Steve Dobrogosz-Piano; Jon Eberson - Guitar; Arild Andersen - Doublebass; Jon Christensen / Alex Riel - drums

Butterfly

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Pardon Me Boys - Pardon Me Boys

Styles: Swing
Year: 1987
File: MP3@320K/s
Time: 31:46
Size: 73,1 MB
Art: Front

(3:08) 1. Beat Me Daddy
(3:08) 2. Shoo Shoo Baby
(2:12) 3. I-Yi, Yi, Yi, Yi
(5:08) 4. Hot Voodoo & Monkey Doodle Doo
(2:41) 5. Embraceable You
(3:58) 6. Lounging At The Waldorf
(2:31) 7. Rhythm Is Our Business
(2:30) 8. Double Trouble
(3:40) 9. Perfidia
(2:46) 10. Choo Choo Ch-Boogie

Pardon Me Boys were a short lived Australian swing jazz-cabaret band. The group released one studio album which peaked at number 63 on the Australian charts in 1988.
https://en.wikipedia.org/wiki/Pardon_Me_Boys

Members: Monica Trápaga; Ignatius Jones; William O'Riordan; Backing Vocals – Rocio Trápaga; Saxophone – Jason Breuer, Julian Gough;Trombone – James Greening; Trumpet – Michael Bukowski

Pardon Me Boys

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Sant Andreu Jazz Band & Joan Chamorro - Jazzing 10 Vol.1

Styles: Jazz, Big Band
Year: 2020
File: MP3@320K/s
Time: 70:26
Size: 162,9 MB
Art: Front

(4:49) 1. Jim
(6:17) 2. Jordu
(5:49) 3. Laura
(5:45) 4. He's My Guy
(5:19) 5. Lands End
(5:57) 6. You Go to My Head
(7:05) 7. Brown Skins
(5:46) 8. Falling in Love with Love
(4:47) 9. Hymn of the Orient
(4:42) 10. I Remember Clifford
(4:00) 11. Daahoud
(4:50) 12. Can't Help Lovin Dat Man
(5:14) 13. Split Kick

I don't know to what extent the number 10 is significant, but it is a round number and reaching this number of Jazzings (CDs of the Sant Andreu Jazz Band) for me is, at least, a great joy.

JAZZING 10, but 18 CDs, actually, since several of them are double or triple, as is the case of this last one, which consists of three volumes. The first of them (VOL. 1), dedicated to the music of Clifford Brown, with special arrangements for the occasion, of songs that were either originals by Clifford himself or songs that he used to perform.

The other two volumes (VOL. 2 and 3) are also a sample of the different recordings we have made during this 2019, both with the entire Sant Andreu Jazz Band, or in smaller formats, and in two different spaces such as the JAZZ HOUSE (home of the young orchestra) and the JAMBOREE, a regular venue during all these years, where we have also played and recorded on many occasions.

Musicians:

Koldo Munné, Nil Galgo, Alba Esteban, Marçal Perramón, Joan Marti, Joana Casanova, Èlia Bastida, Shanti Ming (Saxophones)

Elsa Armengou, Víctor Carrascosa, Alba Armengou, Joan M. Sauqué, Max Munné, Noa Galgo, Martha Vives, Gerard Peñaranda (Trumpets)

Arnau Sanchez, Joan Codina, Max Tato, Claudia Rostey, Hugo Vlach, Luc Martin, Anastasia Ivanova (Trombones)

Ton Felices, Miquel Casanova (Bass), Pablo Ruiz (drums)

Carla Motis (guitar)

Jan Domenech, Simón Palazi (Piano)

Andrea Motis, Joana Casanova, Èlia Bastida and Alba Armengou (Vocal)

Scott Hamilton, Dick Oatts, Andrea Motis, Joe Magnarelli, Fredrik Norén, Victor Carrascosa, Joan Marti, Jan Domenech, Elsa Armengou, Joan Codina, Ton Felices, Joan Mar Sauqué, Joan Chamorro, Èlia Bastida, Marçal Perramon, Martha You live, Alba Armengou, Carla Motis and Pablo Ruiz (Solos)

