Andre Previn & David Finck - We Got It Bad: An Ellington Songbook

Bitrate: 320K/s
Time: 72:28
Size: 165.9 MB
Styles: Piano jazz
Year: 1999
Art: Front

[5:35] 1. Take The A Train
[4:42] 2. Isfahan
[3:49] 3. I Got It Bad (And That Ain't Good)
[6:09] 4. Do Nothin' Till You Hear From Me
[6:29] 5. Chelsea Bridge
[6:51] 6. Things Ain't What They Used To Be
[5:18] 7. In A Sentimental Mood
[4:37] 8. Squatty Roo
[4:31] 9. Come Sunday
[6:36] 10. Serenade To Sweden
[6:08] 11. I Didn't Know About You
[7:43] 12. In A Mellow Tone
[3:54] 13. It Don't Mean A Thing (If It Ain't Got That Swing)

Previn has always been an adept, if not brilliant, pianist whose jazz leanings have belied his classical training. Here he interprets the music of Duke Ellington and Billy Strayhorn lovingly and as well as any legit jazzster could, with help from the fine bassist David Finck. While this music can easily stand on its own, Previn's technical ability and heartfelt stretching of the original blueprints urge these well-worn tunes to carry new meaning and substance. If there are any stock treatments here, it's because the pianist tends to lay back and let the melodies come to him, as evidenced on the steady-paced "Isfahan," the easy "Serenade to Sweden," and the even easier swung "I Didn't Know About You." Previn wrings every emotional drop out of "In a Sentimental Mood," dismisses a time frame for the pristine "I Got It Bad" and "Come Sunday," while Finck is in late for the pensive "Chelsea Bridge." Melody is more implied with tempos at half and full speed on "It Don't Mean a Thing," Previn uses an off-minor change-up on the good swinger "Things Ain't What They Used to Be," and swaps 4/4 in the bridge for a waltzing 3/4 head and tail on "Take the A Train." Obviously an admirer of Oscar Peterson, Previn takes liberties and risks on the easy swing take of "In a Mellow Tone," trades ripped-up lines with the capable Finck, counter-punching during "Do Nothin' 'Til You Here From Me," and fervently digs into the up-tempo "Squatty Roo." Perhaps Previn's voracity is not well known, or as regarded in the modern jazz world as it should be, but on this recording it's clear how great he can be. This second CD with Finck, the previous being a Gershwin songbook "We Got Rhythm," signifies a step up for the veteran pianist, and is perhaps his shining recorded hour. Recommended. ~Michael G. Nastos

We Got It Bad: An Ellington Songbook

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Ben Wendel - Frame

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 61:21
Size: 141,5 MB
Art: Front

(5:38)  1. Chorale
(7:25)  2. Clayland
(7:06)  3. Con Alma
(5:05)  4. Backbou
(5:56)  5. Jean and Renata
(8:09)  6. Blocks
(8:20)  7. Frame
(8:08)  8. Leaving
(5:29)  9. Julia

There is a beautiful and mysterious quality to multi-instrumentalist Ben Wendel's Frame. It is as if the hot breath from one of his horns has blown some ancient film away to reveal an iridescent object that begins to oscillate and spin, changing colors and hues, mesmerizing as it spins and swings with uncharacteristic swagger. All this seems both real and unreal as Wendel's singular, hypnotic voice unfurls. The saxophonist inhabits a sound as close to singing through the reed as is humanly possible. In so doing, he has perfected vocalizing in the manner of Nat "King" Cole combined with Ben Webster. Such is the velvet and whispering nature of Wendel's tone and texture. Of course, the colors that emerge from the bell of his horn are another matter. These come from a soulful palette that includes such a myriad of hues that they are difficult to count. His musical canvas is so filled with a riot of colors that a musical carnival ensues. Wendel is also a composer of considerable invention and ingenuity. This album is not called Frame for nothing. For here, the idiom of jazz forms the outer perimeter of the music. The material in the frame is an ever changing painting a moveable feast for the ear, heart and soul. Wendel paints with fey colors; his music has the effect of fluttering gently like a diaphanous water color work that is wet and dripping as it morphs from one legato passage to another. Thus the work here appears to form a suite of songs all with beginnings and middles and ends that are tantalizing and drive into the center of the heart. The music of "Chorale," for instance, is like a shimmering dart aimed at that sweet spot in the soul where every ache is unforgettable. 

Nothing describes that feeling better than Wendel's extraordinarily touching re-imagining of Dizzy Gillespie's classic missive, "Con Alma." The saxophonist/bassoonist is a fine writer of passionate portraits. Two of his finest are "Jean and Renata" and "Julia." The former paints a playful picture of two characters. Their differences are highlighted by Wendel's inner counterpoint, the two musical lines entwined like a DNA molecule that pirouettes magically to describe the two ladies in question. "Julia" is much more circumspect, as if the composer is portraying someone whom he has a deepening respect for. His melodic line here is more somber and upward-looking. The musicians on Frame have a marvelous sympathy for, and understanding of, the overall concept of the album. Thus, they play well within themselves while supporting the thesis that the music must swirl and swoop within the framework of an idiom that is constantly changing. In so doing, they create music that is as elastic as jazz will ever be. ~ Raul D'Gama Rose https://www.allaboutjazz.com/frame-ben-wendel-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Ben Wendel: saxophones, bassoon, melodica; Gerald Clayton: piano (1-3); Tigran Hamasyan: piano (4,6,7); Nir Felder: guitar; Adam Benjamin: piano (1,4,6,7), Fender Rhodes (8,9); Ben Street: bass; Nate Wood: drums.

