Artist: Neil Diamond
Album: The Jazz Singer
Format: mp3@192 kbit/s
Year: 1980
Label: Sony
Size: 57mb
Total time: 40:11

Neil Diamond's 1980 screen turn as a charismatic singer torn between Jewish tradition and pop music stardom spawned this phenomenally successful soundtrack album -- six million copies and counting. Diamond's 21st century resurgence as a walking item of kitsch has sparked renewed interest in the bombastic melting-pot jam "America," as well as his signature late-career ballad "Hello Again." In addition, the lite FM favorite "Love on the Rocks" is classic, raw-throated Neil. But beyond these notables, The Jazz Singer is an album of passable pop songs that stand on the edge of disco and in the grip of melodrama. The hyper "You Baby" is dressed up with an audio clip marking the film's embarrassing black face sequence, while the album's midsection sags with songs that shine like Sunset Strip billboards, yet lack any real substance. Swelling strings and lovely lyrics abound, but it all seems directionless, as if Diamond's just going through the motions. Similarly, Jewish traditionals like "Kol Nidre/My Name is Yussel" are important as thematic elements. But removed from the film and in the context of open-collared, glitzy numbers like "Hey Louise," their reverence is off-putting. As it's aged, The Jazz Singer has come to mark the moment when Diamond fully embraced his soft rock audience and completely turned his back on the ambition and spine-tingling vocal presence of his early career. That decision certainly proved to be an economic winner, but it ignored the fact that his most resonant performances really tear into a song with true mirth. The Jazz Singer's big hits have this quality -- a fact not lost on a new generation of listeners who revel in Diamond's powerful voice and showmanship. But the album's bulk is as wooden as Neil's acting. ~ Johnny Loftus, All Music Guide

Artist - Mary Lou Williams
Album - Mary Lou Williams - 1945-1947
Label - Classics
Genre - swing, bop
Years: 1945-1947, release - 1999
Quality - MP3@256 kbps
Size - 108 mb
Total time - 68:06

Очередная встреча с блестящей пианисткой, композитором, аранжировщицей.

Most of the musicians heard on this fourth installment in the Classics Mary Lou Williams chronology are women. During the second half of the 1940s, this was considered unusual and innovative. Female musicians, with the exception of carefully coiffed vocalists and the occasional pianist, were generally regarded by the public, by the entertainment industry, and by most male musicians as curious anomalies and were not taken very seriously. Mary Lou Williams always preferred to surround herself with musical minds possessing artistic acumen commensurate with her own highly developed musical intellect. The first four tracks were recorded for the Continental label in 1945 with guitarist Mary Osborne, bassist Bea Taylor, and percussionists Margie Hyams and Bridget O'Flynn, a fascinating duo who took turns either handling the vibraphone or the drums. This little group sounds perfectly up to date, pleasantly newfangled on "Rumba Rebop," a reference to that new style that in 1945 was already becoming known instead as bebop. "D.D.T." fairly bristles with angular modern changes. There is also a sweet vocal by Mary Osborne on "He's Funny That Way." Mary Lou Williams recorded six delightful piano solos for the Disc label on February 16, 1946. Taken in sequential order, they form a sort of self-portrait containing most every aspect of this artist's musical identity: her background as an indispensable component in Kansas City's thriving jazz scene; her genius as arranger for Andy Kirk, Louis Armstrong, Earl Hines, Benny Goodman, and Duke Ellington; her vital participation in the emergence of early modern jazz -- all of this is reflected in her personal piano reveries. Nine titles recorded for Victor during the summer and autumn of 1946 constitute bop-inflected chamber jazz of the highest order. Included here are three fascinating experiments on boogie themes, a structure based on a theme by Dvorak, several original inventions, and another sentimental vocal from Mary Osborne. In 1947, ten males known as the Milton Orent-Frank Roth Orchestra recorded two very boppish sides for the Disc label under the direction of Williams, a big-band arrangement of her "Lonely Moments" and the catchy "Whistle Blues." Another session for Disc featured trumpeter Kenny Dorham, bassist Grachan Moncur II, and guitarist John H. Smith, Jr. On "Mary Lou," the men sing in unison: "Mary Lou -- we love you -- we thank you." The flip side, a harmonically advanced study entitled "Kool," is an example of Williams composing in a marvelously eccentric bop style worthy of Thelonious Monk. What a treat to hear Kenny Dorham in an intimate small-group setting at this stage of his career. This fascinating compilation closes with two sides recorded by an all-female quartet for the Mercury label late in 1947 but left unissued for some reason until many years later. Here, then, is an excellent survey of Mary Lou Williams' innovative musical accomplishments in the years immediately following the Second World War. ~ arwulf arwulf, All Music Guide

     Artist: George Shearing
     Album: Lullabies of Birdland - A Musical Autobiography (2CD)
     Recording years: 1949-2000 (compilation)
     Released: 2004
     Genre: Jazz
     Label: Concord Jazz
     Size: 226 Mb(101+121+4)
     Format/Bitrate: MP3 - 320 kb/s

     Предлагаю вашему вниманию довольно репрезентативную, на мой взгляд, музыкальную автобиографию известного пианиста и композитора George Shearing. На этом сборнике, состоящем из 2-х CD и включающем в себя, в основном, известные стандарты (в том числе и Lullaby Of Birdland его собственного сочинения), он играет в разные годы с разными составами и солистами, среди которых Carmen McRae, Jim Hall, Mel Torme и другие.

REPOST! Congratulations Sir George!

