Artist: Don Friedman Trio
     Album: My Favorite Things
     Year: 2004
     Label: 441
     Genre: Post-Bop, Hard Bop
     Format, bitrate: MP3@320 kb/s
     Time: 59:15
     Size: 130,30 MB (+5% recovery)
     AMG rating:

     Don Friedman, who has recorded quite a few dates as a leader, as well as being an in-demand sideman, is joined by two other top-notch veterans, bassist George Mraz and drummer Lewis Nash, for this 2003 studio date. One of the biggest challenges for a jazz musician is to find new approaches to the most frequently played standards, something the trio seems to do effortlessly. A good starting point is the opening track, a stunning rendition of "My Favorite Things." Rather than follow the mantra set by John Coltrane in the early '60s, Friedman doesn't postpone the release of the theme nor does he play it in a modal setting. Instead, his re-voices it with lush chord substitutions, while never losing touch with it. "Easy to Love" is recast as a lively samba, while "Never Let Me Go," forever associated with the late Bill Evans' memorable solo recording for Verve, is spaciously arranged, allowing breathing room for Mraz's intricate bassline and Nash's complementary brushwork. Friedman devours Coltrane's "Giant Steps" whole with a driving interpretation, while his jaunty take of Thelonious Monk's "Ask Me Now" is every bit as playful as the composer's recordings. The pianist also includes three originals: the catchy call-and-response blues "Schmooze Blooze," the lightning hard bop line "Half and Half" (a great feature for Nash), and the lovely ballad finale "Summer's End." Highly recommended. ~ Ken Dryden, AMG

     Artist: Corey Harris
     Album: Mississippi to Mali
     Label: Rounder
     Year: 2003
     Genre: African Blues
     Format: mp3/ CBR 320 kbps, 44.1kHz, Stereo
     Size: 126,8 Mb

     Corey Harris is adept at combining contemporary sensibilities with traditional country blues forms in a manner so natural that the cracks and fissures between now and then never seem to show, an accomplishment he expands on Mississippi to Mali to include two continents. Again, the music flows so naturally that the bridges and welds that join the African and African-American traditions on this record are never obvious, creating a seamless, wonderful album. The tracks were recorded live in the field, an approach that strengthens the intimate feel here, and there are numerous high points, including Africanized versions of Skip James' "Cypress Grove Blues" and Robert Petway's "Catfish Blues" that open new dimensions in each song without altering its original intent and tone. A version of "Sitting on Top of the World" (called "Station Blues" here) with the Rising Star Fife and Drum Band, and featuring Sharde Thomas, the 12-year-old granddaughter of Othar Turner, is a particular delight in its ramshackle exuberance. Mississippi to Mali closes with a credible and moving take on Blind Willie Johnson's "Dark Was the Night, Cold Was the Ground" that spotlights Harris' considerable acoustic slide skills. This is another fine album from a player whose reverence for the blues doesn't keep him from instilling the form with both joy and innovation. ~Steve Leggett

     Artist: Clifford Jordan
     Album: Mellow Side of Clifford Jordan
     Year:rec.1987-1991/rel.Nov 18, 1997
     Label:Mapleshade
     Format: MP3@320 Kb/s
     Time:50:14
     Size: 112.9 Mb
     AMG rating:

     Artist: Scott Hamilton & Friends
     Album: Across the Tracks
     Year: 2008
     Label: Concord
     Genre: Standards, Neo-Bop, Mainstream Jazz
     Format, bitrate: MP3@320 kb/s
     Time: 56:51
     Size: 132,86 MB(+5% recovery)

     Artist: Charlie Parker
     Album: Charlie Parker
     Year:Dec 1947-Jul 30, 1953/rel.1998
     Label: Verve, Master Edition, (20 bit remastered)
     Format: MP3@320 Kb/s
     Time: 65:34
     Size: 91.76 Mb
     AMG rating:

Artist - Anita O'Day
Album - Complete Signature & London Recordings
Label - The Jazz Factory
Years: 1942-1950, release - 2001
Quality - MP3@320 kbps
Size: 119mb+138mb
Total time: 60:43+67:34

The Spanish Jazz Factory label assembled this collection of Anita O'Day sides recorded between 1942 and 1950, with a variety of orchestras led by Stan Kenton, Gene Krupa, Alvy West, Will Bradley, Abbey Brown, Paul Jordan, Jack Pleis, and Ben Homer. Though the liner notes definitely aren't up to the quality of an average major-label compilation, collectors will be overjoyed to see so much attention to detail regarding the early career of an important jazz singer, from evergreens like "And Her Tears Flowed Like Wine" to novelty fare like "Tennessee Waltz" and "Yeah Boo." ~ John Bush, All Music Guide

     Artist: Rebecca Pidgeon
     Album: The Raven
     Label: Chesky (High Resolution Technology)
     Format: FLAC & mp3 (320 k/s)
     Size: 269 & 107 MB
     Total time: 46:01

     Reflective, yet contemporary, Rebecca's enchanting voice rings with honest, unpretentious confidence and vivid tenderness. While her Celtic melodies set the mood, her lyrics tell stories, full, rich, textured, and openhearted. She explores varying subject matter: love, loss, life, death, excavating her imagination and expressing it with wit, charm, warmth, and near tangible vulnerability. The Raven, Rebecca Pidgeon's explosive debut pop release reveals the remarkable talents of a new musical artist while introducing Chesky Record's most significant contribution to the advancement of recorded sound.... High resolution technology. - from Acoustic Sounds website

     Artist: Sheila Jordan
     Album: Portrait of Sheila Jordan
     Label: Blue Note
     Year: 1963
     Format, bitrate: mp3, 320 kbps
     Size: 91 MB
     Time: 38:59
     AMG Rating:

     Sheila Jordan's debut recording was one of the very few vocal records made for Blue Note during Alfred Lion's reign. Accompanied by the subtle guitarist Barry Galbraith, bassist Steve Swallow, and drummer Denzil Best, Jordan sounds quite distinctive, cool-toned, and adventurous during her classic date. Her interpretations of Oscar Brown, Jr.'s "Hum Drum Blues" and 11 standards (including "Falling in Love With Love," "Dat Dere," "Baltimore Oriole," and "I'm a Fool to Want You") are both swinging and haunting. Possibly because of her originality, Sheila Jordan would not record again for over a dozen years, making this highly recommended set quite historic. ~ Scott Yanow, All Music Guide

     Artist: Masada String Trio
     Album: 50th Birthday Celebration, Vol. 1
     Label: Tzadik
     Year: 2004
     Genre: Avantgarde, Klezmer
     Format, bitrate: mp3@320 kbit/s
     Time: 63:03
     Size: 143 mb


     September 2003 marked the 50th birthday of John Zorn, and to celebrate, Tonic hosted a month-long celebration of Zorn's various musical groups and projects. The shows were recorded, and the best of them are being released as a new series on Zorn's "Tzadik" label.The first offering is the entire early set by the Masada String Trio, recorded on September 4, 2003, with Zorn conducting Mark Feldman on violin, Erik Friedlander on cello, and Greg Cohen, on bass. This group has been performing this material for more than six years by 2003, and the interplay between them is something to behold. Each player is a virtuoso, in complete command of his instrument, and the apparent ease with which they negotiate these tunes is amazing. Whether they're responding to an eager, appreciative audience, or just geared up for the Zorn festivities, one really gets a sense that something special is taking place at this show. Many of the tunes performed here are also on Circle Maker, but these versions tend to be much longer than the Circle Maker versions, giving each player plenty of room to solo. And what amazing playing -- these guys really know the repertoire as well as the other players, and the level of communication is just awe-inspiring. From soloing to comping, bowing to pizzicato techniques, the set is dazzling from start to finish. Only "Malkut" and "Karet" are anything but beautiful, sounding like pieces left more open to free improvisation than the others, and allowing other facets of the players' abilities to come out. The Masada songbook has elicited a rather large number of truly excellent recordings from its various ensembles. Add this one to the list. Recommended. ~ by Sean Westergaard

