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Ibrahim Maalouf, born in Beirut and now residing in Paris, is a virtuoso of the quarter-tone trumpet, which enables him to work with the maqam, or system of melodic modes, in traditional Arabic music. He and his carefully selected powerhouse band pay tribute to one of the greatest Arabic divas of all time, Oum Kalthoum.

Of “Alf Leila wa Leila,” one of Kalthoum’s greatest hits, Maalouf explains, “This piece is one of the all-time classics that is celebrated across the Arab world, and yet it remains virtually unknown in the rest of the world. So this was an opportunity for me to present this symphonic masterpiece, which celebrates the voice of the Arab world’s most popular singer.” Maalouf is a gifted arranger full of surprises, and this is a great opportunity to experience a unique blend of jazz and Arabic musical tradition.

Tracklist:
01 – Introduction
02 – Overture I
03 – Overture II
04 – Movement I
05 – Movement II
06 – Movement III
07 – Movement IV

Musicians:
Ibrahim Maalouf – trumpet
Frank Woeste – piano
Mark Turner – saxophones
Larry Grenadier – double bass
Clarence Penn – drums

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Diana Krall – The Girl In The Other Room (2004)
DSF Stereo DSD64/2.82MHz | Time – 00:55:39 minutes | 2,20 GB | Genre: Jazz
Official Digital Download – Source: AcousticSounds | © The Verve Music Group , XUNI3821D64
Cover art included, liner notes not included

DSD file created by Gus Skinas from the original DSD audio used to create the existing SACD.

Featuring original songs co-written with Elvis Costello, plus brilliant tunes by Mose Allison, Elvis Costello, Joni Mitchell and Tom Waits.

Produced by Tommy LiPuma and Diana Krall. Recorded by Al Schmitt at Capitol Studios, Hollywood and Avatar Studios, New York. Mixed by Al Schmitt at Capitol Studios, Hollywood. Mastered by Doug Sax and Robert Hadley at The Mastering Lab, Los Angeles.

Singer/pianist Diana Krall breaks new ground interpreting modern standards by Tom Waits, Mose Allison, and Joni Mitchell, as well as compositions by herself and new husband, Elvis Costello. Krall’s piano-jazz cred comes through loudly and clearly on her Count Basie-styled version of the Bonnie Raitt staple “Love Me Like a Man” (written by folk-bluesman Chris Smither). But it’s the collaborations with her spouse that unearth untapped emotional nuances of her velvet voice; many are reminiscent of Bill Evans’s moody, impressionistic pieces. The title track, “Narrow Daylight,” “Abandoned Masquerade,” and “I’m Coming Through” all deal with love and loss. “Departure Bay,” a picturesque ode to her hometown of Nanaimo, B.C., proves that this is the start of something big, and that two heads–and hearts–are better than one.

While the jazz fascists (read: purists) may be screaming “sellout” because Diana Krall decided to record something other than standards this time out, the rest of us can enjoy the considerable fruit of her labors. The Girl in the Other Room is, without question, a jazz record in the same manner her other outings are. The fact that it isn’t made up of musty and dusty “classics” may irk the narrow-minded and reactionary, but it doesn’t change the fact that this bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs. Produced by Tommy LiPuma and Krall, the non-original material ranges from the Mississippi-fueled jazzed-up blues of Mose Allison’s “Stop This World” to contemporary songs that are reinvented in Krall’s image by Tom Waits (“Temptation”), Joni Mitchell (“Black Crow”), Chris Smither (“Love Me Like a Man”), and her husband, Elvis Costello (“Almost Blue”). These covers are striking. Krall’s read of Allison’s tune rivals his and adds an entirely different shade of meaning, as does her swinging, jazzy, R&B-infused take on Smither’s sexy nugget via its first hitmaker, Bonnie Raitt. Her interpretation of Waits’ “Temptation” is far more sultry than Holly Cole’s because Krall understands this pop song to be a jazz tune rather than a jazzy pop song. “Black Crow” exists in its own space in the terrain of the album, because Krall understands that jazz is not mere articulation but interpretation. Likewise, her reverent version of Costello’s “Almost Blue” takes it out of its original countrypolitan setting and brings it back to the blues.
As wonderful as these songs are, however, they serve a utilitarian purpose; they act as bridges to the startling, emotionally charged poetics in the material Krall has composed with Costello. Totaling half the album, this material is full of grief, darkness, and a tentative re-emergence from the shadows. It begins in the noir-ish melancholy of the title track, kissed with bittersweet agony by Gershwin’s “Summertime.” The grain in Krall’s pained voice relates an edgy third-person tale that is harrowing in its lack of revelation and in the way it confounds the listener; it features John Clayton on bass and Jeff Hamilton on drums. In “I’ve Changed My Address,” Krall evokes the voices of ghosts such as Louis Armstrong and Anita O’Day in a sturdy hip vernacular that channels the early beat jazz of Waits and Allison. The lyric is solid and wonderfully evocative not only of time and place, but of emotional terrain. Krall’s solo in the tune is stunning. “Narrow Daylight,” graced by gospel overtones, is a tentative step into hope with its opening line: “Narrow daylight enters the room, winter is over, summer is near.” This glimmer of hope is short-lived, however, as “Abandoned Masquerade” reveals the shattered promise in the aftermath of dying love. “I’m Coming Through” and “Departure Bay,” which close the set, are both underscored by the grief experienced at the loss of Krall’s mother. They are far from sentimental, nor are they sophomoric, but through the eloquence of Krall’s wonderfully sophisticated melodic architecture and rhythmic parlance they express the experience of longing, of death, and of acceptance. The former features a beautiful solo by guitarist Anthony Wilson and the latter, in its starkness, offers memory as reflection and instruction. This is a bold new direction by an artist who expresses great willingness to get dirt on her hands and to offer its traces and smudges as part and parcel of her own part in extending the jazz tradition, through confessional language and a wonderfully inventive application that is caressed by, not saturated in, elegant pop. –AllMusic Review by Thom Jurek

Tracklist:
1 Stop This World 3:59
2 The Girl In The Other Room 4:05
3 Temptation 4:28
4 Almost Blue 4:04
5 I’ve Changed My Address 4:47
6 Love Me Like A Man 5:49
7 I’m Pulling Through 4:03
8 Black Crow 4:48
9 Narrow Daylight 3:32
10 Abandoned Masquerade 5:11
11 I’m Coming Through 5:07
12 Departure Bay 5:40

Personnel:
Diana Krall: Vocals, Piano
Peter Erskine: drums on “Stop This World”, “Almost Blue”, and tracks 7 to 12
Jeff Hamilton: drums on “The Girl In The Other Room”, “I’ve Changed My Address”, and “Love Me Like A Man”
Terri Lyne Carrington: drums on “Temptation”
Christian McBride: Bass on “Stop This World”, “Temptation”, “Almost Blue”, and tracks 7 to 12
John Clayton: Bass on “The Girl In The Other Room”, “I’ve Changed My Address”, and “Love Me Like A Man”
Neil Larsen: Hammond B-3 on “Temptation”
Anthony Wilson: Guitar

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Diana Krall – The Look Of Love (2001/2002)
DSF Stereo DSD64/2.82MHz | Time – 00:50:30 minutes | 2,0 GB | Genre: Jazz
Official Digital Download – Source: AcousticSounds | © The Verve Music Group , XUNI3869D64
Cover art included, liner notes not included

DSD file created by Gus Skinas from the original DSD audio used to create the existing SACD.

