Artist: Bud Powell
     Album: Bud Powell / Award At Birdland, 64 volume 10
     Label: Mythic Sound MS 6001-2
     Year: 1964
     Format, bitrate: mp3@320 kb/s covers front/retro 300dpi
     Time: 62 min
     Size: 140,85 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 ten of ten. ~ Paolo

     Artist: Bud Powell
     Album: Bud Powell / Return To Birdland, 64 volume 9
     Label: Mythic Sound MS 6001-2
     Year: 1964
     Format, bitrate: mp3@320 kb/s covers front/retro 300dpi
     Time: 62 min
     Size: 139,40 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 nine of ten. ~ Paolo

    Artist: McCoy Tyner
    Album: Sahara
    Label: Milestone/OJC
    Release: 1972
    Style: Post-Bop/Progressive Jazz
    Format mp3, bitrate: 320 kb/s vbr
    Time: 47:57
    Size: 85,2 Mb (cover)
    AMG Rating:

After the death of John Coltrane, his longtime pianist McCoy Tyner was in something of a musical quandary. Keeping up with his mentor through the incredible explorations of the early '60s, he seemed to have some difficulty navigating the even further out territories explored in the two or three years before Coltrane's death in 1967. His subsequent albums as a leader were solid, enjoyable efforts but seemed oddly retrograde, as though he needed time to settle back and re-digest the information handed down to him. With Sahara, Tyner found the precise perfect "middle ground" on which to stand, more structured than late Coltrane, but exploding with a ferocity and freedom of sound that made it simply one of the greatest jazz recordings of the decade. None of the other members of his quartet ever sounded so inspired, so liberated as they do here. Sonny Fortune threatens to tear the roof off the joint on more than one occasion, Calvin Hill is more than rock-solid on bass, his roots arcing deeply into the earth, and as for Alphonse Mouzon, well, no one familiar with his later vapid meanderings in fusion would begin to recognize him here, so incendiary is his playing. And Tyner develops so much pure energy, channeled with such pinpoint precision, that one worries about the physical stability of any piano under such an assault. From the extraordinarily intense "Ebony Queen" through the ruminative solo "A Prayer for My Family, the equally intense "Rebirth," and the concluding, side-long title track, there's not a misstep to be heard. "Sahara," over the course of its 23 minutes, covers vast ground, echoing the majesty and misery of the geographical area with percussion and flute interludes to some of Tyner's very best playing on record. Even something that could have resulted in a mere exercise in exotica, his koto performance on "Valley of Life," exudes both charm and commitment to the form. Tyner would go on to create several fine albums in the mid-'70s, but never again would he scale quite these heights. Sahara is an astonishingly good record and belongs in every jazz fan's collection. - Brian Olewnick at AMG

    Artist: McCoy Tyner
    Album: Enlightenment (Live at Montreux)
    Label: Milestone
    Release: 1973
    Style: Post-Bop
    Format mp3, bitrate: 224 kb/s
    Time: 1:09:44
    Size: 111 Mb
    AMG Rating:

This is one of the great McCoy Tyner recordings. The powerful, percussive, and highly influential pianist sounds quite inspired throughout his appearance at the 1973 Montreux Jazz Festival. Azar Lawrence (on tenor and soprano) is also quite noteworthy and there is plenty of interplay with bassist Juney Booth and drummer Alphonse Mouzon. But Tyner is the main star, whether it be on his three-part "Enlightenment Suite," "Presence," "Nebula," or the 25-minute "Walk Spirit, Talk Spirit." - Scott Yanow at AMG

    Artist: McCoy Tyner
    Album: Sama Layuca
    Label: Milestone
    Release: 1974
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s vbr
    Time: 43:3
    Size: 84,1 Mb
    AMG Rating:

Pianist McCoy Tyner is heard at the height of his powers throughout this rewarding set. He contributed all five compositions and has a colorful and diverse group of major players at his disposal to interpret them: vibraphonist Bobby Hutcherson, altoist Gary Bartz, Azar Lawrence on tenor and soprano, John Stubblefield doubling on oboe and flute, bassist Buster Williams, drummer Billy Hart and both Mtume and Guillerme Franco on percussion. The results (which include a brief Tyner-Hutcherson duet on "Above the Rainbow") are quite rewarding and serve as a strong example of McCoy Tyner's music. - Scott Yanow at AMG

     Artist: Keith Jarrett with Jan Garbarek
     Album: Belonging
     Label: ECM
     Year: Apr 24, 1974
     Release: May 09, 2000
     Format, bitrate: mp3, 320 kbps
     Time: 46:35
     Size: 99 MB
     AMG Rating:




     On Keith Jarrett's first recording with his "European" quartet -- Jan Garbarek (sax), Palle Danielsson (bass), Jon Christiensen (drums) -- he stakes out somewhat less abrasive territory than that which his "American" foursome was exploring at this time. Garbarek sports a neutral, vibratoless tone that occasionally reaches an emotional climax; the rhythm section is supportive and just loose enough. The record operates at its strongest level when Jarrett locks the quartet into his winning gospel mode on "'Long as You Know You're Living Yours" and the tense drive of "Spiral Dance"; the reflective numbers are less compelling. Still, this LP-turned-CD successfully bucked the powerful electric trends of its time and holds up well today. ~ Richard S. Ginell, All Music Guide

     Artist: Donald Byrd
     Album: I'm Tryin' To Get Home (Brass With Voices)
     Label: Blue Note
     Year: 1964
     Quality: mp3, 224 kbps
     Time: 37:22
     Size: 59,66 mb (LP scans included)


     Совершенно фантастический альбом Дональда Бёрда, выдержанный в той же стилистике, что и его широко известный A New Perspective, но, к огромнейшему сожалению, практически забытый (Не знаю, почему он до сих пор не переиздан в серии RVG-Edition ). Радость и счастье от употребления данного продукта гарантированы, прослушивание его вполне заменяет собой посещение воскресной службы в какой-нибудь "черной" церкви . Enjoy!

     P.S. Рип не мой, альбом найден где-то когда-то в сети, но ссылка - моя. В свое время долго смотрел в "Трансильвании" на его Тошибовское переиздание (однако, дорого же стоят эти "японцы"!!!), пока какой-то более решительный (или более богатый) счастливчик не увел его . Буду ждать...

     Artist: Mia Vermillion
     Album: Alone Together With The Blues
     Label: Kari-On Productions
     Year:2009
     Quality: 320 kb/s
     Size: 77.5 mb

The CD Alone Together With The Blues is generating significant buzz in the Blues world, earning special attention on Siruis/XM satelite radio's "Bluesville," as well as gaining significant spins on Blues radio shows throughout the world, (including Full-Time Blues); and Mia Vermillion is very worthy of the chatter.

Vermillion is a one woman army, fronting her own band, producing her own album, and running her own studio business. Through it all, though, the Washington state native keeps a sense of elegance and femininity in her work, especially on this outstanding debut disc.

Mia Vermillion's delivery is beautiful and belting, as well as seductive and smooth, and complemented excellently by the well known dobro and guitar mastery of Orville Johnson, who's dobro playing I fell in love with immediately on the disc's opener, "Little Bit Of Love."

The Country Blues of Alone Together With The Blues consists of hand picked classic Blues covers, as well as two originals, penned by Vermillion herself, who brings man troubles to disc just as well with the pen as with her impressive voice, including on the standout original "Love's Lost and Found."

Vermillion's other writing credit comes on the afore-mentioned opener, but the fun doesn't stop there, with Vermillion putting just as much passion into the seven covers on Alone Together With The Blues as she does her originals.

At nine songs and only about 34 minutes in length, Alone Together With The Blues is just enough to whet your apetite, leaving you wanting more. But, I have a feeling that Miss Vermillion and company wanted it that way, as they are working on a full length album of original material, with a reported scant two covers on her next effort.

It's a great introduction to a new artist that is most certainly on the rise, and won't be Alone Together With The Blues much longer, as I am certain she is gaining just as much fan support as critical praise. ~ fulltimeblues.com

Artist: Cecil Taylor
Album: Conquistador!
Label: Blue Note (RVG Edition)
Year: 1966
Release: 2004
Genre: Free Jazz, Avantgarde
Quality: mp3@320 kbps
Time: 54:36
Size: 81,47 mb + 37,95 mb + 6,13 mb (scans)

Классический альбом великого и ужасного Сесиля Тэйлора на Blue Note, второй по счету после Unit Structures. В свое время для многих джазовых критиков был тем же, чем конкистадоры для индейцев . Однако, несмотря на достаточно непростой материал, все время возвращаюсь к его прослушиванию снова и снова, чего и Вам желаю!