Frame

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Hadley Caliman - Straight Ahead

Size: 91,1 MB
Time: 39:06
File: MP3 @ 320K/s
Released: 2009
Styles: Modern Jazz
Art: Front

01. Cigar Eddie (5:48)
02. Rapture (5:57)
03. You Leave Me Breathless (6:28)
04. Cathlamet (4:53)
05. Blues For Pt (3:14)
06. Lush Life (3:24)
07. Totem Pole (4:47)
08. The Night Has A Thousand Eyes (4:31)

Seattle-based saxophonist Hadley Caliman returns to the recording studio with his working band for Straight Ahead, the follow-up to his superb Gratitude (Origin, 2008). Aided by trumpeter/producer Thomas Marriott, pianist Eric Verlinde, bassist Phil Sparks and drummer Matt Jorgensen, the 78-year old Caliman charges head-on through a set of standards, jazz classics and original gems.

The disc opens with the listener-friendly "Cigar Eddie," an old school boogaloo—Caliman wrote the tune in the 1960s while living in Los Angeles—with a sly melodic line and ultra-funky groove. The clever toe tapper features brief, to-the-point blowing from Caliman, Marriott and Verlinde. Harold Land's quasi Afro-Cuban piece "Rapture" follows with even more high energy accessibility; inspired, compact solos bookended by a straightforward theme.

There is a consistent flow of lyricism from Caliman's horn on the session's two ballads, "You Leave Me Breathless" and "Lush Life." The leader handles these two harmonically-rich gems with the kind of seasoned finesse to be expected from a dedicated veteran of jazz service. Adding to these exceptional ballad performances is Verlinde's sensitive, swinging piano accompaniment.

Vibraphonist Joe Locke, who appeared on Gratitude, contributes "Blues for PT," a hard driving minor blues that finds Marriott and Verlinde in top form. The up-tempo swinger stands out as a disc highlight. Lee Morgan's "Totem Pole" is done in similar fashion to the original 1963 recording of the tune from The Sidewinder (Blue Note). Here, Caliman matches his bold tenor tone with stylized wit, recalling the hip quirkiness of Joe Henderson.

A spirited run down of "The Night Has a Thousand Eyes" closes out the proceedings with Caliman flying effortlessly through the familiar jam session staple, propelled by Jorgensen's swinging drums and Sparks rock-solid bass. The ensemble's energy is inexorable and, as the disc's title proclaims, undeniably straight-ahead. ~John Barron

Straight Ahead

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Deborah Pearl - Souvenir Of You - New Lyrics To Benny Carter Classics

Styles: Contemporary Pop
Year: 2011
Time: 58:34
File: MP3 @ 160K/s
Size: 67,2 MB
Art: Front

(4:27) 1. Happy Feet (At The Savoy) (Featuring Benny Carter & His Big Band)
(2:51) 2. Sail Away With Me
(2:57) 3. Sky Dance For Two
(5:27) 4. An Elegy In Blue
(4:20) 5. Wonderland (Isle of Love)
(5:34) 6. Souvenir of You
(5:09) 7. People Time (Forever Mine)
(5:16) 8. Sunday Morning Comes
(4:29) 9. Doozy Blues
(3:14) 10. Scattin' Back To Harlem
(3:51) 11. Anniversary Dance (Featuring Benny Carter & His Big Band)
(5:23) 12. Again and Again (I Try To Pretend)
(5:30) 13. Johnny True

Singer, actress, screenwriter and lyricist Deborah Pearl's debut is a souvenir of a very special "you": alto saxophonist and composer Benny Carter. Pearl has taken 13 of Carter's compositions, added her own lyrics, and produced a lovingly-crafted collection that's a worthy addition to the Carter canon. His instrumental presence is also stamped firmly on the album, thanks to the ability of modern technology to combine Pearl's voice with the Benny Carter Big Band on two tracks.

Pearl, Carter and his wife Hilma were friends in Los Angeles, and the two women stayed in touch following Carter's death in 2003. Indeed, Hilma gave her blessing to this project and Pearl's respect for Hilma and Benny shines clearly across all of her lyrics. Pearl's voice is a joy to hear translating the emotions of the songs with ease, whether they are joyous and fun, romantic, or tinged with regret.

Pearl overdubs her voice onto two Carter Big Band performances from a 1992 concert recording. "Happy Feet (At The Savoy)" is eminently successful, an up-tempo, lively and danceable tune. The opening verse of "Anniversary Dance" features just Pearl's vocal and Lou Forestieri on piano and is lovely but the combination of voice and big band doesn't work quite so well. Pearl seems less confident on this tune; nevertheless it's still a pleasant song.

On the rest of the songs Pearl is accompanied by Forestieri on keyboards, plus the bass and drums of Chris Colangelo and Dave Karasony, or Kenny Wild and Jimmy Branly. These small band numbers work beautifully, giving Pearl space to bring her vocals to the fore and offering Forestieri opportunities for some lyrical soloing. Carter wrote "Souvenir of You" as a tribute to the great altoist Johnny Hodges. Pearl's lyrics make it a moving tribute to Carter, too, and a fitting end to a beautiful album. By Bruce Lindsay https://www.allaboutjazz.com/souvenir-of-you-deborah-pearl-evening-star-records-review-by-bruce-lindsay

Personnel: Deborah Pearl: vocals; Lou Forestieri: piano, keyboards; Chris Colangelo: acoustic bass (3, 6, 7, 9-13); Kenny Wild: acoustic bass (1, 2, 4, 5, 8); Dave Karasony: drums (3, 6, 7, 9-13); Jimmy Branly: drums (1, 2, 4, 5, 8): Benny Carter: alto saxophone (1, 8).

