Artist: Barbara Thompson
     Album: Heavenly Bodies
     Format: FLAC & mp3 (320k/s)
     Size: 273 & 111 MB (scans)
     Label: Intuition
     Total time: 49:48

     This is an important album for me. It represents two and a half years of soul-searching and experimenting, culminating in a broader and more orchestral concept. The use of real strings and brass has benn a delight, as I have always regarded myself as a composer/player rather than a player/composer. I have chosen to use percussion rather than drums and to give much of the rhythmic interest to other instruments. I weave my own improvisations into the fabric of the writing thoughout and there are also improvised solos from Peter Lemer (Extreme jonction and Flights of Fancy) and Paul Dunne (Elysian Fields). The inspiration for the Appia Suite came from five paintings by the Swiss artists Dominique Appia. The multi-layered fantasy, humour and beauty of his work fascinated me and I felt immediately that the pictures would come to life in musical terms. I have echoed his repetition of small motifs and detail by the introduction of recurring musical bridges and themes. In these compositions, space and beauty is of the essence; I would like to feel that you could play this album any time of the night or day and find music to suit your mood. ~ by Barbara Thompson

     Artists: Shelly Manne, Gerry Mulligan, Shorty Rogers
     Album: The Monterey Collection (Vol 2)
     Label:Hindsight
     Years: 1957-1961, release:2001
     Quality: mp3@320 kbps
     Size: 85,79 mb
     Total time: 41:24

Очень интересные сессии с участием лучших музыкантов, принимавших самое активное участие в развитии стилей COOL и WEST COAST

A very interesting session with the best musicians who took an active part in the development of styles and WEST COAST and COOL
In all, this collection represents the impact of historical trends and innovative changes in jazz and the vital voices of the West Coast jazz community in its developmental and its flowering stages.

     Artist: Duke Ellington
     Album: Reminiscing in Tempo (1932-1935)
     Label: Naxos Jazz Legends
     Year: 2002
     Genre: Jazz
     Format, bitrate: mp3, 320kb/s
     Time: 63:02
     Size: 133MB

     The years 1932 - 1935 were to prove a highly stable time for the Duke Ellington Orchestra in terms of personnel and a time of evolution for Ellington himself as a composer. This third volume in the Classic Recordings Series is significant in that it contains Duke's second recorded attempt at an extended work outside of the three minute limit imposed by the 78 rpm disc. ( The first being "Creole Rhapsody" in 1931 ). "Reminiscing In Tempo " is in four parts - written to fit on four sides of the conventional record of the day. Whilst this period proved to be settled with regards to the musicians in his orchestra, as mentioned earlier, it was to be a time of great sadness and personal upheaval for Ellington. "Reminiscing" was written to assuage and express the depth of emotion caused by the death of his mother - an event which, for a period of time, brought him to a virtual standstill and left its mark throughout the rest of his life ( when he was honoured at the White House on the occasion of his 70th birthday he is reported to have said, " There is no place I would rather be tonight except in my mother's arms").
Although this composition received a very mixed recepton at the time from the more serious critics - Spike Hughes described it as "a long, rambling monstrosity", it is harmonically a most advanced work and points the way to subsequent glories. Ellington himself described it as beginning " with pleasant thoughts, then something awful gets you down. Then you snap out of it and it ends affirmatively." Suffice it to say that no Ellington record collection can claim to be truly comprehensive if it does not contain this composition.
The rest of this disc is full of further delights. "Daybreak Express" is one of those highly evocative " train" tunes which punctuated Ellington's career and can only be categorised as a joyous romp. "Dallas Doings " is another version of Rockin' In Rhythm" and "Rude Interlude " is a skit on the habit of Constant Lambert's wife of referring to "Mood Indigo" as "Rude Indigo". This tune features Cootie Williams on trumpet and a wordless vocal by Louis Bacon.
"Tough Truckin' " has an Ivie Anderson refrain and "Truckin' " was an early feature for Rex Stewart, among others. Mae West is the singer on "My Old Flame" and, once again, Ivie Anderson is heard to great effect on "Ebony Rhapsody ". There are also early versions of such Ellington classics as "Stompy Jones " and "In A Sentimental Mood".
This is indispensable Ellington!
Dick Stafford (D.S. is a professional reed player and teacher living in Coventry).

