Artist - Toots Thielemans
     Album - Harmonica Jazz
     Label - Columbia
     Years: 1954-55; 1978, release - 1994
     Quality - MP3@320 kbps


     This album is a nice combination of the commercial and jazz music of Toots. This music is very honest and comes from his heart.

     Artist: Gil Coggins
     Album: Gil's Mood
     Label: Interplay
     Quality: FLAC & MP3@320
     Size: 268 MB & 123 MB
     Time: 54:46

     Pianist Gil Coggins had an extremely brief career in jazz but nonetheless managed to score the type of sideman credits everyone else wants—in other words, he made records with Miles Davis, John Coltrane and Sonny Rollins. "I knew Miles when he was a yard," the ultimate cool cat is supposed to brag, but Davis was actually only 16 years old when Coggins met him. The pianist was only two years Davis' senior at this point, an army soldier stationed at Jefferson Barracks near St. Louis, Missouri. As for Davis, he had a gig playing his trumpet at a bowling alley near the base. The tap dancer Honey Coles was also Coggins' sergeant in this period. Coggins eventually played on sessions with Davis that were released on labels such as Blue Note and Prestige.

     Artist - Joгo Donato Trio
     Album - Amazonas
     Label - Elephant Records
     Year - 2000
     Quality - Mp3@320 kbps
     Size - 159 mb
     Total time - 63:00

     Another one of my ”desert island” recordings. I know, I know, that island is getting crowded.

     This killer trio album by pianist Joгo Donato with his longstanding drummer Claudio Slon and bassist Jorge Helder is a mighty force to be reckoned with. Donato is one of the more inventive improvisers and arrangers in Brazil, and his debut on the criminally under-recognized Vartan Jazz imprint is a revelation of his process. In his compositions, Donato looks toward the rhythmic element of any series of changes. Once this has been established, his melodic invention comes into play by using his vast knowledge of Latin and Caribbean musics as well as his place in the Brazilian musical lineage. Donato will often graft a Cuban son onto a samba onto a merengue onto a funky post-bop tune. His sense of timing and lyric on the title track is impeccable, breezing through a beautiful bossa theme that echoes Jobim while holding true to the Bill Evans dictum of melodicism and the Horace Silver edict of rhythmic improvisation. Other cuts where Donato shines his warm humor and grand emotional style onto a cooking post-bossa beat are "Alegria Pra Cantar" and the charanga-touched "Brisa do Mar." Donato's solos are wispy things as they fly by before the listener can take in the full weight of what it is he's playing. But when it finally occurs to you what you've heard, long after he's left the chorus and moved into other territory with his pervasive chromatic flourishes and shimmering ostinatos, the totality of what's being articulated will leave you literally sighing in disbelief. This is a hell of an album, and one that deserves far wider notice that it has received. ~ Thom Jurek, All Music Guide

     I have posted a video of the Trio (with Luiz Alves replacing Jorge Helder) performing Amazonas on YouTube

     Artists - Dan Hicks and the Hot Licks
     Album - Beatin' The Heat
     Label - Surfdog Records/Hollywood
     Year - 2000
     Genre - Country-Rock, Singer, Songwriter
     Quality - MP3@320 kbps
     Size - 124,7 mb
     Total time - 55:00

     He's never stopped playing live, yet Dan Hicks' first album in six years, and his only studio release since 1978's It Happened One Bite, has to be considered a comeback of sorts. Interestingly, little has changed in the musician's idiosyncratic style that effortlessly meshes country, bluegrass, '40s pop, Western swing, folk, and even blues together to produce music completely unique unto itself. The proof of Hicks' low-key genius is that through his decades of making music, few have attempted to mimic his eclectic and often wacky approach. Stylish guest stars Rickie Lee Jones, Tom Waits, Elvis Costello, Bette Midler, and even guitar slinger Brian Setzer drop by to add color, but thankfully they never hog the spotlight from the self-effacing Hicks. Fiddle/mandolin player Sid Page is the only holdover from the original '70s Hot Licks, but not much has shifted in Hicks' rarefied world. His talk/sung/scatted vocals, bone-dry humor, as well as call and response from the Andrews Sisters-styled backing vocalists are in place, and the 15 tracks are among the best, most fully realized he's ever recorded. Intricate yet swinging, Hicks and his band sound loose and relaxed as if this was a jam session in his living room that was accidentally recorded. Song titles like "Don't Stop the Meter Mack," a song about stalking; "I've Got a Capo on My Brain," which is as loony as its name; and a remake of his most covered tune, "I Scare Myself" (with Jones on duet vocals), exhibit Hicks at his witty best, but everything here is classic Hot Licks. Even an occasional sample and subtle drum loops don't detract from the distinctively stylized slant. Even with the high-profile visitors it's unlikely to put him on the charts, but Beatin' the Heat is a glorious, superbly crafted return, and arguably the best album in Dan Hicks' slim catalog. It's a perfect introduction for newcomers and a wonderful treat for established fans wondering if Dan Hicks would ever release another album. ~ Hal Horowitz, AMG

