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Artist: Joe Pass Album: The Stones Jazz (LP) Label: World Pacific Year: 1966 Quality: mp3,192kb/s Size: 49MB Time: 33:41
Do you like "The Rolling Stones"?
An album of songs by the Rolling Stones hardly sounds like promising material for any jazz release, even in the hands of a master guitarist like Joe Pass. Featuring ten of their hits with arrangements by Bob Florence and an unidentified cast of musicians, other than tenor saxophonist Bill Perkins, this LP was clearly one for a paycheck when most jazz players were scratching for work. Unlike the works of Lennon and McCartney of the Beatles, the Rolling Stones' music doesn't lend itself to jazz. Pass doesn't solo with the gusto one came to expect from his many great sessions from the 1970s to the end of his life for Pablo and elsewhere. Even the closing blues "Stones Jazz," credited to Florence and Pass, sounds severely dated and not worth a second hearing to today's jazz listener. A very unlikely candidate for reissue on CD, this record will be sought by Joe Pass fanatics only. ~ Ken Dryden, All Music Guide
Date of the first publication on November, 06, 2007.
Originally recorded in 1959 upon its first release, Beauty and the Beat! was billed as a live recording from a Miami convention of disc jockeys. Though Peggy Lee and George Shearing did in fact perform there (and attempts were made to record them for later release), the songs heard on the subsequent LP were recorded in the studio and overdubbed with rather obvious canned applause, announcements, and even post-production echo. After one mostly faithful reissue on CD (with bonus tracks), the record reappeared in 2003 with all the offending chatter removed and a top-notch, live-in-the-studio session revealed. Lee and Shearing, who had never recorded before, conceived a set of completely new arrangements that played to their strengths: stately blues and effervescent swing. The best of the former comes on a pair of locale-referencing quasi-blues, "I Lost My Sugar in Salt Lake City" and "You Came a Long Way From St. Louis," both of which Lee and Shearing are able to transform into languorous, respectable torch songs. The usually downcast "Blue Prelude" is actually taken at a laissez faire tempo that Lee treats well, and the original set ends with "Get Out of Town" and "Satin Doll," a pair of bemused, affectionate performances that perfectly suit the pair. Lee and Shearing's only collaboration on record though both would occasionally perform together thereafter is a supremely chilled session of late-night blues from two masters of the form.~ John Bush, All Music Guide
Artist: Blood, Sweat and Tears Album: Blood, Sweat and Tears 4 Label: Columbia Release: 1971 Style: jazz - rock Format, bitrate: Mp3 320 kb/s Time: 40:54 Size: 94,9 Mb (full covers)
WOODSTOCK - 40 YEARS ANNIVERSARY DAY THREE
Having relied largely on outside songwriting for its last two wildly successful albums, Blood, Sweat & Tears decided (as many groups had before) to bring some of that song publishing income into the family by writing their own material....
Artist: Blood,Sweat & Tears Album: Child Is Father To The Man (collector's edition) Label: Columbia/Sony Year: 1968 Release: 2002 Style: jazz-rock Format, bitrate: Mp3 320 kb/s Time: 1:16:44 Size: 184 Mb (full covers) AMG Rating:
WOODSTOCK - 40 YEARS ANNIVERSARY DAY THREE
Child Is Father to the Man is keyboard player/singer/arranger Al Kooper's finest work, an album on which he moves the folk-blues-rock amalgamation of the Blues Project into even wider pastures, taking in classical and jazz elements (including strings and horns), all without losing the pop essence that makes the hybrid work. This is one of the great albums of the eclectic post-Sgt. Pepper era of the late '60s, a time when you could borrow styles from Greenwich Village contemporary folk to San Francisco acid rock and mix them into what seemed to have the potential to become a new American musical form...
