Artist:Coleman Hawkins
     Album:I Love You
     Label: Giants of Jazz
     Release:1998
     Format/Bitrate:m4a(AAC-320)
     Size:98 mb
     Time: 64:12


     Звездный состав, отличная музыка, великолепное исполнение!

     Enjoy...

To my friend ninikoo

REPOST with a new link

     Artist - Frank Sinatra
     Album - The Main Event Live
     Label - Reprise
     Year - 1974, release - 1987
     Quality - MP3@320 kbps
     Size - 110 mb
     Total time - 50:49

Following the release of Some Nice Things I've Missed, Frank Sinatra embarked on a six-concert tour in 1974, working with Woody Herman & the Young Thundering Herd, which was conducted by Bill Miller, Sinatra's longtime pianist. Dubbed "The Main Event," the tour culminated with a televised concert from Madison Square Garden on October 13, 1974. Subtitled "Live From Madison Square Garden," this album isn't an exact document of the concert. Instead, it's a compilation taken from various shows on "The Main Event" tour; on two songs, "I Get a Kick Out of You" and "Let Me Try Again," two performances are spliced together. Even if it constructs a concert which the good majority of live albums from the '70s tended to do The Main Event is a delight, full of inspired performances. While there are a couple of contemporary numbers thrown in, the majority of the songs are standards, from "The Lady Is a Tramp" to "I've Got You Under My Skin." Both Sinatra and Herman's Herd are lively, spurring each other on to consistently strong performances. Sinatra's singing might be a little too loose for some tastes, as he injects lyrical asides, impressions, and jokes throughout the record, as well as occasionally changing the lyrics by making them a little more "hip." Nevertheless, his singing cannot be faulted. Not only does he sound fine on his trademark numbers, particularly a lovely piano duet on "Angel Eyes," but he brings the contemporary material to life, which he failed to do in the studio. Even with all of its pleasures, The Main Event remains a minor entry in Sinatra's canon dedicated fans will certainly find more to cherish here than the casual listener but it remains one of his most enjoyable records of the '70s. ~ Stephen Thomas Erlewine, All Music Guide

     Artist: Dorothy Ashby
     Album: Afro-Harping
     Label: Cadet
     Year: 1968
     Format: MP3, 320 KB/s
     Size: 84MB
     Time: 35:56
     AMG rating




     The best and most complete album done by jazz harpist (a rare style) Dorothy Ashby. She didn't approach her instrument as if it were a gimmick, and she wasn't content to be a background/mood specialist. She turned the harp into a lead instrument, and offered solos that were as tough and memorable as those done by any reed, brass, or percussion player. ~ Ron Wynn, AMG Review

Artist: Abbey Lincoln
Album: It's Me
Label: Verve
Release: 2003
Genre: Vocal Jazz
Format, bitrate: MP3, 320 kbps
Time: 52:49
Size: 121 MB

One of the last true great jazz vocalists, 73-year old Abbey Lincoln continues to produce timeless recordings and live concert dates. It's Me is as strong as any entry in her half-century discography.
Lincoln shows us again that she excels in being both a most memorable interpreter and an original singer/songwriter. Her recent week-long residency at the Blue Note shed such a light: accentuating like no other, every word sung like her last and as much from the soul as diaphragm. Listen no further than her enunciation of the "crazy as a loon" lyric in "Skylark," or her singing abandon and still unbelievable range on "Runnin' Wild," or - if you were in the audience on one of her sold-out final nights in October - her most memorable rendition of "Mr. Tambourine Man."

Artist: Big Joe Williams
Album: Shake Your Boogie
Label: Arhoolie
Year: 1960-1969
Release: 1990
Genre: Blues
Format, bitrate: mp3, 320kpbs
Size: 153 Mb.