     Artist: The Cinematic Orchestra
     Album: Every Day
     Quality: mp3@320 Kbps
     Size: 137 MB (scans)
     Label: Ninja Tune
     Total time: 60:39
     Genre: electro-jazz

     With Every Day, Cinematic Orchestra move beyond the electro-jazz fusion of their debut to make a record more natural, more paced, and, surprisingly, better than the justly hyped Motion. J Swinscoe is more the arranger/conductor here than the producer, but of course, there's little need for samples or effects with such an accomplished band sharing the burden. For the opener "All That You Give," Swinscoe and Co., plus harp player Rhodri Davies, spend a few minutes delicately paving the way for a deeply felt vocal by soul hero Fontella Bass. "Burn Out" is a lush, meditative track with a pleasantly ambling solo from Phil France on electric piano, a few appropriately cinematic-sounding horns, an age-old vocal sample, and occasional creaking static phasing through. Bass returns for another splendid track ("Evolution"), and the mighty Roots Manuva appears on a magisterial, spoken-word quasi-autobiography, "All Things to All Men." Except for a pair of detours into highly programmed "broken beat" production, Every Day is a textured, acoustic work; Cinematic Orchestra take their time setting up these songs -- of the seven tracks, four last over nine minutes. The sounds and styles heard may not be revolutionary, but instead of simply pushing stylistic boundaries, Cinematic Orchestra display a real gift in making emotional, artistic music. ~ John Bush, AMG

     Artist: Michael Buble
     Album: Michael Buble
     Label: REPRISE / WEA
     Release Date: 02/11/2003
     Genre: Jazz
     Format, bitrate: mp3, 320kb/s
     Size: 61,8+53,7 MB

     Unlike most young guys who gravitate towards the latest rock or rap trend, Michael Buble chose to study the classic works of pop vocal masters like Ella Fitzgerald and Frank Sinatra while slowly developing his own technique and career as a vocal interpreter. Thanks to producer David Foster, the 25-year-old Buble has graduated to the big time with a self-titled debut disc that shows off his knowledge and appreciation for a style of music that is mostly unfamiliar to his generation. Swinging his way through a set of pop standards both classic ("The Way You Look Tonight"), and more recent ("Moondance"), Buble already possesses a quality that reaches beyond his youthfulness, with a voice that incorporates his influences into a sound that is fresh yet familiar. When he launches into a standard like "Come Fly With Me," images of Sinatra are conjured up; but as the song progresses, the listener realizes that this is not Sinatra, or Bobby Darin, or any other famous vocalist. It is someone who has learned the art of popular song and is creating his own colorful music from shades of the past. In doing so, Bublй throws a fresh coat of paint on an old standard like "Fever," and gives it a satiny sheen that the song hasn't seen in years. In addition to revitalizing the classics, he draws in a younger audience by covering more recent, rock-era songs in a swinging gloss. Songs like George Michael's "Kissing a Fool" or Queen's "Crazy Little Thing Called Love" are jazzed up even further than their retro-based originals, and flow easily alongside the standards. The only interruption comes when Barry Gibb guests on his own "How Can You Mend a Broken Heart," with a reverb-laced vibrato that simply does not fit in this musical environment. Throughout the disc it is apparent that Buble has done his homework and aced the test, but there is always room for improvement. Sinatra haunts his vocals a bit too much on songs like "Summer Wind," and there are moments throughout the disc when he forces his technique instead of following a natural cadence, but these minor criticisms will improve with time; and nothing can really diminish the sheer pleasure and joy he expresses in each performance. He sounds absolutely thrilled to be singing these songs, and that goes a long way in making Michael Buble an exciting debut. ~ Aaron Latham, All Music Guide

