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 Into the Rhythm
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Jelly-Roll Morton - Mr Jelly Lord |
Music » Jazz » Traditional Jazz |
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 Artist - Jelly Roll Morton Album - Mr Jelly Lord Label- Naxos Jazz Legends Years: 1924-1930, release - 2006 Quality - MP3@256 kbps (new link!) Size - 96,3 mb Total time - 62:23 Happy Birthday, Jelly Roll Morton! Jelly Roll Morton was born October 20, 1890 These twenty tracks are the pick of those four golden Victor years 1926-1930, and the cast list of his fellow performers makes impressive reading, Kid Ory (trombone), Johnny St Cyr (banjo), Omer Simeon, Barney Bigard and the great Johnny Dodds (clarinets), George Mitchell (cornet), Baby Dodds (drums), and a host of others who came and went from the Red Hot Peppers. ‘Ah Mr Jelly’- up goes the cry from Morton himself during the evocative Smoke House Blues, a haunting number. So too is The Pearls, which you get the bonus chance to hear twice, in its band version immediately after the solo on tracks 12-13, and which is really a thinly disguised Beale Street Blues. Besides stunning piano playing throughout (there are five piano solo tracks here), it is Morton’s high level of imaginative and unpredictable creativity which so impresses. King Porter Stomp - better known as a big band classic a year later when Fletcher Henderson recorded it - contains some strange harmonies and piano textures, the chords widely spaced between the two hands. More vaudeville-style speech introduces tracks 6-8 followed by two classic blues and a spirited stomp with fabulous playing all round. That defining December 1926 session in Chicago produced three brilliant numbers, Grandpa’s Spells, Original Jelly Roll Blues and Doctor Jazz - the only number which has a vocal, Morton himself - tracks 9-12. It’s worth buying this disc for these three tracks alone.
Transfers and digital restoration by David Lennick and Graham Newton respectively are excellent, and Scott Yanow’s comprehensive notes highly informative. I grew up with a couple of well-worn, oft-played 10 inch LPs of Jelly, and many of these numbers have remained fresh in my mind when I hear them all again on this CD. Morton was a genius, and if he had not been known to posterity by his nickname, Doctor Jazz would have been the perfect alternative. ~ Christopher Fifield |
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Фейертаг - Большая энциклопедия джаза (2001) |
Biography |
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 Genre: Энциклопедия Year: 2001 Author: В. Б. Фейертаг Format: HTML, mp3@160kbps Size: 625 Мб В данной энциклопедии представлено более 1000 джазовых исполнителей.
В статьях приводятся биографии исполнителей, основные этапы творческого пути и дискография. К 50 исполнителям приведены их самые известные композиции в формате mp3. В энциклопедии содержатся более 550 иллюстраций.
Для тех, кого не интересует музыкальный материал предлагается текст (PDF). |
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Bola Sete - At the Montery Jazz Festival (1966) |
Music » Jazz » BeBop » Post-bop |
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 Artist: Bola Sete Album: At the Monterey Jazz Festival Format: FLAC & mp3 (320k/s) Size: 262 & 104 MB (scans) Label: Verve (2000) Total playing: 46:23 [centert]Nine months before a certain other guitarist made a huge splash at a Monterey music festival, Brazilian acoustic guitarist Bola Sete left his own mark on an American jazz audience still feeding its voracious appetite for all things Brazilian. To be sure, Bola Sete didn't sneak up on the American public quite like Jimi Hendrix did--after all, Sete had made waves as part of Vince Guaraldi's ensemble in the years leading up to this historic 1966 performance. The classically trained Sete wowed fans with a unique style that seemed to fall somewhere between Andres Segovia's elegance and Django Reinhardt's exuberance, a space not as wide as you might think. By the summer of '66, Sete had graduated to his own trio with bassist SebastiГЈo Neto and percussion master Paulinho Da Costa.The centerpiece of this performance is the three-song "Black Orpheus Medley," but Sete adds a pair of noteworthy originals. "Soul Samba" has subtle blues inflections that remind you that Barney Kessel was the first jazz guitarist to catch his ear. "Flamenco" is a simply stunning solo performance that blends challenging chording with incredibly speedy single-note runs, and offers the most overt example of his comfort with the folk traditions of his homeland. At some points, he amazingly plays his own bass accompaniment to his upper-register notes. This long-overdue 2000 CD reissue fleshes out the original LP release by adding 4 minutes to the medley as well as 2 unreleased cuts (with poorer sound quality) from the show, including a bossa nova arrangement of Ellington's "Satin Doll." - by Marc Greilsamer[/center] |
