 |
Friends |
 |
 |
jasapaal
 Into the Rhythm
|
 |
 |
 |
 |
|
 |
 |
John Mayall - A Banquet In Blues |
Music » Blues » Modern electric blues |
 |
|
 Artist: John Mayall Album: A Banquet In Blues Label: One Way Records Year: 1976 Format bitrate: Mp3, 224 kb/s vbr Time: 42:26 Size: 62, 5 mb (full covers) Though Mayall's 70's material majorly suffers next to his 60's output, "A banquet in blues" is one of his better 70's outings and probably the best from Mayall's Rick Vito days. The brisk opening shouter "Sunshine" features a bright and tasty Blue Mitchell trumpet solo and also has John McVie on bass, effective in the up stairs tumbler sound. Rick here is on vocals (presumably in with the shouting verse sections) and on rhythm guitar (which you can hear thinly in the background of the grumble). In fact, Rick is on every track on the album in one way or another except one, which is the horn & piano led bland mid temp track "Lady" so it's probably just as well he's not on that one. "You can't put me down" is a fast shuffle with a slight disco feel, Rick plays lead guitar and also does (background?) vocals on this one. . . . |
|
|
Chris Botti - In Boston |
Music video |
|
|
 Artist: Chris Botti Album: In Boston Label: Sony Year: 2008 Release: 2009 Format: DVD-9 (MPEG-4), 16:9 (720x480) Time: 2 h 3 mins Size: 7,37 Gb In the past when I reviewed concert videos, I have been usually mesmerized, in awe, excited, or rhythmically bobbed my head to what I was listening and watching on screen. I have only been emotionally moved a few times when I have watched these kinds of presentations, and this is one of those few times. Trumpet virtuoso Chris Botti and his guest artists put on one of the most heartfelt performance that I have had the pleasure to see on video. Each featured guest, starting with Sting, Dominic Miller, Josh Groban, Katherine McPhee, Yo-Yo Ma, Lucia Micarelli, Sy Smith, John Meyer, Steven Tyler, all the way to the Boston Pops Orchestra put on a superior performance. I was particularly moved by Josh Groban, Yo-Yo Ma, and Lucio Micarelli whose passion for the music could be seen on her face. This great concert performance was staged within the hollowed walls of the great Boston Symphony Hall - a venue known the world around for its great natural acoustics
Since the release of his first album First Wish, Botti has worked with some of the most talented pop, rock, classical and jazz musicians and singers in the music business. Cutting his musical teeth with artists such as Burt Bacharach, Chaka Khan, Andrea Bocelli, Jill Scott, Michael Buble, Paul Simon, Rod Stewart, and Paula Cole, Botti has a discography that includes ten releases, and of those, two number one selling jazz releases. He has guest appeared on dozens of albums, compilations, and sound tracks over the years. . . . |
|
|
Nina Simone - Emergency Ward! |
Music » Blues |
|
|
 Artist: Nina Simone Album: Emergency Ward! [Remastered] Year: 1972 Release: 2004 Label: BMG/RCA Format,bitrate: mp3, 320 kbit/s Time: 33,39 Size: 80,386 mb REPOST with a new link This unusual record from 1972 is Nina Simone's statement on the Vietnam War. The cover is a collage of news clippings from the conflict, and the song selection and arrangement, though dealing with matters more spiritual than political, reflect the events of the day. The entire first side consists of a powerhouse medley of George Harrison's "My Sweet Lord" and a poem by David Nelson called "Today Is a Killer," set to music by Simone. The Harrison song is transformed into a sweaty gospel workout that takes its rhythm from the Capitols' "Cool Jerk" and its call-and-response vocal arrangement from the Reverend James Cleveland. Simone artfully alternates the celebratory romp with slow, somber passages featuring her improvised lyrics and passages from the Nelson poem. Even as it passes the 18-minute-mark, the medley never loses power, and it remains one of Simone's finest moments. After the triumph of the first side, the flip is only a slight letdown. "Poppies" is melodically vague, but Simone's strong delivery sells it, while George Harrison's "Isn't It a Pity" gets an intense, drawn-out treatment, mostly featuring just Simone's piano and voice. The cover of Emergency Ward! claims it was recorded in concert, but only the first side appears to be live, and even that is riddled with sloppy edits. Though it is one of the stranger records in the Simone oeuvre, Emergency Ward! is consistently thrilling. [The album was reissued in 2004.] ~ Mark Richardson, AMG |
|
|
The Vienna Art Orchestra - The Minimalism Of Erik Satie |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: The Vienna Art Orchestra Album: The Minimalism Of Erik Satie Label: Hat Hut Records [ART CD 6024] Year: 1990 [Recorded 1983-84] Format, bitrate: MP3@ 224 kbps Time: 75:12 Size: 124 Mb Mathias Ruegg's Vienna Art Orchestra had always been an eclectic bunch, working in the odd jazz or classical cover into its repertoire with some regularity, but for this release, the ensemble went whole hog, leaping into the oeuvre of that grandfather of minimalism, Erik Satie. Originally issued as a two-LP set, every track (save one evocative Gil Evans-y piece by Ruegg) is a Satie composition rearranged, often brilliantly, and generally highlighting two or three individual VAO members. This reductionist technique serves the band well, as it has often had a tendency toward weighty ponderousness. Here, the arrangements are light and linear, affording a supple but transparent platform for the soloists, who are clearly encouraged to venture out into jazzy territory. Vocalist