     Artist: Michael Buble
     Album: It's Time
     Label: REPRISE / WEA
     Release Date: 02/08/2005
     Genre: Jazz
     Format, bitrate: mp3, 320 kb/s
     Size: 60,8+53,3 MB

     Although it took more than a year of concerts and promotional appearances, Michael Buble's 2003 debut disc of swinging pop standards finally ascended the Billboard album chart and landed at number 47. That peak may not seem impressive at first, but in a musical world dominated by rap or the latest flavor of alternative rock, Bublй's upper chart appearance was a real accomplishment and it sparked a renewed interest in music associated with great vocalists like Frank Sinatra. With his second studio disc, It's Time, Buble builds upon the musical foundation he laid with his debut and demonstrates that he is much more than a flavor-of-the-month celebrity. Like his debut, It's Time mines the rich history of pop music as Buble applies his own technique to classic standards and incorporates his Rat Pack sound into modern pop songs. Other pop vocal giants have made attempts to reinterpret the pop songs of their day with appalling results (Mel Tormй's version of "Sunshine Superman" comes to mind), but Buble has the knack for selecting the right songs that he can properly transform into edible works that avoid a cheesy aftertaste. Having a standard like "A Foggy Day (In London Town)" share space with the Beatles' "Can't Buy Me Love" may seem like a lounge lizard joke waiting to happen, but the arrangements (most courtesy of producer David Foster) and performances are seamless. Therefore, the quiet groove of "I've Got You Under My Skin" can sit comfortable next to Buble's smoky version of Leon Russell's "Song for You," featuring Chris Botti on trumpet. Perhaps it is due to this formula working so well that Buble has incorporated more of his unique takes on modern pop than on his debut. He even ventures into R&B territory with older hits like "Try a Little Tenderness" and "How Sweet It Is," all the while giving these songs a retro freshness that breathes new life into these gems. Pop starlet Nelly Furtado sounds lovely and elegant in the duet "Quando, Quando, Quando," while Bublй ends the disc with a beautiful reading of Stevie Wonder's "You and I." Another positive step forward is the inclusion of the lovely original tune "Home," a somewhat autobiographical "too long on the road" song co-written by Bublй. The success of this ballad provides yet another direction that he can explore and expand upon. Throughout the disc Bublй emits the feeling that he loves these songs and truly enjoys what he is doing. He sounds pure of voice and pure of heart. Those are rare commodities in the recorded world and they, along with Bublй's talent and vision, help to make It's Time a wonderful listening experience. ~ Aaron Latham,All Music Guide.

     Artist: Lonnie Liston Smith & The Cosmic Echoes
     Album: Cosmic Funk
     Quality: FLAC & mp3@320 Kbps
     Size: 236 & 84 MB (scans)
     Label: Flying Dutchman
     Total time: 36:09



     This one is packed with classic tracks and is probably Smith's best record of them all. He wasn't quite discoed-out yet and he was fresh off of his traditional jazz runnings, so this record hits a very comfortable middle ground for fusion heads as well as those more tuned into smooth jazz. An incredible record that doesn't get anywhere near enough props as it should for helping define the fusion movement of the early 70s. ~ by Scott Woods, Amazon.com

     Artist - Gene Krupa
     Album - Gene Krupa 1953 - 1954
     Label - Classics
     Genre - swing, bop
     Years: 1953 - 1954, release - 2007
     Quality - MP3@320 kbps
     Size - 100 mb
     Total time - 66:00
     AMG:
     Released in 2007 as number 1433 in the Classics Chronological catalog, the 17th installment in the complete works of drummer and bandleader Gene Krupa consists of intimate trio and sextet recordings produced by Norman Granz and issued on his Clef and Verve labels. Tracks one through six amount to all but the first two titles from The Exciting Gene Krupa, an album recorded on September 10, 1953, with trumpeter Charlie Shavers, trombonist Bill Harris, tenor saxophonist Ben Webster, pianist Teddy Wilson, guitarist Herb Ellis, and bassist Ray Brown. Shavers, who composed four of the six tunes heard here, was almost certainly inspired to use the title "Midget" by Lester Young, who is known to have jokingly employed the word in reference to Shavers and fellow trumpeter Roy Eldridge (both men were short, rambunctious, and loved to tease Lester Young). Recorded on February 1, 1954, tracks seven through 14 comprised the trio album Sing, Sing, Sing. Here Krupa interacted with pianist Teddy Napoleon and versatile multi-instrumentalist Eddie Shu, who plays trumpet, clarinet, alto, and tenor saxes as well as a mouth organ on "Harmonica Shu Boogie." (Although Shu was also a trained ventriloquist, that skill does not seem to have been employed on this occasion.) This highly satisfying compilation closes with the first three titles from the sextet album The Driving Gene Krupa, recorded on February 2, 1954, with Charlie Shavers, Bill Harris, tenor saxophonist Eddie "Lockjaw" Davis, Teddy Wilson, and bassist Ray Brown. Like its immediate predecessor in the series, this core sample of Krupa's post-big-band career contains some of the very best mainstream jazz sessions that he ever got a chance to participate in. Highly recommended as accessible jazz suitable for almost any occasion. ~ arwulf arwulf AMG

