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Artist: John Pizzarelli Album: Rockin' In Rhythm: A Duke Ellington Tribute Year: 2010 Label: Telarc Bitrate: VBRkbps / 44.1Khz / Joint-Stereo Total Size: 72.15 MB
John Pizzarelli takes so naturally to these Ellington classics that if you didn't know better, you might think they were written for him. Following With a Song in My Heart, the guitarist/vocalist's 2008 tribute to songwriting icon Richard Rodgers, and, prior to that, 2006's Dear Mr. Sinatra, it would seem that Pizzarelli is systematically checking off all of those to whom he feels indebted. And that's a good thing, because his dedication to and understanding of this music is unquestioned. Rockin' in Rhythm doesn't stray all that far stylistically from those previous outings: Pizzarelli isn't out to rewrite history here, just to celebrate a hero. On the zippy opening "In a Mellow Tone," Pizzarelli, his rhythm crew, and his brass section come out swinging. Larry Fuller's mid-song piano solo is brisk and sparkling, and when it gives way to Pizzarelli's guitar-and-scat solo, the transition is smooth and sweet. As always, Pizzarelli's guitar playing is skilled and striking, though nowhere does he let it upstage the tunes that he's here to honor. And although his vocalizing has been described as thin, on easygoing tracks like "Satin Doll" and "I Got It Bad and That Ain't Good" he puts it to fine use, much as Chet Baker did: the emotionalism in his low-key delivery is palpable and Pizzarelli understands that soft and cool fit the bill, so no need to shout. His song choices aren't exactly radical, but neither are they entirely predictable (there's no "Take the 'A' Train," for example). Some tunes, though covered to death, suit the program despite their ubiquity: you can't go wrong with either "East St. Louis Toodle-Oo" or "Don't Get Around Much Anymore," and Pizzarelli fuses them seamlessly into a medley whose arrangement hews closely to the originals while still leaving room for his personalization. Other less celebrated numbers ("Just Squeeze Me," performed solo; "Love Scene") break up the familiarity, and there are several guests joining the proceedings to liven things up -- not surprisingly, dad Bucky Pizzarelli sits in on a few tracks (soloing on "Satin Doll"), and Kurt Elling and (John Pizzarelli's wife) Jessica Molaskey's duet on "Perdido" (with a Gerald Wilson arrangement) makes for a natural pairing that gives the set a welcomed lift midway. And "C Jam Blues," featuring violinist Aaron Weinstein and saxophonist Harry Allen, is a gem. Horn arrangements by Don Sebesky give more than half the tracks a zest that Ellington would certainly have approved of.~ Jeff Tamarkin, All Music Guide.
Artist: Jo Stafford Album: Jo+Jazz Label: CBS/Corinthian Year: 1960,release: 1961 Format, bitrate: MP3, 320 Kbp/s Time: 42:28 Size: 80 MB:
The closest Stafford ever came to being a jazz singer. This early '60s release had instrumental touches and a jazz tone, and Stafford sang with more energy and less gimmickry.~ Ron Wynn, All Music Guide
To My Mind The Song Above (with Video) Is one of the best of hers? AGREE?
Fiona Apple was nominated for the 1998 Grammy Award for Best New Artist. "Criminal" won the 1998 Grammy for Best Female Rock Vocal Performance and was nominated for the 1998 Grammy for Best Rock Song.
Fiona Apple demonstrates considerable talent on her debut album, Tidal, but it is unformed, unfocused talent. Her voice is surprisingly rich and supple for a teenager, and her jazzy, sophisticated piano playing also belies her age. Given the right material, such talents could have flourished, but she has concentrated on her own compositions, which are nowhere near as impressive as her musicianship. Most of Tidal is comprised of confessional singer/songwriter material, and while they strive to say something deep and important, much of the lyrics settle for clichés. Apple does have a handful of impressive songs on Tidal, like the haunting "Shadowboxer" and "Sullen Girl," but the gap between her performing talents and songwriting skills is too large to make the album anything more than a promising, and very intriguing, debut.