     Artist - George Shearing
     Album - On Stage
     Genre - Swing, jazz-piano
     Label - Capitol
     Year - 1958, release - 1959
     Quality - MP3VBR256 (LP rip)
     Size - 72,7mb

     Очередная встреча с блистательным
джазовым пианистом и композитором George Shearing

REPOST! Today's mr. Shearing' Birthday!

Artist: Lee Konitz/Phil Woods/Leo Wright/Pony Poindexter
Album: Alto Summit
Recording Date: Jun 2, 1968,Jun 3, 1968
Label: Verve
format: Ape
Size: 101,6+72,2+101,5 mb (incl. covers)


This unusual album teams together the altos of Lee Konitz, Pony Poindexter, Phil Woods and Leo Wright (along with pianist Steve Kuhn, bassist Palle Danielsson and drummer Jon Christensen) on a variety of challenging material. There are four pieces for the full septet (including one that pays tribute to both Bach and Bird), a pair of quintet performances and a ballad medley that ends in a complete fiasco (it has to be heard to be believed). Despite the latter, everyone fares well on this summit meeting. ~ Scott Yanow, AMG

     




The original Chico Hamilton Quintet was one of the last significant West Coast jazz bands of the cool era. Consisting of Buddy Collette on reeds (flute, clarinet, alto, and tenor), guitarist Jim Hall, bassist Carson Smith, and the drummer/leader, the most distinctive element in the group's identity was cellist Fred Katz. The band could play quite softly, blending together elements of bop and classical music into their popular sound and occupying their own niche. Most of these performances were formerly quite rare and never reissued before. Highly recommended to jazz historians and to listeners who enjoy classic cool jazz.

     Artist: Stu Williamson
     Album: Plays
     Label: Bethlehem
     Quality: FLAC & MP3@320
     Size: 185 MB & 88 MB
     Time: 39:43

     Stu Williamson led relatively few sessions in his career and over half of them are on this excellent Fresh Sound CD. The cool-toned trumpeter is mostly heard in a quintet with altoist Charlie Mariano, pianist Claude Williamson (his brother), either Max Bennett or Leroy Vinnegar on bass, and Stan Levey or Mel Lewis on drums. The remaining four songs (all Bill Holman compositions) feature a sextet with Holman on tenor, baritonist Jimmy Giuffre, Claude, Vinnegar, and Lewis. The music swings lightly but firmly with excellent solos from all concerned, making this CD a prime example of West Coast jazz from the 1950s. Recommended. ~ Scott Yanow, All Music Guide

Artist - Bud Powell
Album - The Amazing Bud Powell, Vol. 3: Bud!
Label - Blue Note
Year - 1957, release - 2002
Quality - MP3@320 kbps
Size: 59+56 mb (with covers)

Bud Powell's playing in the late '50s (just prior to his move to Paris) found the troubled pianist in erratic form, often struggling to make it through songs he had written. However, his three Blue Note recordings from the era (which include the slightly later Time Waits and The Scene Changes) feature Powell in surprisingly inspired form; all of the releases have since been reissued on a comprehensive CD set. Bud! (which is subtitled The Amazing Bud Powell, Vol. 3) has five trio performances with bassist Paul Chambers and drummer Art Taylor (highlighted by "Bud on Bach" and "Some Soul") and three standards on which the group is joined by trombonist Curtis Fuller. This strong bop set is well worth getting. [The 2002 re-release includes one bonus track, an alternate take of "Blue Pearl."] ~ Scott Yanow, All Music Guide

    Artist: Stephane Grappelli
    Album: Stardust
    Year: 1973
    Release: 1988
    Label: Black Lion
    Format, bitrate: MP3, 320 kbps
    Time: 53:15
    Size: 126 MB

    This album includes songs which the violinist has never recorded before, plus two of his own outstanding originals, all of them recorded on the 1973 with Alan Clare - the pianist, who'd won his first award at the age of 10 and in the 1950's and followings has been considered one of the best pianists on this side of Atlantic. As for Grappelli, his albums have always been filled with gracefullnes, delicasy and excelent capability to feel the melody, and this album is no exception...
    В представленный альбом вошли композиции, которые скрипач ещё никогда раньше не записывал, а также две из его собственных великолепных стандартов. Все композиции были записаны в 1973 году в совместной сесси вместе с Alan Clare - пианистом, выигравшим свою первую награду в 10 лет и считавшимся одним из лучших пианистов на своей стороне Атлантики начиная с 1950х. Что же до Grappelli, его альбомы всегда были наполнены изящностью, утончённостью и превосходной способностью чувствовать мелодию, и этот альбом не исключение...

   Historians conveniently set out the history of jazz as "up-the-river-from-New-Orleans-to-Chicago-and-on-to-New-York". They also indicate that the journey brought stylistic changes too, often for outside reasons, and while it may be sometimes difficult to trace the link between, say, King Oliver's band and Chick Corea's Return To Forever unit nevertheless the development chain exists. What is frequently overlooked is that jazz music of all eras and styles is bound together by a more obvious bond namely that of melodic inventiveness. At any stage in its growth one can find the tune-masters, the soloists who love to take a song and embellish it with flowing cadences, hovering around the extremities of the composer's original theme and never straying too far to lose the non-specialised listener. Lester Young, Ben Webster, Charlie Parker, these men were obvious masters of melody but so too are younger men such as Archie Shepp (he has recorded a memorable Prelude to a kiss for example), Gary Burton and many, others.