From the luxurious opening chords of the first track, even before Diana Krall has sung a single beautiful note, her new Verve release — The Look Of Love — has us hooked. After winning a Best Jazz Vocal Performance Grammy for 1999’s platinum-selling When I Look In Your Eyes, Diana Krall delivers her best album yet — a lush, cinematic collection of ballads and bossa nova tunes. The Look Of Love brings to mind such classic Frank Sinatra albums as and Only The Lonely. But the elegant piano solos, the sensual vocals and the wickedly-modern sense of humor are, inimitably, all Krall.

2001 Grammy Award winner for Best Engineered Album Non-Classical, Diana Krall’s The Look of Love – produced by Verve Music Group Chairman Tommy LiPuma – is a lush, cinematic collection of ten ballads and bossa nova tunes featuring the London Symphony Orchestra as arranged and conducted by the legendary Claus Ogerman.

Krall’s longstanding relationship with LiPuma (Barbra Streisand, Natalie Cole) shines through here as he wonderfully showcases her mastery as a vocalist and pianist like no other. From the smoky rendition of “Cry Me A River,” to the heartbreaking tenderness of “I Get Along Without You Very Well,” to the Spanish language classic “Besame Mucho,” not to mention a sultry rendition of the title track, The Look of Love is the album that Diana Krall dreamt about making and one her fans longed for and have since adored.
Diana Krall has a good voice and plays decent piano, but this somewhat ridiculously packaged Verve CD seems like an obvious attempt to turn her into a pop icon, and sex symbol to boot. The bland arrangements by Claus Ogerman (who conducts the London Symphony Orchestra or the Los Angeles Session Orchestra on each track) border on easy listening, while Krall and her various supporting musicians, including John Pisano, Russell Malone, Christian McBride, and Peter Erskine (among others), clearly seem stifled by their respective roles. There are plenty of strong compositions here, including standards like “I Remember You,” “The Night We Called It a Day,” and “I Get Along Without You Very Well,” but the unimaginative and often syrupy charts take their toll on the performances. What is even sillier is the label’s insistence on attempting to photograph the artist in various sultry poses, which she evidently wants to discourage by refusing to provide much of a smile (the rumor is that she’s not happy with this part of the business at all). If you are looking for unchallenging background music, this will fit the bill, but jazz fans are advised to check out Krall’s earlier releases instead. –AllMusic Review by Ken Dryden

Tracklist:
1 ‘S Wonderful 4:28
2 Love Letters 4:55
3 I Remember You 3:55
4 Cry Me A River 5:03
5 Besame Mucho 6:40
6 Night We Called It A Day 5:41
7 Dancing In The Dark 5:48
8 I Get Along Without You Very Well 3:44
9 The Look Of Love 4:42
10 Maybe You’ll Be There 5:30

Personnel:
Diana Krall – piano, vocals (all tracks)
Dori Caymmi – guitar (track 1)
Romero Lubambo – guitar (tracks 7 & 9)
Russell Malone – guitar (tracks 2, 4, 6, 8, & 10)
John Pisano – guitar (tracks 3 & 5)
Luis Conte – percussion (tracks 7 & 9)
Paulinho Da Costa – percussion (tracks 1, 3, & 5)
Peter Erskine – drums (tracks 2, 4, 6, 7, 8, & 9)
Jeff Hamilton – drums (tracks 1, 3, & 5)
Christian McBride – double bass (all tracks)
London Symphony Orchestra (tracks 2, 4, 6, 7, 8, 9, & 10)
Los Angeles session orchestra (tracks 1, 3, & 5)
Claus Ogerman – orchestra conductor, arranger

Download:

Diana Krall – When I Look In Your Eyes (1999/2002)
DSF Stereo DSD64/2.82MHz | Time – 00:54:28 minutes | 2,15 GB | Genre: Jazz
Official Digital Download – Source: AcousticSounds | © The Verve Music Group , XUNI5221D64
Cover art included, liner notes not included

DSD file created by Gus Skinas from the original DSD audio used to create the existing SACD.

From the moment you hear pianist-vocalist Diana Krall perform, amazing things take place. Her extraordinary ability to communicate the art of song with her delicate phrasing, dynamic vocal range and sensitive lyric interpretation creates an entrancing mood. Diana’s gift is her ability to capture the moment, the essence of the story — “the goosebump factor,” as described by Grammy-winning producer Tommy LiPuma. On her Verve debut, When I Look In Your Eyes, Diana’s artistic voice expands beyond the standard piano-trio setting of her previous releases, and on several selections is backed by the graceful talents of composer/arranger Johnny Mandel.

With this CD, the young Canadian singer/pianist/arranger joins forces with producer Tommy LiPuma, who places his orchestral stamp on eight of the 13 tracks. It is the latest attempt to push Krall to an even wider pop/smooth jazz audience than she already enjoys. After all, Nat Cole, Wes Montgomery, and George Benson, among others, went this route. Wonder if she’d agree the cuts sans strings were more fun and challenging? Krall does get to it with central help from bassists John Clayton and Ben Wolfe, drummers Jeff Hamilton and Lewis Nash, and guitarist Russell Malone, all stellar players. Krall’s voice is sweet and sexy. She’s also flexible within her range and at times a bit kitschy, mostly the hopeless romantic. On this CD of love songs, it’s clear she’s cool but very much in love with this music. Bob Dorough’s “Devil May Care” and the insistent “Best Thing for You” really click. Favorites are a decent Shearing-esque “Let’s Fall in Love” with vibist Larry Bunker; a suave slow bossa on the opening number, “Let’s Face the Music”; the lusher-than-lush title track; and especially an incredible horn-fired fanfare intro/outro on the hip “Pick Yourself Up.” Some might call this fluff or mush, but it depends solely on your personal taste. This will certainly appeal to Krall’s fans, lovers, and lovers at heart. –AllMusic Review by Michael G. Nastos

Tracklist:
1 Let’s Face The Music And Dance 5:18
2 Devil May Care 3:20
3 Let’s Fall In Love 4:19
4 When I Look In Your Eyes 4:31
5 Popsicle Toes 4:28
6 I’ve Got You Under My Skin 6:10
7 I Can’t Give You Anything But Love 2:32
8 I’ll String Along With You 4:45
9 East Of The Sun (West Of The Moon) 4:57
10 Pick Yourself Up 3:02
11 The Best Thing For You 2:37
12 Do It Again 4:35
13 Why Should I Care? 3:44

Personnel:
Diana Krall – piano, vocals
Chuck Berghofer – bass
Alan Broadbent – piano
Larry Bunker – vibraphone
Pete Christlieb – saxophone
John Clayton – bass
Jeff Hamilton – drums
Eddie Karam – conductor
Russell Malone – guitar
Johnny Mandel – conductor
Lewis Nash – drums
Ben Wolfe – bass

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Earl Hines – Up To Date With Earl Hines (1965/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 00:38:26 minutes | 681 MB | Genre: Jazz
Official Digital Download – Source: Qobuz | @ RCA Victor – Legacy
Recorded: 1964, RCA Victor Studios, New York

Louis Armstrong’s counterpart at the piano was Earl Hines (1903), one of the few early heroes of jazz who was not born in Louisiana (he was born in Pennsylvania and in 1924 moved to Chicago). His technique augmented delicate virtuoso Armstrong-style moves with a rhythmic exuberance that set him apart from the tradition of Jelly Roll Morton. He was basically trying to play the piano like a trumpet or even a trombone.