Souvenir Of You - New Lyrics To Benny Carter Classics

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Rod Stewart - Fly Me to the Moon... The Great American Songbook, Volume V

Styles: Jazz
Year: 2010
Time: 39:51
File: MP3 @ 320K/s
Size: 99,6 MB
Art: Front

(4:35) 1. That Old Black Magic
(3:25) 2. Beyond the Sea
(3:50) 3. I've Got You Under My Skin
(3:22) 4. What a Difference a Day Makes
(3:33) 5. I Get a Kick Out of You
(2:52) 6. I've Got the World on a String
(3:07) 7. Love Me or Leave Me
(3:38) 8. My Foolish Heart
(2:55) 9. September in the Rain
(2:45) 10. Fly Me to the Moon
(2:56) 11. Sunny Side of the Street
(2:48) 12. Moon River

Growing old gracefully is a wonderful thing, and a lot of aging rockers would do well to take the lead of people like Sting or Robert Plant when it comes to doing this. But seemingly almost giving up gracefully is another matter entirely.

Rod Stewart helped set the standard for rock ‘n’ roll adrenaline back when the competition included people like Plant, Ian Gillan and others, mainly Brits. And a few years later, like it or not, he raised the bar with poppy disco and outlandish clothes. But for the better part of a decade now – because of the amazing business acumen of Clive Davis – Stewart has been recording standards by America’s great, mostly white pop writers of the ‘30s through the ‘60s. The concept, like Stewart, is getting pretty old. Fly Me To The Moon…The Great American Songbook Volume V features Stewart performing more classics from the masters of yestercentury, including Cole Porter, Johnny Mercer, Harold Arlen and others, many of whom aren’t household names as writers, but whose songs have been covered countless times.

Produced by veteran Richard Perry (Ringo Starr, Manhattan Transfer), this album combines synthesized strings with real orchestral performances, and playing from some of the greats, including keyboardist Joe Sample of the Crusaders and L.A. jazz guitarist Larry Koontz. But even with top-notch players, this record just doesn’t swing the way that earlier versions of some of these songs by Frank Sinatra or Bobby Darin did. Not even close.

Porter’s “I Get a Kick Out of You” is okay, with a nice arrangement even if the strings are obviously too synthy; “I’ve Got You Under My Skin” has a tasty bass intro; and Sample shows some wonderful piano chops on “Love Me or Leave Me.” But enough about the music; what about the singer?

Well, Rod’s voice, from the opening note, is somewhat thin and lacking compared to the old Rod. The one place where he sounds a little like his old self is on “That Old Black Magic,” where he almost takes a chance with the melody towards the end of the song. Previous efforts in this series of classics – the first four of which have been released together in a box set – had a few famous friends drop by, like Stevie Wonder and Eric Clapton. But none of them are here for this one. This whole idea might be a little overdone for everybody by now

. It’s hard to put down somebody who’s had a career for more than four decades, someone who has successfully adapted with the times and obviously has a lot of respect for great writers. And Rod will no doubt do well with this album, selling mostly to people who survived their frat parties while listening to “Stay With Me” and are now grandparents driving Volvos with nice sound systems. But one can only hope that Rod takes a few more chances next time around, the way that his old buddies like Jeff Beck and Clapton are doing.By Rick Moore https://americansongwriter.com/rod-stewart-fly-me-to-the-moon%E2%80%A6the-great-american-songbook-volume-v/

. Personnel: Backing Vocals – Angela Michael (tracks: 1-7, 1-9, 1-11), Lauren Wild (tracks: 1-1, 1-5, 1-7 to 1-9, 1-11); Bass – Chris Golden (tracks: 1-3, 1-5, 1-6, 1-11), Reggie McBride (tracks: 1-1, 1-2), Trey Henry (tracks: 1-4, 1-7 to 1-10, 1-12); Brass [Parts] – Lee Thornburg (tracks: 1-3, 1-9); Cello – Adrian Woods (2) (tracks: 1-3, 1-6); Co-producer – Clive Davis, Lauren Wild, Rod /Stewart Drums – John Ferraro; Guitar – Aaron Kaplan (tracks: 1-3, 1-5, 1-8, 1-11), Larry Koontz (tracks: 1-1, 1-2, 1-4, 1-6 to 1-10, 1-12, 2-1, 2-5); Management – Arnold Stiefel; Piano – Alex Navarro (tracks: 1-3, 1-8,), Joe Sample (tracks: 1-1, 1- 7), Mike Thompson* (tracks: 1-1, 1- 2, 1-4 to 1-6, 1-8 to 1-12 to 2-2, 2-4 to 2-6); Tenor Saxophone, Soloist – Doug Webb (tracks: 1-1 to 1-3, 1-5, 1-7, 1-8, 1-11, 2-3, 2-6)
.