“For some reason, Big Joe Williams wasn't taken quite as seriously by blues buffs in the '60s as he should have been. I think it was probably because, unlike Son House and Skip James who had been long-lost and found again, or Charley Patton and Robert Johnson who were seriously enigmatic stiffs, Big Joe had kept right on being there, a working musician. Like Fred McDowell, he was ever so slightly taken for granted for being mainly present on modern recordings. Foolish really, because also like McDowell (who similarly has another mind-bogglingly wonderful one of these "Over 60 Minutes Of Classic Blues" Arhoolie CDs to himself) he was just dynamite.

Artist: Harry Allen
Album: Hits By Brits
Label: Challenge Records
Year: 2007
Release: 2007
Format, bitrate: 192 kb/s
Time: 58:50
Size: 79.6Mb

A superior swing-based tenor saxophonist influenced by Stan Getz and Scott Hamilton , Harry Allen has made an increasingly strong reputation during numerous recordings and countless live appearances. But even with his growing discography, Hits by Brits may very well be Allen 's finest all-round recording, at least to date. He absolutely burns on the uptempo pieces ( 'Cherokee,' 'Roses of Picardy,' 'Just in Time,' and 'Limehouse Blues' ), his tone sounds a bit more personal than earlier (moving a little away from Getz ) and he was very clearly inspired during the project. Trombonist John Allred is an exuberant asset whenever he appears, guitarist Joe Cohn has yet to take a tasteless or unworthy solo, and the team of bassist Joel Forbes and drummer Chuck Riggs keep the music swinging and moving. The ten songs were all written by Englishmen or English-born songwriters. More importantly, all are worth hearing again in this setting. Highly recommended. ~ Scott Yanow, All Music Guide

Artist: Herbie Mann
Album: Do the Bossa Nova
Genre: Latin Jazz
Year: 1962
Format: Mpeg-4 320kbps
Time: 33:16
Size: 77.3MB
Label: Atlantic

As far as I am concerned, the bossa nova is a modern samba. Most of the rhythm players in Brazil don’t play set patterns, but improvise as they feel. And do they swing! Unfortunately, many American percussionists stick to repetitious patterns, making for stodgy and uninspired results. During the first week I was in Rio I listened to well over 75 compositions. From these I picked the ones I wished to record, then fixed arrangers, musicians and groups.
The numbers of Baden Powell and Antonio Carlos Jobim which I cut are true bossa novas, while the pieces of Sergio Mendez and Luis Carlos Vinhas are progressive sambas, for which the jazz group improvises on a progressive samba beat. For example, I recorded the late Clifford Brown’s “Blues Walk” with the Sergio Mendez Bossa Nova Rio Group. This fine sextet comprises Mendez on piano, Paulo Moura (alto sax), Pedro Paulo (trumpet), Duval Ferreira (guitar), Otavio Bailly, Jnr. (bass) and Dom Um on drums. On the sides I cut with Baden Powell we used a bass player called Gabriel and alternated with two drummers, Papao and Juquinha.
Besides recording with Powell and Mendez I also cut sides with pianist Luis Carlos Vinhas and his trio and with a large string orchestra conducted by Antonio Carlos Jobim, who also sang and played piano on his now famous composition, “Samba De Una Nota So” (One Note Samba). The other large group with which I recorded was the 17– piece Zezinho E Sua Escola De Samba (Zezinho and His School of Samba). This group is made up of carnival samba players who perform in the streets at a carnival or mardi gras, playing traditional music on such instruments as cuica, reco– reco, pandeiro, frigideira and surdo, among many others.
During trips taking me to South America and the African continent I have collected over a hundred different flutes. For public appearances and recordings I use a concert flute in C, alto flute in G and E flat flute, plus a number of hand– made native flutes. In the future I intend to incorporate more and more folk music from various countries into our programme. The bossa nova will stay a part of my catalogue, along with the music I have gathered from other parts of the world combined with jazz. I feel that gypsy music and the folk music of Eastern Europe and the Middle East contains some wonderful rhythms and melodies to improvise on.
Herbie Mann.
Link;