Jazzing 10 Vol.1

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Gloria Lynne - He Needs Me (Analog Source Remaster 2023)

Styles: Vocal
Year: 1961/2023
File: MP3@320K/s
Time: 34:01
Size: 78,7 MB
Art: Front

(2:40) 1. He Needs Me
(2:38) 2. Wild Is The Wind
(2:58) 3. I Thought About You
(2:57) 4. You Don't Know What Love Is
(2:50) 5. I've Got It Bad And That Ain't Good
(2:45) 6. I'll Take Romance
(2:45) 7. You're Mine You
(3:03) 8. If You Love Me (Really Love Me)
(2:19) 9. The Lamp Is Low
(2:57) 10. Home
(3:08) 11. Greensleeves
(2:55) 12. Make The Man Love Me

Gloria Lynne recorded many albums for Everest in her early days, slipped away into obscurity and then in the 1990's made a comeback. An excellent singer whose style falls between bop, 1950's middle-of-the-road pop and early soul, Lynne was always capable of putting on a colorful show. Her mother was a gospel singer and Lynne started out singing in church. She had five years of concert training and in 1951 won the legendary amateur competition at the Apollo Theatre.

Lynne sang with some vocal groups, became a single and in 1958 was discovered by Raymond Scott, who at the time was a top A&R man at Everest. During her busy period with Everest (at least ten records were cut between 1958-63), Lynne had hits in "I Wish You Love" (a song she virtually made a standard) and "I'm Glad There Is You." She recorded with both orchestras and jazz combos, becoming quite popular for a period.

However, with the rise of rock and the change in the public's musical tastes, Lynne was forgotten for a time. Only a commercial record in 1975 for ABC broke the silence. But starting in the early 1980's, Gloria Lynne started working regularly again, regained some of her earlier frame and in the early 1990's recorded a couple of CDs for Muse.
https://www.freshsoundrecords.com/gloria-lynne-albums/1574-he-needs-me.html

He Needs Me (Analog Source Remaster 2023)

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Jeb Patton - New Strides

Bitrate: 320K/s

Time: 63:14

Size: 144.8 MB

Styles: Piano jazz

Year: 2009

Art: Front

[5:07] 1. Billy

[5:59] 2. My Ideal

[5:50] 3. The Music Goes On

[7:50] 4. Sir Roland

[5:21] 5. If Ever I Would Leave You

[8:37] 6. Last Night When We Were Young

[7:00] 7. Cloak And Dagger

[7:28] 8. Estate

[5:09] 9. Street Song

[4:49] 10. Dream Dancing

Though only in his early thirties at the time of these recording sessions, pianist Jeb Patton had already firmly established himself in the jazz world. This former student of the late Sir Roland Hanna and Jimmy Heath recorded as a sideman on CDs with Heath's small groups and big bands, the Heath Brothers, while he has also performed with many other artists. His second CD features two other talented young musicians, bassist David Wong and drummer Pete Van Nostrand, who also appeared on his debut effort. Patton chose a surprising opener, a breezy setting of the neglected pianist Reuben Brown's "Billy," a driving bop piece deserving of wider recognition. The pianist modifies the usually somber bossa nova ballad "Estate" by picking up the tempo, while Van Nostrand switches to brushes for Patton's robust, swinging arrangement of the show tune "If Ever I Would Leave You." Originals include his bluesy tribute to Hanna ("Sir Roland") and the snappy "The Music Goes On." Jimmy Heath plays soprano sax in a touching duo arrangement of "Last Night When We Were Young," while Albert "Tootie" Heath takes over on drums for his brother's playful blues "Cloak and Dagger" and the pianist's sauntering, Latin-flavored "Street Song." Jeb Patton is one of the most promising jazz musicians of his generation and this CD is a fine addition to his discography. ~ Ken Dryden