     Artist: Oregon
     Album: Oregon In Moscow
     Year: rec. 1999, rel. 2000
     Label: Intuition
     Genre: World Fusion
     Format: MP3@320/kbs
     Size: 206.05 MB

     Oregon’s performance with the Tchaikovsky Symphony Orchestra of Moscow keeps the quartet at center stage. Lyrical solos weave in and out of eclectic compositions that offer exciting impressions. For the most part East European in character, the music provides lush harmony and stable rhythms. One interesting exception to the formula is Towner’s slow, melodramatic affair, “Free-form Piece for Orchestra and Improvisors.” Unlike the album’s orchestrated numbers, this one is actually an improvisation for conductor. The piece would have to turn out differently each time it was performed. The orchestra is divided into three sections. Each section has ten composed mini-compositions at hand, and they’re cued by hand signals from the conductor. It must keep the artists on their toes. Harmony works out well, since Towner has allowed for all the combinations. The members of Oregon stretch out over this scenario for eight and a half minutes. It works out rather well, particularly the impetus from bass clarinet and guitar.
     An hour and a half altogether, Oregon’s double album captures the essence of their composed music while allowing improvised solos to flow unfettered. The rhythmic swing and dynamic groove of jazz take a back seat to the quartet’s focus on polished articulation and impressionism. By Jim Santella

     Торжество классики или триумф музыки фьюжн? Вопрос. Одно ясно наверняка: у этих направлений общего куда как больше, нежели различий. Что убедительно демонстрируют американские ветераны Oregon в содружестве с Московским симфоническим оркестром им. П.И. Чайковского. Лидер коллектива – виртуозный гитарист/пианист Ральф Таунер на данном альбоме раскрывается в качестве композитора с довольно серьезными амбициями (большинство вещей с обоих дисков принадлежат его перу), мастерски синтезирующего тенденции джазовой акустики с традиционными оркестровыми формами. =>

     Artist: Oscar Peterson
     Album: BBC Jazz Legends (Live at the Barbican, London '84)
     Label: BBC
     Year: 1984, release 1996
     Format, bitrate: MP3, 192 kb/s
     Time: 1:11:53
     Size: 100 Mb (+ 4 Covers)
     Bubu's Rating: ****

     Oscar Peterson has a unique talent, he is the complete jazz piano player and for me the yardstick with which to judge others. His playing encompasses all those who went before him, Fats Waller, Art Tatum, Nat Cole and many others, but to all of this he adds the Oscar Peterson ingredient. This ingredient is a superb technique, immaculate taste and a huge presence, the like of which has not been known before. There have been many versions of the trio, this one featured Danish Bass player Niels-Henning Orsted Pedersen and British Drummer Martin Drew. Niels has to be the most accomplished bass player in the world and Martin has always been amongst my favourite drummers, if you listen to the interview Oscar rates him too! >>

     Album: Compilation
     Label: Telefunken
     Year: 1930th (?)
     Genre: Retro
     Format, bitrate: mp3@320 kb/s, shellac-rip
     Time: 25:41
     Size: 48 mB

     Хочу предложить членам Клуба несколько необычный материал.

     В наследство от родителей мне досталась несколько коробок со старыми грампластинками. Среди них мое внимание привлекли несколько дисков фирмы "Telefunken". Не могу утверждать точно, но очевидно они были привезены родственниками моей бабушки из Чехии накануне Второй мировой войны. Пластинки не в идеальном состоянии, да и найти проигрыватель на 78 об./мин. нелегко. Поэтому запись с сильными шумами. Она может носить лишь иллюстративный характер, но может быть кому-то будет интересно.

     В дополнение привожу найденный в интернете материал по истории фокстрота.

