Artist: Various Artists
     Album: Colecao Folha Classicos do Jazz
     Label: Mediafashion
     Year: 2007-2008
     Genre: Jazz
     Format, bitrate: mp3 VBR
     Time: 16:28:17
     Size: 1'247,4 Mb


     В этом сообщении выкладываю все недостающие в Клубе выпуски Colecao Folha Classicos do Jazz - ещё одной попытки джазовой энциклопедии..
Вот что пишут издатели о своей коллекции:
"Пришла очередь окунуться в удивительный мир джаза. Представленная коллекция позволить убедиться вам, что джаз - музыка, доступная каждому. В коллекцию вошли 20 иллюстрированных книг, каждая из которых посвящена одному из классиков жанра. Музыкальные композиции на прилагаемых к каждой книге CD в большинстве своём представлены записями таких лейблов как Blue Note, Pacific и Capitol".
The collection, published by the Brazilian newspaper "Folha de Sao Paulo" from Sep 30th, 2007 to Feb 3rd, 2008, consists on 20 books (which tell the story of the featured artists), plus 20 CD (re-released albums or compilations).
Некоторые из выпусков уже представлены в нашем Клубе. Ссылки на страницы с ними приведены в тексте материала.

     Artist: Mike Stern
     Album: Big Neighborhood
     Label: Heads Up
     Year: 2009
     Release: Aug 11, 2009
     Genre: Jazz
     Format, bitrate: mp3, 320 kbps
     Time: 69:49
     Size: 126 MB

     Like all the legends he ever worked for or with, from Miles Davis to Jaco Pastorius, Billy Cobham to the Brecker Brothers, the five-time Grammy nominee has learned over the course of his 26-year recording career 33 since he got his breakthrough gig with Blood, Sweat & Tears something about the nuanced art of collaboration. Not only does it take a village to make a great, boundary-stretching jazz recording, the wild excursions on his second Heads Up date seem to be shouting, as it actually involves a whole Big Neighborhood. On this diverse 12-track set, whose styles range from blazing jazz fusion to African-tinged exotica and trippy Middle Eastern journeys, Mike Stern invites a few of his pals back who populated his similarly eclectic 2006 label debut Who Let the Cats Out? Especially significant is the renewed invitation extended to Richard Bona, whose rumbling bass and spirited vocalese bring authenticity to the highly spiritual African vibes of "Reach." Looks like Stern's got a little crush on the brilliant young bassist/vocalist Esperanza Spalding, whose voice, he says, knocks him out. Pairing her with drum great Terri Lyne Carrington isn't just a cool, girl-power endeavor. The two have genuine chemistry with the guitarist; "Song for Pepper" drifts dreamily with Spalding's endearing vocalizations, and "Coupe de Ville" darts and swings playfully as Bob Malach's sax and Stern's strings weave through the rhythmic foundation forged by Spalding and Carrington. Finally, Stern swings the door open to a lot of fresh melodic and improvisational ideas via his jazz-rock cohorts Eric Johnson (playing it cool on the moody, soulful "6th Street") and Steve Vai (wailing like crazy on the searing title track). He goes artsier with "jam band godfathers" Medeski, Martin & Wood, who help spin a wild blues-rock web on "Check One" and cool to a simmer on the more pop/rock-oriented "Check One." There's also an appearance by Stern's old friend, Randy Brecker. This is one block party jazz fusion fans won't want to miss in 2009! ~ Liner Note Author: Bill Milkowski.

     Artists: Gene Krupa and Buddy Rich
     Album: Krupa & Rich
     Label: Verve
     Year: 1955, release: 1994
     Quality: Flac(cue+log)
     Size: 150x2+140 Mb
     Total time: 71:40
     AMG rating


On this CD reissue, drummers Gene Krupa and Buddy Rich only actually play together on one of the seven songs, a lengthy rendition of "Bernie's Tune" that has a six-minute "drum battle." Krupa and Rich do perform two songs apiece with a remarkable all-star band consisting of trumpeters Dizzy Gillespie and Roy Eldridge, tenors Illinois Jacquet and Flip Phillips, pianist Oscar Peterson, guitarist Herb Ellis, and bassist Ray Brown. Each of the principals get some solo space, giving this release more variety than one might expect. In addition there are two bonus cuts from a Buddy Rich date that feature the drummer with trumpeters Thad Jones and Joe Newman, tenors Ben Webster and Frank Wess, Oscar Peterson, Ray Brown, and rhythm guitarist Freddie Green. Excellent music overall if not quite essential. ~ Scott Yanow, All Music Guide

