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Little Girl Blue is an artistic statement by jazz virtuoso Nina Simone that reinvents a wide variety of compositions. Simone’s combination of classical training, smoky-alto vocal delivery and the influence of modern jazz make her a novel and inspiring jazz singer and instrumentalist.

Little Girl Blue was Nina Simone’s first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert “Tootie” Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her up-tempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist. Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington’s “Mood Indigo,” which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the — if not the — definitive reads of Willard Robison’s steamy leave-your-lover ballad “Don’t Smoke in Bed.” The title track, written by Rodgers & Hart, features “Good King Wenceslas” as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in “Love Me or Leave Me” with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons. It’s also interesting to note that while this was her first recording, the record’s grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. “My Baby Just Cares for Me” has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron’s “Good Bait,” which is transformed into something classical from its original bebop intent. “You’ll Never Walk Alone” feels more like some regal gospel song than the Rodgers & Hammerstein show tune it was. Of course, one of Simone’s signature tunes was her version of “I Loves You, Porgy,” which appears here for the first time and was released as a single. Her own “Central Park Blues” is one of the finest jazz tunes here.

Tracklist:
01 – Mood Indigo
01 – Don’t Smoke In Bed
03 – He Needs Me
04 – Little Girl Blue
05 – Love Me Or Leave Me
06 – My Baby Just Cares for Me
07 – Good Bait
08 – Plain Gold Ring
09 – You’ll Never Walk Alone
10 – I Loves You Porgy
11 – Central Park Blues

Nina Simone: vocals, piano
Jimmy Bond: bass
Al Heath: drums

Digitally Remastered by John Sigmon.
Transfer Engineers: Alex Nappi, Dana Pedersen.

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http://www.datafile.com/d/TVRRek9EVTJNRFkF9/NinaSimon3Littl3GirlBlu319582013HRA2496.part1.rar
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Nina Simone – Nina Simone’s Finest Hour (2000/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 1:02:11 minutes | 2,57 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | @ Verve Records

Nina Simone’s Finest Hour is a compilation of the American singer’s hit titles. The record includes tracks “I Put a Spell on You’, “My Baby Just Cares for Me”, “Wild Is the Wind”, “Work Song” and more!

Nina Simone communicates with a unique force on this Finest Hour collection, a welling, riveting power that’s beyond the range of other singers. It’s there whether the song is romantic or political, whimsical or sentimental, and these recordings from the 1960s demonstrate the range of material that she could make her own, from Gershwin to Jacques Brel, from Screamin’ Jay Hawkins to Nat Adderley. With her own civil rights era anthems like ‘Mississippi Goddam’ and the Brecht-Weill ‘Pirate Jenny,’ Simone commands our attention with a profoundly brooding, searing rage, while there’s potent sensuality in her ‘Wild Is the Wind’ and Willard Robison’s ‘Don’t Smoke in Bed.’ Whether she’s accompanying herself with her spare piano or defying studio orchestras with the intensity of her performance, Simone is a special singer, her art consisting in stripping away the decorative artifice of a song to reveal a molten core beneath.

„Verve’s Finest Hour collection of Nina Simone’s work compiles 60 minutes of career highlights, including ‘Wild Is the Wind,’ ‘I Put a Spell on You,’ ‘Four Women,’ ‘I Loves You, Porgy,’ and ‘My Baby Just Cares for Me.’ Though it’s by no means a definitive compilation of Simone’s music, it does provide a welcome overview of her Verve years.“ –Heather Phares

Tracklist:
1. Love Me Or Leave Me 04:07
2. Wild Is The Wind 07:00
3. I Put A Spell On You 02:36
4. Work Song 03:07
5. Don’t Explain 04:22
6. The Other Woman 03:06
7. Mississippi Goddam 04:56
8. Four Women 04:27
9. Pirate Jenny 06:41
10. I Loves You Porgy 02:33
11. This Year’s Kisses 03:01
12. Little Girl Blue 04:20
13. Don’t Let Me Be Misunderstood 02:46
14. Ne Me Quitte Pas 03:38
15. Don’t Smoke In Bed 05:31

Personnel:
Arranged By, Conductor – Hal Mooney (tracks: 3, 4), Horace Ott (tracks: 13)
Bass – Lisle Atkinson (tracks: 1, 2, 5, 7 to 9, 11, 12)
Drums – Bobby Hamilton (tracks: 1, 2, 5, 7 to 9 11, 12)
Flute – Rudy Stevenson (tracks: 5, 7, 8, 12)
Guitar – Rudy Stevenson (tracks: 1 to 3, 7, 8, 11, 12)
Piano, Vocals – Nina Simone

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Nina Simone’s 1969 gem finds the legendary singer performing pop, rock and folk classics, a far departure from her usual blues and jazz standards. To Love Somebody includes compositions by Leonard Cohen, Pete Seeger, Barry Gibbs, Robin Gibbs and Bob Dylan. Standouts include “Suzanne,” “Revolution” and “To Love Somebody.” The album showcases Simone’s versatility and proves that she was one of the greatest powerhouse vocalists in music history.

No slouch as a songwriter herself, Nina Simone ably picked a variety of compositional classics from the new rock era for her 1969 LP To Love Somebody. Opening with a beautiful, introspective version of Leonard Cohen’s “Suzanne,” Simone shows an obvious affinity for social statements with the Byrds’ “Turn! Turn! Turn! (To Everything There Is a Season)” and a trio of Dylan standards: “I Shall Be Released,” “Just Like Tom Thumb’s Blues,” plus a dramatic, meditative “The Times They Are A-Changin’.” The title track, originally a 1967 hit for the Bee Gees and one year later for the Sweet Inspirations, suffers slightly from a weak, commercial-slanted arrangement, but her lone original, the two-part “Revolution,” is a great blend of blues-rock and soul testifying. Among a rut of jazz vocalists making the worst of a bad situation during the late ’60s, To Love Somebody is a rare success.