Artist: Frank Rosolino & Carl Fontana Album: Trombone Heaven Label: Uptown Records Year: 1978 Format, bitrate: MP3, 320 Kbps Time: 79:10 Size: 159 MB
”They are the High Priests of jazz trombone… and there’s no one around today who’s even remotely on their level." Bill Watrous
Save J.J. Johnson, Frank Rosolino, and Carl Fontana were the two most technically gifted jazz trombonists without peer. Period. Putting them together is indeed like being in trombone heaven, yet this club date in Vancouver, British Columbia at the Bayside Room proved their styles were compatible even if their sounds were distinct. The ultraliterate Rosolino, displaying a cat quick tonguing technique, runs rings around anybody the instrument has ever known, while Fontana restrained his ultimate gifts in favor of a more precise, soulful, refined, full, less showy sound, yet could play effortless bebop at the flip of a switch. These two, in their own inimitable ways, truly had it goin' on Unfortunately, both sported limited discographies, so this release is both a treat and an event. The tunes, all standards, are outandout extended jam sessions, but often with a twist. Two ballad medleys have each 'bonist playing individually, with Rosolino tearing up "Here's That Rainy Day," while Fontana chills on "Stardust," then in quite similar melodic parallel lines, Fontana gently strokes "Laura" while Rosolino snuggles up to "Embraceable You." They discourse quite vocally through their brass and slide axes ad infinitum on a 16plusminute "Well, You Needn't," predominantly in beautiful unison on the lead melody, run through a stylized but inspired 15 1/2minute take of the loping "All Blues," and draw on counterpointed Dixieland type chattery, clipped, conversational phrases during a 13minute drill on "Just Friends." The telepathy between the two is remarkable, but the finale, Dizzy Gillespie's "Ow" shows their complete command of harmonics, their ability to play off each other, and their willingness to experiment with the extended sonic timbres of their horns. The sound quality is very good for recordings that have been sitting around since 1978, and the local rhythm section is par for the course, as they allow these two to have center stage and blow. Rosolino and Fontana, who both passed away underrecognized in the general scheme, deliver all one could hope for on this fully realized document of two real geniuses, at work and at play. ~ Michael G. Nastos, All Music Guide
Artist:Cal Tjader Album: Hip Vibrations(LP) Label: Verve Year: 1967 Format, bitrate: mp3, 320 kb/s Size: 86 MB
Cal Tjader recorded frequently for Verve during the 1960s, yet this is one of his more unusual sessions. Instead of fronting his regular group in a typical Latin setting, the vibraphonist plays arrangements by Benny Golson or Bobby Bryant, accompanied a band that includes Ernie Royal, Marvin Stamm, J.J. Johnson, Jerome Richardson, Mel Lewis, either Ron Carter or Richard Davis on bass, and three different pianists: Herbie Hancock, Patti Bown, or John Bunch. The solo focus is almost exclusively on the leader in these fairly brief charts, though there are brief spotlights on Richardson and Hancock. The best tracks are Golson's "Blues March," John Lewis' "Django," and Tjader's "Hip Vibrations." A pair of current pop songs of the day ("Georgy Girl" and "Windy," the latter a hit for the rock group the Association) seem a little out of place but prove to be no more than innocuous. This 1967 session has long been out of print and seems like it might be an unlikely candidate for reissue, but there's enough good music within it to justify picking it up if it can be located.~ Ken Dryden, All Music Guide
One of Shirley Scott's stronger dates, this quintet outing matches her organ with tenor saxophonist Oliver Nelson, trumpeter Joe Newman, bassist George Tucker, and drummer Roy Brooks. The material is varied and includes such interesting tunes as "Blue Seven," "Wagon Wheels," and a swinging "Give Me the Simple Life." Boasting three strong soloists, there are a generous number of fireworks on this blowing session, which should greatly appeal to organ, Shirley Scott, and hard bop collectors.~ Scott Yanow, All Music Guide
There can hardly be a jazz fan anywhere in the world who would need to be told that when the melodrama of a night's jamming moves into its denouement and Roy Eldridge, Dizzy Gillespie and Clark Terry make their appearance downstage, then the proceedings have begun to take on a certain gladiatorial aspect. The relationship between three such men is a positive maze of influence and cross-influence, of personal relationship, of historical allusion, of mutual respect, regard, affection — and egotistical rivalry. And at Montreux on July 16, in the broiling 1975 summer heat, by the time they confronted each other, all three trumpeters had had copious opportunity to warm up, to taste triumph, to take the measure of the crowd, the acoustics, the rhythm section, the atmosphere of the occasion. When this fourth and final set of the night began, it was a signal that the decks, figuratively speaking, had been cleared for action, as much as to say that now that the fripperies of saxophones had been dispensed with, the three champions could get down to a tough match with no distractions. This is not to say that Roy, Diz and Clark are anything remotely approaching sworn enemies or bitter rivals. They are not like champion tennis players who sprawl between games back-to-back at the umpire's chair like Tweedledum and Tweedledee, exchanging no word, no glance, no cognisance of the other's existence. On the contrary, Roy, Diz and Clark are much more like three profound specialists of an arcane science, Freud, Jung and Adler perhaps, who having studied each other's findings very closely, rejecting part and accepting part, then go their own sweet ways, having each acquired for the other two that fundamental respect which all professionals must feel for true professionalism.. . .
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Artist: Frank Rosolino & Carl Fontana