Fly Me to the Moon... The Great American Songbook, Volume V

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Adelaide Ruble - Come Fly With Me

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 36:15
Size: 85,5 MB
Art: Front

(2:16)  1. On The Street Where You Live
(4:00)  2. A Nightingale Sang In Berkley Square
(2:38)  3. Come Fly With Me
(3:36)  4. Do You Know What It Means To Miss New Orleans
(4:29)  5. I've Got You Under My Skin
(2:25)  6. They Can't Take That Away From Me
(2:32)  7. I Get Along Without You Very Well
(2:25)  8. A Wink And A Smile
(3:39)  9. Don't Worry Bout Me
(2:12) 10. Devil May Care
(2:42) 11. I Thought About You
(3:16) 12. I See Your Face Before Me

Adelaide Ruble evidently makes her debut recording as a leader with Come Fly with Me. The Washington, D.C., area resident digs deeply into a number of frequently recorded gems from the Great American Songbook, backed by a strong band anchored by keyboardist and guitarist Rick Eldridge and some terrific trombone by Harry Watters. Ruble has a warm alto voice and an almost conversation approach, though occasionally with a touch of excessive vibrato that seems to come from nervous energy. She's best on the slow ballads like a heartfelt "I Get Along Without You Very Well" (a lovely duet with Eldridge on piano) and a sassy, brisk treatment of "Devil May Care" (complemented by Watters' tasty licks). Ruble avoids many of the traps that singers can fall into, like running a song into the ground with excessive choruses (only one runs past the four-minute mark), though the CD is rather brief at just over 36 minutes. Adelaide Ruble's initial release is a promising beginning to her career as a recording artist. ~ Ken Dryden  http://www.allmusic.com/album/come-fly-with-me-mw0000515926.

Come Fly With Me

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Andrew Hill - Eternal Spirit

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

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

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

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

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

Eternal Spirit

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Rachel Sutton - Trouble In Mind EP

Bitrate: MP3@320K/s
Time: 25:48
Size: 59.1 MB
Styles: Jazz-blues vocals
Year: 2013
Art: Front

[2:46] 1. My Heart Belongs To Daddy
[5:35] 2. New York State Of Mind
[5:09] 3. It Ain't Necessarily So
[3:42] 4. Louisiana 1927
[2:40] 5. Trouble In Mind
[5:56] 6. Embraceable You

thank you der bajazzo for the link to the following info:

Rachel Sutton has worked as both an actress and singer. Her rich tone and unerring sense of swing coupled with her background in theatre makes her an engaging interpreter of both classic jazz and more contemporary repertoire. Rachel not only sings the music, she lives the lyric.

Rachel was born and raised in the Kent countryside and grew up listening to the romantic ballads of Cole Porter and George Gershwin, together with the soulful sounds of Stevie Wonder and Billy Joel.

A theatre student at Glamorgan University and The Welsh College of Music and Drama, she went on to play some of the lead roles in Shakespeare, touring with The Cambridge Theatre Company and Illyria across the UK and Europe. Her appearance in the award winning rock musical 'The Inconsiderate Aberrations of Billy the Kid' at Edinburgh propelled Rachel into the world of singing full time. After settling in London, Rachel worked as a backing singer with various bands before moving on to become a solo performer. She now collaborates with some of the best musicians on the jazz scene and her extensive repertoire, including her own compositions, is both exciting and moving for her audiences.

Rachel has performed sell out gigs at top London jazz clubs as well as venues and festivals across the UK and abroad. Her theatrical training is at the core of every song, and her flair for entertainment and easy rapport with an audience is gaining her a first class reputation.

Trouble In Mind

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Kenny Burrell - Blue Lights Volume 1 And Volume 2

Album: Blue Lights Volume 1

Styles: Guitar Jazz

Year: 1958

File: MP3@320K/s

Time: 34:56

Size: 80,7 MB

Art: Front

(11:10)  1. Yes Baby

( 8:00)  2. Scotch Blues

( 5:48)  3. Autumn In New York

( 9:56)  4. Caravan

Album: Blue Lights Volume 2

Time: 40:11

Size: 92,7 MB

(11:22)  1. Rock Salt

( 6:47)  2. The Man I Love

(12:13)  3. Chuckin'

( 9:47)  4. Phinupi

The music on this 1997 two-CD set was originally on two LPs and already previously reissued as a pair of CDs. Guitarist Kenny Burrell leads a very coherent jam session in the studio with a particularly strong cast that also includes trumpeter Louis Smith, both Junior Cook and Tina Brooks on tenors, either Duke Jordan or Bobby Timmons on piano, bassist Sam Jones, and drummer Art Blakey. The material consists of basic originals and standards and has excellent playing all around; six of the nine tunes are over nine minutes long. At that point in time, Cook and Brooks had similar sounds, but, fortunately, the soloists are identified in the liner notes for each song. The solo star is often trumpeter Louis Smith, who fell into obscurity after a few notable appearances on Blue Note during the period (including his own brilliant date, Here Comes Louis Smith). He was one of the finest of the Clifford Brown-influenced players of the period and deserves much greater recognition. This is a recommended reissue for hard bop collectors who do not already have the two individual CDs. ~ Scott Yanow http://www.allmusic.com/album/blue-lights-vols-1-2-mw0000024842

Personnel:  Kenny Burrell – guitar;  Louis Smith – trumpet;  Tina Brooks (Volume 1 tracks 2, 3 & 5, Volume 2 tracks 1-3), Junior Cook (Volume 1 tracks 1-3 & 5, Volume 2 tracks 1-3) - tenor saxophone;  Duke Jordan (Volume 1), Bobby Timmons (Volume 2) – piano;  Sam Jones – bass;  Art Blakey - drums

Blue Lights Volume 1 And Volume 2

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Amanda McBroom - Voices

Time: 52:46
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front & Back

01. South Bound Train (4:31)
02. Feet Of Clay (4:15)
03. The Rose (Feat. Vince Gill) (4:46)
04. Old Love (3:29)
05. Yarnell Hill (4:43)
06. The Last Thing On My Mind (3:19)
07. Welcome Home (3:18)
08. Sometimes (4:52)
09. Voices That Come Through The Wall (3:26)
10. I'm Here For Life (3:47)
11. Hope Floats (4:23)
12. Make A Memory (4:32)
13. 12th Of Never (3:18)

In her ninth recording Amanda McBroom writes and sings stories in the voices of women in transition - the bittersweet reflections of a woman travelling on a train from one life to another, the wife of a fireman in the Yarnell Hills fire in Arizona waiting for her husband to come home, the isolation and fear of a young woman hearing voices come through the wall in a family unable to express their feelings, the humor and joy of finding love at an advanced age.