Tracklist:
01 – Suzanne
02 – Turn, Turn, Turn (To Everything There Is a Season)
03 – Revolution (Part 1)
04 – Revolution (Part 2)
05 – To Love Somebody
06 – I Shall Be Released
07 – I Can’t See Nobody
08 – Just Like Tom Thumb’s Blues
09 – The Times They Are a Changin’

Download:

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Harry James & His Big Band – The Harry James Sessions 1976 & 1979 (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 1:34:00 minutes | 1,75 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | @ Sheffield Lab

Sheffield Lab Recordings is pleased to present the reissue of a historic recording: The Harry James Sessions. Consisting of three albums originally recorded direct-to-disc by Sheffield in 1976 and 1979, and now spectacularly re-mastered by Seth Winner from analog disc originals, this program of music from the height of the swing era is a vital representation of one of the great big bands of the 20th century. To hear this music recorded by Sheffield from the perspective of a single stereo microphone, is to hear this magnificent band as dancers heard it in front of the bandstand, with the impact and energy that we don’t associate with historic recordings of another era. Pretty thrilling stuff! This amazing 2 disc set includes ALL the music from the Original LP albums: THE KING JAMES VERSION, COMIN’ FROM A GOOD PLACE and STILL HARRY AFTER ALL THESE YEARS.

Sheffield Lab Recordings has released a new Harry James CD set with all their original direct to disk recordings. This is a great opportunity for audiophiles and trumpet fans to have a collection of one of the trumpet greats, Harry James, recorded at the highest standards. At the time, Harry James said, “In 36 years of recording, I have never been so pleased with the sound.”
The CD set is a reissue of a historic recording: The Harry James Sessions. Consisting of three albums originally recorded direct-to-disc by Sheffield in 1976 and 1979, and now spectacularly re-mastered by Seth Winner from analog disc originals, this program of music from the height of the swing era is a vital representation of one of the great big bands of the 20th century. To hear this music recorded by Sheffield from the perspective of a single stereo microphone, is to hear this magnificent band as dancers heard it in front of the bandstand, with the impact and energy that we don’t associate with historic recordings of another era. Pretty thrilling stuff!

Tracklist:
01 – Corner Pocket
02 – Lara’s Theme from Dr. Zhivago
03 – Cherokee
04 – More Splutie, Please
05 – Traces
06 – Don’t Be That Way
07 – Sweet Georgia Brown
08 – Shiny Silk Stockings
09 – Blues Stay Away from Me
10 – The Foot Stomper
11 – You’ll Never Know
12 – Moten Swing
13 – Two O’clock Jump
14 – Watch What Happens
15 – Tuxedo Junction
16 – Opus Number One
17 – Make the World Go Away
18 – Blues for Sale
19 – Caravan
20 – Satin Doll
21 – Roll ‘Em
22 – Sanford and Son
23 – Moonglow/Theme from Picnic
24 – Take the ‘A’ Train
25 – Undecided
26 – Ciao
27 – Dance
28 – Help Me Make It Through the Night
29 – On a Clear Day

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Jamie Cullum – Twentysomething (2004/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 62:51 minutes | 1,22 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital booklet | @ Decca Records
Recorded June – July 2003 at Mayfair Studios in London, England.

The Platinum-selling second album by U.K. crossover jazz sensation Jamie Cullum features a mix of originals and covers of songs by artists including Cole Porter, Jimi Hendrix, and Jeff Buckley. Acclaimed producer Stewart Levine chose to record and mix Twentysomething entirely on analogue tape, making for a warmer, clearer and more realistic sound-—one that’s enhanced even further by this pristine high resolution release.

As with Blue Note’s crossover wunderkind Norah Jones, Cullum works best when he’s not trying too hard to please hardcore jazz aficionados, but it’s not too difficult to imagine his bonus-track version of Pharrell Williams’ “Frontin’” turning some jazz fans onto the Neptunes. Showcasing Cullum’s sardonic wit and lounge-savvy attitude, the album deftly flows from singer/songwriter love songs to jazzy barroom romps and reappropriated modern rock tunes. Cullum has a warm voice with a slight rasp that retains a bit of his Brit accent even though his influences — Nat King Cole, Frank Sinatra, Tom Waits — are resolutely American. Truthfully, Cullum isn’t the most accomplished vocalist and his piano chops are pleasant at best — Oscar Peterson he ain’t. That said, he’s still a kick. What he lacks in technique he makes up for in swagger and smarts as many of his original compositions reveal. On the swinging and wickedly humorous title track — a take on postgraduate slackerdom — Cullum sardonically laments, “After years of expensive education, a car full of books and anticipation, I’m an expert on Shakespeare and that’s a hell of a lot but the world don’t need scholars as much as I thought.” It’s a timely statement in our overeducated, underemployed “dot-bomb” economy and deftly posits Cullum as a jazz singer as much of as for his generation. Also compelling are his choices of cover tunes, as he is able to imprint his own persona on the songs while magnifying what made them brilliant to begin with. To these ends, Jeff Buckley’s “Lover, You Should’ve Come Over” gets a gut-wrenchingly minimalist treatment and Radiohead’s “High and Dry” comes off as the best Bruce Hornsby song you’ve never heard. Conversely, Cullum treats jazz standards as modern pop tunes, reworking them into contemporary styles that are neither cynical nor awkward. In fact, his atmospheric, ’70s AM pop take on “Singin’ in the Rain,” replete with string backgrounds and Cullum’s percolating Rhodes keyboard, is one of the most appealing cuts on the album, lending the Great American Songbook warhorse an air of virginity.

Tracklist:
01 – These Are The Days
02 – Twentysomething
03 – Wind Cries Mary
04 – All At Sea
05 – Lover, You Should Have Come Over
06 – Singin’ In The Rain
07 – I Get A Kick Out Of You
08 – Blame It On My Youth
09 – High & Dry (US Version)
10 – It’s About Time
11 – But For Now
12 – I Could Have Danced All Night
13 – Next Year Baby
14 – What A Difference A Day Made
15 – Frontin’

Producers: Piers Bedford, Stewart Levine and Andy Rogers.
Recording engineers: Andy Rogers and Rik Pekkonen.
Recorded in June-July 2003 at Mayfair Studios in London, England.