Lauren Newton and percussionist Woody Schabata are often in the spotlight here, the former's wordless ululations adapting themselves quite well to Satie's whimsical music and the latter's vibraphone providing an enticing mixture of rigor and dreaminess. Others, like the Gymnopedie No. 3, are presented for solo instrumentalist, here a lovely rendition by trombonist Christian Radovan. The final three tracks, the entirety of the second disc on the original issue, are given over to renditions of Satie's notorious Vexations, wherein the pianist was instructed to play the piece 840 times at a "very slow pace." Here, they're set for duets, Schabata in each case on vibes, accompanied by tenor sax (Roman Schwaller), voice (Newton), and bass clarinet (Wolfgang Puschnig). It's a daring and very successful gambit, as the piece is allowed to be gradually examined like a lustrous gem by several creative pairs of ears. The Minimalism of Erik Satie is a rare example of the pairing of jazz and classical that actually works on both ends. ~ Brian Olewnick |
|
|
Oscar Peterson - The Complete Clef/Mercury Studio Recordings Vol I |
Music » Jazz » Mainstream |
|
|
 Artist: Oscar Peterson Album: Complete Clef/Mercury Studio Recordings Vol I Label: Pablo Records Year: 1951 - 1953 Release: 2008 Format, bitrate: Mp3, 320 kb/s Time: 50:53 Size: 116 Mb AMG Rating:  EVERY DAY IS AN OSCAR PETERSON DAY! Oscar Peterson appeared on hundreds of recordings produced by Norman Granz, though most of his early trio dates for Mercury and Clef were overlooked for CD reissue until the release of this thorough seven-disc compilation by Mosaic in 2008. It still represents only a portion of the pianist's considerable output for the two labels between 1951 and 1953 . . . |
|
|
Modern Blues Band -The Reverse Side of the Blues |
Music » Blues » Modern electric blues |
|
|
 Artist: Modern Blues Band Album: The Reverse Side of the Blues Label: Издательский Дом Ридерз Дайджест Year: 2003 Format, bitrate: MP3, 320 kbps Time: 62:00 Size: 147Мb Классная Московская группа,существующая в этом составе уже 11 лет. В этот диск вошли 14 из более сотни композиций,которые группа исполняет на концертах. Modern Blues Band-это сыгранная команда, они прекрасно чувствуют друг друга и всегда играют с большим драйвом.
Moscow blues group that exists in the composition of the past 11 years. In this CD includes 14 of the more than 100 songs that the group performs at concerts.
|
|
|
Gil Evans - Bud and Bird - Live at the Sweet Basil |
Music » Jazz » BeBop » Third Stream |
|
|
 Artist: Gil Evans Album: Bud and Bird - Live at the Sweet Basil Label: Evidence Year: 1986 Release: 1992 Format, bitrate: mp3@320 kb/s Time: 66:30 Size: 156 MB (+ full original art) This CD (plus In Memoriam, another Projazz set taken from the same sessions) contains the last recordings of arranger/pianist Gil Evans with his regular orchestra, other than a set backing rock singer Sting. As was typical for Evans's later-period work, he is content to play quietly while letting his ensemble run somewhat wild. The four pieces, which include the umpteenth remake of Jimi Hendrix's "Little Wing," are all overly long but not without interest; sidemen include trumpeter Lew Soloff, trombonist Dave Bargeron, John Clark on French horn, altoist Chris Hunter, Bill Evans on tenor and soprano, baritone saxophonist Hamiet Bluiett, guitarist Hiram Bullock and both Peter Levin and Gil Goldstein on synthesizers, while flugelhornist Johnny Coles is a welcome guest. Fans of Gil Evans's 1950s work may not much care for his 1980s electronic band, but this set is fairly coherent and has its exciting moments. ~ Scott Yanow, AMG |
|
|
THE DUKE ELLINGTON CENTENNIAL EDITION (JBC-3) |
Swing, Traditional Jazz |
|
|
 Artist: Duke Ellington Album: THE CENTENNIAL EDITION JBC-Volume 3 (The Complete Midforties Recordings) Year: 1927 - 1973 Volume Years: 1944 - 1946 Release: 1999 Label: RCA Victor (BMG) Format, bitrate: MP3, 320 kbps Time: 27:12:05 Volume Time: 4:42:57 Size: ~ 4 GB Volume Size: 644.1 MB All Music Guide Rating:  When Duke Ellington entered RCA Victor's New York studios on December 1, 1944, for his band's first commercial recording session since the summer of 1942, his first concern was to quickly prepare for release the best possible version of a song he had recently written with lyricist Don George, I'm Beginning to See the Light. Convinced of its hit potential, the energetic George had already brought the song to Harry James, and the trumpeter had liked it so much that he had recorded it for Columbia a week earlier. That label had also just come to terms with the American Federation of Musicians. The third major label of that era, Decca, had settled in the fall of 1943. A two-year recording ban had ended. Now Ellington had to hurry to avoid being beaten to the punch with his own material. Когда Duke Ellington вошёл в нью-йоркские студии компании RCA Victor 1го декабря 1944го года по поводу первой коммерческой записи своего оркестра после лета 1942го, его первостепенной задачей было быстро приготовить к выпуску наилучшую из возможных версию песни, которую он незадолго до этого написал вместе с поэтом-песенником Don George - "I'm Beginning to See the Light". Убеждённый в её потенциале George до этого уже принёс её трубачу Harry James, которому она так понравилась, что тот записал её для Columbia на следующей же неделе. Двух годичный запрет на записи был снят. Теперь Ellington-у необходимо было поторопиться не оказаться опережённым его же собственным материалом. Booklet notes |
|
|
English
Русский
Set Home Page
Add to Favorite
Rss 2.0 news
