Artist: Marty Grosz
     Album:Chasin' The Spots
     Label: Jump
     Year:2004, release: 2005
     Format, bitrate:mp3; 192 kb/s
     Time:1:08
     Size: 93.3mb
     AMG rating




For this unusual CD, guitar-singer Marty Grosz and a few overlapping all-star groups of small-group swing players perform a variety of songs that were recorded in the 1930s and '40s by the Ink Spots . Although Grosz takes vocals on many of the numbers, there is no attempt to imitate the popular vocal group. Grosz simply sings in his usual good-natured Fats Waller -inspired style. Since many of these songs are excellent swing standards , the combos (two quartets and one sextet) have no difficulty coming up with hot solos and riffs to uplift the tunes. Among the key solo stars are cornetist and trombonist Randy Reinhart , trumpeter Jon-Erik Kellso , and the reeds of Scott Robinson , Vince Giordano , and Dan Block . As is true of virtually all Marty Grosz 's CDs, Chasin' the Spots is highly enjoyable and infectious. ~ Scott Yanow, All Music Guide

     Artist: Jay McShann
     Album: What A Wonderful World
     Label: Groove Note
     Style: Piano blues, jazz blues
     Year: 1999
     Quality: mp3 CBR 320
     Size: 119 MB





Jay McShann was 83 at the time of this CD, but the pianist-singer sounds very much in prime form and had certainly not lost his enthusiasm. He teams up with some of the better Kansas City musicians active in the late '90s (tenor saxophonist Ahmad Alaadeen, guitarist Sonny Kenner, bassist Gerald Spaits, and drummer Todd Strait) on a variety of blues, originals, and swinging tunes, some of which are taken as instrumentals. Even if "What a Wonderful World" did not need to be played yet again, there are plenty of high points throughout this joyous set from McShann & friends. ~ Scott Yanow, All Music Guide

     Artist: Bud Powell
     Album: Bud Powell / Writin' For Duke, 63 volume 6
     Label: Mythic Sound MS 6001-2
     Year: 1963
     Format, bitrate: mp3@320 kb/s covers front/retro 300dpi
     Time: 56 min
     Size: 130,69 MB


This tribute to the great Bud Powell took 24 years to be completed, after his premature death. The well 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 six of ten. ~ Paolo

Artists: Miles Davis & John Coltrane
Album: Live In New York
Label: Jazz Door
Year:1958-1959, release: 2006
Format, bitrate:mp3,320kb/s
Size: 92M

There are a carload of live Miles Davis night club gigs out there, most Miles never intended to record, despite entertaining playing. Let the buyer beware, in general.

I'm please to announce that this one is actually good, at least the perfomance. Must be around the time of "Kind of Blue" and "Round Midnight" - sparce album notes - the gang from those albums is intact here. Miles has the modal, lyrical Bill Evans on piano. And a mellow Coltrane really listens here to what others are playing. And the great Miles himself, slightly sad and melancholy and tuneful with that Harmon mute. They still seem to LOVE the music.

A tuneful version of "Bye Bye Blackbird", not sped up. Miles quotes from "Maria" from Westside Story. "It Never entered my Mind" - Miles invests himself emotionally in the playing. "So What!" played in the better walking tempo.

Later Miles would get bored with playing these great songs, turn his back on his audiences, and rush the tempos so they are not recognizable. Later Coltrane would going off playing self-referential lines - "You want the Miles gig, you can have it!". Later, hateful comments from Coltrane and the black audiences would drive Bill Evans away forever. But that's another story. (Read "So What!" or one of the other fine biographies of Miles Davis for more info...)

The only problem, of course, is the recording, which is flat and two dimensional. CD was cut from an LP, not a master tape! Sounds like a cheap tape recorder or a cheap mike. But I've heard much worse recordings of Davis.

But don't let that keep you away from what is otherwise great songs and great performances. ~ amazon.com

     Artist: Fats Waller
     Album: A Handful Of Fats
     Label: Naxos Jazz Legends
     Years: 1929-1942, release: 2004
     Genre: Traditional Jazz, Stride
     Quality: mp3@320 kbps
     Total Time: 60:33
     Size: 48,7 mb + 49,5 mb + 15,9 mb (scans)
     AMG Rating

По аналогии с альбомом Каунта Бэйси "Basic Basie" данная компиляция могла бы называться "Basic Waller" . Устав от копания во всевозможных бокссетах, поставьте этот диск - и любимый Фэтс всегда с вами!