As a singer and a songwriter, Amanda is not new to emotion in song. THE ROSE captured the world's heart when Bette Midler sang it for the film of the same name and earned Amanda a Golden Globe for Best Film Song, a roomful of gold and platinum records, and a wave of worldwide recordings and uses of the song including a #1 hit in the UK by boy band Westlife and a verse unexpectedly sung by Kurt Cobain in the documentary Montage of Heck. It is the outpouring of gratitude from people around the world that sing the song at weddings and funerals, with families, friends, and choirs that is Amanda's biggest reward. But anyone who has ever heard Amanda herself sing THE ROSE in her live concerts around the world - from Taiwan's Sun Yat Sen Concert Hall to Australia's Adelaide Cabaret Festival to the intimate Pheastranty in London or Carnegie Hall - would say that she captures the emotion, passion and love of her song better than anyone. When Amanda got the call to sing THE ROSE in a duet with Vince Gill, her favorite voice of America, she jumped at the chance. The call came from Fred Mollin, producer of best sellers for Jimmy Webb, Kris Kristoferson, and J.D. Souther as well as Amanda's A WAITING HEART. She listened to the voices of her friends and fans and created the project through Kickstarter. She assembled a team of social media experts, videographers and oversubscribed the project in less than 30 days.

VOICES was recorded in Nashville at the Sound Emporium.

Review:
Wounded hearts are one of the collection's pressing themes, perhaps the overarching theme. A related issue is the all-too-often transitory nature of love. Also stressed is the power of the past to affect the present not always positively. Then there's the power of hope. Singing in her pure manner, McBroom chooses songs that, as she sees it, reiterate these constants. Undoubtedly, the prolific songwriting McBroom is still best known for 'The Rose,' which she reprises in a quite different version from her initial track: She's beautifully joined by Vince McGill. Of the 13 inclusions, she wrote nine, three with frequent collaborator Michele Brourman. She opens with Julie Gold's 'Southbound Train,' including a lyric about a damaged heart 'on the baggage rack.' Songwriter Gold is still best known for supplying as with McBroom's 'The Rose' the other Bette Midler signature song 'From a Distance. This anthem demonstrates Gold's plangent strengths. Of the other songs, only 'The Last Thing on my Mind' and 'The Twelfth of Never' are well-known, but McBroom's versions of the others suggests they all should be recognized as standards. Voices was produced in Nashville. (Vince McGill was probably close at hand). When singers go to Music City (see also k. d. lang), they tend to produce something that sounds unmistakably country maybe uptown country, but country all the same. There's nothing wrong with that, as this brilliant CD completely substantiates. David Finkle The Huffington Post

Voices

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John Pizzarelli - John Pizzarelli Salutes Johnny Mercer: Live At Birdland

Size: 152,0 MB
Time: 64:52
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Guitar Jazz
Art: Front

01. I Got Out Of Bed On The Right Side (Live) (3:50)
02. Intro Dearly Beloved (Live) (0:28)
03. Dearly Beloved (Live) (4:22)
04. Goody Goody (Live) (4:03)
05. You Medley (Live) (7:21)
06. Skylark (Live) (3:53)
07. Intro I'm Old Fashioned (Live) (0:26)
08. I'm Old Fashioned (Live) (2:31)
09. Jamboree Jones (Live) (3:13)
10. Emily (Live) (3:11)
11. Accentuate The Positive (Live) (5:11)
12. Academy Award Medley (Live) (3:46)
13. Slue Foot (Live) (3:10)
14. Intro October Medley (Live) (0:31)
15. October Medley (Live) (5:33)
16. Intro Somethings Gotta Give (Live) (0:21)
17. Somethings Gotta Give (Live) (4:09)
18. Empty Tables (Live) (2:56)
19. Too Marvelous For Words (Live) (3:45)
20. And So To Bed (Live) (2:00)

Jazz guitarist/vocalist John Pizzarelli is a technically proficient fretman with a soft voice, charming stage presence, and knack for uptempo swing. Most often performing in a trio setting sans drums, Pizzarelli has found his niche covering jazz standards and American popular song in his own urbane style. The son of journeyman swing guitarist Bucky Pizzarelli, John began performing with his father at age 20 and made his recorded debut with his 1983 release, I'm Hip -- Please Don't Tell My Father. Growing up, John was exposed to the music of such jazz luminaries as Les Paul and Django Reinhardt, and he has justifiably drawn comparisons to both of these legendary guitarists.

Pizzarelli's updated old-school sound caught the ear of many jazz purists early on; notably, in 1993 the John Pizzarelli Trio opened various dates on Frank Sinatra's tour, eventually participating in the legendary vocalist's 80th birthday celebration at Carnegie Hall. Interestingly, Pizzarelli's growing popularity garnered him a lead spot in the 1997 Broadway production of Dream, a tribute to composer Johnny Mercer. His 1998 RCA release, Meets the Beatles, found him reinterpreting classic songs by the iconic Liverpool quartet, while the following year he paid tribute to one of his biggest influences, pianist/vocalist Nat King Cole, on P.S. Mr. Cole. Pizzarelli then signed with the Telarc label in 1999 and released two standards-based albums, Kisses in the Rain and Let There Be Love, in 2000.