Download:

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A superb, mostly self-taught musician, Jimmy Cobb is the elder statesman of all the incredible Miles Davis bands. Cobb’s inspirational work with Miles, John Coltrane, Cannonball Adderly and Co. spanned 1957 until 1963 and included the masterpiece Kind of Blue, the most popular jazz recording in history.

On this new Chesky Records recording, Jazz In the Key of Blue, Jimmy Cobb pairs up once again with 36-year old, Grammy Award winning trumpeter, Roy Hargrove. who has firmly established him-self as among the premier players in jazz and beyond.

The tried and true pair are joined, this time around, by guitarist Russell Malone and bassist John Webber. Malone, an Albany, Georgia native, built his chops in his twenties as sideman to none other than jazz organ icon Jimmy Smith. And Webber, from the American midwest, is more than an able torch bearer for past alumni of the region, among them Jimmy Blanton and Ron Carter.

Jazz In the Key of Blue continues to prove Jimmy Cobb’s mettle as a band leader, his imperturbable, rock-steady swing, paving the way for the rhythms and sounds of yet another generation of jazzmen.

Tracklist:
01 – Every Time We Say Goodbye
02 – With You I’m Born Again
03 – I’ll Still Be In Love With You
04 – Emily
05 – Stairway To The Stars
06 – I Had the Craziest Dream
07 – Remembering U
08 – What Will I Do
09 – If Ever I Would Leave You
10 – We’ll Be Together Again

Produced by David Chesky and Eleana Steinberg Tee.
Recorded October 14th, 2008 at St. Peter’s Episcopal Church, New York City.
Recorded, Edited, and Mastered by Nicholas Prout

Musicians:
Jimmy Cobb – Drums
Roy Hargrove – Trumpet/Flugelhorn
Russell Malone – Guitar
John Webber – Bass

Download:

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Holly Cole – Baby, It’s Cold Outside (2001/2014)
FLAC (tracks) 24 bit/44.1kHz | Time – 43:12 minutes | 468 MB | Genre: Jazz
Official Digital Download – Source: HDTracks | © Fidelio Technologies Inc.

Recorded in Toronto at Inception Sound Studios and McClear Digital Studios Baby, It’s Cold Outside was co-produced by Cole and her long-time accompanist, pianist Aaron Davis who also provided the dazzling orchestral arrangements for the 27-piece orchestra featured on four selections: Zat You Santa Claus, Santa Baby, Wildwood Carol, and the title track.
Also appearing on the album as core members backing Cole are: David Piltch and George Koller (bass), Mark Kelso (drums), and Brian Barlow (percussion). Baby, It’s Cold Outside possesses a diverse spectrum of seasonal emotions. It is not just Christmas favourites. It is not a bunch of chestnuts roasting on the open fire. It’s obvious by listening to it that Cole likes to poke fun at Christmas; likes to poke fun at the notion of Santa Claus; and really likes to swing with songs that have bit of sexual innuendo. There’s a lot of give-me-a-break about the album.
Cole chose Christmas songs with the same critical ear as all of her previous recordings. Not only did she take care in selecting the repertoire, but she set out to interpret them in such a fashion that they effectively are her own.

Tracklist:
1. Christmas Time Is Here 03:01
2. Baby, It’s Cold Outside 04:07
3. The Christmas Song 05:07
4. Santa Baby 04:00
5. I’ll Be Home for Christmas 03:08
6. ‘Zat You, Santa Claus 03:22
7. If We Make It Through December 03:42
8. Christmas Is 02:40
9. Wildwood Carol 02:54
10. Sleigh Ride 02:37
11. What Is This Love Fragrance? 04:22
12. Never No 02:13
13. What About Me 01:42

Personnel:
Holly Cole – Arranger, Vocals, Voices, Producer, Shaker
Brian Barlow – Percussion, Chimes, Cymbals
Guido Basso – Trumpet, Flugelhorn
Daniel Blackman – Viola
Young Dae Park – Violin
Aaron Davis – Piano, Arranger, Celeste, Conductor, Producer, Orchestral Arrangements
Vern Dorge – Saxophone
David Dunlop – Trumpet
Mark Fewer – Violin
Fujice Imajishi – Violin
John “Snakehips” Johnson – Saxophone, Wind
Johnny Lee “Jaimoe” Johnson – Flute (Alto), Saxophone, Sax (Soprano), Wind Instruments
Mark Kelso – Drums, Drums (Snare)
Audrey King – Cello
Debbie Kirshner – Violin
George Koller – Bass
Janice Lilndskoog – Harp
Ray Luedeke – Clarinet
Kathy MacLean – Bassoon
Jayne Maddison – Violin
Gord Myers – Trombone
Roberto Occhipinti – Bass, String Contractor, String Coordinator
Hyung-Sun Paik – Violin
Gary Pattison – French Horn
David Piltch – Bass, Percussion, Arranger
Terry Promane – Trombone
Ed Robertson – Vocals, Voices
Cynthia Steljes – Horn (English), Oboe
Vera Tarnowsky – Violin
Kent Teeple – Viola
Camille Watts – Flute, Piccolo
Julia Wedman – Violin
Kirk Worthington – Cello

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Holly Cole – Don’t Smoke In Bed (1993/2012)
DSF Stereo DSD64/2.82MHz | Time – 00:44:49 minutes | 1,77 GB | Genre: Jazz
Official Digital Download – Source: AcousticSounds | © Blue Note Records
Recorded at Reaction Studios, Toronto. Feb./Mar. 1993

There is an intelligence and sophistication to Holly Cole’s singing that sets her apart. She can imbue well-worn standards and eclectic songs with an uncanny combination of sensuality, innocence, originality and sheer musicality. Cole takes tunes everybody thinks they know and discovers new undercurrents in the venerable anthems of contemporary composers, wrapping her honesty, compassion and sardonic wit around their sometimes-fragile creations. The results are sexy, provocative, spellbinding, sometimes dangerous and never, ever dull.