New Strides

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Laila Biali - Your Requests

Styles: Vocal And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 44:47
Size: 108,0 MB
Art: Front

(4:18) 1. Bye Bye Blackbird
(5:29) 2. Blame It On My Youth
(2:57) 3. But Not for Me
(4:51) 4. My Funny Valentine
(4:28) 5. My Favorite Things
(4:28) 6. Corcovado (Quiet Nights of Quiet Stars)
(5:30) 7. Pennies from Heaven
(5:18) 8. Autumn Leaves
(3:24) 9. The Nearness of You
(3:59) 10. All the Things You Are

While the jazz pipeline produces plenty of artists who pay no mind to an audience's interests, those types figures with tunnel vision, in many if not most ways rarely reach their full potential. Instead, it's the musicians who make it a point to communicate who tend to forge the strongest bonds with those on the receiving end. Laila Biali is one such figure. This JUNO-winning gem of a vocalist, pianist, arranger and songwriter always manages to connect.

Biali has a keen awareness that the act of making music does not or should not exist in a vacuum, and that those who create are often best fueled by people who'll be hearing their creations. Her success, be it through covers or finely-crafted originals, has always been linked to the understanding of a need for receptive ears, and that fact is magnified with this listener-friendly project.

Focusing on standards for the first time in a decade, Biali plays right to her people. Having specifically asked social media followers for some requests, they obliged with more than 150 entries. Eager to honor their wishes, Biali went through the list and picked ten classics, put her inimitable arranging stamp on all of them, and then hit the studio. Working with an ace band including saxophonist Kelly Jefferson, bassist George Koller, drummers Larnell Lewis and Ben Wittman, and percussionist Maninho Costa, she found the perfect balance points in both honoring and personalizing the material.

Opening with a take on "Bye Bye Blackbird" that vacillates between straight time in seven and a driving 4/4 swing, all while showcasing the vocal melody's malleable place in time and spotlighting Jefferson's tenor and Lewis' handiwork, it's immediately obvious that this is not your basic standards session. Add to that an evocative take on "Blame It On My Youth" with textural enhancements from organist Sam Yahel and it's clear that stylistic variety within the greater whole is another early selling point for the program.

As Biali moves toward the center of the album she welcomes a variety of high-profile guests into her music. Not surprisingly, each and every one of them brings their own brand of magic to bear on her artful arrangements. Anat Cohen's clarinet makes a winning appearance on an effervescent, Brazilian-bound take on "But Not For Me." Gregoire Maret's harmonica obbligato and soloing helps to accentuate the gentle charms of "Corcovado (Quiet Nights of Quiet Stars)." And three singers of note each make an appearance alongside the leader: Kurt Elling takes notable melodic liberties during an emotionally on-point rendition of "My Funny Valentine"; Emilie-Claire Barlow meshes beautifully with Biali for an energized "My Favorite Things"; and breakout vocal sensation Caity Gyorgy drops by for a gliding "Pennies from Heaven" buoyed by a "Poinciana"-esque groove.

Leaving those visitors behind for the back end of the set, Biali continues to dazzle while sharing space with some core collaborators. The wonderful marriage between her pure-toned pipes and piano work is key at the outset of a stirring "Autumn Leaves," which later spotlights Jefferson's fiery soprano. Biali engages in a winning pas de deux with Koller on an absorbing "The Nearness of You." And then, throwing a real curveball as a closer, she gives her voice a rest and offers the keys her full attention for a smartly-shaped instrumental take on "All the Things You Are." An outing that's both in tune with Laila Biali's fanbase and musical mindset,Your Requests is a real gift to one and all. By Dan Bilawsky
https://www.allaboutjazz.com/your-requests-laila-biali-act-music

Personnel: Laila Biali: piano and vocals; Kelly Jefferson: tenor saxophone, soprano saxophones; George Koller: bass; Larnell Lewis: drums; Ben Wittman: drums, percussion; Maninho Costa: percussion; Sam Yahel: Hammond B3 (2); Anat Cohen: clarinet (3); Kurt Elling: vocals (4); Emilie-Claire Barlow: vocals (5); Grégoire Maret: harmonica (6); Caity Gyorgy: vocals (7).

