Artist: Abdullah Ibrahim
     Album: African Magic
     Release: 2003-01-28
     Label: Enja/Justin Time
     Genre: jazz african
     Format, bitrate: Flac
     Size: 293 MB + covers
     Total time: 55:00

     JazzTimes (6/03, p.116) - "...Ibrahim's young trio-mates, bassist Belden Bullock and drummer Sipho Kunene, provide truly exemplary support. In some ways they may be the best-suited sidemen he has worked with..."

     Artist: Howard Roberts
     Album: The Movin' Man
     Label: Verve VSP-29
     Year: 1957, 1959, Release: 1966
     Format, bitrate: mp3@192 kbit/s (Vinyl, LP Album)
     Size: 51 mb
     Time: 35:22




     1966 - VSP Verve reissue of recordings from 1957 and 1959 all recorded in Los Angeles. This is the more desireable MONO version, not the electronically enhansed stereo version, recorded is in EX condition. A a GREAT instrumental cool guitar jazz LP.

     Artists: VA
     Album: Jazz Swings Pop
     Label: Universal
     Year: 2006
     Quality: 320 kb/s
     Time: 52:54 min
     Size: 117 mb

     The new Jazz Club series is an attractive addition to the Verve catalogue. With its modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music. Features 18 tracks from Jazz legends like Quincy Jones, Jimmy Smith, Chet Baker, Stan Getz, Paul Desmond, Oscar Peterson and many others. Verve 2006.

     It is a very enjoyable collection of pop tunes of the 60's done in jazz style.Makes for good listening and even some dancing.

    Artist: Various Artists
    Album: A Trip to Brazil: 40 Years of Bossa Nova (2cd compilation)
    Label: Motor Music
    Release: 1998
    Format, bitrate: mp3, 320 kb/s
    Time: 1:19:00 + 1:16:45
    Size: 181 Mb + 177 Mb

     EVERY DAY IS AN OSCAR PETERSON DAY !

   An eternal attraction the "Girl From Ipanema." Jobim anthem to a world-famous beach beauty from Rio is at least one of the most-played compositions of this century. Bossa Nova, those irresistibly easy cocktail party sound, is considered sophisticated musical expression of Brazil, as a melancholy antithesis of white musicians to euphoric Trommelstaccato black samba rhythms to the collective ecstasy of the carnival. Some see in this style, even the perfect combination of melody, harmony and rhythm achieved. But to hear them: This double CD with 50 Bossa Nova classics 1998 celebrated the 40th Anniversary of his "new beat" (so is the prose translation of Bossa Nova) with a competent outline of the history of that so far most influential sounds from South America.
   - Liner notes

   Artist: Herb Ellis, Ray Brown, Serge Ermoll
   Album: The Jazz Masters
   Label: AIM 1039
   Year: 1979
   Release: 2009
   Format, bitrate: MP3 @320
   Time: 30 minutes
   Size:

   This is a straight ahead session with a most interesting personnel— including a couple of other heroes of Australian jazz. While Serge seems equally at home in many different areas of jazz, his real importance is as one of those very necessary experimenters. His experience is extensive and has seen him at the forefront of jazz in Australia for the past thirty years. Serge also spent two highly successful periods in Britain.
   Probably the greater significance is in having what is, I believe, the last recording of drummer Stewie Speers. The word 'legend' is horribly overused these days but it surely applies to Stewie. One of the most respected of musicians, especially among musicians themselves, it's a crime that Stewie wasn't recorded more often. The rarity of his performances makes this a doubly valuable release. Stewie came from Melbourne and hit the jazz world in the late 1940's. He worked at the Downbeat Jazz Club and was a founder member of the Brian Brown Quartet, a very important modern group in Melbourne. In Sydney in the 1960's, Stewie worked at Chequers night club and at the most important jazz club in Australia's history, El Rocco, with John Sangster, Judy Bailey, Errol Buddle, and many others. From the late '60s to 1980, he was with Max Merritt and the Meteors, mainly in Britain. From the '80s on, Speers was in Sydney and appeared with many of the top players. He is widely regarded as the greatest Australian jazz drummer. . . .

     Artist: Rahsaan Roland Kirk
     Album: Bright Moments [live] (2CD set)
     Label: Atlantic Records
     Year: 1973
     Format, bitrate: MP3, 320 Kbps
     Time: disc 1 - 42:43; disc 2 - 39:30
     Size: disc 1 - 84,3 MB; disc 2 - 78,8 MB
     AMG Rating:

     Rahsaan Roland Kirk's live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments (reissued as a double CD) is a near-definitive document of the Kirk live experience, and his greatest album of the '70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it's clear in the outcome of the music that Kirk fed voraciously off the energy of the room. Most of the tracks are long (seven minutes or more), demonstrating Kirk's wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). "Pedal Up" is a jaw-dropping demonstration of Kirk's never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible. There's more quintessential Kirk weirdness on "Fly Town Nose Blues," which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute. His repertoire is typically eclectic: Ellington's "Prelude to a Kiss"; a groovy Bacharach pop tune in "You'll Never Get to Heaven"; a lovely version of Fats Waller's "Jitterbug Waltz"; and a stomping, exultant New Orleans-style original, "Dem Red Beans and Rice." Perhaps the best, however, is an impassioned rendition of the ballad standard "If I Loved You," where Kirk's viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk's bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it's nothing less than a tour de force. ~ Steve Huey, AMG

     Artist: Ahmad Jamal
     Album: Heat Wave
     Year: 1966
     Label: Cadet
     Genre: Jazz
     Format: MP3@320 kb/s
     Time: 33:29 min
     Size: 73 mb



     This mid 60s set for Cadet finds Jamal and his trio, featuring Jamil Nasser on bass and Frank Gant on drums playing it cool despite the title -- which is actually the Irving Berlin penned lead track. Other tracks include a rendition of Sonny Rollins' "St. Thomas", the latin-tinged "Misty", "April In Paris", "Allison", "Maybe September", and "The Girl Next Door".

    Artist: Keef Hartley Band
    Album: Halfbreed
    Label: Esoteric/One Way
    Release: 1969
    Format, bitrate: mp3, 160 kb/s
    Time: 50:43
    Size: 58,9 Mb (covers)

            WOODSTOCK - 40 YEARS ANNIVERSARY
                    DAY TWO
   The Keef Hartley Band's ''Halfbreed'' is arguably the best English blues album ever recorded. Having just been fired from the drum kit in John Mayall's Bluebreakers -- Keef Hartley took with him seemingly the entire horn section of the Bluebreakers who had just recorded the great ''Crusade'' album. Joining them was Gary Thain on bass (who would later show up on Uriah Heep's best efforts like ''Demons & Wizards'' and ''Look At Yourself.''), along with Spit James and Miller Anderson on guitars. . . .

     Artist: Art Tatum & Ben Webster
     Album: The Art Tatum-Ben Webster Quartet (A complete quartet session)
     Label: Jazz Beat
     Year: 11 September, 1956
     Release: 24 February , 2009
     Format, bitrate: mp3, 320kb/s
     Time: 75:55
     Size: 156MB



This Edition contains all existing music from the legendary pairing of Art Tatum and Ben Webster. Consideredone of the best Jazz Albums Ever, this was to be Tatum's last visit to a recording studio, for he died less than two months after this tracks were recorded.