Along with Cassandra Wilson and Patricia Barber, the Canadian songstress has helped redefine the world of the female jazz vocalist. In Cole’s case, this can be directly linked to her ability to defy genre categorization and her ambitious musical choices. “I look at the essence of a song,” muses Cole. “If it’s a great lyric I often love to slow it down, explore it, dissect it and deconstruct it. I love to take it apart and then put it back together and look at it in an entirely different way. In the process, it often becomes more evocative. That’s a huge part of my art form, that’s a huge part of what I do.”

On her critically acclaimed 1993 album Don’t Smoke In Bed, Holly augments her understated jazz repertoire with nuanced interpretations of pop classics and blues and country standards not to mention a French ballad. What’s even more impressive is she pulls it all off flawlessly with a style and grace that has become her signature. In addition to sublime takes on Cole Porter’s “Get Out of Town” and Kurt Well’s “Je Ne T’Aime Pas,” the tasteful 12-song set also includes her crossover hit of Johnny Nash’s “I Can See Clearly Now.”

Tracklist:
1 I Can See Clearly Now 4:13
2 Don’t Let The Teardrops Rust Your Shining Heart 4:19
3 Get Out Of Town 4:43
4 So And So 3:27
5 The Tennessee Waltz 3:40
6 Everyday Will Be Like A Holiday 4:49
7 Blame It On My Youth 3:00
8 Ev’rything I’ve Got 2:55
9 Je Ne T’Aime Pas 3:57
10 Cry (If You Want To) 2:36
11 Que Sera Sera 4:44
12 Don’t Smoke In Bed 2:27

Personnel:
Holly Cole – vocals
Aaron Davis – piano
David Piltch – bass
Howard Levy – harmonica (#3, 5, 11)
Joe Henderson – tenor saxophone (some spots on “Everyday Will Be Like a Holiday”)
Glenn Morley – conductor
Atis Bankas, Brian Epperson, Carol Fujino, Charles Elliot, Christopher Redfield, Joel Quarrington,
Katherine Palyga, Marc Sabat, Mark Skazinetsky, Martoni Loomer, Mary Carol Nugent, Mihai Tetel,
Nicole Zarry, Paul Meyer, Simon Fryer, Susan Lipchak, Young Dae Park – strings

DSD64:

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Holly Cole – Temptation (1995/2012)
DSF Stereo DSD64/2.82MHz | Time – 01:07:28 minutes | 2,67 GB | Genre: Jazz
Official Digital Download – Source: AcousticSounds | © Blue Note Records
Recorded at Grand Avenue Studio, Hamilton, Ontario except “The Briar and The Rose” Recorded at McClear Pathe, Toronto, Ontario Canada. Mastered from the original analog tapes by Kevin Gray.

These abilities come into full focus on her 1995 Blue Note release, Temptation, which finds Holly skillfully interpreting material by the-one-and-only Tom Waits. Taking a minimalist approach to the arrangements and forgoing as much pre-production as possible serves Cole and the material well here. A majority of the cuts on Temptation are first takes which heightens the spontaneous and intimately genuine feel of Cole’s breathtaking performances even further.

The many highlights include a catchy version of “Jersey Girl,” which made it onto a number of radio playlists, and a rendition of “The Briar and the Rose,” augmented by the Canadian Brass. Also featured here are renditions of: “Take Me Home,” “Train Song,” “Temptation,” “Falling Down,” “Invitation to the Blues,” “Frank’s Theme,” “Little Boy Blue,” “I Don’t Wanna Grow Up,” “Tango ’til They’re Sore,” “(Looking For) The Heart of Saturday Night,” “Soldier’s Things,” “I Want You” and “Good Old World.”

Tracklist:
All songs written by Tom Waits
1 Take Me Home 2:28
2 Train Song 3:27
3 Jersey Girl 3:46
4 Temptation 3:05
5 Falling Down 5:18
6 Invitation To The Blues 4:23
7 Cinny’s Waltz 2:34
8 Frank’s Theme 3:11
9 Little Boy Blue 2:58
10 I Don’t Wanna Grow Up 4:31
11 Tango Til They’re Sore 4:29
12 (Looking For) The Heart Of Saturday Night 3:37
13 Soldiers Things 3:23
14 I Want You 2:57
15 Good Old World 1:36
16 The Briar And The Rose 5:28

Bonus Tracks:
17 (Looking For) The Heart Of Saturday Night (Alternate Take) 3:42
18 Shiver Me Timbers 4:33
19 The Last Rose Of Summer 2:18

Personnel:
Holly Cole – Vocals
Cyro Baptista – Percussion
Anne Bourne – Cello
Dougie Bowne – Arranger, Drums
Kevin Breit – Guitar, National Steel Guitar, Slide Guitar
Canadian Brass Guest Artist
The Colettes – Vocals (Background)
Charles Daellenbach – Tuba
Aaron Davis – Arranger, Brass Arrangement, Piano, String Arrangements
Rhoda Dog – Vocals
Phil Dwyer – Horn Arrangements, Sax (Alto), Sax (Baritone)
Anne Lederman – Violin
Howard Levy – Harmonica
Fred Mills – Trumpet
David Ohanian – French Horn
Douglas Perry – Viola
David Piltch – Arranger, Bass, Bass (Acoustic), Percussion
Ronald Romm – Trumpet
Earl Seymour – Horn Arrangements, Sax (Baritone)
Tom Waits – Composer
Eugene Watts – Trombone
Perry White – Horn Arrangements, Sax (Tenor)

DSD64:

FLAC 24-88.2

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Holly Cole Trio – Girl Talk (1990/2013)
DSF Stereo DSD64/2.82MHz | Time – 46:41 minutes | 1,81 GB | Genre: Jazz
Official Digital Download – Source: ProStudioMasters | © 2xHD
Recorded live to two-track at the Stephen Leacock Theatre, Keswick, using a single Calrec Ambisonic Microphone. Tracks 4, 5 and 10 recorded and mixed at Eastern Sound, Toronto, using the same microphone.