Your Requests

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Sant Andreu Jazz Band - Jazzing 8 Vol.3

Styles: Jazz, Big Band
Year: 2017
File: MP3@320K/s
Time: 79:28
Size: 182,2 MB
Art: Front

(6:08) 1. Groove Marchant
(4:01) 2. I Let a Song Go out My Heart
(4:29) 3. Cool Blues
(4:27) 4. Grey Flannel
(3:59) 5. My Blue Heaven
(4:04) 6. Joy Spring
(2:38) 7. Prity Trix
(4:21) 8. Polka Dots and Moonbeams
(5:50) 9. Three and One
(3:24) 10. Black and Tan Fantasy
(3:01) 11. Minor Swing
(3:57) 12. Easy Living
(4:18) 13. Whisper Not
(4:57) 14. Spaceman Twist
(3:12) 15. Tishomingo Blues
(3:34) 16. Baby, You've Got What It Takes
(5:45) 17. Poor Butterfly
(7:14) 18. Moanin

Sant Andreu Jazz Band is a project arising from a music class. Conducted by Joan Chamorro, the big band brings together children between 6 and 21 years old, around a classic jazz repertoire with lots of swing, which gained the public and sold-out some of the most important music auditoriums in Spain.

Jazzing 8 Vol.3

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Chet Baker - Blue Room: The 1979 Vara Studio Sessions In Holland Disc 1, Disc 2

Album: Blue Room: The 1979 Vara Studio Sessions In Holland Disc 1
Styles: Trumpet And Vocal Jazz
Year: 1979
File: MP3@320K/s
Time: 48:57
Size: 112,6 MB
Art: Front

( 9:13) 1. Beautiful Black Eyes
(10:02) 2. Oh, You Crazy Moon
( 6:10) 3. The Best Thing For You
(16:09) 4. Blue Room
( 7:21) 5. Down

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Album: Blue Room: The 1979 Vara Studio Sessions In Holland Disc 2
Time: 42:50
Size: 98,8 MB

(10:51) 1. Blue Gilles
( 8:36) 2. Nardis
( 5:39) 3. Candy
( 6:55) 4. Luscious Lou
( 5:34) 5. My Ideal
( 5:13) 6. Old Devil Moon

Let us bring sexy back to jazz. Not that it has been misplaced but, in a world where a teenager with a horn can flawlessly navigate "Giant Steps," what seems to be the missing is the seductive element of jazz. We are undoubtedly reminded of the sensuous experience of the music which has always been reflected in the music of Chet Baker as evidenced by these newly discovered sessions from Holland in 1979. Jazz detective Zev Feldman has unearthed more unreleased music from Baker, just as he did with the Chet Baker Trio Live In Paris: The Radio France Recordings 1983-1984 (Elemental Music, 2022).

These sessions were studio-recorded for the Dutch radio program Nine O'Clock Jazz, and unheard until now. They comprise two sessions. The first from April 10th features Baker with his regular pianist Phil Markowitz, Belgian bassist Jean-Louis Rassinfosse, and American drummer Charlie Rice. The second outing from November 9th finds the trumpeter with a pick-up band of Dutch musicians, pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke.

Baker's music always had a sense of fragility about it. Like the music (and life) of Billie Holiday there was a delicacy and vulnerability with his expression of sound. That sensitivity is on display in his singing and playing. The April 10th session opens with Wayne Shorter's "Beautiful Black Eyes" performed as a luscious bossa-nova. Baker's tone is tender and unblemished here and throughout.