     Artist: Cannonball Adderley
     Album: Cannonball Adderley Quintet with John Coltrane In Chicago
     Type: Live Album
     Label: Mercury
     Year: 2007 [ Original Year: 1959]
     Genre: Jazz, Hard Bop, Soul-Jazz
     Format, bitrate: MP3@320 kbps
     Time: 33:59
     Size: 75.8 Mb

     In February 1959, Miles Davis' late-'50s sextet visited Chicago for an engagement at a club called the Sutherland Lounge. While they were in the Windy City, Davis sidemen Cannonball Adderley (alto sax), John Coltrane (tenor sax), Wynton Kelly (piano), Paul Chambers (bass), and Jimmy Cobb (drums) recorded this excellent session without the innovative trumpeter. It would be a mistake to think of The Cannonball Adderley Quintet in Chicago as a Miles Davis session without Miles Davis -- nothing from Davis' repertoire is performed, and Adderley is in the driver's seat. However, you could say that Coltrane proves to be a most valuable co-pilot. In 1960, modal post-bop became Coltrane's primary direction, but in 1959 he was still playing hard bop -- and the chordal approach serves the quintet well on a sweaty version of "Limehouse Blues" as well as pieces by Coltrane ("The Sleeper," "Grand Central") and Adderley ("Wabash"). Coltrane lays out on the ballad "Stars Fell on Alabama," while "You're a Weaver of Dreams" finds Adderley taking a break and letting Coltrane be the only horn player. Originally a vinyl LP, The Cannonball Adderley Quintet in Chicago was reissued on CD in 1999 with informative new liner notes by writer Carl Woideck. ~ Alex Henderson, All Music Guide

     Artist: Romano Mussolini & His Friends
     Album: Soft & Swing
     Label: Right Tempo
     Year: 1995
     Genre: Jazz, Modern Jazz
     Format, bitrate: MP3@320 kbps
     Time: 34:01
     Size: 80 Mb

     This rare and elusive funky jazz set features some amazing trax on a funky Mayafra Combo tip! The session men include 2 drummers and a percussionist so you know what to expect! Serious collectors and discerning DJs seek this wonderful record for the stunning club trax BRASILIANA and OMAGGIO A OSCAR PETERSON. Both contain funky fender rhodes, funky basslines, beautiful rhythms throughout and ultra-deep percussion sounds and breaks! The hypnotic, exotic percussion breaks are amazing. Just wait for the superb, rolling samba breakdown on BRASILIANA and even more funky congas, bells, shakers 'n' things on OMAGGIO A OSCAR PETERSON! This top DJ spin keeps in with the Brazilian vibe with beautiful samba whistles for extra groove too! In fact, colourful sounds with jazzy instrumentation are omnipresent throughout this wonderful set. Great sounding fender rhodes jazz on DUKE with popping congas, jazzy trumpet solos from Cicci Santucci and even some funky drum breaks! AUTUMN LEAVES is relaxed and chilled-out but features superb kick drums like a slow motion bossa beat and shimmering bells that come in over the last 30 seconds or so. More latin-ized jazz on the Gigy Grice penned track, MINORITY. Mussolini and Co give the arrangement a kind of latin bop treatment with more upfront congas creating a fresh sounding interpretation of the jazz standard. With at least 6 of the tracks written by Mussolini himself, this is one of the 'cream' Italian Lps for this kind of sound!