Earl Kenneth Hines, universally known as Earl “Fatha” Hines (December 28, 1903 – April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one major source, is “one of a small number of pianists whose playing shaped the history of jazz”.

Trumpeter Dizzy Gillespie, a member of the Earl Hines big-band along with Charlie Parker, wrote, “The piano is the basis of modern harmony. This little guy came out of Chicago, Earl Hines. He changed the style of the piano. You can find the roots of Bud Powell, Herbie Hancock, all the guys who came after that. If it hadn’t been for Earl Hines blazing the path for the next generation to come, it’s no telling where or how they would be playing now. There were individual variations but the style of … the modern piano came from Earl Hines.”

Pianist Lennie Tristano said, “Earl Hines is the only one of us capable of creating real jazz and real swing when playing all alone.” Horace Silver said, “He has a completely unique style. No one can get that sound, no other pianist”. Erroll Garner said, “When you talk about greatness, you talk about Art Tatum and Earl Hines”. Count Basie said that Hines was, “The greatest piano player in the world”.

Tracklist:
1. Linger Awhile 02:07
2. Wrap Your Troubles In Dreams 02:20
3. It’s a Pity to Say Goodnight 02:45
4. I’ve Got the World On a String 03:23
5. Sunday 02:01
6. It Had to Be You 06:52
7. A Cottage for Sale 03:22
8. Father’s Freeway 02:52
9. The Man with the Horn 03:38
10. But Not for Me 02:22
11. Everything Depends On You 02:15
12. The Hour of Parting 03:52

Personnel:
Earl Hines, piano
Budd Johnson, tenor saxophone
Ray Nance, violin, cornet
Aaron Bell, bass
Jimmy Crawford, drums

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A Twist of Rit is Lee Ritenour’s new 2015 Concord Records release. A star-studded band performs a number of new compositions combining with fresh, “twisted” versions of some of his earliest funky, fusion material from the 70s and early 80s. Combining some of the hottest rhythm players out there, including Ron Bruner Jr., Chris Coleman, Dave Weckl, Melvin Davis, Paulinho Da Costa, Michael Thompson, John Beasley, Patrice Rushen, and Dave Grusin with a five piece Horn Section and Ernie Watts on tenor sax, A Twist of Rit will make for one of his most special releases to date.

It features Lee’s soaring guitar lines with 12 of his compositions ranging from the funky fusion and sophisticated jazz that Lee has become so well known for. All of the sessions were captured by his long time Grammy award-winning engineer Don Murray and the tracks were recorded with everyone performing together, old-school, but with the state-of-the-art recording techniques of 2015. Also included in this record, will be the debut of guitarist, Tony Pusztai, from Hungary, who was the grand prize winner in Lee Ritenour’s 2014 “Six String Theory Competition” He was selected from over 500 entries and 72 participating countries.

Recorded at Sunset Sound and United Recording Studio.

Tracklist:
1. Wild Rice 05:32
2. Fatback 05:52
3. Ooh Yeah 05:01
4. W.O.R.K.n’ IT (Weckl, Ozone, Ritenour, Kennedy) 07:51
5. A Little Bit Of This And A Little Bit Of That 05:37
6. Pearl 04:50
7. Twist Of Rit 05:38
8. Countdown 04:51
9. Soaring 08:11
10. Sweet Syncopation 05:28
11. Bullet Train 06:36
12. Waltz For Carmen 05:00

Personnel:
Lee Ritenour – Gibson L5, Les Paul guitars
Michael Thompson – rhythm guitar
David T. Walker, Wah Wah Watson – guitar
John Beasley – piano, synthesizers, clavinet, wurlitzer electric piano, Fender Rhodes electric piano
Dave Grusin – acoustic piano, Hammond B3 organ, mini moog, clavinet, Fender Rhodes, synth, vibes
Patrice Rushen – Fender Rhodes electric piano, clavinet
Makoto Ozone – acoustic piano, Hammond B3 organ
Melvin Lee Davis – electric bass
Tom Kennedy – acoustic bass
Dave Weckl – drums, hand drums
Christopher Coleman, Ron Bruner Jr. – drums
Paulinho da Costa – percussion
Ernie Watts – tenor saxophone
Bob Sheppard – flute, baritone saxophone
Rashawn Ross – flugelhorn, trumpet
Wendell Kelly – trombone
Tom Luer – tenor saxophone
Adam Schroeder – baritone saxophone
Tony Pusztai – classical guitar

Production:
Producers: Lee Ritenour and John Beasley
Recording and mixing engineer: Don Murray
Mastering engineer: Paul Blakemore

Download:

http://www.datafile.com/d/TVRjd09EVTBPREUF9/L33Rit3nourATwistOfRit20159624.part1.rar
http://www.datafile.com/d/TVRjd09EVTBPRFEF9/L33Rit3nourATwistOfRit20159624.part2.rar
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An ECM debut from Masabumi Kikuchi and a last session from the great Paul Motian. Motian and Kikuchi were friends for many years and Paul understood the idiosyncracies and the wayward charm of the Japanese pianist’s highly personal style perhaps better than anyone. The trio – completed by Zen bassist Thomas Morgan – makes new art out of the interactive free rubato ballad. A strangely beautiful album.

Though he is hardly a household name, Japanese pianist Masabumi “Poo” Kikuchi has played, recorded, and toured with dozens of musicians since his career began in the early 1960s. He is well-known to ardent jazz fans as a member of Tethered Moon, the decades-old trio that featured him alongside the late drummer Paul Motian and double bassist Gary Peacock, and Motian’s Trio 2000. Kikuchi is rightly regarded as a unique and even iconoclastic stylist. Sunrise is his ECM debut. It’s also the last studio session Motian played on. It’s a collectively improvised trio album recorded in 2009 with Motian and double bassist Thomas Morgan. Most of these ten tunes are mid-length, four, to just-under-seven minutes, with one over and one brief interlude at two. This is a quietly astonishing recording, because it is, essentially, a freely improvised rubato suite based on the ballad — pillared at beginning, middle, and end (with selections that have the word “Ballad” in their titles). It showcases an approach to the form that is mysterious, intuitive, and purposely unsystematic. Key changes and slight tempo variations occur suddenly, and then vanish as if their appeal has been exhausted, only to return at a later time — or not. Kikuchi’s touch reveals no hesitation in his ideas. His harmonic statements are instinctive, canny, sometimes spare, sometimes subtly dissonant, but always compelling; they never force their way. Motian’s unshakeable and melodic sense of time is present at each moment, seemingly anticipating the many shifts, and Morgan’s bass playing shimmers rather than pulses. It asserts pointillist moments in shapes and shades in accordance with the pianist’s impeccable sense of direction and his centering presence. Singling out an individual tune is futile since all of this music is of a piece, full of subtlety and elegance, but nearly radical in its lyric invention and rhythmic flow. Sunrise is, like its title, a gradually unfolding, poetic stunner. –AllMusic Review by Thom Jurek

Tracklist:
1. Ballad 1 5:38
2. New Day 4:48
3. Short Stuff 2:11
4. So What Variations 5:32
5. Ballad 2 7:16
6. Sunrise 5:52
7. Sticks and Cymbals 6:18
8. End of Day 4:50
9. Uptempo 4:11
10. Last Ballad 5:20