Yes, there had been and would be sessions where Baker falters. Just not here. He sets his horn aside on three tunes, giving us his delicate vocals along with irresistible scatting. A master of the unhurried pace, he takes Miles Davis' "Nardis" at a crawl, but then dashes through "The Best Thing For You" with unexpected speed. The same is true of a brisk take on "Old Devil Moon," where he seems a bit sideways with his pick-up band. Nonetheless, the playing is beyond competent and the sound captured here is outstanding.By Mark Corroto
https://www.allaboutjazz.com/blue-room-the-1979-vara-studio-sessions-in-holland-chet-baker-jazz-detective-deep-digs-elemental-music

Personnel: Chet Baker: trumpet and vocals; Jean-Louis Rassinfosse: bass, acoustic; Victor Kaihatu: bass, acoustic; Charlie Rice: drums; Eric Ineke: drums

Blue Room: The 1979 Vara Studio Sessions In Holland Disc 1, Disc 2

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Julie Budd - Child of Plenty

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 30:04
Size: 69,0 MB
Art: Front

(3:07) 1. All's Quiet on West 23rd Street
(2:51) 2. Black is Black
(2:32) 3. Child of Plenty
(2:12) 4. People Are Strange
(2:16) 5. New Hope
(2:23) 6. Yesterday's Sunshine
(3:05) 7. Little Toy Store
(3:05) 8. Whistle A Tune
(2:54) 9. Georgie Porgie
(3:05) 10. Fly, Little Bird
(2:32) 11. Follow Your Dream

This one might already be known to many people on here but it wasn’t known to me. Another blind buy (based on seeing there was a cover of “People Are Strange” and the totally cool photo of Julie on the back) and I have to say that I was pleasantly surprised. The cover of People Are Strange is, well, strange.

 Sort of slightly psych but also to me it also sounds sort of disjointed-Broadway as well. It’s hard to describe so take a listen for yourselves. My favorite track on here is the first one: “All’s Quiet on West 23rd street”. The intro is banging, and when her voice comes in it’s just right to my ears. I suppose this could be considered pop, but to me it seems that there is something else going on.

Apparently Budd was a child prodigy sort of singer cut her first album when she was 14 or so. She still seems to be around and has a website, but truthfully she seems to have gone the diva singer route which I find much less interesting than what’s on here. Oh, and here’s that photo of her from the back cover. http://waxidermy.com/blog/julie-budd-child-of-plenty/

Child of Plenty

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Conte Candoli & Lou Levy - West Coast Wailers

Styles: Trumpet And Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 41:04
Size: 94,9 MB
Art: Front

(8:19) 1. Love Come Back To Me
(4:19) 2. Comes Love
(3:39) 3. Lover Man
(3:29) 4. Pete's Alibi
(5:54) 5. Cheremoya
(5:00) 6. Jordu
(5:28) 7. Flamingo
(4:52) 8. Marcia Lee

Trumpeter Conte Candoli and pianist Lou Levy had only occasional opportunities to work as leaders before this 1955 session they recorded together for Atlantic Records. Both made the most of the chance, fronting a quintet that also included tenor saxophonist Bill Holman, bassist Leroy Vinnegar, and drummer Lawrence Marable.

The group got out of the gate quickly (following a contemplative piano intro, that is) on a quickstep bop reading of the Sigmund Romberg operetta tune "Lover Come Back to Me," which quickly established that a commonplace of jazz ensembles would hold no matter whose name is in large print on the cover, it's the group that's performing, and other people will get their chance to shine, too.