     Artist: Jackie McLean
     Album: Capuchin Swing
     Label: Blue Note
     Year: Recorded: Apr. 17, 1960
     Quality: FLAC & MP3@320
     Size: 286 MB & 91 MB
     Time: 40:38

     

     

     Artist: Keith Jarrett
     Album: J.S. Bach: Goldberg Variations
     Composer: Johann Sebastian Bach (1685 - 1750)
     Label: ECM New Series
     Year: 1989
     Format, bitrate: MP3@320 kbit/s
     Time: 1.01:27
     Size: 141 MB

     Кейт Джаретт, один из лучших джазовых пианистов в мире, исполняет на клавесине Гольдберг вариации И.С. Баха.

     Artist: John Lee Hooker
     Album: Never Get Out of the Blues Alive
     Label: Universal
     Year: 1972
     Genre: Rhythm'n Blues, Boogie
     Format: mp3/ CBR 320 kbps, 44.1kHz, Stereo
     Size: 79,4 Mb

     Following the legendary bluesman's popular collaboration with Canned Heat, this album continues his work with mostly younger musicians and predates similar projects The Healer and Mr. Lucky by about 20 years. Van Morrison spans the gap by appearing on this 1972 release and Mr. Lucky. Elvin Bishop, Charlie Musselwhite, and even Steve Miller contribute here. Jazz violinist Michael White helps "Boogie With the Hook" take off and adds a mournful touch to the harrowing "T.B. Sheets," which is much more restrained here than on the earlier debut release by Morrison. ~ Mark Allan

     Artists: Fourplay
     Album: Energy
     Label: Heads Up
     Year: 2008
     Genre: Jazz, Smooth Jazz
     Format: mp3, Bitrate: @ HQ VBR
     Size: 74,4 MB

     According to some very basic laws of nature, when powerful forces come together, some form of energy is created - usually in large amounts. In music, the laws of interaction are no different. When keyboardist Bob James, bassist Nathan East, guitarist Larry Carlton and drummer Harvey Mason come together as Fourplay, the result is Energy. Energy grafts a variety of sounds - R&B, pop, African and more - to Fourplay's unwavering jazz foundations. In addition to vocals by East - a charter member since the band's inception in 1990 - the album also features a vocal track by Esperanza Spalding, the upright bassist, composer and vocalist.

     Artists: VA
     Album: Putumayo Presents: Blues Around The World
     Year: 2008
     Label: Putumayo
     Format, bitrate: mp3, 320kb/s VBR
     Size: 78.68 MB

     John Lee Hooker used to say "the blues is a feeling," but this collection is proof that it's also a universal language. These 11 songs by musicians from South and North America, Europe, Asia, and Africa are a thoroughly enjoyable summation of the genre's ability to cut through cultural barriers to touch the heart. "Slide Blues" by Argentina's Botafogo could be a Delta relic if not for its Spanish lyrics. And singer Big Mama with harp man Victor Uris beautifully blur the lines between Catalonia and Chicago. The great pianist Otis Spann and the trio of Eric Bibb, Rory Block, and Maria Muldaur provide two straight-up shots of the style. The best tunes are outright cross-cultural collaborations.
     Bonnie Raitt and Mali's Habibe Koité take the music to its deepest roots thanks to Koité's graceful kora-like acoustic guitar on "Back Around." The Unseen Guest, an Irish-Indian duo, bring microtonality to a blend of guitar, banjo, mandolin, and tabla in "Listen My Son." And Taj Mahal with the Culture Music Club of Zanzibar turn the standard "Catfish Blues" into a midnight howl that echoes from the Gulf of Mexico to the coast of the Indian Ocean. Mahal's guitar, a squeeze box, and a clutch of African stringed instruments pass rhythmic phrases and bursts of melody back and fourth until their musical points of origin are as delightfully blurry as a moonshine-fueled night in a Mississippi juke joint--or a dance hall in Zanzibar's Stone Town. -- Ted Drozdowski