Artist: Arturo O'Farrill & Claudia Acuña Album: In These Shoes Label: Zoho Music Year: 2008 Genre: Latin Jazz / Vocal, Afro-Cuban Jazz Format, bitrate: mp3 @ 320 kbps Time: 49:13 Size: 80,8 MB
A collaboration between an Afro-Cuban jazz band led by pianist/arranger Arturo O'Farrill and vocalist Claudia Acuña sounds like it should be a rewarding session. Yet in spite of the strong cast of musicians, including guitarist Adam Rogers, trumpeter Michael Mossman, saxophonist Yosvany Terry, and drummer/composer Dafnis Prieto, the CD is slow to get underway, with initially more of a pop emphasis than jazz for the first few tracks. Acuña proves seductive in the playful opener "In These Shoes," though songs like "Paciencia" and "Cuando Cuando" end up sounding like little more than middle of the road Latin pop. Part of the problem is due to the lack of instrumental breaks in the first few songs, while the vocals are sometimes over-engineered. Oddly enough, it is Van Morrison's tiresome "Moondance" that helps the CD come alive with a perky Cuban chart, Rogers' crisp acoustic guitar and the leader's inventive piano backing Acuña's magical vocal. The funky cha cha setting of the standard "Willow Weep for Me" is also a lively affair. The invigorating workout of Rubén Blades' salsa "Dime" would get any audience up dancing. This is still a valuable release, though it falls somewhat short of its potential.~ Ken Dryden, All Music Guide
Artist: Dinah Washington Album: Dinah Washington In The Land Of Hi-Fi (Orchestra Arranged and Conducted by Hal Mooney) Label: Emarcy Year: 1956 Release: 1992 Format, bitrate: mp3, 320kb/s Time: 30:34 Size: 64MB AMG Rating:
As with most Dinah Washington records, In the Land of Hi-Fi includes an eclectic program of ballads and swingers, all of which become prime vehicles for the singer's dramatic, blues-tinged vocal stylings. Framed by Hal Mooney's mix of string-laden arrangements and big-band charts, Washington imparts both tenderness and passion to slow numbers like "I've Got a Crush on You" and "Say It Isn't So," while getting into some charged vocal buildups on swingers like "Our Love Is Here to Stay" and "If I Were a Bell." In addition to the gospel-imbued number "There'll Be a Jubilee," Latin-tinged cuts like the beautiful bolero-style "Let Me Love You" and the lounge mambo "Nothing Ever Changes My Love for You" provide nice contrast to this jazz and pop set. Topped off with fine contributions by alto saxophonist Cannonball Adderley and pianist Junior Mance, In the Land of Hi-Fi is yet another impressive set among the many fine EmArcy records Washington cut in the '50s.
Artist: Ella Fitzgerald Album: Retrospective 1936-1956 Label: Saga Jazz Records Year: 1936-1956 Release: 2008 Format, bitrate: mp3, 320kb/s Time: 3 hours 45 minutes Size: CD1-147, CD2-153,CD3-151MB
This 3 CD set, which spans the first two decades of the legendary vocalist Ella Fitzgerald's career, is packaged in a luxury box including a 96 page colour booklet, including a foreword by Claude Carrière, many documents (records labels, sheet-music, posters...) and rare photos. The three CDs are presented in individual sleeves and there are 68 titles taken from the best sources available which have been 24-bit remastered, selection by Marc Thomas with commentaries for each tune.