Personnel:
Masabumi Kikuchi: piano
Thomas Morgan: double-bass
Paul Motian: drums

Download:

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Serge Adam, Benoit Delbecq, Philippe Foch – Les amants de Juliette s’electrolysent (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 00:37:26 minutes | 450 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | @ Quoi de neuf docteur

Depuis l’automne 1993, LES AMANTS DE JULIETTE pratiquent une musique dont l’essence est née du désir de tourner les oreilles vers les cultures traditionnelles lointaines. La trompette, omniprésente dans l’histoire du Jazz, tient seule ici le rôle du chant. Les tablas évoquent l’Inde et ses traditions musicales millénaires. Les percussions n’ont plus d’âge. Le piano préparé avec des résonateurs évoque la richesse des mélodies de timbres de l’Indonésie, mais aussi la polyrythmie propre au continent africain. LES AMANTS DE JULIETTE ont choisi d’entreprendre un voyage musical hors du commun. Aujourd’hui, les outils numériques rendent possible une proposition de matière nouvelle, traitée en temps réel, qui va nourrir le jeu collectif. Ici, pas de boucles ni de séquences préenregistrées, chaque musicien développe sa propre syntaxe au sein de l’improvisation collective. Guidés par la recherche des confrontations de timbres, modes de jeu, phrasés, par les rapports et traitements possibles des sources acoustiques et électroniques, ils créent sur la trame de l’oeuvre écrite un temps singulier, une proposition d’un nouvel univers et une invitation à la transe. Après une première expérimentation à la Parenthèse et à l’Alizé à Avignon en 2006 et 2008, nouvelle création le 30 Août 2014 au Festival Jazz Métis à Montreuil.

Tracklist:
1 Maps 07:56
2 Djengo 06:19
3 Ashan 05:23
4 Naoto 06:14
5 Family Trees 06:05
6 La disparition du sable 05:29

Personnel:
Serge Adam, trompette
Benoît Delbecq, piano préparé
Philippe Foch, tablas, percussions

Download:

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Sylvain Rifflet – Mechanics (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 00:47:01 minutes | 495 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: highresaudio.com | @ Jazz Village

French saxophonist and composer Sylvain Rifflet has his finger firmly set on the pulse of modern times. Working with his group Alphabet, he has masterminded an innovative and spell-binding brand of music in which the modernity of his jazz sound combines with the world of New York minimalism. Poets and writers of the late nineteenth century and early twentieth century often described the then-nascent ”industrial world” and its machines as ”enemies of art.” However some did not see progress as dehumanizing. Science fiction imagined a futuristic world, which inspired artists and writers such as Jules Verne and HG Wells. Rifflet’s album Mechanics, with a cover illustration by Belgian comic book artist Francois Schuiten, journeys through forward looking and fantastical worlds.

Tracklist:
1. 2 West 46th Street 03:39
2. Glassicism 06:25
3. From C 06:58
4. Mechanics 03:40
5. Fantoms 04:12
6. Origamis 03:52
7. Double 02:27
8. Enough Fucking Guitar 02:30
9. Elf Dance 02:14
10. La Pastorale 05:50
11. Tout Dit 02:36
12. Improvisation # 1 02:32

Personnel:
Sylvain Rifflet, tenor saxophone, clarinet, homemade music-box
Benjamin Flament, percussion, treated metals
Philippe Gordiani, guitars
Jocelyn Mienniel, flute, kalimba

Download:

http://www.datafile.com/d/TVRjeE56QXpOalUF9/SylvainRiffl3tM3chanics20154824.rar
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http://rapidgator.net/file/f348fdfb6fba8110ea06c07b24baa678/SylvainRiffl3tM3chanics20154824.rar.html

Tania Giannouli Ensemble – transcendence (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 51:29 minutes | 990 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: rattlerecords.net | @ Rattle Records

Greek pianist and composer Tania Giannouli follows her Rattle debut, Forest Stories (2012), with a very different recording from the newly formed Tania Giannouli Ensemble. With influences as diverse as Greek folk music, contemporary classical, modern jazz, world music and European avant-garde, Transcendence is an intoxicating, musically literate tour-de-force. These richly textured, beautifully balanced compositions are performed with great rigour, lyricism and passion, but above all they are strikingly honest and direct.

“Neither ‘landscape’ nor ‘new age’ music (and if we suppose this album to be ‘light jazz’ we are very wrong), Transcendence is in fact a metaphor. Composer Tania Giannouli has responded to the plight or her noble country through music. As reflected in the undulating waves in the video for ‘The Sea’, Giannouli’s music offers a powerful allegory that not only speaks to the lesson of civic stature Greece gifted to the world, but also of the excesses of power shown by Europe, which, in its shameless arrogance, would prepare yet another note of debt to be sent to Athens –– even as the sound of this music rings in their ears! One can hear a breeze blowing in Transcendence that has all but eradicated ‘civility’ from European dictionaries.” –Ricardo Salo

Tracklist:
1 The Weeping Willow 4:16
2 The Sea 7:27
3 Sun Dance5:31
4 The Time Will Come 3:10
5 Faster Than Wear 3:40
6 From Foreign Lands 6:32
7 Obsession 5:34
8 Mad World 8:05
9 Untold 4:57

Personnel:
Tania Giannouli, piano
Alexandros Botinis, cello
Guido de Flaviis, saxophones
Solis Barki, percussion, idiophones
and guest musician Giannis Notaras, drums

Download:

http://www.datafile.com/d/TVRjeE56QXpPRE0F9/TaniaGiannouli3ns3mbl3transc3nd3nc320159624.part1.rar
http://www.datafile.com/d/TVRjeE56QXpOelUF9/TaniaGiannouli3ns3mbl3transc3nd3nc320159624.part2.rar
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http://rapidgator.net/file/e5f819c18597499dbcfa05552b423360/TaniaGiannouli3ns3mbl3transc3nd3nc320159624.part2.rar.html

Yaron Herman – Everyday (2015)
FLAC (tracks) 24 bit/48kHz | Time – 45:23 minutes | 485 MB | Genre: Jazz
Official Digital Download – Source: Unknown | @ Blue Note Records/Decca

Everyday marquera assurément une étape dans la carrière du musicien. Septième album de sa discographie, il représente à la fois l’aboutissement d’un imposant parcours et le début d’une nouvelle direction. Yaron Herman frappe d’autant plus fort avec Everyday, qu’il l’a entièrement conçu en cheville avec son nouvel exceptionnel, le batteur Ziv Ravitz.
Everyday marque l’avènement d’un pianiste que l’on savait audacieux et puissant. Il concrétise avec brio et inventivité un monde de musique fait de surprises et d’aventures. La plus inattendue de toutes est peut-être la sublime chanson Volcano réalisée avec Valgeir Sigurdsson (producteur de Björk) autour de la voix troublante de l’Islandais Helgi Jonsson qui révèle un nouvel aspect du talent de Yaron Herman.
Capable de dégager une énergie furieuse comme de laisser s’exprimer une sensibilité d’une infinie délicatesse, ce dernier déploie un éventail stylistique dans lequel on pourrait bien voir un exemple décoiffant de ce qu’est le jazz au XXIe siècle : « S’il y a une chose que je tiens à préserver, conclut-il, c’est l’essence de cette musique, qui repose avant tout sur la spontanéité, la liberté, la possibilité de prendre des risques et d’essayer. Il ne faut jamais oublier la joie que nous avons de faire une telle musique… » Ni celle que nous avons à l’écouter !