     Artist: Bud Powell
     Album: Earl Bud Powell / Cookin' At Saint-Germain, 1957-1959 volume 3
     Label: Mythic Sound MS 6001-2
     Years: 1957 - 1959
     Format, bitrate: mp3@320 kb/s covers front/retro 300dpi
     Time: 56 min
     Size: 127,86 MB


This tribute to the great Bud Powell took 24 years to be completed, after his premature death. The we informed Jazzfans in the world are going to discover this original music. A music very often create outsider od the usuale professionale constraints. This project was able to be carried out thanks the association and complicity of several people conscious the importance of Bud Powell's genius. First Cecilia Barnes Powell, his daughter and heiress, to whom Francis Paudras gave as a legacy all the archives and personal recordings partly released here. Giacomo Battistella, passionate jazzfan, creator of Black Saint label and owner of Black Saint shop. Vittorio Castelli, another ardent jazzfan, musician journalist and partner in CD Team. Gigi de Leo, a well-informed jazz collector, documentalist, radio broadcast producer and also partner in CD Team. And lastly, Francis Paudras, who protected those precious archives over 30 years, a film maker and jazz producer. This work in an expression of their love and faithfulness to the probably most creative, the purest and the most underrated musician of our time. This is volume three of ten. ~ Paolo

     Artist: Various Artists
     Album: Verve Unmixed
     Label: Verve
     Year: 1944-1991
     Release: 2002
     Format, bitrate: mp3, 320kb/s
     Size: 83MB


     In 2002, the legendary Verve label took 12 tracks from its huge and varied jazz catalog and turned a bunch of DJs and producers loose on them, creating a mostly successful old-meets-new program of jazzy electronica entitled Verve Remixed. Simultaneously, the label released this collection, which contains all the same numbers in their original form, calling it Verve Unmixed. Without the unifying theme that pulled the first compilation together, Verve Unmixed comes off as rather slapped together -- the program begins with Willie Bobo's largely instrumental celebration of Cuban rhythm entitled "Spanish Grease," then jumps jarringly to Carmen McRae's subdued rendition of the teary standard "How Long Has This Been Going On?," then slides into Quincy Jones' orchestral bossa nova take on "Who Needs Forever?" And so it goes for about 42 minutes. There's some great stuff here, of course, and there's nothing the matter with a little variety. But there's also nothing the matter with a little cohesion and unity of vision; on its own, this compilation adds up to something less than the sum of its parts. ~ Rick Anderson, All Music Guide

     Artist: Various Artists
     Album: Verve Remixed
     Label: VERVE
     Year: 2002
     Genre: Jazz, Electronica
     Format, bitrate: mp3, 320kb/s
     Size: 93,8MB



More than ten years on from the first whisperings of a dance revolution, there are scores of solid producers in the scene, figures with all the talent, historical knowledge, and judgment necessary to rework most any tracks from the Verve archive. Surprisingly, Verve Remixed strays from the label's crossover-heavy '60s and '70s material (the records usually name-checked by dance producers), preferring instead to tackle serious classics from the canon of vocal jazz, focusing especially on female vocalists: Billie Holiday (two songs), Ella Fitzgerald, Sarah Vaughan, Dinah Washington, Nina Simone, Carmen McRae, and Shirley Horn. As is nearly always the case with tributes or remix albums, the results are mixed; several productions triumph in either equalling or enhancing the intent of the original, but too often a complex arrangement of a pop standard is trampled by insistence on a constant groove, whether it's of downtempo or more clubby house origin. British garage producer MJ Cole provides a few good vibes underneath Carmen McRae's "How Long Has This Been Going On?," but, in so doing, utterly destroys the pace and rhythm of the original. dZihan & Kamien are given the unenviable task of redoing Billie Holiday's "Don't Explain," and seem utterly unable to find a middle ground between all or nothing (of course, there isn't much of a middle ground on most dancefloors). The most intriguing collaboration on paper, a take on Holiday's classic "Strange Fruit" by nightmarish trip-hop star Tricky, suffers from the same strange quality: it's a great production, but shows little understanding of the arranging skills necessary to frame a great singer. The best track here, Richard Dorfmeister's grooving house take on Willie Bobo's "Spanish Grease," proves the point perfectly; the original was a laid-back jam (not a standard), and the remix coaxes a superb house production out of it. Too many other contributions here are unable or unwilling to spend the hours necessary to craft traditional pop. ~ John Bush, All Music Guide