Artist: Susannah McCorkle Album: The Songs of Johnny Mercer Label: Jazz Alliance Year: 1977, release: 1996 Quality:mp3,VBR Size: 73 mb AMG Rating
For her second recording and first U.S. release, singer Susannah McCorkle performs 14 songs fortunate enough to have the delightful lyrics of Johnny Mercer. Whether it be the Dixielandish "At the Jazz Band Ball," "Blues in the Night," the touching "Skylark," a "Dream" medley, "One for My Baby" or the novelty "Arthur Murray Taught Me Dancing in a Hurry," McCorkle does full justice to the words she sings. Recorded in London in 1977, the date finds McCorkle joined by such fine English musicians as pianist Keith Ingham, bassist Ron Rubin, drummer Derek Hogg, the tenors of Danny Moss and Duncan Lamont, and the excellent trumpeter Digby Fairweather.~ Scott Yanow, All Music Guide
Artist: Kenny Dorham Albums: Kenny Dorham Sings And Plays: This Is The Moment! Recorded: 1958 Released: 1994 Label: Riverside Quality: mp3 CBR 320 Size: 88 MB
The release of this recording must have surprised most jazz listeners at the time, for trumpeter Kenny Dorham sings on all ten selections. He had never hinted at any desire to sing previously (although he had sung a blues regularly with Dizzy Gillespie & His Orchestra in the 1940s) and, as it turned out, this was his one and only vocal album; the sales were probably quite a bit less than Chet Baker's records of the period. Dorham had an OK voice, musical if not memorable, but the arrangements for these selections (which utilize his trumpet and Curtis Fuller's trombone, both of which are muted all the time) are inventive and pleasing. The supportive rhythm section is also an asset; pianist Cedar Walton made his recording debut on this album (released on CD via the Original Jazz Classics imprint), which is a historical curiosity.
Artist:Vic Damone Album:Live In Concert Label:Classic World CWP-1341 Year: 2000 Format, bitrate:MP3 320 Time: 33:51 Size: 73 MB
In the late '40s and the first half of the '50s, Vic Damone had a great deal of success with an approach that owed a great deal to Frank Sinatra, although his delivery was stiffer, and his material about as middle of the road as you could get with a tape measure. Backed by the orchestras of Glenn Osser, George Siravo, George Bassman, Richard Heyman, and others, Damone had well over a dozen big hits for Mercury. AR man Mitch Miller helped Vic select some of the material, which sometimes delved into Italian folk songs or novelties. Damone left Mercury in the mid-'50s for Columbia, where he continued working with Miller and scored one of his biggest hits, "On the Street Where You Live" (from the My Fair Lady musical), in 1956. Only one Top 20 hit awaited him in the future, but by the late '50s Damone was making the transition to the adult-oriented album market. Recording throughout the ensuing decades with limited success, Damone could always rely on a healthy living on the club-and-casino circuit, where his principal constituency now resides.
Artists: Mel Torme (featuring Al Porcino and his orchestra) Album: Live At The Maisonette Label: Atlantic Year: 1974 Format, Bitrate: Mp3 320 Kbps Time: 40:09 Size: 84,7 Mb
Recorded more than twelve years after his first live album on Atlantic, Mel Tormé's Live at the Maisonette shows the effects of time on an aging band singer, which isn't always a bad thing. A bit less bouncy and unhinged than at his 1962 Red Hill gig, Tormé is the consummate showman here, inaugurating his fourth season at the Maisonette Room of New York's St. Regis Hotel with a new band (Al Porcino's Orchestra), new arrangements (as usual, by Tormé himself), and a few surprises for the crowd. After jumping in with an up-tempo opener ("Jet Set"), he turns the lights down for "What Are You Doing the Rest of Your Life," cranks the tempo back up for "Mountain Greenery," and indulges in a familiar impersonation of Ella Fitzgerald for "Route 66." After taking a mere 15 minutes to spin through a 17-song (!) medley celebrating the 75th anniversary of George Gershwin's birth (again feting Fitzgerald in the process), Tormé delivers the big surprise of the set, a solid -- yet slightly stodgy -- version of Stevie Wonder's hit "Superstition."
Artist: Johnny Hartman Album: The Complete Gus Wildi Recordings Label: Lone Hill Year:1955-56 Release: 2005 Format, bitrate: MP3, 320 kb/s Time: 78:25 Size: 139MB
The complete 1955 Bethlehem album Songs From The Heart and the complete 1956 Bethlehem album All Of Me on one CD . Contains 25 tracks including an alternate version of Hartman's definitive interpretation of 'I See Your Face' as a bonus track. 20-bit remastered.