In the wake of its series of Fats Waller transcriptions, Naxos' next inspiration was a "Fats' Greatest Hits" program, a hour's worth of his most famous Victor and Bluebird sides, with one Columbia thrown in. At the very least, there is a good balance between his solo piano recordings, his hundreds of sides with his combo, and a pair of late cuts with combo and orchestra. The set leads off with his ambidextrous display of solo piano prowess on "A Handful of Keys" and signature solo piano recording of "Ain't Misbehavin'" from his earliest 1929 Victors. "I'm Crazy About My Baby," the sole Columbia, marks the first vocal in the package, and before long, the piano solos give way to Fats and his rhythm, with some of his best-known riotous sides ("The Joint Is Jumpin'," "Your Feet's Too Big") leading the pack. More piano solos follow, and the penultimate track displays Fats on the Hammond organ with a big band in his sublime piece "Jitterbug Waltz." Actually, this CD would make a nearly ideal first purchase for a newcomer to Fats -- for both the diverse selection of material and the faithful-to-the-source Naxos transfers, which on the latter count, trumps any of BMG's compilations of the hits. ~ Richard S. Ginell, All Music Guide

    Artist: McCoy Tyner
    Album: Fly With The Wind
    Label: Milestone/OJC
    Year: 1975 - 1976
    Release: 1976
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s
    Time: 35:54
    Size: 91,6 Mb (full covers)
    AMG Rating:

One of the most difficult aspects for producer Orrin Keepnews of recording pianist McCoy Tyner so frequently in the '70s was coming up with new ideas and settings for each record. Fly with the Wind gave Tyner a rare opportunity to write for strings. Joined by bassist Ron Carter, drummer Billy Cobham, flutist Hubert Laws, piccolo, oboe, harp, six violins, two violas and two cellos, Tyner performed four of his originals (including the title cut) plus the standard "You Stepped out of a Dream." This CD reissue has plenty of memorable moments and is a surprising but logical success; Tyner's orchestral piano blended with the strings very well. - Scott Yanow at AMG

    Artist: McCoy Tyner
    Album: Focal Point
    Label: Milestone/OJC
    Release: 1976
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s
    Time: 40:35
    Size: 93,1 Mb
    AMG Rating:

In an attempt to avoid sameness, most of pianist McCoy Tyner's Milestone records of the 1970s used different instrumentation from each other. On this CD reissue, Tyner and his 1976 trio (with bassist Charles Fambrough and drummer Eric Gravatt) are joined by a trio of talented reed players (Gary Bartz, Joe Ford, and Ron Bridgewater) and percussionist Guilherme Franco for three of Tyner's originals; in addition, Ford is the only horn on his feature "Theme for Nana," and "Parody" is a Tyner-Gravatt duet. Because virtually all of McCoy Tyner's records are superior examples of modal-oriented jazz, this gem is merely an above-average effort. - Scott Yanow at AMG

    Artist: McCoy Tyner
    Album: Inner Voices
    Label: Milestone
    Release: 1977
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s vbr
    Time: 40:08
    Size: 81,8 Mb (covers)

This project by the powerful pianist McCoy Tyner is a bit unusual in that he is featured with an all-star rhythm section (guitarist Earl Klugh, bassist Ron Carter, and either Jack DeJohnette or Eric Gravatt on drums), a horn section (which includes a few solos for trumpeter Jon Faddis, tenor saxophonist Alex Foster, and trombonist Charles Stephens), and seven voices. Tyner was responsible not only for the five originals but the arrangements, too. In reality, the voices were not needed (they stick out as a bit of a frivolity), but Tyner plays as strong as usual; he has yet to record an uninspired solo. - Scott Yanow at AMG

     Artist: C4 Trio
     Album:Entre Manos
     Release Date: October, 2009
     Genre: World, neofolklore, venezuelan traditional music
     Audio format: Apple Audio Losseless
     Video: DVD Rip (iPhone format mp4 480x272)
     Size: 160 mb; 325 mb

This is the last release from the amazing venezuelan trio, in this album also appears Aquiles Baez, Huascar Barradas, Rodner Padilla, Miguel Delgado Estйvez, Alйxis Cбrdenas.

The group
In Caracas, three young people, par excellence cuatristas, pooled their talents to create a fantastic trio: C4 Trio. With different training and a one single interest, they all converge to have been participant of the International Competition of "La Siembra del Cuatro" and have the support of Aquiles Baez, who heard them once and make himself sure, as a music producer from the first album, whose name is C4 TRIO, that they will record themes not common for an instrument as el cuatro, therefore demonstrating in this way the quality and the Master from who play it: Jorge Glem (Cumana), Hector Molina (Merida) and Edward Ramirez (Caracas).

C4 TRIO is a big party of friends, where they celebrate the result of this first production and it is a big party that count with top-class invited so as Aquiles Baez, Serenata Guyanesa, Rafael "Pollo" Brito, Marina Bravo, Zeneida Rodriguez Adolfo Herrera, Roberto Koch and Edwin Arellano. In his unusual repertoire, as they say from themselves, have a variety of themes roaming rightly by the joropo, mambo, dance, calypso, waltz, the Venezuelan merengue, the Onda Nueva and jazz, they acquire a new sound dimension with the arrangements of these three musicians. Glem, Ramirez Molina and share their musical concerns since a time, are young people who converged in Caracas. ?where are based all of them- where they breathe life into a project that has already participated in two editions of the Venezuelan Sounds festival, organized by the Venezuelan Embassy in the United States including concerts at the Bolivar Hall in Washington, Smithsonian Institution Building, Tthe Castle and Kennedy Center, in England in Salisbury International Art Festival 2007 and Bolivar Hall in London,