Yaron Herman, the young Paris-based Israeli pianist, has often been a covers specialist so far (Björk, Britney Spears, Leonard Cohen, Scriabin …), but his virtuosic Blue Note debut is mostly original and developed in the studio through improvisations with only one imaginative partner – fellow Israeli and sometime Lee Konitz drummer Ziv Ravitz.
The result is a fast-moving slideshow of contemporary styles. The solo opener, Fast Life, applies classical polish to a dancing vivacity reminiscent of Chick Corea, but the funkier Vista balances Robert Glasper-like caressing of an anthemic melody against rugged drumming, and a distant vocal chant that sounds like the bowing of a ghost-bassist. The robotic Nettish is powered by Herman’s fiercely metronomic left hand, Open Hands and Scriabin’s Prelude No 4 Opus 74 cherish minimal-volume nuances, Volcano (produced by Björk’s Valgeir Sigurðsson and featuring Icelandic singer Helgi Jónsson) sounds like Radiohead, and Children Don’t Always Play Fair is a storm of throbbing left-hand vamps, galloping drums, eerie xylophone pings and children’s voices. Everyday feels like Yaron Herman’s coming-of-age on record. –The Guardian

Tracklist:
1. Fast Life 04:56
2. Vista 04:16
3. Points Of You 03:33
4. Nettish 03:19
5. With Open Hands 01:20
6. Everyday 04:04
7. Five Trees 05:34
8. Volcano 03:25
9. Prelude No4 Opus 74 01:49
10. Children Don’t Always Play Fair 01:40
11. Retrograde 02:59
12. City Lights 03:26
13. 18:26 05:02

Personnel:
Yaron Herman – piano and vocals on “18:26”
Ziv Ravitz – drums/percussions and vocals on “Vista”
Jean-pierre Taieb – extra vocals on “18:26”
Helgi Jonsson – vocals on “Volcano”

Download:

http://www.datafile.com/d/TVRjeE56QTFNelEF9/YaronH3rman3v3ryday20154824.rar
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http://rapidgator.net/file/cef1b4c6c708ac19cdbea6c93f73d1df/YaronH3rman3v3ryday20154824.rar.html

Anthony Wilson Nonet – Power Of Nine (2006)
DSF Stereo DSD64/2.82MHz | Time – 01:10:54 minutes | 2,8 + 2,52 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Groove Note Records
Recorded by Michael C. Ross at Sunset Sound, Hollywood CA, on January 16-18, 2006

Cover art and liner notes included

DSD file created by Gus Skinas from the SACD cutting master.
A new album by Anthony Wilson featuring the super-talented and top selling jazz vocalist Diana Krall with whom Anthony has been recording and touring for the last three to four years. Krall appears on the track “Looking Back” on vocals. The material includes a mix of Wilson originals and some jazz standards. The album is produced by Joe Harley and recorded by Michael Ross in Studio 2 of Sunset Sound in Hollywood (the quite legendary recording studio for Led Zeppelin 2 and 4 and almost every Doors album, Janis Joplin’s Pearl, and more).

Anthony Wilson is a superior straight-ahead guitarist who is also a very talented arranger-composer. His nonet plays in the Los Angeles area, performing his arrangements and mostly Wilson’s compositions. Filled with some of Southern California’s best and most versatile musicians, the Anthony Wilson Nonet interprets his colorful and atmospheric charts flawlessly. On Power of Nine there is a four-part suite (“Quadra”) which has guest mandolinist Eva Scow interacting with Wilson’s guitar on two of the sections. That moody work, dedicated to Brazil, has its intriguing moments but some of the other individual pieces are actually the high points. An infectious version of Duke Pearson’s “Make It Good,” Diana Krall’s guest vocal on a nostalgic waltz by Jimmy Rowles (“Looking Back”), a stirring tenor solo by Matt Otto on “Amalgamation,” the jubilant “Melatonin Dream” and the gradual building up of passion on “Hymn” are memorable. In addition there is a “hidden” twelfth selection, a Monk-ish “Bird in a Basket” which has an intense baritone solo by Adam Schroeder. Other solo stars along the way include trumpeter Gilbert Castellanos, and pianist Donald Vega. Recommended. –AllMusic Review by Scott Yanow

Tracklist:
1 Make It Good 6:15
2 I And Thou (From Tokyo Wednesday) 5:33
3 Looking Back 6:35
4 Quadra 1 (Ano Novo) 1:21
5 Quadra 2 (Vila Madalena) 3:31
6 Quadra 3 (Coisinha) 7:07
7 Quadra 4 (Javalí Witness) 4:33
8 Amalgamation 6:08
9 Melatonin Dream (From Tokyo Wednesday) 9:32
10 Hymn 7:13
11 Power Of Nine 5:22
12 Bird In A Basket 5:01

Personnel:
Anthony Wilson: guitar
Diana Krall: vocal on “Looking Back”
Eva Scow: mandolin on Quadra 3 (Vila Madalena) and Quadra 4 (Javalí Witness)
Adam Schroeder: baritone sax
Alan Ferber: trombone
Mark Ferber: drums
Matt Otto: tenor sax
Matt Zebley: alto and soprano sax
Gilbert Castellanos: trumpet
Donald Vega: piano
Darek “Oles” Oleszkiewicz: bass

DSF DSD64

FLAC 24-192

Anthony Wilson Trio – Jack of Hearts (2009)
DSF Stereo DSD64/2.82MHz | Time – 55:08 minutes | 2,2 + 2,02 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Groove Note Records
Recorded at OceanWay Studio A, Hollywood CA, January 27 & 28, 2009

Cover art and liner notes included

DSD file created by Gus Skinas from the SACD cutting master.
Recorded direct-to-2-track pure analog at Oceanway Studio A in Hollywood.

A possible breakout album for Anthony Wilson, this organ trio with the superb Larry Goldings on B3 features two of the finest drummers working today – half the tunes are with the swinging Jeff Hamilton on drums and the rest session drummer par excellence Jim Keltner who lays down some truly great percussion. Aside from Wilson’s exploration of Latin, south of the border influences, the recording features unique performances of music by Ellington, Hawkins, Jerry Goldsmith and Van Dyke Parks.

The recording took place in Oceanway Studio A on an ATR100 with a new Flux Magnetics Headstack, direct to 2-track. The company work their way through a mix of standards from Ellington and others including a superb 8-minute version of the “Love Theme” from Jerry Goldsmith’s brilliant soundtrack to the film “Chinatown” and a handful of original tunes.