In March of 1990, the Holly Cole Trio, Holly Cole (Vocals), Aaron Davis (Piano) and David Piltch (Bass) determined that although they had recorded one small EP together ‘Christmas Blues’ it was time to record their first full length album. They wanted to preserve the quintessence of their live performance by keeping the parameters of recording of that first full record very close to the live environment that they had come to dominate in Toronto’s alternative Queen St west club scene. They enlisted Peter Moore who had just successfully produced the ground breaking ‘Trinity Sessions’ for the Cowboy Junkies. They found the Stephen Leacock Theatre in Keswick, Ontario and proceeded to record live off the stage in the empty hall, with the band strategically placed around a single Calrec Ambisonic Microphone. All the takes are full takes, no overdubbing. The record was highly successful, became a Gold selling release in Canada and a staple gold standard recording for showing off any piece of audio gear (speakers, amplifiers, microphones, etc.) at Audiophile conferences internationally and set Holly Cole up for a long and successful career.

‘The air of intimacy between artist and listener is so great that, if anything, the feeling of being present in the moment is greater here than on the 1996 live album It Happened One Night. On an album recorded ‘live in concert,’ the ambient noises that occur when a large number of people are gathered in one place can seem discordant or inappropriate when you’re listening to the CD in your car or your living room; the atmosphere can exclude rather than include you. Put on this disc, however, and you can imagine that Holly Cole is singing for you alone. It’s easy to focus on Cole’s emotionally compelling delivery, and at first you can be so mesmerized that you forget that the vocalist is one part of a trio. Listen more carefully, and it becomes apparent that the piano and bass accompaniments are deceptively simple — that they are, in fact, providing a counterpoint to the sung lyrics that is almost conversational. Suddenly, these simple arrangements feel quite complex. The most entertaining song on the album may well be Cole’s interpretation of the traditionally sunny and euphoric ‘Downtown.’ In her expert hands it moves from near cynicism to a guarded openness that makes this standard seem to have a range of meaning you may never have considered.’ –Maya Geryk

Tracklist:
1. My Foolish Heart 04:34
2. Girl Talk 04:32
3. Talk to Me Baby 04:33
4. Cruisin’ 04:40
5. Spring Can Really Hang You Up the Most 04:40
6. Whoopee!: My Baby Just Cares for Me 04:25
7. Rosalie: How Long Has This Been Going On? 05:55
8. I’m So Lonesome I Could Cry 04:24
9. My Melancholy Baby 05:03
10. Downtown 03:55

Personnel:
Holly Cole, vocals
Aaron Davis, piano
David Piltch, double bass
Guests:
John Johnson, saxophone (on “Cruisin”)
John MacLeod, trumpet (on “I’m So Lonesome I Could Cry”)

The original recording was made on a DAT recorder (state-of-the-art at the time). The 2xHD process used to transform the master into the 176kHz/24bits format, eliminates the digital jitter and bring this wonderful recording to its fullest value with an even better natural sound. A true audiophile gem.

2xHD MASTERING PROCESS: Mastered from the original 96kHz, 24Bits files by Rene Laflamme and Andre Perry at Fidelio Technologies’ mastering lab, using the 2xHD process. A modified high-end dCS Vivaldi clock with silver and gold cables was used to create a very transparent sound.

DSD64:

http://www.datafile.com/d/TVRRME16QTBNREUF9/HollyCol3TrioGirlTalk19902013ProStudioMast3rsDSD64.part1.rar
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FLAC 24-88.2

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Jacintha is a Singaporean jazz singer/torch singer and stage actress who has been well-known in parts of the Asia-Pacific region since the ’80s and has been increasing her exposure in North America since the late ’90s. Jacintha has never been the type of jazz artist who goes out of her way to be abstract, difficult, or complicated; her work has been quite accessible and easy to absorb, drawing on direct or indirect influences that have included Julie London and Shirley Horn as well as Brazilian star Astrud Gilberto.

Inspired mainly by Ms. London’s 1st Liberty album, Julie Is Her Name & its spare guitar & acoustic bass formats, Jacintha & arranger/pianist Bill Cunliffe (recently nominated for a Jazz Arranging Grammy) have come up with a spectacular new record. Using the guitar & bass combo as a basic springboard, the album has taken some of the songs most closely associated with Ms. London (e.g. Cry Me A River, & some not so familiar like Light My Fire), & transformed them into the kind of material that Jacintha handles best. Intimate, sexy, seductive.

Tracklist:
01. Willow Weep For Me
02. The Thrill Is Gone
03. Something Cool
04. Don’t Smoke in Bed
05. Light My Fire
06. I’m In The Mood For Love
07. God Bless The Child
08. Round Midnight
09. I’ll Never Smile Again
10. Gone With The Wind
11. Cry Me A River

SACD-R

FLAC 24-88.2

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One of Jackie McLean’s more underrated albums from a plethora of Blue Note releases, 1960’s Capuchin Swing finds the bebop alto saxophonist in fine form on a mix of covers and originals. While his future fascination with Ornette Coleman’s free-form innovations can be sensed in some of the solos here, the majority of the album is in a classic hard bop vein. Like contemporaries Hank Mobley, Sonny Clark, and Lee Morgan, though, McLean doesn’t just churn out pat jam-session fare, but comes up with consistently provocative charts and solos. Eschewing ballads, McLean focuses on mid- to fast-tempo swingers and blues. Standouts include originals like “Francisco” and “Condition Blue” and choice renditions of “Just for Now” and “Don’t Blame Me.” McLean enlists a sparkling lineup of hard bop stars, including trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Paul Chambers, and drummer Art Taylor. Mitchell particularly impresses, matching many of McLean’s own inspired flights with his supple and progressive playing. Along with other fine Blue Note titles like Jackie’s Bag and Bluesnik, Capuchin Swing makes for a great introduction to McLean’s extensive catalog.