     Artist: Dorothy Ashby
     Album: The Jazz Harpist
     Label: Regent
     Year: 1957
     Format: MP3, 256 KB/s
     Size: 55MB
     Time: 29:31
     AMG Rating

     Artist: Max Roach
     Album: Parisian Sketches
     Label: Gitanes Jazz
     Year: 1960, release: 2002
     Format, bitrate: MP3 (320 bmp)
     Time: 35:09
     Size: 84.85 MB



Sublime work from Max Roach featuring a group that we think was one of his greatest! The record was recorded in Paris in the early 60s, and players include the Turrentine Brothers Stanley and Tommy plus Julian Priester on trombone and Bob Boswell on bass. The piano-less ensemble has a fantastic groove more soul jazz than most of Roach's work, but also with angular touches of modernism that make the album have a very edgey quality. Stan and Tommy never sounded so great and titles include "Nica", "Petit Dejuner", "Liberte", and the extended "Parisian Sketches" suite. © 1996-2009, Dusty Groove America, Inc.

     Artist: Buddy Guy
     Album: The Definitive Buddy Guy.
     Label: Shout Factory.
     Year: 2009.
     Format, bitrate: mp3;320k/s
     Size: 185 mb.
     AMG Rating

To call this collection of tunes from blues legend Buddy Guy definitive is not a stretch by any means, as it is a cohesive, thoughtful, chronological collection that accurately represents all of his changes and phases through six decades. Overall, it is a mellow compilation that showcases many of Guy's laid-back songs, several with longtime partner Junior Wells. It's sprinkled with the many all-star bluesmen he has collaborated with over the years, and is tastefully programmed to offer what is essentially cream of the crop blues from one of its enduring legends. Your hear music issued on singles, LPs and CDs recorded from 1958 through 2004 via various recordings done for the Artistic, Chess, Delmark, Vanguard, Blue Thumb, Atco, Evidence, Alligator, JSP, Blind Pig, and Silvertone labels. It really is a comprehensive overview of Guy's best known songs, and gives fans or neophytes an accurate big picture of why Buddy Guy remains one of the most influential artists in American popular music. The CD starts in slow grind mode with classics like "Sit & Cry" in the style of Howlin' Wolf with all-stars Otis Rush and Willie Dixon, the most well-known "First Time I Met the Blues" with pianist Little Brother Montgomery; "Ten Years Ago" in his first teaming with Wells from 1960; the downhearted "When My Left Eye Jumps" with four horns and Lafayette Leake on the organ; and the all-time great showtime tune with Wells' "Hoodoo Man Blues" from the Delmark LP of the same name from 1966 that has become synonymous with electric Chicago. Guy's distinctive solo guitar style is front and center on the intro of "A Man & the Blues" alongside the immortal pianist Otis Spann, while the sole track from Buddy & the Juniors, "Five Long Years," is a toned-down acoustic number with Wells and pianist Junior Mance from that rare Blue Thumb recording. A funky R&B number "A Man of Many Words," from Atco Records in 1972 features, Eric Clapton, Dr. John, saxophonist A.C. Reed and Wells, while Guitar Slim's standard, "The Things I Used to Do," again with Wells live at Montrueux, Switzerland, languishes over its time. Brother Phil Guy joins Buddy in a two-guitar tandem for Champion Jack Dupree's eight-minute, low-key slow jam "When I Left Home" and the rock & roll "Dust My Broom" styled "She Suits Me to a T." Another two live tracks, the upbeat shuffle of Sonny Boy Williamson's "Checkin' on My Baby" and Dixon's "Let Me Love You Baby" featuring Pinetop Perkins, Bill Wyman, and Charlie Watts, and G.E. Smith's nine-piece Saturday Night Live Band, respectively. The final selection, "Baby Please Don't Leave Me," with Jimbo Mathus is a heavy contemporary stomper that shows a new attitude toward the blues that steers away from authenticity, but more toward a youth oriented audience. This CD is recommended without reservation, a great single CD overview of Buddy Guy's soul and spirit as a true pioneer of the blues. ~ Michael G. Nastos, All Music Guide