Artist: Peggy Lee Album: The Best of Peggy Lee: The Blues & Jazz Sessions Label: Capitol Records Years: 1948 -1976, release: 1997 Quality: MP3@320 kbps Size: 99,4 mb (sharebee) Total time: 45:21 AMG Rating
Guest Artists: Benny Goodman; Quincy Jones; Benny Carter; Toots Thielemans; Billy May; Hubert Laws; George Shearing; Red Norvo
The Best of Peggy Lee: The Blues & Jazz Sessions is an 18-track collection that culls the highlights from Lee's 30-year tenure at Capitol Records. Since the compilation covers such a large time period, it's not surprising that the music doesn't all hold together it's clear when one song was recorded in the '50s and the other in the '70s. Nevertheless, the quality of the music is very strong, demonstrating that Lee was much more than a mere pop singer she was a talented blues and jazz vocalist, as well. The album contains such standards as "Why Don't You Do Right?," 'Fever," "Hallelujah, I Love Him So," "Goin' to Chicago," "The Thrill Is Gone," "Seventh Son" and "I'm Gonna Go Fishin'." ~ Stephen Thomas Erlewine, All Music Guide
Artist: Cheryl Bentyne Album: The Book of Love Label: Telrac Year: 2006 Format, bitrate: APE (image+.cue) | lossless Time: 49:16 Size: 262 Mb
On The Book of Love, Cheryl Bentyne of the Manhattan Transfer tells the story of a love affair through music. The relationship starts with discovery and infatuation, hits its high point with "You Go to My Head" and then declines and results in a breakup with "Goodbye." While her singing is excellent, the program never really catches fire, and it lacks the delirious excitement of love at its most intense. The interpretations are a bit too cool and laid-back, and these versions of such warhorses as "Blue Moon" (which has guest John Pizzarelli making it a vocal duet), "Let's Do It," "You Go to My Head" and "Cry Me a River" will not make anyone forget the more definitive recordings. The overall results are pleasant but fall far short of the ecstasy and thrills one would expect from a heated affair.~ Scott Yanow, All Music Guide
Artists: Mel Torme And George Shearing Album: An Evening With George Shearing and Mel Tormé Label: Concord Records Year: 1982, release: 1993 Format, Bitrate: Mp3 320 Kbps Time: 48:33 Size: 97,7 Mb AMG Rating
Pianist George Shearing and singer Mel Tormé would match together perfectly every time they shared the stage; the mutual respect they had for each other was as obvious as the fact that they had very complementary styles. This CD, their first joint recording, is consistently exciting. With bassist Brian Torff making the group a trio, Shearing and Tormé swing hard on such tunes as "All God's Chillun Got Rhythm," "Give Me the Simple Life," "Love," and "Lullaby of Birdland" (which starts off with Shearing singing). In addition, there are a pair of instrumentals including "Manhattan Hoedown," which is a feature for Torff. Tormé's touching rendition of "A Nightingale Sang in Berkeley Square" by itself would be enough reason to acquire this highly enjoyable set.
Artist: Claire Martin Album: A Modern Art Label: Linn Records Year: 2009 Format, bitrate: 320 kbit Time: 52:39 Size: 121 Mb
Is jazz still a modern art? It's a hundred years old, after all, and some performers and fans seem to ignore everything written after 1940. But as far as the work of Claire Martin is concerned the question has only one answer. Apart from being one of the finest singers on the current scene, Martin is constantly searching for new writers and new ways to interpret them, ensuring that her own approach to music stays resolutely in the present. A Modern Art, her thrteenth album, is an eclectic recording that showcases her talents and those of a superb collection of backing musicians—it's possibly the best album of her career to date, which is saying something. >>>
Artist:Frances Faye Album: Relaxin' With Frances Faye Label: Bethlehem Year: 1956 Format, bitrate: 320 Kpb/s Time: 31:02 Size: 68 MB