While the rhythm section contented itself with supporting (though Marable often made his drums noticeable), Holman got more solo time than his sideman credit would indicate, at least on this track. Levy and Candoli got to make their statements up front, of course, but this was really a five-headed beast and, from the sound of forceful bop compositions like Candoli's "Pete's Alibi," it's one that should have been given more of a hearing than just one album. By William Ruhlmann
https://www.allmusic.com/album/west-coast-wailers-mw0000558663

Personnel: Conte Candoli - trumpet; Lou Levy - piano; Bill Holman - tenor saxophone; Leroy Vinnegar - bass; Lawrence Marable - drums

West Coast Wailers

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Dave Douglas - Sanctuary Disc 1, Disc 2

Album: Sanctuary Disc 1
Styles: Avant-Garde Jazz, Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 54:25
Size: 124,9 MB
Art: Front

( 9:07) 1. Apparition
( 6:27) 2. Three Beasts
( 6:57) 3. Swoon
( 3:48) 4. The Lethe
( 5:20) 5. Dark Wood
( 6:35) 6. The Dome
(11:44) 7. Heavenly Messenger
( 4:23) 8. Among Frogs

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Album: Sanctuary Disc 2
Time: 58:14
Size: 133,6 MB

( 6:36) 1. Limbo
( 4:43) 2. The Great Cliff
(11:52) 3. The Lantern
( 7:39) 4. Mad Dog
( 9:13) 5. The Flower
(5:50) 6. Contemplation
( 9:34) 7. Coins
( 2:44) 8. Among Stars

Although Dave Douglas is credited as leader, Sanctuary is not just an album of him supported by a backing band. Instead, Douglas plays as equal member in a project of standout musicians. Team work is the theme; live performance is the key. Each CD is a nonstop recording of a different August 1996 show at N.Y.C.'s Knitting Factory. Heard is the great interplay between Douglas, Cuong Vu, and Chris Speed as their horn conversations intermittently get animated and peak, then settle back within the band.

The sampling provided by Anthony Coleman and Cibo Matto's Yuka Honda playfully interacts with the rest of the music on disc one. Throughout "The Lethe" and "Dark Wood," for example, the sampling provide humor and thrills, interjecting into the music like zoo animals spontaneously joining in visitors' conversations! During "Dome" and "Heavenly Messenger," the basses of Mark Dresser and Hillard Greene sound simultaneously like a creaking ship, a mournful violin, and a dress slowly zipped by another.

They then follow a stair-tumbling drum solo by teaming with the samplers. At other times, the drums and basses form a simply steady rhythm section. Disc one's concert closes with sampled electronic beats running beneath slow swells and statements made by the group, sounding like a dance track played at too slow of a speed. The concert heard on disc two opens cacophonous and splurty, and stays relatively crazy until "Lantern"'s spookhouse quiet suspense.

"Mad Dog" includes a terrific drum solo from Dougie Bowne. Again, the horns play tight and exciting throughout, and the samplers provide more ambience, with backwards voices and organ sounds, later adding groove-oriented beat tracks. Never guilty of carrying any style or approach for too long, the musicians keep mixing it up, yielding two excellent, well-rounded shows' worth of recordings.

Part abstract space shooting, part late-night dance party, all mixed with the scratching and balladry of outside jazz, Sanctuary is a definite strong addition to any collection that values these musicians, and a good introduction to them for all adventurous listeners ready to jump right in.By Joslyn Layne
https://www.allmusic.com/album/sanctuary-mw0000032272

Personnel: Dave Douglas: trumpet; Cuong Vu: trumpet; Yuka Honda: sampler; Anthony Coleman: sampler; Mark Dresser: bass; Hilliard Greene: bass; Chris Speed: tenor saxophone, clarinet; Dougie Bowne: drums

Sanctuary Disc 1,Disc 2

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Various Artists - Colin Curtis Presents Jazz Dance Fusion Volume 2

Styles: Fusion, Latin Jazz
Year: 2020
File: MP3@320K/s
Time: 76:42
Size: 176,7 MB
Art: Front