Tracklist:
01. Francisco
02. Just for Now
03. Don’t Blame Me
04. Condition Blue
05. Capuchin Swing
06. On the Lion

Personnel
Jackie McLean – alto saxophone
Blue Mitchell – trumpet
Walter Bishop, Jr. – piano
Paul Chambers – bass
Art Taylor – drums

Mastered for this SACD by Mastered by Kevin Gray & Steve Hoffman.

SACD-R

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FLAC 24-88.2

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New Soil wasn’t the first session Jackie McLean recorded for Blue Note, but it was the first one released, and as the title suggests, the first glimmerings of McLean’s desire to push beyond the limits of bop are already apparent. They’re subtle, of course, and nowhere near as pronounced as they would be in just a few years’ time, but — as with the 1959 material later issued on Jackie’s Bag — hints of Ornette Coleman’s stream-of-consciousness melodic freedom are beginning to find their way into McLean’s improvisations. His playing is just a touch more angular than the ear expects, especially given the very bluesy nature of pieces like McLean’s 11-minute vamp, “Hip Strut,” and pianist Walter Davis, Jr.’s infectious boogie-woogie “Greasy.” Coleman’s influence is most apparent on McLean’s “Minor Apprehension,” where the freewheeling, Coleman-esque main theme is paralleled by trumpeter Donald Byrd in a definite nod to Don Cherry. What’s more, drummer Pete LaRoca takes a surprisingly free solo of significant length toward the end of the track. However, the cut that the musicians seem to dig into the most is Davis’ twisting, turning bopper “Davis Cup,” which sports a rhumba beat and a bevy of exciting solos. It could be argued that McLean never recorded a bad album for Blue Note, and New Soil got his career with the label off to a terrifically stimulating start.

Tracklist:
01. Hip Strut
02. Minor Apprehension
03. Greasy
04. Sweet Cakes
05. Davis Cup
06. Formidable

Personnel
Jackie McLean – alto saxophone
Donald Byrd – trumpet
Walter Davis Jr. – piano
Paul Chambers – bass
Pete LaRoca – drums

Mastered for this SACD by Mastered by Kevin Gray & Steve Hoffman.

SACD-R

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FLAC 24-88.2

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Returning anew to the original record it’s fascinating to re-discover how provocative Pink Floyd’s classic remains, and to hear how well this quartet’s collective interplay served that music. And how beautifully Sam Yahel’s organ-while not the dominant voice, surely a prominent presence-sets the aesthetic tone for these proceedings: nothing rushed or forced or extravagant…elegant and swinging and exploratory, never stepping on anyone’s toes-deceptively laid back and responsive, always listening intently, with plenty of rhythmic vitality…a sensibility he shares with collaborators Mike Moreno, Ari Hoenig and Seamus Blake, which goes a long ways towards explaining why their take on Pink Floyd’s music is so engaging and stands up so well to repeated listenings.

Tracklist:

01. Breathe (00:06:29)
02. On The Run (Part 1) (00:03:42)
03. Time (00:11:00)
04. Any Colour You Like (00:02:17)
05. The Great Gig In The Sky (00:08:42)
06. Money (00:06:48)
07. Us and Them (00:06:22)
08. Brain Damage (00:06:20)
09. On The Run (Part 2) (00:03:45)

Personal:

SAM YAHEL Hammond B3 Organ
MIKE MORENO Electric & Acoustic Guitar
ARI HOENIG Drums
SEAMUS BLAKE Tenor Saxophone

SACD-R

When it comes to music, “old” can be a relative term. Jazz may be a revered and ancient language to its practitioners and fans, but it’s a mere infant compared to the music of the West African Manding Empire, which dates back to the 13th Century rule of Sunjata Keita, its founder and first king. Until recently, you had to be from one of a handful of select families to be qualified to play Manding music right. But times have changed, colonialism notwithstanding, and players like France’s Jean-Jacques Avenel have made Manding music their own.

African fusions have been approached in any number of different ways, but this mix of jazz and traditional Manding music is definitely something different. French bassist Avenel has worked for years with kora players, but this time out seems to nail both the spirit of tradition and adventure. Listen, for example, to “Pi-Pande,” where overdubbed basses move the textures and melody, while the kora provides a beautiful high overlay. On the original “Batou Kagni” it’s flute, bass and n’goni that do the work, bouncing off each other in some excellent improvisations. And on “Jarabi” the music seems to travel, moving from West Africa across the Atlantic to the Caribbean. All in all it makes for a heady mix that works on all levels — intelligently, thoughtfully, and with a sense of passion about the music. The backgrounds of the musicians mean different approaches to the music, although those mesh very well — as a group the dynamics become ideal, as they show on the closer, “Tubaka.” It’ll be interesting to see where they take these ideas next time around; certainly on this outing they’re successful enough.

Tracklist:
01. Lamba
02. Pi-Pande
03. Batou Kagni
04. Guelema
05. N’Dondore
06. Jarabi
07. Kaпra
08. Denko
09. Destin
10. Tubaka

Recorded to DSD February 7-9, 2003 by Thierry Balasse (Inouïe), and mixed in analogue to stereo and 5.0 DSD March 11-13, 2003 by Thierry Balasse assisted by Djengo Hartlap (Hartlap, Paris), at La Muse en Circuit, Alfortville-Paris.

SACD-R

FLAC 24-88.2

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Although seemingly impossible to comprehend, this landmark jazz date made in 1960 was recorded in less than three days. All the more remarkable is that the same sessions which yielded My Favorite Things would also inform a majority of the albums Coltrane Plays the Blues, Coltrane’s Sound, and Coltrane Legacy. It is easy to understand the appeal that these sides continue to hold. The unforced, practically casual soloing styles of the assembled quartet — which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) — allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet’s capacity to not be overwhelmed by the soloist. Likewise, they are able to push the grooves along surreptitiously and unfettered. For instance, the support that the trio — most notably Tyner — gives to Coltrane on the title track winds the melody in and around itself. However, instead of becoming entangled and directionless, these musical sidebars simultaneously define the direction the song is taking. As a soloist, the definitive soprano sax runs during the Cole Porter standard “Everytime We Say Goodbye” and tenor solos on “But Not for Me” easily establish Coltrane as a pioneer of both instruments.