Jack of Hearts isn’t the first Anthony Wilson album to feature an organist extensively; for example, he worked with the Los Angeles-based organist Joe Bagg on his 2005 release Savivity. But the guitarist has worked with acoustic pianists more often than organists (at least as of 2009), and Jack of Hearts is unusual in that it finds Wilson not using a pianist at all. On this early 2009 session, Wilson forms an intimate trio with Larry Goldings on organ and Jeff Hamilton or Jim Keltner on drums. In the ’90s and 2000s, Goldings was one of the leading proponents of a post-Jimmy Smith aesthetic on the Hammond B-3. Goldings has been greatly influenced by the late Larry Young, who started out as a Smith disciple but evolved into an innovative, distinctive post-bop/modal player and went down in history as “The John Coltrane of the Organ.” Of course, Goldings is not a clone of Young; he is most certainly his own person, but he shares Young’s love of post-bop. So it isn’t surprising that Goldings does a lot to shape the post-bop perspective that dominates Jack of Hearts. His presence is a major plus on material that was composed by Goldings and/or Wilson, and it is a major plus on memorable arrangements of Coleman Hawkins’ “Hawkeyes” and two of Duke Ellington’s lesser-known pieces (“Zweet Zursday” and “Carnegie Blues”). The fact that neither of those Ellington tunes is a standard speaks well of Wilson, who is smart enough to realize that one of the joys of the vast Ellington songbook is hearing all of the worthwhile Ellington compositions that didn’t become standards. Jack of Hearts is a consistently engaging addition to Wilson’s catalog. —AllMusic Review by Alex Henderson

Tracklist:
1 Mezcal 3:45
2 Jack Of Hearts 5:49
3 Hawk Eyes 5:45
4 Carnegie Blues 7:46
5 Theme From “Chinatown” 8:13
6 Vida Perdida Acabou 4:25
7 Orange Crate Art 4:59
8 Harajuku 4:13
9 Zweet Zursday 7:37
10 Homecoming 5:49

Personnel:
Anthony Wilson: guitar
Larry Goldings: hammond B-3 organ, celeste
Jeff Hamilton: drums on tracks 2, 3, 4, 9
Jim Keltner: drums on tracks 1, 5, 6, 7, 8, 10

DSF DSD64/2.82MHz

FLAC 24-192

Anthony Wilson Trio – Our Gang (2001)
DSF Stereo DSD64/2.82MHz | Time – 59:13 minutes | 2,3 + 2,13 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Groove Note Records
Recorded by Michael C. Ross at Cello Studios, Hollywood, CA December 7 & 8, 2000

Cover art and liner notes included

DSD file created by Gus Skinas from the SACD cutting master.
“…on a sonic level with xrcds.” — John Sunier, Audiophile Audition

The Anthony Wilson Trio recorded this magnificent jazz guitar session featuring guitar, Hammond B-3 organ and drums. Wilson, the talented Grammy-nominated jazz guitarist and key player in the Diana Krall Quartet covers classics such as Kenny Burrell’s “Chitlins Con Carne” as well as some original compositions (Road Trip) through to an unforgettable instrumental cover version of The Beatles’ “I Want You (She’s So Heavy)” from Abbey Road as well as superb performances of “Prelude To A Kiss” (Billy Stayhorn).

Most of Anthony Wilson’s recordings to date tend to put the focus on his writing, so this workout by the guitarist in a trio is a welcome change of pace. Wilson has a melodic and boppish style with an attractive tone. He interacts with two fellow citizens of Los Angeles: organist Joe Bagg and drummer Mark Feber. Wilson contributes three originals and also plays songs by Bagg, Kenny Burrell, the Beatles, Frank Loesser, and Duke Ellington (“Prelude to a Kiss”). Overall this is a fine straight-ahead jazz date by an underrated but talented guitarist. –AllMusic Review by Scott Yanow

Tracklist:

1. Our Gang 8:38
2. Chitlins Con Carne 7:23
3. Britta’s Blues 7:24
4. Time Flies 7:46
5. Road Trip 4:56
6. Luck Be A Lady 5:52
7. I Want You (She’s So Heavy) 9:44
8. Prelude To A Kiss 6:59

Personnel:
Anthony Wilson: guitar
Joe Bagg: Hammond B-3
Mark Ferber: drums

DSF DSD64/2.82MHz

http://www.datafile.com/d/TVRjeU1qZzJNalEF9/AnthonyWilsonTrioOurGang2001DSD64.part1.rar
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FLAC 24-192

Anthony Wilson Trio – Savivity (2005)
DSF Stereo DSD64/2.82MHz | Time – 54:29 minutes | 2,1 + 2,02 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Groove Note Records
Recorded by Michael C. Ross at Cello Studios, Hollywood, CA

Cover art and liner notes included

DSD file created by Gus Skinas from the SACD cutting master.
Following up on his previous recording Our Gang, Groove Note is proud to announce the release of Anthony Wilson’sSavivity. This album features a similar mix of originals and covers and with performances that cover the bluesy up-tempo groove of “Fleur D’Ennui” through the introspection of “God Bless The Child.” Since the release of Our Gang in 2001, Anthony has been working almost non-stop as the featured guitarist with Diana Krall’s Quartet.

Guitarist Anthony Wilson is a particularly talented arranger-composer. He is usually heard with larger groups, so this trio outing gives listeners a rare opportunity to hear him stretch out as an improviser. The music mostly falls between hard bop and soul-jazz and tends to be laid-back and relaxed, even the rapid rendition of “All the Things You Are.” The fine Los Angeles organist Joe Bagg works well with Wilson, while drummer Mark Ferber adds subtlety and swing. But the guitarist, who contributed four of the eight selections, is the main star and his soft tone and quietly inventive ideas make this set worth listening to closely. –AllMusic Review by Scott Yanow

Tracklist:
1 Fleur D’ennui 6:33
2 All The Things You Are 6:36
3 The Other Shore 5:25
4 Jackson 9:12
5 You’re The Top 6:12
6 Savivity 6:19
7 Sea Blues 6:36
8 A Child Is Born 7:06

Personnel:
Anthony Wilson: guitar
Joe Bagg: Hammond B-3
Mark Ferber: drums

DSF DSD64/2.82MHz

FLAC 24-192

http://www.datafile.com/d/TVRjeU1qZzJNelEF9/AnthonyWilsonTrioSavivity200519224.part1.rar
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Eden Atwood – This Is Always: The Ballad Session (2004)
DSF Stereo DSD64/2.82MHz | Time – 00:55:03 minutes | 2,17 + 0,97 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Groove Note Records
Recorded by Michael C. Ross at Castleoaks in Calabasas, CA

Jazz and cabaret singer Eden Atwood returns to the Great American Songbook with a splendid collection of romantic ballads and other standards. Pianist Bill Cunliffe contributes the arrangements and leads the backing ensembleÂ of Tom Harrell on flugelhorn and trumpet, Darek Oleskiewciz on bass and Larance Marable on drums.

Eden Atwood exhibits a confidence that few jazz vocalists of her generation seem to have in standards. While others seem to be opting for lightweight rock hits from the 1970s and 1980s, Atwood is able to find new approaches to old chestnuts that seem to be overlooked in the early 21st century. She shines in pianist Bill Cunliffe’s loping arrangement of “Without a Song.” Atwood restores the frequently omitted verse to “This Is Always,” then steps back to feature Tom Harrell’s brilliant, fragile trumpet, while conveying the lyrics with a sincerity that few singers seem able to convey. “Blame It on My Youth” is a powerful performance. She sings the verse unaccompanied, with bassist Darek Oleszkiewicz joining her afterward as her sole backing, then Harrell’s emotional trumpet takes her place to wrap it. Cunliffe’s piano playing in “Deep Purple” is a throwback to an earlier era, as Atwood captures the nuances of this gem. But it is hard to surpass her moving rendition of “You Leave Me Breathless.” Atwood and her musicians are clearly having fun in their fresh take of “Come Rain or Come Shine,” with space devoted to Cunliffe’s down-home piano and Harrell’s spirited trumpet, as well as the leader’s confident vocals. The haunting finale is “For All We Know,” a lush duet for voice and piano. Highly recommended. –AllMusic Review by Ken Dryden