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Frances Faye (real name Frances Cohen, November 4, 1912 - November 8, 1991) was an American cabaret and show tune singer and pianist. She was born to a working-class Jewish family in Brooklyn, NY. She was a second cousin of actor Danny Kaye. Faye's showbiz career began at age 15 in nightclubs where she first became a star. She appeared in one Bing Crosby film; Double or Nothing singing After You. She wrote the song "Well All Right" recorded by the Andrews Sisters. Faye made her solo recording debut in 1936. Her act became famous for including double entendres and references to homosexuality and lesbianism.[1] Faye herself was bisexual and hinted at this frequently in her act[2]; she would often playfully alter pronouns in love songs or weave her girlfriend's name into lyrics of song. For instance, she inserted "it's a Teri, Teri day" into "The Man I Love" and on national television sang "why do all the boys treat Teri so right" in "Shimmy Like My Sister Kate." She recorded about a dozen albums for many different record companies, including Capitol Records and Imperial Records and jazz labels Verve Records and Bethlehem Records. Faye was married twice in the 1940s. In the late 1950s, a woman named Teri Shepherd became her manager and lifelong partner. Faye was arrested in 1955 on a narcotics charge in Los Angeles; police asserted that she and the three men arrested at the same time possessed marijuana. During in the 1960s, Faye suffered a number of health related problems brought on by a hip accident in 1958. She nevertheless continued to tour into the early 1980s. Peter Allen credits her as a major influence. She returned to film in 1978, playing a madam in the Louis Malle film Pretty Baby. Faye retired shortly afterward. At the time of her death in 1991, Faye was living with Teri Shepherd.
Artist: Lorraine Feather Album: Such Sweet Thunder: Music Of The Duke Ellington Orchestra Year: 2004 Label: Sanctuary Quality: mp3 CBR 320 Size: 103 MB AMG rating
It's a shame that Lorraine Feather wasn't able to contribute lyrics to the music of Duke Ellington prior to his death in 1974, as she's a natural storyteller. Ellington composed or co-wrote most of the 11 songs on this CD, though Feather chose lesser-known and especially challenging material to embellish with her gifts. She is also a superb singer who gets the most out of every track, joined by a large cast of talented musicians who sound as if they've played every chart together night after night for years. It's hard to beat her hilarious "Imaginary Guy" (based upon "Dancers in Love"), a terrific ditty about a girl so fed up with the opposite sex that she dreamed up the ideal man in her mind. The obscure bossa nova "The Ricitic," written by Ellington for his small group session with Coleman Hawkins, is transformed to the sidesplitting "Antarctica" (sample lyrics: "I cried all night/That's half a year"), a song that is guaranteed to tickle the funny bone of the sourest curmudgeon. The dark-tinged "Lovely Creatures" (based upon the second movement to "Night Creature") is not without its humorous moments ("You've got looks and bucks and yet these blues/Seem to stick to you like gum to shoes"). She wrote the words to "September Rain" (adapted from Billy Strayhorn's gorgeous ballad "Chelsea Bridge") a number of years earlier and recorded it with her group In Full Swing. This chart, with the rhythm section arranged by pianist Mike Lang and the vocal group by Morgan Ames, is every bit as lush as the original instrumental, showcasing Feather's upper range and Terry Harrington's mellow tenor sax. "The 101" is a hard-charging reworking of "Suburbanite" that tells of a dash down a highway to catch up with her lover. The finale, "Mighty Like the Blues," features words and music by the late Leonard Feather, Lorraine's father. Ellington recorded it in 1938 and again in 1960, though her version, jointly arranged by Russell Ferrante and Bill Elliott, will likely eclipse the maestro's own recordings.