     Artist: Oscar Peterson
     Album: Live at the North Sea Jazz Festival
     Label: Pablo
     Year: 1980, release 1998
     Genre: jazz
     Format Mp3, bitrate: 320 kb/s
     Time: 1:27:25
     Size: 188 Mb
     Bubu's Rating:

      REPOST complete album

      This album matches and mixes together four masterful musicians: pianist Oscar Peterson, guitarist Joe Pass, bassist Niels Pedersen and harmonica great Toots Thielemans. Together they perform veteran standards with creativity, wit and solid swing. There are a few miraculous moments as one would expect from musicians of this caliber and the results are generally quite memorable. - by Scott Yanow at All Music Guide

This cd starts with a superb rendition of caravan, it is 12mn long. It is a bit unusual, as the head in is played by a sound I could not recognize at first: it was Toots Thielemans playing harmonica! Then Joe Pass on guitar plays the first solo, then O-Pete for a breathtaking solo, and the give and take keeps on and on. They switch tempo in the middle of it, going uptempo, taking it to the next level.
Straight no chaser that follows is not as impressive, but it is solid nonetheless. On bass is Niels-Henning Orsted-Pedersen, who is as reliable. If I don't mention the drums, it is because they play without any.
'There's no you' is a bit soporific. It would need the brushes to keep it swinging a bit, even though the bass line sings a pretty lullaby. Other songs are A-OK, Peterson is everywhere, playing in different styles. Joe Pass does his part reliably. It is a live recording, as it name indicates, and the audience is obviously raptured.
For those who like Oscar Peterson, and/or the sound of harmonica.
By Cedric Westphal at Amazon.com[b]

    Artist: Rod Stewart
    Album: Stardust....The Great American Songbook Volume III
    Label: J-Records
    Release: 2004
    Style: Traditional Pop
    Format mp3, bitrate: 320 kb/s
    Time: 50:57
    Size: 127 Mb (covers)

If the cover of Stardust: The Great American Songbook, Vol. 3 is any indication, even Rod Stewart is getting a little tired of the classy act he's had to put on over the last two years, as he's restyled himself as a crooner of pop standards. Gone are the straightforward portrait shots, and in is a jokey picture of Rod with a pair of hot legs. It unwittingly looks like a grown-up variation of the Blondes Have More Fun cover taken 26 years later (Rod still has the same basic hairdo, bless his heart), and it's a welcome glimpse of the roguish charm and laddish sense of humor that used to be Stewart's calling card. Unfortunately, that attitude isn't heard anywhere on the music, which is, for all intents and purposes, pretty much the same as it was on the first two installments of The Great American Songbook. Like its predecessors, Stardust is built on the misconception that the great vocalist Stewart will sound great singing selections from the great American popular songbook, when his gifts are better suited for music rooted in folk, blues, and rock & roll. To his credit, he's sounding a bit more comfortable on this third go-round — he doesn't sound as uptight, nor as mannered, as he did before. Part of this may be due to a shift in producers. Phil Ramone, who co-produced the first two, has left and has been replaced by Steve Tyrell, who releases albums in a similar vein himself. Under his watch, Stewart doesn't sound quite so studious and tentative, and the arrangements aren't quite so fussy, which ultimately makes for a better record. That isn't the same thing as a good record, though. Stewart may be more comfortable and the production might be warmer, but The Great American Songbook is still a bad idea, no matter how slickly it's delivered. - Stephen Thomas Erlewine[b]