JazzMaster

http://rapidshare.com/files/56629101/The_S..._Bossa_Nova.rar The Story of Bossa Nova features 20 remastered original recordings from the late '50s/early '60s combined with a few modern interpretations of the genre, including 14 tracks written by composer Antonio Carlos Jobim. Taken from the vast EMI-Odeon archive of classic Brazilian music, this introductory set includes Marcos Valle's "Samba De Verao," Sylvia Telles' "Dindi," and the pre-Astrud Gilberto version of "Girl From Ipanema" by Pery Ribeiro. AMG

http://rapidshare.com/files/55858070/Micha...Buble.part1.rar http://rapidshare.com/files/55860433/Micha...Buble.part2.rar Unlike most young guys who gravitate towards the latest rock or rap trend, Michael Bublé chose to study the classic works of pop vocal masters like Ella Fitzgerald and Frank Sinatra while slowly developing his own technique and career as a vocal interpreter. Thanks to producer David Foster, the 25-year-old Bublé has graduated to the big time with a self-titled debut disc that shows off his knowledge and appreciation for a style of music that is mostly unfamiliar to his generation. Swinging his way through a set of pop standards both classic ("The Way You Look Tonight"), and more recent ("Moondance"), Bublé already possesses a quality that reaches beyond his youthfulness, with a voice that incorporates his influences into a sound that is fresh yet familiar. When he launches into a standard like "Come Fly With Me," images of Sinatra are conjured up; but as the song progresses, the listener realizes that this is not Sinatra, or Bobby Darin, or any other famous vocalist. It is someone who has learned the art of popular song and is creating his own colorful music from shades of the past. In doing so, Bublé throws a fresh coat of paint on an old standard like "Fever," and gives it a satiny sheen that the song hasn't seen in years. In addition to revitalizing the classics, he draws in a younger audience by covering more recent, rock-era songs in a swinging gloss. Songs like George Michael's "Kissing a Fool" or Queen's "Crazy Little Thing Called Love" are jazzed up even further than their retro-based originals, and flow easily alongside the standards. The only interruption comes when Barry Gibb guests on his own "How Can You Mend a Broken Heart," with a reverb-laced vibrato that simply does not fit in this musical environment. Throughout the disc it is apparent that Bublé has done his homework and aced the test, but there is always room for improvement. Sinatra haunts his vocals a bit too much on songs like "Summer Wind," and there are moments throughout the disc when he forces his technique instead of following a natural cadence, but these minor criticisms will improve with time; and nothing can really diminish the sheer pleasure and joy he expresses in each performance. He sounds absolutely thrilled to be singing these songs, and that goes a long way in making Michael Bublé an exciting debut. AMG

http://rapidshare.com/files/55698154/Micha...tally_Buble.rar After the success of Michael Bublé's self-titled debut, DRG belatedly released this jazzy soundtrack from the 2001 film Totally Blonde in which Bublé had a co-starring role as a nightclub singer. Capitalizing on Bublé's newfound stardom, DRG basically ignores the music's connection to the film by altering the title and putting a shot of Bublé on the cover making it appear as if this was a proper Michael Bublé release. The slight misrepresentation was not lost on Bublé who has stated on his website that he did not want these songs released but that it was out of his control. In reality, the disc is not the complete disaster he makes it out to be, but buyers should be wary of the disc and understand what it is they are purchasing. The film's director, Andrew Van Slee, wrote or co-wrote all of the songs on this short, energetic disc while an as-yet unsigned Bublé does his best to breathe some life into these imitation swing-style songs. As with the standards he interpreted on his debut disc, Bublé sounds in command and comfortable fronting these slight tunes, making the songs sound much more interesting than they really are. Throughout most of the tracks Bublé channels his inner Sinatra in a way that is complementary but not imitative, as in the swagger of the disc's opening number, "That's How It Goes," where his Frank-ish vocals get revved up and zoom into a final Bobby Darin growl. His youthfulness does show through on the ballad "Anyone to Love," a boozy ode to losing at love in which Bublé's vocals lack the experience needed to truly portray the song's older, depressed character, but that is his only vocal misstep throughout these seven audio tracks. Although one could understand why Bublé would not want these early recordings to sit beside his stellar debut in CD bins, he shouldn't be too concerned as Totally Bublé does show what this gifted vocalist can do with even second-rate material. AMG

http://rapidshare.com/files/55682093/Miche...Spain_Again.rar Michel Camilo, the New York-based, Dominican-born pianist, and Tomatito, the Spanish flamenco guitarist, recorded a well-received duets album called Spain in 2000, and this sequel is intended to take the collaboration to the next level. Spain Again does. It's a bravura performance that pushes both men into strange and satisfying new territories and spotlights the abilities of each to find places where they are mutually comfortable and inspired. As on the first pairing, the musicianship is flawless throughout, the two virtuosos dancing around each other's melodies, creating fascinating, harmonious bridges, building upon and toying with structural ideas beyond what each composition calls for. Camilo's complex jazz piano inventions suddenly give way to Tomatito's spellbinding acoustic guitar runs; the two meet someplace in the middle, enjoy the freedom that unfettered exploration allows, and emerge with new entities that only an alliance of equals can bring about. The pace is set quickly with "El Dia Eque Me Quieras," a tribute to tango legend Astor Piazzolla, moves through various originals and standards (a silky, semi-classical "Stella by Starlight" is both graceful and awe-inspiring in its mastery) and eventually finds its way to the only vocal piece on the album, "Amor de Conuco," sung by guest Juan Luis Guerra. Strangely, though the vocal is quite lovely, it's a mood-breaker, diminishing the evocative elegance that Camilo and Tomatito have spent much of the past hour laying out. AMG

Pass: JazzMaster http://share.bol.bg/download/017yXU8fOW This album is one of guitarist Kenny Burrell's best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English, and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You."

Duo: Piano, Acoustic Guitar. http://rapidshare.com/files/50516720/Miche...Spain.part1.rar http://rapidshare.com/files/50518752/Miche...Spain.part2.rar