Tracklist:
1 Without A Song 6:05
2 This Is Always 5:00
3 Day By Day 5:15
4 Blame It On My Youth 6:36
5 Deep Purple 4:57
6 You’re Nearer 5:45
7 Serenata 7:25
8 You Leave Me Breathless 4:15
9 Come Rain Or Come Shine 6:28
10 For All We Know 3:24

Personnel:
Eden Atwood, vocals
Bill Cunliffe, piano, arrangements
Tom Harrell, trumpet, flugelhorn
Darek Oleszkiewicz, bass
Larance Marable, drums

DSF DSD64/2.82MHz

FLAC 24-192

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French violinist Dominique Pifarély – last heard on ECM a decade ago on Stefano Battaglia’s Re: Pasolini – returns to the label with an outstanding solo violin recital, drawn from performances at the Auditorium Saint-Germain in Poitiers and Cave Dimière in Argenteuil. The music is totally improvised – apart from a free interpretation of the jazz standard “My Foolish Heart” by Victor Young – and it roves through a range of moods and atmospheres, textures and tone colours, dynamically and unpredictably.

Tracklist:
01 – Sur terre (Live At Cave Dimière, Argenteuil/2013)
02 – Meu Ser Elástico (Live At Auditorium Saint-Germain, Poitiers/2012)
03 – L’air soudain (Live At Auditorium Saint-Germain, Poitiers/2012)
04 – D’une main distraite (Live At Cave Dimière, Argenteuil/2013)
05 – Avant le regard (Live At Cave Dimière, Argenteuil/2013)
06 – Gegenlicht (Live At Auditorium Saint-Germain, Poitiers/2012)
07 – Violín Y Otras Cuestiones (Live At Auditorium Saint-Germain, Poitiers/2012)
08 – L’oubli (Live At Auditorium Saint-Germain, Poitiers/2012)
09 – My Foolish Heart (Live At Cave Dimière, Argenteuil/2013)

Download:

http://www.datafile.com/d/TVRjek1UTTJORFUF9/Dominiqu3Pifar3lyTim3B3for3AndTim3Aft3r2015Qobuz24882.part1.rar
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Jacintha – Autumn Leaves: The Songs of Johnny Mercer (1999)
DSF Stereo DSD64/2.82MHz | Time – 01:00:40 minutes | 2,4 + 2,08 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Groove Note Records
Recorded by Michael C. Ross at Cello Studios, Hollywood, CA, October 3 and 4th, 1999

Cover art and liner notes included

DSD file created by Gus Skinas from the SACD cutting master.
The Groove Note Records team of Joe Harley (producer), Mike Ross (engineer) and Ying Tan (executive producer) join forces once again to orchestrate the second release from the label’s first artist, Asian songstress Jacintha. Titled Autumn Leaves, the album is a collection of 12 songs from Johnny Mercer.

On Autumn Leaves Jacintha’s voice is warm, lush and sensual. Once again she delivers strong performances onsuch classics as the title track, “Moon River” and “Skylark.” The title track finds Jacintha singing in the original French intro and first verse as well as the later Johnny Mercer English lyrics. We weren’t the only ones impressed with Jacintha’s vocal prowess, she also caught the attention of Bordertown Pictures (Touchstone Pictures) and a team arrived during the recording session to capture a brand new version of the Grammy-award winning song “Here’s To Life,” which was used as the opening tune to the Antonio Banderas/Woody Harrelson movie “Play It To The Bone.” The soundtrack released by Hollywood Records also includes a second version of “Here’s To Life” with Artie Butler accompanying Jacintha on piano, included here as a bonus track. The album was recorded live direct to 2-track and is mastered using Sony’s Direct Stream Digital (DSD) process by Bernie Grundman in Hollywood to produce an album of true audiophile quality sound. Bonus Tracks: “Here’s to Life” (soundtrack mix).

With Jacintha featured on vocals and the backing of Kei Akagi (piano), Teddy Edwards (tenor sax), Larance Marable (drums), Joe La Barbera (drums) and Darek Oles (bass) the musicianship on the recording is fantastic.

Nine of the 11 tracks here are ballads. Their uncluttered arrangements spotlight Jacintha’s smooth and sensuous voice, while her expressive phrasing draws the most from the classic Johnny Mercer lyrics. Jacintha includes the original lyrics to “Autumn Leaves,” done in soft and flawless French; otherwise, her primary innovation is to deliver the tunes straight and sincerely, with minimal improvisation and maximum tenderness. There’s no trace of the customary bitterness in “One More for the Road,” and her unaccompanied reading of “Moon River” liberates that song from any prior goopy associations. In fact, her version brings out the poignancy of the lyrics so purely that her additional chorus, coming after a rather wandering piano interlude, seems redundant. The band is good but pretty restrained throughout, supplying subtle commentary and close support, then breaks out nicely on the two up-tempo tracks: “And the Angels Sing” and “Something’s Got to Give.” Jacintha’s measured, legato approach isn’t very conducive to swinging, but listening to “Skylark”and “Midnight Sun,” in particular, is like sipping cool champagne in a fragrant hot tub. Another highlight is the bonus track, “Here’s to Life,” a signature tune for Shirley Horn, which Jacintha takes at a slightly faster tempo. While it’s not a Mercer lyric, its beautiful sentiments and melody fit nicely into this relaxed and intimate set. Whatever this CD may lack in fire, it makes up for in warmth. –Judith Schlesinger, AllMusic

For her sixth album, Jacintha pays homage to songwriter Johnny Mercer. Her warm, clear, delicate approach to storytelling enables the vocalist to deliver each favorite song in a comfortable manner with intimacy and charm. From Singapore, Jacintha has also had experience as an actress, enabling her to put herself into each situation as appropriate. A small ensemble culled from L.A.’s finest jazz accompanists backs her.
Jacintha is at her best when incorporating her impeccable enunciation on “I Remember You” and when dipping into her rich lower vocal register for a loping arrangement of “Trav’lin’ Light.” Her acting experience shines through “Here’s To Life” with added dramatic feeling. A clarion trumpet blends appropriately to signal the album’s close. Jacintha’s supportive partners lend authenticity to the history behind each song. Teddy Edwards, who shares the microphone for half the album, provides fluid, blues-based phrases. Anthony Wilson and Kei Akagi lend more than harmony in their respective roles with different chording instruments. The guitarist provides a lovely “Skylark” interlude, while pianist Akagi lends spontaneity in duet format to the well-worn “Moon River.” While she’s not always convincing on slower ballads, Jacintha’s warm, fragile, sophisticated delivery makes for an honorable tribute and a recommended listening experience. –Jim Santella, All About Jazz

Tracklist:
1 And The Angels Sing 3:29
2 Skylark 5:16
3 One For My Baby 5:17
4 Midnight Sun 3:54
5 Autumn Leaves 7:44
6 Days Of Wine And Roses 5:26
7 I Remember You 5:33
8 Trav’lin Light 6:30
9 Something’s Gotta Give 4:03
10 Moon River 8:26
11 Here’s To Life (Soundtrack Mix) 4:47

Personnel:
Jacintha – vocals
Teddy Edwards – tenor saxophone
Kei Akagi – piano
Darek Oles – bass
Larance Marable, Joe LaBarbera – drums
Anthony Wilson – guitar
Will Miller – trumpet

DSF Stereo DSD64/2.82MHz

FLAC 24bit/192kHz

Jacintha – Here’s to Ben: A Vocal Tribute to Ben Webster (1998)
DSF Stereo DSD64/2.82MHz | Time – 00:54:48 minutes | 2,16 + 1,85 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Groove Note Records
Recorded March 17th – 18th, 1998 at the Ocean Way Recording Studios in Los Angeles, CA

Cover art and liner notes included

DSD file created by Gus Skinas from the SACD cutting master.
“Absolutely stunning.” — Michael Fremer, for Tracking Angle

Fantastic debut album by the well-known Asian singer Jacintha, a tribute to tenor sax great Ben Webster, for the Groove Note label. Jacintha’s first fully-fledged pure jazz album and the first to utilize what we feel is the marvelous potential of her voice in the jazz vocal category. Featuring tenor sax great Teddy Edwards on tenor and ex-Miles Davis keyboardist Kei Akagi (piano). Recorded live to 2-track 30 ips 1/4-inch analogue tape at Oceanway Hollywood. This is now a long-established audiophile reference album for female vocals.