     Artist: Paul Chambers
     Album: Go
     Label: Vee-Jay
     Year: 1959
     Format, bitrate: MP3@320 Kbps + Full Version (MP3 & Flac)
     Size: 100 mb + 44 mb (RS.com)
     Full Version: 107 MB + 154 MB (MP3)
                    + 294 MB + 392 MB (Flac)
   Time (Full Version): 48:04 (Disc1) + 1:08:52 (Disc2)


     A renowned jazz bassist who was known for his solos, Paul Chambers spent a significant portion of his career playing with the Miles Davis Quintet. Paul Chambers' GO was originally released in 1959, and featured the master and alternate take for each cut on the album.

     Artist: Elvis Presley
     Album: 2nd to None
     Label: BMG / ELVIS
     Year: 2003
     Genre: Rock, R&B
     Format, bitrate: mp3, 320 kb/s
     Size: 90,6+91,2 MB

     2nd to None is the sequel to 2002's 30 #1 Hits, itself an attempt to gather Elvis' biggest number one hits on one disc -- which is quite a bit different than all of his number one hits. Elvis simply had too many chart-toppers to fit on one disc, particularly because their definition of "number one hit" was all-inclusive, spanning the globe and Billboard alike, so there were a lot of really good number one hits left behind, not to mention all the great singles -- including all of his Sun rockabilly sides -- that didn't climb their way to number one. So, it was hardly a complete collection, thereby making a companion volume like 2nd to None welcome. The only problem is, what is the criteria for this collection? Is it the number one hits that didn't make it to 30 #1 Hits? The singles that made it to number two? Other Top Ten hits? Or album tracks? All are reasonable approaches to a collection, but what the compilers have done with 2nd to None is borrow a little bit from all these approaches, winding up with a reasonably enjoyable hodgepodge of hits and anthems from his entire career. Again, the attempt to present number one hits from all countries and all charts creates more problems than it solves, raising questions like why is the lousy kitsch artifact "Rock-A-Hula Baby" here instead of better singles from either earlier or later in his career? The answer? It reached number one in the U.K. Similarly, the Sun-era "I Forgot to Remember to Forget" is here instead of "Good Rocking Tonight" or "Baby Let's Play House" because it hit number one on the country charts. When the chart positions buried in the liner notes are examined, some of the questions are answered, but not all -- if this is truly supposed to be a companion introduction, showcasing Elvis at his best throughout his career, why do the compilers favor schlock to rock, choosing songs like "If I Can Dream" and "Memories," which are neither big hits nor emblematic? This instinct that pulls 2nd to None toward the middle of the road is puzzling and mildly irksome, resulting in an uneven collection, but at 30 tracks it can be easy to forgive the missteps, since much of the record consists of music that is nothing less than terrific. Also included are two "bonus tracks" -- a previously unreleased "I'm a Roustabout," which is fine but not remarkable, and Paul Oakenfold's clubtastic remix of "Rubberneckin'," an attempt to re-create the excitement of JXL's 2002 hit remix of "A Little Less Conversation" that only points out how good the previous hit was. (Side note: how are these two songs "bonus tracks" if 2nd to None has only been issued with this track listing?) It can be easy to forgive the missteps, since much of the record consists of music that is nothing less than terrific. Nevertheless, no matter how much good music both this and 30 #1 Hits offer, it's hard not to think that the execution on them could have been much better. ~ Stephen Thomas Erlewine, All Music Guide