Artist: Sammy Davis Jr Album: That's All! (LIVE) 2CD Label: Reprise/Rhino Year: 1966, release: 2002 Quality: MP3@320 kbps Size: 97,05+99,74 Mb (sharebee) Total time: 48:00+49:17 AMG Rating
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That's All (1967) captures the irrepressible Sammy Davis, Jr. (vocals) at the Copa Room of the Sands Hotel in Las Vegas, NV, June 1966.. This marks Davis' return to the casinos after a two-year stint in the play Golden Boy had made him a fixture on Broadway. However, it is safe to say that judging by the strength of his performance, it was just as if he had never been gone. During his absence rock & roll had taken much of the attention away from the Rat Pack-era artists, yet there is still an effervescence and enduring quality to Davis' comparatively "old school" one-man show. Under the direction of George Rhodes (conductor/piano) and joined by the Antonio Morelli Orchestra, Davis turns in exceptional readings of familiar favorites such as "The Lady Is a Tramp," "As Long as She Needs Me," "Birth of the Blues," "Where or When," and "What Kind of Fool Am I." These are offered alongside the freshly arranged and jam-packed medleys stringing together the pop standards "I've Got You Under My Skin" and "On the Road to Mandalay" with an infusion of newer selections. Among them are covers ranging from Roger Miller's "Dang Me," the scintillating "Girl From Impanena," a rousing rendition of Brother Ray Charles' "What'd I Say," and Jimmy Dean's "Big Bad John" -- the latter having actually been a part of Davis' live repertoire for several years at this point. One of the nonmusical highlights is the nearly ten-minute "Monologue" reinforcing the political incorrectness of the period and proving beyond reproach the essence of Davis' superior timing and seemingly effortless rapport with his audience. In 2001 That's All was expanded onto a double-CD set that included the previously unavailable "Rock-a-Bye Your Baby With a Dixie Melody" and the theme song to "My Mother the Car." Collectors and earnest enthusiasts should also note The Sounds of '66 (1966), a companion release with the Buddy Rich Big Band combo backing Davis during the same June of 1966 run. Either or both titles should be considered mandatory for interested parties.
Artist: Chick Webb And His Orchestra Album: The Best Of Chick Webb And His Orchestra Label: Saar/Jazz Forever Years: 1932 - 1938, release: 2001 Quality: MP3@320 kbps Size: 119 mb (sharebee) Total time: 55:27
These early jobs were secured for him through the efforts of Duke Ellington who instantly recognized Webb's talent. In 1931, Webb's band earned its fame and became the house band at the lengendary Savoy Ballroom in Harlem. He soon became one of the best-regarded bandleaders and drummers of the new "Swing" style. His theme song was Let's get Together. The Savoy often featured "Battle of the Bands" where Webb's band would compete with other top bands such as the Benny Goodman Orchestra or the Count Basie Orchestra from oppossing bands stands. The bands would fall before the awesome power of Chick Webbs's spectacular playing. His dynamic drumming and easily recognized compositions arranged by Edgar Sampson earned him and his band an enthusiastic following. Stompin' at the Savoy and Don't Be That Way were signature selections of the times. The bands popularity was unmatched throughout the country; they toured and played regularly for national radio broadcast. Webb's leading soloist were Johnny Hodges, Benny Carter, Louis Jordan, Taft Jordan and others. Webb soon married and in 1935 began featuring a teenage Ella Fitzgerald as vocalist. Webb later legally adopted her and Fitzgerald would become the bands leading attraction, sang Webb's hit recordings A-Tisket A-Tasket, 1938 and Undecided, 1939. In November of 1935, his health began to decline and from then until his death he alternated time on the bandstand with time in hospitals. After his death, Ella Fitzgerald led the Chick Webb Orchestra until it finally broke up in 1942.~ Curtis Jackson
Artist: Ella Fitzgerald Album: Greatest Hits 2CD Label: WS Release: 2008 Format,bitrate: mp3; 320 kbps Total Size: 324.37 mb
This Ella Fitzgerald collection compiles material of the great vocalist mainly from her years with Decca in the 1930s and '40s, both as a soloist in her own right and fronting the Louis Jordan band. There are early and often definitive performances of tunes now inseparably associated with her, such as "Sentimental Journey," "How High the Moon," "A-Tisket, A-Tasket," her amazing reading of "Oh Lady, Be Good!," "I’ve Got You Under My Skin," and many more. The version of "Stone Cold Dead in the Market," with its use of Cuban rhythms, is both hilarious and fingerpopping great; likewise her reading of "Cry Me A River" . Anyway you look at -- or listen to -- this 32-track set, it comes out spectacularly. Certainly there will be some quibbles from the aficionados about what could or should have been substituted for something else, but for the rest of us, those who are looking for a solid introduction to Ella Fitzgerald when she established herself as the queen of jazz singers, this set is a gem.~ All Music Guide
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