When you link your musical objective to a jazz icon like Ben Webster, certain expectations are created and, as here, rarely are these expectations met. Certainly, Jacintha sings songs Webster played, and she sings them very nicely. But there’s none of the raspy timbre in her voice that made Webster’s saxophone immediately recognizable. Jacintha confuses raspy with singing softly. She and the producers would have been better served by presenting these songs as hers, not Webster’s. The focus then would be where it belongs (i.e., what she does with these classics). With excellent pitch, good diction, and sensitive interpretations of the lyrics, she makes these songs her own. One highlight is her a cappella treatment of “Danny Boy.” Throughout the session, Jacintha receives solid support from veteran Teddy Edwards’ blues-drenched saxophone (he’s a lot closer to Webster than Jacintha is). He and Jacintha work well together, as on “How Long Has This Been Going On?” The venerable drummer Larance Marable and bass player Darek Oles combine to lay a solid, sensitive foundation for the proceedings. Oles’ bass is especially prominent on “Over the Rainbow.” Former Miles Davis pianist Kei Akagi is a capable accompanist. This album is a solid enough effort solely on the strength of Jacintha’s natural talent. The obeisance to Webster was not only unnecessary, but distracting. –AllMusic Review by Dave Nathan

Tracklist:
1 Georgia On My Mind 5:17
2 Our Love Is Here To Stay 3:17
3 Tenderly 5:22
4 Somewhere Over The Rainbow 9:39
5 How Long Has This Been Going On? 5:25
6 Stardust 6:37
7 In The Wee Small Hours Of The Morning 4:12
8 Pennies From Heaven 3:10
9 Danny Boy 7:21
10 The Look Of Love 4:08

Personnel:
Jacintha, vocals
Teddy Edwards, tenor saxophone
Kei Akagi, piano
Darek Oles, bass
Larance Marable, drums

DSF Stereo DSD64/2.82MHz

FLAC 24bit/192kHz

http://www.datafile.com/d/TVRjek1UTTNORFkF9/JacinthaH3r3stoB3nAVocalTribut3toB3nW3bst3r199819224.part1.rar
http://www.datafile.com/d/TVRjek1UTTNORGMF9/JacinthaH3r3stoB3nAVocalTribut3toB3nW3bst3r199819224.part2.rar
http://www.datafile.com/d/TVRjek1UTTNORGsF9/JacinthaH3r3stoB3nAVocalTribut3toB3nW3bst3r199819224.part3.rar
or
http://rapidgator.net/file/1f592e96c115af3d71b21074a316add9/JacinthaH3r3stoB3nAVocalTribut3toB3nW3bst3r199819224.part1.rar.html
http://rapidgator.net/file/75b76cce3279b28045ad3c7d917fe81c/JacinthaH3r3stoB3nAVocalTribut3toB3nW3bst3r199819224.part2.rar.html
http://rapidgator.net/file/7d42529d265addd48b444952ef37d1dc/JacinthaH3r3stoB3nAVocalTribut3toB3nW3bst3r199819224.part3.rar.html

Jacintha – Jacintha Is Her Name: Dedicated To Julie London (2003)
DSF Stereo DSD64/2.82MHz | Time – 00:53:25 minutes | 2,11 + 1,92 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Groove Note Records
Recorded: November 20-24, 2002 at OceanWay Recordings, Hollywood, CA.

Cover art and liner notes included

DSD file created by Gus Skinas from the SACD cutting master.
This tribute to the great torch songstress Julie London, one of Jacintha’s favorites, is a spectacular recording with outstanding sonics and performances including “Cry Me A River,” “Light My Fire,” “Willow Weep For Me,” “God Bless The Child” and “Don’t Smoke In Bed.” With Harry Allen (sax), Ron Eschete (guitar) and Larry Bunker (vibes). Intimate, sexy, seductive. Stunning performances of Willow Weep For Me and Something Cool feature the super talented Allen on tenor sax.

The very spare instrumental arrangements also lend themselves to extremely high quality audiophile sound and Joe Harley (producer) and Mike Ross (engineer) have outdone themselves on this recording, creating sonics and fidelity that are some of the best ever from Groove Note.

Julie London, the legendary torch song singer and pop balladeer of the 60s and early 70s, passed away in Los Angeles two years ago. The singer who had a huge hit with her version of Cry Me A River still retains a large fan base worldwide and has always been one of Jacintha’s favorite singers. It only seems natural that for this, her fourth album for Groove Note, the sensual and talented Jacintha, no mean balladeer herself, has chosen to record and dedicate an album to Julie.

“This album is a sheer joy to listen to from the first note. This may be Jacintha’s best album yet. The silky, smooth, and sensuous voice of Jacintha is reproduced with an utterly natural quality, revealing every nuance of her phenomenal intonation, phrasing, breath control, and vocal modulation.” – Dave Glackin, Positive Feedback Online

Tracklist:
1 Willow Weep For Me 5:29
2 The Thrill Is Gone 5:18
3 Something Cool 6:04
4 Don’t Smoke In Bed 4:04
5 Light My Fire 4:00
6 I’m In The Mood Of Love 4:11
7 God Bless The Child 5:40
8 Round Midnight 6:12
9 I’ll Never Smile Again 4:02
10 Gone With The Wind 3:14
11 Cry Me A River 4:40

Personnel:
Jacintha, vocals
Bill Cunliffe, piano & arrangements
Harry Allen, saxophone
Larry Bunker, vibes, percussion
Ron Eschete, 7 string guitar
Holly Hoffmann, flute
Darek Olesciewicz, bass
Larance Marable, drums

DSF Stereo DSD64/2.82MHz

FLAC 24bit/192kHz

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http://www.datafile.com/d/TVRjek1UTTNOak0F9/JacinthaJacinthaIsH3rNam3D3dicat3dToJuli3London200319224.part2.rar
http://www.datafile.com/d/TVRjek1UTTNOamsF9/JacinthaJacinthaIsH3rNam3D3dicat3dToJuli3London200319224.part3.rar
or
http://rapidgator.net/file/16fc90f4d5a5f0353707f6120aa5544b/JacinthaJacinthaIsH3rNam3D3dicat3dToJuli3London200319224.part1.rar.html
http://rapidgator.net/file/a221d40b6b8b01b596bd66dcd1139415/JacinthaJacinthaIsH3rNam3D3dicat3dToJuli3London200319224.part2.rar.html
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