1. Paoli Mejias - Revelation (5:16)
2. Leslie Lewis And Gerard Hagen Trio - Keeper Of The Flame (5:24)
3. Curtis Lundy - Never Gonna Let You Go (4:21)
4. 8VB - Gengis (6:37)
5. Marita Albán Juárez Quartet - Upa Neguinho (4:37)
6. JD Walter - Golden Lady (5:51)
7. Steven Kroon - Tombo 7/4 (5:52)
8. Hajime Yoshizawa Feat. Navasha Daya - Celebration (5:14)
9. Raffaela Renzulli Ensemble - Brasilia (6:31)
10. Carmen Lundy - So This Is Love (3:36)
11. Tino Gonzales - Latin Gypsy (7:23)
12. Grady Tate - Little Black Samba (9:14)
13. Jam Session Goes Latino - Manteca (6:39)

“Welcome to the second instalment of my ‘Jazz Dance Fusion’ compilation series for Dave Lee’s Z Records. I continue to look back into the story & history of the UK jazz dance and jazz music scene; a movement that started for me back in the 70’s. The sounds of funk & soul mixed with jazz, influences from Brazil, Africa, Europe and all over the globe, textures of instrumental sounds & voices, fuse to create the much-loved ‘jazz fusion’ sound that we love.

Here we are in 2020 when interest in all forms of Jazz is growing fast as DJ pioneers such as Gilles Peterson, Patrick Forge, Perry Louis, Snowboy, Nick Hosier, Alan Mckinnon, Jim Bernardi, Kev Beadle, Harv Nagi, Shuya Okino and David Patterson continue to push all aspects of Jazz to converted and new audiences. So, to this compilation where I am showcasing unreleased material and offering tracks up for the first time ever on vinyl and CD. The track listing covers my addiction to dance-floor jazz, coupled with my passion for vocal and percussive jazz, with my usual trademark latin touches.
https://www.zrecords.ltd.uk/product/colin-curtis-presents-jazz-dance-fusion-volume-2/

Jazz Dance Fusion Volume 2

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Steve Davis & Larry Willis - Alone Together

Styles: Trombone And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:42
Size: 157,7 MB
Art: Front

(6:32) 1. Milestones
(4:13) 2. My Foolish Heart
(9:50) 3. Surrey with the Fringe on Top
(8:54) 4. Alone Together
(5:24) 5. The Day You Said Goodbye
(8:22) 6. United
(8:30) 7. We'll Be Together Again
(7:44) 8. UMMG
(9:10) 9. Short Cake

Trombonist Steve Davis has been a veteran of the New York scene for many years. Hailing from Binghamton, New York, he quickly established a presence as one of the best trombonists in the area as a teenager. Upon his arrival in New York City in the mid-1980s, Davis' talents were noticed by such luminaries as drummer Art Blakey and saxophonist Jackie McLean. Davis' quartet release on Mapleshade, Alone Together , is a tip of the hat to his former boss a wonderful quartet featuring pianist Larry Willis, bassist Nat Reeves and drummer Eric McPherson, all McLean alumni.

The fact that all these men are veterans of McLean's combo gives this session the feeling of a working band, and everyone plays at a high level. Davis and Willis have a great rapport together, with Willis' voicings adding depth to Davis' lines. Larry Willis may perhaps be best known as the pianist in trumpeter Woody Shaw's classic group, and as one of the most sensitive and nuanced disciples of Herbie Hancock.

Willis begins the quartet's take on "Milestones with a lovely introduction before Davis enters with the familiar Miles Davis (by way of John Lewis) melody. The rhythmic feel throughout the piece is refreshingly buoyant as McPherson molds and shapes the time at the bridge, a la a young Tony Williams, allowing for strong statements from Willis and Davis. Willis also creates rhythmic interest behind the trombone solo by often going against the time for tension and release.

The next cut, the classic standard "My Foolish Heart, is taken as a duet. Willis' warm chords frame Davis' dark, burnished tone as he stays close to the melody. The title track is taken with a quasi-Latin/boogaloo eighth note feel. Davis bleeds soul out of his horn with Curtis Fuller-like intensity, while McPherson provides strong commentary on the skins throughout. Fuller's influence is further felt on "United, taken from Art Blakey's book. Davis provides slashing phrasing reminiscent of the elder trombonist on classic Blakey albums such as Free For All (Blue Note, 1964), as McPherson keeps a strong swinging pulse on this fairly straightforward Wayne Shorter composition.