Artist: Karrin Allyson
Album: Imagina: Songs of Brasil
Label: Concord
Recording Date: Jun 29, 2007 - Jul 1, 2007
Release Date: Mar 25, 2008
Genre: Brazilian Jazz
Format, bitrate: mp3, 320 kbps
Time: 60:27
Size: 120
AMG Rating:

Karrin Allyson has sung Brazilian tunes before, notably on 1999's From Paris to Rio, but this time she's dedicated an entire album to the swaying rhythms of bossa nova and samba, and she's never sounded lovelier. Allyson has always been a gifted interpreter, and while her material in the past has drawn from any number of sources, her prime focus here is on the music of Antonio Carlos Jobim. While choosing oft-covered tunes like "Desafinado" and "A Felicidade" may not be the riskiest thing Allyson could have done, nor the most original, she is so clearly in love with these compositions that she's easily forgiven for adding her name to the list of artists who have lent their voices to them. Allyson's vocal instrument is somewhat coarser and more world-weary than the majority of singers who gravitate toward Jobim's material, and here she favors stripped-down arrangements that accentuate the vulnerabilities and lived-in qualities of that voice. It works to great effect, as on "Double Rainbow," a ballad that begins sparsely, Allyson singing in Portuguese before switching over to English, a tactic she employs throughout much of the record. Accompanying herself on piano, Allyson phrases Gene Lees' Tin Pan Alley-esque lyrics, a meditation on the wonders of nature, carefully and thoughtfully, before handing the tune over to bassist David Finck, who turns in a solo that's creative but not showy. Not all of the songs here come courtesy of Jobim, and Allyson does equal justice to the moody "Pra Dizer Adeus" (Time to Say Goodbye), co-penned by Edú Lobo, Torquato Neto, and Chris Caswell, and the closing "É Com Esse Que Eu Vou," by Pedro Caetano, which pushes the beat somewhat harder than the more ballad-oriented music that populates most of the record. But in the end it's those Jobim songs that stick: Steve Nelson's vibes and marimba work lends a sensuality to "O Morro Não Tem Vez (Favela)," by Jobim and Vinícius de Moraes, and Gil Goldstein's accordion injects a bit of France into the Brazilian mood on the title track. Through it all, Karrin Allyson reminds listeners why she has consistently received praise over the years for her inherent ability to make any song her own. - by Jeff Tamarkin, AMG

Artist: Monty Alexander
Album: Goin' Yard
Label: Telarc
Year: 2001
Genre: Jazz
Quality: mp3 VBR
Size: 145 Mb
Tracks: 11
Time: 63:00

Monty Alexander Meets Sly and Robbie beat the odds. When jazz pianists try to get in a reggae groove, the result usually sounds a little bit absurd, like a socialite trying to pass for street. (The same doesn't seem to hold true for jazz guitarists -- Ernest Ranglin has been walking both sides of that particular street for decades.) But when Alexander got together with Sly Dunbar and Robbie Shakespeare in 2000 for a set of jazz-wise instrumental reggae, their sounds meshed nicely. On the live Goin' Yard, the odds catch up with him. The album's title, a cutesy baseball/Rastaspeak pun, gives a hint of what's to come -- a meeting of Jamaican and American culture that swings for the fences but doesn't always connect. Interestingly, the best numbers are the reggae ones -- there's a slightly eerie arrangement of the Bob Marley classic "Could You Be Loved" and a surprisingly effective rendition of "King Tubby Meets the Rockers Uptown" (originally recorded as a dub mix of Jacob Miller's "Baby I Love You So," and widely considered the finest dub side ever made). But on the jazzier material, Alexander seems to soften up. "The Serpent" is slithery but soggy, while "Sight Up!" finds him alternating barrelhouse licks with decorous parlor jazz lines while a gently pumping rockers beat chugs along below. The result is somehow less than the sum of its parts, which is unfortunately true of the album as a whole. It's far from unpleasant, but not really anything special, either. Maybe if Sly and Robbie had been on the gig....

~Review by Rick Anderson

___________________________________________________________________________________

Artist: Keith Jarrett Quartet
Album: My Song
Label: ECM
Release: Nov 1977
Genre: Jazz
Format, bitrate: mp3, 320 kbps
Time: 48:20
Size: 98 MB

In addition to his solo piano concerts and the American group he led that featured tenor saxophonist Dewey Redman, Keith Jarrett was also busy in the mid-'70s with his European band, a quartet comprised of Jan Garbarek on tenor and soprano, bassist Palle Danielsson, and drummer Jon Christensen. Due to the popularity of the haunting "My Song," this album is the best known of the Jarrett-Garbarek collaborations and it actually is their most rewarding meeting on record. Jarrett contributed all six compositions and the results are relaxed and introspective yet full of inner tension - Scott Yanow, AMG