Since then, he has recorded an album with pianist George Shearing and celebrated ten years of performing with his trio by releasing the concert album Live at Birdland in 2003. Taking a break from swing, Pizzarelli released Bossa Nova in 2004. Largely featuring the works of Brazilian composer Antonio Carlos Jobim, the album showcased the Pizzarelli Trio on such classics of the genre as "The Girl from Ipanema" and "Aguas de Marco [Waters of March]."

In 2005 Pizzarelli returned to his usual fare of American standards with Knowing You (though he penned the title track), and, backed by the Clayton-Hamilton Jazz Orchestra, paid his tribute to the Pizzarelli's updated old-school sound caught the ear of many jazz purists early on; notably, in 1993 the John Pizzarelli Trio opened various dates on Frank Sinatra's tour, eventually participating in the legendary vocalist's 80th birthday celebration at Carnegie Hall. Interestingly, Pizzarelli's growing popularity garnered him a lead spot in the 1997 Broadway production of Dream, a tribute to composer Johnny Mercer. His 1998 RCA release, Meets the Beatles, found him reinterpreting classic songs by the iconic Liverpool quartet, while the following year he paid tribute to one of his biggest influences, pianist/vocalist Nat King Cole, on P.S. Mr. Cole. Pizzarelli then signed with the Telarc label in 1999 and released two standards-based albums, Kisses in the Rain and Let There Be Love, in 2000.

Pizzarelli's updated old-school sound caught the ear of many jazz purists early on; notably, in 1993 the John Pizzarelli Trio opened various dates on Frank Sinatra's tour, eventually participating in the legendary vocalist's 80th birthday celebration at Carnegie Hall. Interestingly, Pizzarelli's growing popularity garnered him a lead spot in the 1997 Broadway production of Dream, a tribute to composer Johnny Mercer. His 1998 RCA release, Meets the Beatles, found him reinterpreting classic songs by the iconic Liverpool quartet, while the following year he paid tribute to one of his biggest influences, pianist/vocalist Nat King Cole, on P.S. Mr. Cole. Pizzarelli then signed with the Telarc label in 1999 and released two standards-based albums, Kisses in the Rain and Let There Be Love, in 2000.

Legend himself ith 2006's Dear Mr. Sinatra. With a Song in My Heart, featuring the songs of composer Richard Rodgers, followed in 2008. In 2010, Pizzarelli paid homage to legendary pianist/bandleader Duke Ellington with Rockin' in Rhythm: A Duke Ellington Tribute. The following year he appeared with his father on Family Fugue. In 2012, Pizzarelli released the album Double Exposure, featuring his take on classic jazz standards as well as contemporary pop standards from his youth, including works by Elvis Costello, Billy Joel, Steely Dan, and others.By Matt Collar

John Pizzarelli Salutes Johnny Mercer

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Thelonious Monk - Always Know

Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 88:42
Size: 208,0 MB
Art: Front

( 1:42)  1. This Is My Story, This Is My Song (Take 1)
( 8:11)  2. Criss Cross
(12:51)  3. Light Blue (Live)
( 5:17)  4. Monk's Dream (Take 3)
( 7:35)  5. Played Twice
( 3:41)  6. Darn That Dream
( 5:08)  7. Epistrophy
( 7:34)  8. Coming On The Hudson (Take 3)
(11:06)  9. Bye-Ya
( 2:16) 10. Introspection
( 7:51) 11. Easy Street
( 5:26) 12. Shuffle
( 9:56) 13. Honeysuckle Rose (Live)

Thelonious Monk fans in particular are advised to search for this valuable two-LP set for it contains a variety of unissued material from the pianist/composer's six-year period with Columbia. Monk is heard on three piano solos, with his regular working quartet, heading a trio on "Easy Street" and at his renowned Lincoln Center concert with a nonet on "Light Blue" and "Bye Ya." 

The music on this two-fer is at the same consistent high level as his Columbia recordings of the 1960s and contains some surprising moments. ~ Scott Yanow https://www.allmusic.com/album/always-know-mw0000893343

Personnel:    Thelonious Monk - Piano

Always Know

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Louis Smith & Jodie Christian - The Very Thought Of You

Bitrate: MP3@320K/s
Time: 66:33
Size: 152.4 MB
Styles: Bop, Cool jazz
Year: 1995
Art: Front

[5:11] 1. My Ideal
[9:23] 2. Don't Take Your Love Away From Me
[5:16] 3. Mihoko's Tune
[5:55] 4. I Will Wait For You
[6:12] 5. But Not For Me
[8:55] 6. A Cottage For Sale
[8:33] 7. The Very Thought Of You
[7:28] 8. A Child Is Born
[9:35] 9. I Should Care

Louis Smith (trumpet); Jodie Christian (piano).

Born in Chicago, Illinois, United States, Christian was one of the co-founders of the Association for the Advancement of Creative Musicians (AACM) along with pianist/composer Muhal Richard Abrams, drummer Steve McCall, and composer Phil Cohran. He and Abrams were also part of the Experimental Band. He worked at Chicago's Jazz Showcase club, and performed with Eddie Harris, Stan Getz, Dexter Gordon, Gene Ammons, Roscoe Mitchell, Buddy Montgomery and John Klemmer. Christian led a group on albums. He died on February 13, 2012, aged 80, in Chicago.