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Ella & Friends |
Music » Jazz » Vocal Jazz |
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 Artist - Ella Fitzgerald Album - Ella Fitzgerald Genre - Jazz vocal, swing Label - GRP/Decca Years - 1944/51, release - 1996 Quality - MP3@192kbs/s Size - 78,7mb Total time - 60:03 REPOST This compilation of Ella Fitzgerald's early works with various bands is quite similar to the ASV collection Rhythm & Romance, sans Chick Webb and the obscurities. Most of the same featured confreres — Louis Armstrong, the Ink Spots, Louis Jordan, the Delta Rhythm Boys, and the Mills Brothers — are here as well. These sessions are culled from old sides from the Decca label produced by the legendary Milt Gabler. But there are many different selections in different proportions, and overall more popular and well-recognized fare. It's a good companion piece to the ASV collection, and in a sense a better consolidation of groupings among the 20 sides chosen. Highlights include "Can Anyone Explain?" with Satchmo, "I'm Making Believe" alongside the Ink Spots, the classic "Ain't Nobody's Business But My Own" with Jordan, "It's Only a Paper Moon" as only Ella and the Rhythm Boys could do it, and "Fairy Tales" with the Mills Brothers. This CD is easily recommended, for fans and soon-to-be fans. ~ Michael G. Nastos AMG |
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Freddie Hubbard - Red Clay (2002) |
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 Artist: Freddie Hubbard Album: Red Clay Label: Legacy Year: 2002 [Orig Year 1970 Digital Remastered] Genre: Jazz, Trumpet Format, bitrate: MP3@320 kbps Time: 67:58 Size: 80+68.3 Mb Hubbard, Freddie (Frederick Dewayne Hubbard) b. Indianapolis, IN 07.04.38 Один из величайших джазовых трубачей и флюгелыорнистов всех времен, Freddie Hubbard (Фредди Хаббард ) (хард- и постбоп, фьюжн, джаз-фанк) сформировал свой саунд в русле традиций Клиффорда Брауна и Ли Моргана и уже в начале 70-х был достаточно отчетливо различим в джазовой панораме того времени.
В 1970 Freddie Hubbard записал альбом Red Clay, который считается одним из самых лучших его альбомов.
RED CLAY is easily one of trumpeter Freddie Hubbard's finest albums. Falling cleanly between the straight-ahead hard bop of his mid-1960s releases and his more accessible '70s ventures, this is an irresistible mix of electric and acoustic jazz, elevated by dazzling technical proficiency and funk-infused rhythms. Hubbard displays his trademark compositional skill here, with memorable melodies, open and often shifting tempos, and attention to tonal color and atmosphere.
RED CLAY also boasts spectacular personnel: Joe Henderson on tenor sax, Herbie Hancock on electric piano, Ron Carter on bass, and Lenny White on drums. Every musician here is marvelously adept at playing both inside and outside, and each proves his mettle as a sensitive group player and a soloist (particularly Henderson and Hancock). White and Carter's rapport pushes the group toward quicksilver bop tempos ("The Intrepid Fox") and in-the-cut grooves (the title track). The reissue contains an incendiary version of "Red Clay" with a different lineup, including guitarist George Benson and percussionist Airto Moreira. |
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Albert King & Otis Rush - So Many Roads |
Music » Blues |
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 Artist: Albert King & Otis Rush Album: So Many Roads Label: Charly R&B Year: 1992 Quality: mp3 @320 + all covers Size: 86 mb Great album, featuring two of the premier exponents of modern blues guitar. There are six superb sides by Rush from 1960 including the magnificent So Many Roads, So Many Trains which is one of his greatest ever performances with a mind-bending string-bending guitar solo and two tracks not originally released including a remake of his Cobra classic All Your Love. The 8 cuts by Albert were recorded for Parrot in 1953 and Bobbin in 1961 with only two of the Parrot sides being originally issued - all are superb and it's interesting to see the development in Albert's style between his early and later sessions. |
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