Tracklist:
01. My Favorite Things
02. Everytime We Say
03. Summertime
04. But Not for Me

Personnel
John Coltrane – soprano (1,2) & tenor (3,4,) saxophone
McCoy Tyner – piano
Steve Davis – bass
Elvin Jones – drums

SACD-R

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FLAC 24-88.2

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Carmen Gomes Inc. – Little Blue (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 42:37 minutes | 827 MB | Genre: Vocal Jazz
Studio Masters, Official Digital Download – Source: Sound Liaison.com

Little Blue is a collection of songs that I feel strongly about. Songs of my youth that made an lingering impression and original compositions, some written a long time ago; some only recently.
They all deal with topics of everyday life that keeps my mind occupied: the choices we make, how we define ourselves and how we deal with life in general.

I was a reasonably happy but lonely kid. I felt myself an outsider, a bit different, maybe to a certain extend excluded. Making up for this, I locked myself in my room and listened to music, singing along with every song. I developed a taste for artists that were more ”deep”…. Nina Simone, Billie Holiday, Neil Young. There was something in their voices that touched me, some emotion that I recognized.

I internalized all of Neil Young’s lyrics; they made a huge impact on me and served as a heavy influence on the lyrics that I started writing myself. Billie’s voice still tears me apart.
Growing up, I came across songs that stuck with me. Holding Back the years and Brass in Pocket for example. I strongly related to the lyrics. I could almost smell them. Songs about love in all it’s splendour and compassion. Songs about addiction, inequality and loneliness. Songs about the eternal search for an answer. I’m a grown woman now, a mother, experienced, but still searching.

To sing a song I need to picture the story of the lyrics in my head; I have to feel them. If I can’t feel them, I can’t sing them. And how can I expect you to believe what I am singing if I don’t feel it myself? So you can say that the songs on this album are very personal, very close.

Carmen Gomes

Tracklist:
01. Holding back the years
02. Wouldn’t change a thing
03. Only you can
04. Needle and the damage done
05. Little girl blue
06. A Better man
07. Until your ready
08. Soul
09. Don’t miss you
10. Brass in pocket

Personnel:
Carmen Gomes – vocal
Folker Tettero – guitar
Peter Bjørnild – double bass, bass guitar
Bert Kamsteeg – drums

Download:

http://www.datafile.com/d/TVRRMk5EUTVOelkF9/Carm3nGom3sInc.Littl3Blu32015SoundLiaison2496.part1.rar
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Carol Kidd – Nice Work (1987)
FLAC (tracks) 24 bit/96 kHz | Time – 38:22 minutes | 849 MB | Genre: Jazz
Official Digital Download – Source: LINN Records | Front cover

Carol Kidd is one of Britain’s best loved jazz singers, and one of her most respected ambassadors in the field worldwide. She has received favourable comparisons with Ella Fitzgerald and Peggy Lee and has had continued praise from modern and traditional performers. These 1987 recordings, are typical of her work, features a spectrum of standards from the Great American Songbook interpreted by a legendary UK singer.

The now-legendary Carol Kidd covers several American Songbook recordings from the likes of Gershwin, Rogers & Hart and Ellington & Strayhorn on Nice Work. On an album of such quality material, Kidd proves that she knows her way around a song, recording with both an ease and flair that never seems forced.

Tracklist:
01 – Nice Work If You Can Get It
02 – Havin’ Myself A Time
03 – Isn’t It A Pity
04 – Bidin’ My Time
05 – Sing For Your Supper
06 – Daydream
07 – I’ll Take Romance
08 – New York On Sunday
09 – What Is There To Say
10 – Mean To Me
11 – I’ll Guess I’ll Have To Change My Plan
12 – Starting Tomorrow
13 – Confessions

Produced by Murray Smith.
– Sandy Taylor: piano
– Alex Moore: electric, acoustic and bass guitars
– Murray Smith: drums

Additional Musicians:
Bruce Adams: trumpet & flugel horn
Dave McLellan: trumpet
George Kidd: trombone
Frank Pantrini: tenor saxophone
Gordon Cruickshank: baritone saxophone

Download:

http://www.datafile.com/d/TVRRMk5EUTVPRFUF9/CarolKiddNic3Work1987LINN2496.part1.rar
http://www.datafile.com/d/TVRRMk5EUTVOemcF9/CarolKiddNic3Work1987LINN2496.part2.rar
or
http://rapidgator.net/file/41838b4e1a17ba701bcabdd7a2b1e381/CarolKiddNic3Work1987LINN2496.part1.rar.html
http://rapidgator.net/file/235826b4e0ee68d28f1362a4be2a5f37/CarolKiddNic3Work1987LINN2496.part2.rar.html

Carol Kidd – Tell Me Once Again (2011)
FLAC (tracks) 24 bit/192 kHz | Time – 46:18 minutes | 1,86 GB | Genre: Jazz
Official Digital Download – Source: LINN Records.com | Covers & Digital Booklet

Tell Me Once Again, the new album by Carol Kidd with guitarist Nigel Clark, is full of magical moments and captures the spine-tingling intimacy they excel at in their live performances.

Tell Me Once Again is the greatly anticipated collaboration between Carol Kidd and guitarist Nigel Clark. This lovely album is full of staple songs from the Kidd – Clark repertoire but with the twist of being arranged exclusively for this dynamic duo. Kidd’s vocal melodies are as rich and sensual as velvet and Clark’s guitar playing is refined, delicate and impeccable. Each of the songs on this album is captivating and intimate – so much so, you might just find yourself thinking that Kidd might be singing just to you. Sit back, relax and let the gorgeous melodies of this fantastic duo take over.