     Artist: Stevie Wonder
     Album: A time to love
     Label: Motown
     Year: 2005
     Genre: Rhythm-n-Blues, Soul
     bitrate: mp3@320 kbps
     Time: 01:17:41

     During times of extreme political and social change, Stevie Wonder's voice and songwriting served as cultural and spiritual guideposts to many a listener, often lending insight and a barometer with which to measure the ways of the world. But that was largely during the golden phase of his career, generally regarded as being the late '60s through 1980's Hotter Than July. His work in the mid-'80s through the '90s was marginal in comparison, only hinting at glimpses of former brilliance, sugar-coated by over-polished production and radio-friendly content. So with a decade passing since his last full-length, 1995's Conversation Piece, people waited with bated breath for a sign of his return...and wondered which Wonder would show up: would it be the socially conscious genius who wrote anthems for a generation, or the R&B crooner who dominated quiet storm radio? Thankfully, it's a blend of both. For every forward-moving song with a theme, there's a gentle moment of tranquility to cancel it out. Many of these songs, save for their warm and polished digital production values, could have easily found a home in Talking Book, Music of My Mind, or any of the other albums for which Wonder will forever be praised. In an age when the majority of R&B is about money, drugs, infidelity, or getting it on, Wonder's lyrics (especially during the love songs) recall the simplicity and innocence of early Motown without sounding trite. It's definitely a refreshing change of pace and hopefully something one or two aspiring producers and songwriters are paying attention to. These are love songs of maturity that are carefully crafted, which would more or less explain why it took nearly a decade to get them finalized, with many of them feeling like mature revisitations of the classics. (If "Happier Than the Morning Sun" and "Little Girl Blue" were a pair of teenagers in love, "Sweetest Somebody I Know" is that couple 30 years later at its class reunion.) The jazzy "How Will I Know," featuring Wonder's daughter on lead vocals (the same Aisha sung about nearly 30 years ago on "Isn't She Lovely"), is the gateway to the album's second half, a five-song cycle of ballads and quiet storm jams that will appease fans of Wonder's later work. Especially notable is "My Love Is on Fire," featuring a beautiful guest appearance from jazz flutist Hubert Laws, which exemplifies the other thing that makes A Time to Love the comeback album of the year: the never-ending list of celebrity cameo appearances so extensive it would make Carlos Santana and Clive Davis blush with modesty. Guest appearances from rap pioneer Doug E. Fresh, Bonnie Raitt, Sir Paul McCartney, Kim Burrell, Prince, Kirk Franklin, and India.Arie just scratch the surface of who contributed to this record. It's one Michael Jackson and one Lionel Richie cameo short from being a USA for Africa reunion. But while each artist lends his own style to the mix, the songs definitely remain 100 percent Wonder thanks to his distinctive singing and arrangements. The album begins its landing with "So What the Fuss," a chunky block of funk with a distorted bassline. It served as the lead single and was met with surprisingly little fanfare, especially since it's one of Wonder's most straight-ahead slices of funk in some time. And the album's title track serves as a fitting conclusion to the album, spreading Wonder's message of love and peace as strongly and convincingly as any other song he's ever done. On the whole, A Time to Love is the record Wonder fans have been waiting for, and the wait has more than paid off. Through exploration and balance, A Time to Love finds the two halves of Wonder's adult career finally coming to home to roost in peaceful harmony with one another, and it's one of the finest records he has done in decades. ~ Rob Theakston, All Music Guide

     Artist: Ella Fitzgerald
     Album: Ella In London
     Label: Pablo Records
     Orig. Year: 1974
     Street Date: May 06, 1998
     Format/Bitrate: MP3/320
     Size: 113 MB
     Total time: 49:00
     AMG Rating:

     Послушайте легендарный концерт Королевы Джаза Ella Fitzgerald, который состоялся в 1974 году в Ronnie Scott's Jazz Club (Лондон).