Edward Louis Smith (born May 20, 1931, Memphis, Tennessee, United States) is an American jazz trumpeter. While studying at the University of Michigan, he played with visiting musicians such as Dizzy Gillespie, Miles Davis, Thad Jones and Billy Mitchell, before going on to play with Sonny Stitt, Count Basie and Al McKibbon, Cannonball Adderley, Percy Heath, Philly Joe Jones, Lou Donaldson, Donald Byrd, Kenny Dorham and Zoot Sims.

He began his career with two albums for Blue Note Records. The first, Here Comes Louis Smith, originally recorded for the Boston based Transition Records, featured Cannonball Adderley (then under contract to Mercury) playing under the pseudonym "Buckshot La Funke", Tommy Flanagan, Duke Jordan, Art Taylor and Doug Watkins. Smith's initial music career was brief; he became a teacher at the University of Michigan and Ann Arbor's public school system, but later recorded for the SteepleChase label. Smith suffered a stroke in 2006, and is seen occasionally enjoying live jazz in the Detroit/Ann Arbor area, but has not returned to performing.

The Very Thought Of You

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Lee Konitz - Inside Hi-Fi

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 41:10
Size: 94,6 MB
Art: Front

(6:08)  1. Kary's Trance
(4:30)  2. Everything Happens To Me
(4:02)  3. Sweet And Lovely
(5:29)  4. Cork 'N' Bib
(5:10)  5. All Of Me
(5:21)  6. Star Eyes
(5:08)  7. Nesuhi's Instant
(5:19)  8. Indiana

This excellent recording (part of their 1987 Jazzlore series) features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are "Everything Happens to Me," "All of Me," and "Star Eyes," but all eight performances are well played and swinging.~Scott Yanow http://www.allmusic.com/album/inside-hi-fi-mw0000194310

Personnel: Lee Konitz (alto & tenor saxophones); Sal Mosca (piano); Billy Bauer (guitar); Arnold Fishkind, Peter Ind (bass); Dick Scott (drums).

Inside Hi-Fi

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Tina Carr - Songs For Curly

Styles: Vocal
Year: 2023
Time: 43:14
File: MP3 @ 128K/s
Size: 41,1 MB
Art: Front

(4:00) 1. What's New
(4:41) 2. If You Could See Me Now
(2:55) 3. Social Call
(3:00) 4. Don't Smoke in Bed
(4:27) 5. Ask Me Now
(5:30) 6. Detour Ahead
(3:10) 7. Afternoon in Paris
(4:56) 8. If I Had You
(2:50) 9. Losing My Mind
(3:59) 10. Pannonica
(3:41) 11. Moonglow

“This week I listened to nothing but Tina Carr’s marvellous record ‘Song’s For Curly’ while writing my column” Stephen Bush, associate editor, Financial Times

“ a very distinctive voice a stunning debut ..Tina has leapt into the world of music with both feet” Jumoke Fashola, BBC Radio London, presenter, artist

“It’s full of your playful personality, incredible musicianship, and just sparkling with your joy for this music I can’t stop listening!” - Emilia Martensson, artist, founder, Beyond Vocals https://www.tinacarrmusic.com/music


Personnel:
Vocals - Tina Carr
Bass - Conor Chaplin
Piano - Matt Robinson
Recorded at Eastcote Studios, London, February 2022

Songs For Curly

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Louis Smith - Once in a While

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 70:23
Size: 161,8 MB
Art: Front

( 8:21)  1. Just Friends
(10:32)  2. Once in a While
( 9:22)  3. Over the Rainbow
( 5:36)  4. Tune Up
( 7:42)  5. Don't Blame Me
( 7:36)  6. Once I Had a Secret Love
( 9:47)  7. Sandu
(11:24)  8. There Is No Greater Love

Trumpeter Louis Smith’s only major claim to fame has been two late ‘50s dates he cut for Blue Note. Then his propensity for musical pedagogy led him to the University of Michigan, where he spent many years quietly teaching and inspiring youngsters. Back in 1978, a renewed career as a recording artist came in the guise of a contract with the Danish SteepleChase label, briefly interrupted in the ‘80s by a return to teaching. Now, Smith finds himself retired and that has given him more time to concentrate on his trumpet work once again. Cut in Denmark during Smith’s summer vacation in 1998, Once In a While is representative of the kind of bebop session that is part and parcel of Smith’s time-honored approach, although the line-up is a novel one not used previously by the trumpeter. Guitarist Doug Raney is the ringer in this piano-less group that also includes SteepleChase regular Keith Copeland on drums. The quartet hits a relaxed, but resolute groove on a set of eight golden standards, including a tip of the hat to Louis’ fellow trumpeters- namely through versions of Miles Davis’ "Tune Up" and Clifford Brown’s "Sandu." Never much of a technician, Smith still has the ability to construct intelligent solos that tell a story and his sound is marked by a round and softened timbre. Raney should have received equal billing here, because his rich and melodic lines are some of the best moments to be found among this generous offering of music. Cutting to the chase, this no-nonsense affair is a worthy addition to Smith’s burgeoning recorded career. And who says there ain't life after retirement? ~ C.Andrew Hovan https://www.allaboutjazz.com/once-in-a-while-louis-smith-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Louis Smith- trumpet, Doug Raney- guitar, Hugo Rasmussen- bass, Keith Copeland- drums

Once in a While

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Dinah Washington - Live At Birdland 1962