Tracklist:
01 – Stormy Weather
02 – Moon Blue
03 – Alfie
04 – Once In A While
05 – Tell Me Once Again
06 – He Won’t Send Roses
07 – Moon River
08 – I Got Lost In His Arms
09 – You Don’t Know Me
10 – I Loves You Porgy
11 – The Shadow Of Your Smile
12 – The End Of A Love Affair

Produced and engineered by Calum Malcolm.
Mixed by Calum Malcolm and Philip Hobbs.
Recorded at Castlesound Studios, Pencaitland, UK from 1 – 3 February 2010.

Download:

http://www.datafile.com/d/TVRRMk5EUTVPRGMF9/CarolKiddT3llM3Onc3Again2011LINN24192.part1.rar
http://www.datafile.com/d/TVRRMk5EUTVPVE0F9/CarolKiddT3llM3Onc3Again2011LINN24192.part2.rar
http://www.datafile.com/d/TVRRMk5EUTVPVFEF9/CarolKiddT3llM3Onc3Again2011LINN24192.part3.rar
or
http://rapidgator.net/file/fa74980dfe1426d64c78e588187fb4e8/CarolKiddT3llM3Onc3Again2011LINN24192.part1.rar.html
http://rapidgator.net/file/fe4985680ec86a6cd803bb6e4c94e4d9/CarolKiddT3llM3Onc3Again2011LINN24192.part2.rar.html
http://rapidgator.net/file/9ff8594881abdc3264cec696b48e090a/CarolKiddT3llM3Onc3Again2011LINN24192.part3.rar.html

Christian McBride Trio – Live At The Village Vanguard (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 1:08:34 minutes | 1,36 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | @ Mack Avenue Records

This record is the fruit of McBride’s long association with the Vanguard, where his first appearance as a leader for the historic club was in 1995. In 2007, the bassist and charismatic club owner Lorraine Gordon started an annual one-week residency, which featured McBride’s quintet, Inside Straight. “Lorraine enjoyed my trio and my quintet, Inside Straight. We had such large crowds, so after a few years with such supportive audiences, we added an extra week. Instead of doing the same band for two weeks, I just started bringing in a different band. This has been an ongoing relationship that I look forward to maintaining as long as I can.”

Recorded over three consecutive nights in December of 2014, Live at the Village Vanguard showcases bassist Christian McBride and his trio in concert at the storied New York venue. A four-time Grammy winner, McBride has been a superstar in the jazz world since debuting as a teenager in the late ’80s. Here, McBride is joined by his trio bandmates, pianist Christian Sands and drummer Ulysses Owens, Jr. This is the same outfit that recorded the swinging, sophisticated 2013 studio album Out Here. As with that release, Live at the Village Vanguard finds McBride diving headlong into a set of swaggering, lively standards, originals, and unexpected covers, including a take on the theme to the cult ’70s comedy film Car Wash.

Tracklist:
01 – Fried Pies
02 – Band Introduction
03 – Interlude
04 – Sand Dune
05 – The Lady in My Life
06 – Cherokee
07 – Good Morning Heartache
08 – Down by the Riverside
09 – Car Wash

Musicians:
Chrisitan McBride – bass
Christian Sands – piano
Ulysses Owens – drums

Download:

http://www.datafile.com/d/TVRRMk5EVXdORE0F9/ChristianMcBrid3Liv3atth3Villag3Vanguard20159624.part1.rar
http://www.datafile.com/d/TVRRMk5EVXdORGMF9/ChristianMcBrid3Liv3atth3Villag3Vanguard20159624.part2.rar
http://www.datafile.com/d/TVRRMk5EVXdORFUF9/ChristianMcBrid3Liv3atth3Villag3Vanguard20159624.part3.rar
or
http://rapidgator.net/file/416d65a52e1a6c1e8950228a5dd4d00d/ChristianMcBrid3Liv3atth3Villag3Vanguard20159624.part1.rar.html
http://rapidgator.net/file/a46d4bc909614be60184405842083dcd/ChristianMcBrid3Liv3atth3Villag3Vanguard20159624.part2.rar.html
http://rapidgator.net/file/880de14f69a9913ef05101129373547f/ChristianMcBrid3Liv3atth3Villag3Vanguard20159624.part3.rar.html

Nina Simone – Little Girl Blue (1958/2013) [HRA 24-96]

Nina Simone – Nina Simone’s Finest Hour (2000/2015) [HDTracks 24-192]

Nina Simone – To Love Somebody (1969/2013) [HDTracks 24-96]

Harry James & His Big Band – The Harry James Sessions 1976 & 1979 (2013) [HDTracks 24-96]

Jamie Cullum – Twentysomething (2004/2015) [HDTracks 24-96]

Jimmy Cobb – Jazz In The Key Of Blue (2009) [HDTracks 24-96]

Holly Cole – Baby, It’s Cold Outside (2001/2014) [HDTracks 24-44,1]

Holly Cole – Don’t Smoke In Bed (1993/2012) [AcousticSounds DSD64 + FLAC 24-88.2]

Holly Cole – Temptation (1995/2012) [AcousticSounds DSD64 + FLAC 24-88.2]

Holly Cole Trio – Girl Talk (1990/2013) [ProStudioMasters DSD64 + FLAC 24-88.2]

Jacintha – Jacintha Is Her Name: Dedicated To Julie London (2003) {SACD-R + FLAC 24-88.2}

Jackie McLean – Capuchin Swing (1960) [Analogue Productions 2008] {SACD-R + FLAC 24-88.2}

Jackie McLean – New Soil (1959) [Analogue Productions 2010] {SACD-R + FLAC 24-88.2}

Various Artists – Jazz Side of the Moon: The Music of Pink Floyd (2008) SACD-R

Jean-Jaques Avenel – Waraba (2004) {SACD-R + FLAC 24-88.2}

John Coltrane – My Favorite Things (1961) [Stereo, Reissue 2013] {SACD-R + FLAC 24-88.2}

Carmen Gomes Inc. – Little Blue (2015) [Sound Liaison 24-96]

Carol Kidd – Nice Work (1987) [LINN 24-96]

Carol Kidd – Tell Me Once Again (2011) [LINN 24-192]

Christian McBride – Live At The Village Vanguard (2015) [HDTracks 24-96]