As fine as the music is, the recording quality of this release, which is superb, deserves to be mentioned. The sound is dynamic and very much like a session at Rudy Van Gelder's original Hackensack living room studio combined with the intimacy of the many studio dates on Pablo. The recording is direct to two-track analog tape and minimally miked, capturing the nuances of Willis' piano, the woodiness of the bass, and all of the air control flowing through the trombone. Free of compression and other tweaks, this is how every new acoustic jazz album should sound. Overall, Steve Davis and his quartet have made an excellent album that is creative and soulful, sure to delight fans of the hard bop tradition. By CJ Shearn
https://www.allaboutjazz.com/alone-together-steve-davis-mapleshade-recordings-review-by-cj-shearn

Personnel: Steve Davis: trombone; Larry Willis: piano; Nat Reeves: bass; Eric McPherson: drums.

Alone Together

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Marion Montgomery & Mart Rodger Manchester Jazz - Makin' Whoopee

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 74:19
Size: 171,1 MB
Art: Front

(3:29) 1. Way Down Yonder in New Orleans
(4:35) 2. You Took Advantage Of Me
(4:50) 3. Mean to Me
(3:51) 4. Shake It & Break It
(3:37) 5. Kansas City Man Blues
(2:48) 6. If I Ever Cease To Love
(4:26) 7. I Get the Blues When It Rains
(5:50) 8. Sobbin' Blues
(3:54) 9. Dinah
(3:11) 10. After You've Gone
(4:10) 11. Then It Changed
(3:16) 12. Canal Street Blues
(4:52) 13. My Meloncholy Baby
(4:25) 14. I'm Crazy About My Baby
(4:42) 15. Makin' Whoopee
(3:53) 16. Froggie Moorev
(3:48) 17. Love Me Or Leave Me
(4:31) 18. Riverboat Shuffle

Marion Montgomery (November 17, 1934 – July 22, 2002) was an American jazz singer, who lived for the majority of her life in the United Kingdom.

Born Marian Maud Runnells (she later changed the spelling of Marian to Marion) in Natchez, Mississippi, she began her career in Atlanta working clubs, and then in Chicago, where singer Peggy Lee heard her on an audition tape and suggested she should be signed up by Capitol Records, releasing three albums for them in the early and mid-1960s. During this early part of her career, she became Marian Montgomery, having previously gone by the nickname of Pepe. In 1963, she released the original version of the song "That's Life", made famous after its 1966 release by Frank Sinatra.

In 1965, she came to Britain to play a season with John Dankworth, and met and married English pianist and musical director Laurie Holloway, thus beginning a long and productive association in which they both became well known to British jazz, cabaret and television audiences. She numbered amongst her admirers Nat King Cole, Frank Sinatra and British chat show host Michael Parkinson, on whose show she became resident singer in the 1970s. In 1976, she sang in a comedy musical sketch with Morecambe & Wise. She also famously collaborated with composer and conductor Richard Rodney Bennett for a series of concerts and albums in the 1980s and early 1990s.

In the late 1960s and early 1970s, her recording of the song "Maybe the Morning" (contained on her 1972 album Marion in the Morning) was used by Radio Luxembourg each evening to close the station, and again as the final song to be heard on the station when it closed in 1992.[citation needed] Her final studio recording was That Lady from Natchez, released in 1999. She continued to perform until just before her death, including a sell-out three week season at London's "Pizza on the Park" in April 2002.
https://www.wikiwand.com/en/Marion_Montgomery

Personnel: Marion Montgomery - Vocals; Mart Roger - Clarinet; Allan Dent - Trumpet; Terry Brunt - Trombone; Alec Collins - Piano; Tim Roberts - Banjo; Colin Smith - Bass; Pete Staples - Drums

Makin' Whoopee

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