Styles: Vocal
Year: 1962
Time: 51:50
File: MP3 @ 320K/s
Size: 118,7 MB
Art: Front

(1:55) 1. Soft Winds
(7:58) 2. Medley: What A Diff'rence A Day Made - I Thought About You - Love is Here To Stay
(2:43) 3. Somewhere Along The Line
(8:21) 4. Medley: What A Diff'rence A Day Made - I Thought About You - Makin' Whoopee
(3:52) 5. This Bitter Earth
(7:03) 6. Medley: A Foggy Day - Unforgettable - There Goes My Heart
(5:42) 7. Medley: A Foggy Day - Unforgettable - Baby Won't You Please Come Home
(1:59) 8. Fly Me To The Moon
(3:22) 9. In The Evening
(7:13) 10. Medley: I'll Close My Eyes - I Understand - This Bitter Earth
(1:36) 11. I Could Write A Book

Dinah Washington's career can easily be divided into two periods. Prior to 1959, she was one of jazz's great individualists, able to sing anything from standards to blues, R&B, pop, and spirituals, and yet retain her own musical personality, always uplifting the material. After she had a surprise pop hit in 1959 with "What a Difference a Day Made," her recording career declined artistically, as she was continually backed by string sections on pop ballads in hopes of duplicating her commercial success.

On some records before her accidental death in 1963, the Queen of the Blues almost sounded like a parody of herself. However, as this CD shows, Dinah Washington was much more interesting in person than on records during her last four years. She is backed on most of the selections by her regular trio of the period (pianist Joe Zawinul, a year before he joined Cannonball Adderley; bassist Jimmy Rowser, and drummer Al Jones); the last couple numbers find her joined by an organ combo. Washington shows that she was still in prime form this late bin her career.

Five of the 11 selections (all taken from radio broadcasts that originated from Birdland) are actually three-song medleys. Fortunately, her rhythm section was quite alert, for Washington continually ties together ideas from different songs and switches tunes in odd places to humorous effect. She somehow combines "What a Difference a Day Made" with "I Thought About You" and "Makin' Whoopee"; and another unlikely medley consists of "A Foggy Day," "Unforgettable," and "Baby Won't You Please Come Home." Since there are relatively few examples of Dinah Washington singing live this late in her career, and she still sounds so saucy here, this CD is easily recommended. By Scott Yanow https://www.allmusic.com/album/live-at-birdland-1962-mw0000032909#review

Personnel: Vocals – Dinah Washington; Bass – Jimmy Rouser; Drums – Al Jones; Piano – Joe Zawinul

Live At Birdland 1962

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Andre Previn's Trio Jazz - King Size!

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 45:57
Size: 105,5 MB
Art: Front

(6:24)  1. I'll Remember April
(9:30)  2. Much Too Late
(7:04)  3. You'd Be So Nice to Come Home To
(5:56)  4. It Could Happen to You
(8:59)  5. Low and Inside
(8:01)  6. I'm Beginning to See the Light

The multi-talented Andre Previn is heard on this recording as the leader of a trio with bassist Red Mitchell and drummer Frankie Capp. Previn always had his own swing/bop piano style, and he is in top form on two of his originals (including the bluish "Much Too Late") and four superior standards. This fine release gives one an excellent example of Previn's skills as a jazz pianist. ~ Scott Yanow https://www.allmusic.com/album/king-size%21-mw0000276385

Personnel: Piano – André Previn;  Bass – Red Mitchell; Drums – Frankie Capp

R.I.P.
Died: February 28, 2019, Manhattan, New York City, New York, United States 

Born: April 6, 1929, Berlin, Germany

King Size!

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Louis Smith - Just Friends

Styles: Trumpet Jazz
Year: 1978
File: MP3@256K/s
Time: 57:52
Size: 106,1 MB
Art: Front

( 7:02)  1. Blues For Jimmy
( 8:58)  2. Lulu
( 8:11)  3. Vaughn's Bounce
( 9:37)  4. Quiet Nights
( 9:11)  5. I Remember Clifford
( 4:39)  6. Oleo
(10:11)  7. Minor Bit

Great date for master trumpeter with Memphis friends, including George Coleman on tenor sax. ~ Michael G.Nastos https://www.allmusic.com/album/just-friends-mw0001881587

Personnel: Trumpet – Louis; Smith Bass – Jamil Nasser;  Drums – Ray Mosca;  Piano – Harold Mabern;  Tenor Saxophone – George Coleman

Just Friends

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Louis Smith Quintet - Silvering

Bitrate: MP3@320K/s
Time: 67:55
Size: 155.5 MB
Styles: Trumpet jazz
Year: 1994
Art: Front

[ 9:10] 1. I'll Remember April
[ 7:17] 2. Au Privave
[10:18] 3. Roadies
[ 4:45] 4. What Is This Thing Called Love
[10:04] 5. Body And Soul
[ 7:44] 6. Silvering
[11:35] 7. Stella By Starlight
[ 7:00] 8. Blues For Alice

Even after the re-entry to the recording scene with his first SteepleChase recording SCCD 31096 “Just Friends” in 1978 ending his two decades’ silence since his Blue Note recording days, trumpeter Louis Smith has been hard to catch on the band stand. He chose to leave Horace Silver’s group in 1958 in favour of full time teaching job. However, this situation is now changed for good. Louis retiring from his job as a music teacher, resumed his career as musician with this new recording which took place in Chicago October 1993. With the Windy City’s legendary tenorman Von Freeman in the backing group, Louis the hard bopper tells his story in his warm, beautiful tone with unflagging intensity and impeccable technique.

Silvering

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