     Artist: Woody Herman
     Album: The New World Of Woody Herman
     Label: Plaza Studios/Ultradisc
     Year: 1962/2002
     Genre: Jazz
     Format, bitrate: MP3@320 kbps
     Size: 82,0 Mb
     Total time: 35-41

     Artist: Dollar Brand (Abdullah Ibrahim)
     Album: Voice of Africa
     Format: FLAC & mp3 (320k/s)
     Size: 362 & 142 MB (scans)
     Label: Kaz Records (1988)
     Total time: 61:45

Of the many element that have contributed to Dollar's diverse background, the sounds os Africa have understandably influenced him the most. African rhythms, folk tunes, gospel amd hymn blen skilfully with classical and jazz strains producing Dollar's unique style and bearing testimony to the African influence. He also pays tribute to his fellow countryman the alto sax player Kippie Moeketsi "...the father of us all, the first person to make us aware of the riches within South Africa...he convinced me to devote my entire life to music". This album includes the gold award winning recording of "Mannenberg". - by Ray Jenks (from CD cover)

     Artists - Freddie Hubbard & Oscar Peterson
     Album - Face to Face
     Year - 1982, release date - 1997
     Label - Original Jazz Classics / Pablo
     Source - APE
     Cue - Yes
     Cover - Yes
     Size - 95,3(2)+69,3 Mb
     Genre - Jazz


     Пианист Оскар Питерсон (Oscar Peterson) и трубач Фредди Хаббард (Freddie Hubbard) с альбомом " Face to Face".

     Artist: Stan Getz
     Album: Interpretations
     Label: Verve MGV 8122
     Year: 1953/54
     Genre: Jazz
     Format, bitrate: mp3@320kb/s with front/back covers
     Time: ~37 min
     Size: 83,90MB


When the first two "Interpretations" albums by the Stan Getz quintet proved so successful, the next step obviously was to follow the pattern and this — as you must have gathered by now — was indeed done. What gave the first two "Interpretations" their standout quality, most critics agreed, was the unity of the five musicians as well as the topflight musicianship of all concerned. There is especially solid rapporti between the two featured soloists —Stan Getz, tenor saxophone, and Bob Brookmeyer, trombone. and one of the reasons for this could be the year which Brookmeyer spent with the Getz unit in 1953. This was a highly profitable year for both in terms of musical growth. ("The only way you learn," Getz once said, "is by playing with the best — so that there's always two challenges; first, your own inner challenge and then the fecling of being spurred by men who swing in your own outfit.") Getz, of course, has long been regarded as one of the foremost tenor men in modero jazz, a suspicion which first took hold strongly when he (with Zoot Sims, Serge Chaloff and Herbie Steward) provlded Woody Herman with the "Four Brothers" round. It was Getz whose solo gave much meaning to Herman's recording of the Ralph Burns composition, "Early Autumn". Since then he has been occupied largely with leading his own group, in most cases a quintet.

     Artist: Stan Getz
     Album: Stan Getz '57
     Label: Verve MGV 8029
     Year: 1953
     Genre: Jazz
     Format, bitrate: mp3@320kb/s with front/back covers
     Time: ~32 min
     Size: 77,63MB


     Stan Getz, one of the most widely honored and influential tenor saxophonists in jazz, was once asked what might on the surface appear to be an impertinent question: Isn't the saxophone the easiest instrument of them all to learn to play? Getz' reply was a considered one. "Technically speaking, yes," Getz said. "I suppose it's the easiest from that point of view. Just to play the saxophone—well, that's not so hard to learn. But mere playing isn't enough. 'To be any good you have to play the saxophone properly, as you would any other instrument; you have to get a good musical sound and that is not so easy at all . . . The saxophone is—well, you might go so far as to cali it a bastard instrument. It's not pure, like the violin or the piano or the trumpet. You don't see any saxophones in symphony orchestras, you'll notice. The tenor, especially, is out of tune, in a sense and a musician can pretty much make of the tenor saxophone what he will. That's one reason why there are so many different tenor styles—or noises. . . . To anyone just starting out who wants to study the tenor I'd suggest that he fмrst study the piano, first learn what music itself is all about; the first thing is to become a musician, then a tenor saxophone player. . . ."