     Artist: The Dorsey Brothers Orchestra
     Album: Mood Hollywood
     Label: HEP
     Yeas:1932 - 1933
     Format:LPrip Mp3 192kbs
     Size: 65mb
     AMG rating




This excellent recording features 16 performances (including four alternate takes) by The Dorsey Brothers during 1932-33. Bunny Berigan's trumpet solos are the most memorable aspect of these early swing recordings many of which feature an octet rather than a big band. Highlights include "Someone Stole Gabriel's Horn", two takes of "I'm Getting Sentimental Over You" and the brothers' many fine solos. ~ Scott Yanow

     Artist: Donald Byrd
     Album: Mustang!
     Label: Blue Note
     Year:1966 (+ 2 tracks - 1964); release: 1997
     Quality: mp3@320 kbps
     Time: 56:21
     Size:58 mb + 65,3 mb + 8,3 mb (scans)


Donald Byrd, a talented hard bop trumpeter during his prime (although rarely reaching the technical heights of Lee Morgan and Freddie Hubbard), performs a varied repertoire on Mustang!. "Dixie Lee" has dated rhythms, and "Mustang" was an attempt to achieve a hit on the level of Morgan's "The Sidewinder." However, Byrd sounds fine on those numbers; he digs into the complex chord changes of "Fly Little Bird Fly," is sensitive on "I Got It Bad," swings on his "I'm So Excited by You," and performs his memorable countermelody to "On the Trail," which had been recorded earlier by several other musicians. Teamed with a typically impressive Blue Note crew (altoist Sonny Red, tenor saxophonist Hank Mobley, pianist McCoy Tyner, bassist Walter Booker, and drummer Freddie Waits), Byrd performs high-quality straight-ahead jazz that fits the modern mainstream of the era. Also on the CD reissue are a pair of selections ("Gingerbread Boy" and "I'm So Excited by You") from an earlier quintet date (with tenorman Jimmy Heath, Tyner, bassist Walter Booker, and drummer Joe Chambers) that, despite being excellent, went unissued until 1997. ~ Scott Yanow, All Music Guide

     Artist: Paquito D'Rivera
     Album: Tico Tico
     Label: Chesky Records
     Year: 1989, release: 1990
     Quality: Flac - cd rip
     AMG rating





Paquito D'Rivera's alto and clarinet skills were ably displayed on this session, which featured him working in Afro-Latin, salsa, funk, swing and hard bop. Compositions ranged from intense, jam-flavored numbers with torrid solos, like "Recife's Blue" and the title tune, to introspective ballads, group pieces with rhythmically explosive sections and numbers displaying classical influences. The unifying force was D'Rivera, who also played tenor, but was most prominent on clarinet, doing both swing-oriented and looser, freer solos. While not as strict a jazz vehicle as his Columbia dates, this session presented a more eclectic, versatile Paquito D'Rivera. ~ Ron Wynn, All Music Guide

     Artist - Duke Ellington and His Orchestra
     Album - Duke Ellington and His Orchestra 1947-1948
     Label - Classics
     Years: 1947-1948, release - 2000
     Quality - MP3@320 kbps
     Size - 157 mb
     Total time - 71:50
     AMG Rating


With the exception of "The Tattooed Bride," an extensive work from Duke Ellington's 1948 Carnegie Hall concert that was originally released on V-Disc, all of the music on this CD is taken from November-December 1947. Ellington was quite busy in the recording studios during this period (as were many bands), since it was known that a recording strike would most likely be taking place the following year. In addition to fine remakes of "Do Nothin' Till You Hear From Me" and "Don't Get Around Much Anymore," and an atmospheric vehicle for Kay Davis' voice on "On a Turquoise Cloud," the year-end work included the memorable six-part "Liberian Suite" (one of Ellington's best extended pieces) and his nearly atonal piano exploration on the intriguing "The Clothed Woman." While much of this music is available elsewhere, the performances are of high quality and well worth acquiring one way or another. ~ Scott Yanow, All Music Guide

    Artist: McCoy Tyner
    Album: Asante
    Label: Blue Note
    Release: 1970
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s
    Time: 1:18:25
    Size: 197 Mb (full covers)
    AMG Rating:

The final McCoy Tyner Blue Note album found the innovative pianist during a low point in his career. His records were not selling that well, his mentor John Coltrane had passed away three years earlier, and it was not obvious that Tyner would be able to continue struggling successfully to make a living out of music. Fortunately, his fortunes would soon rise when he signed with Milestone in 1972 and the critics began to rediscover him. Asante is a bit unusual, for the emphasis is on group interplay rather than individual solos. The four originals feature Tyner with altoist Andrew White, guitarist Ted Dunbar, bassist Buster Williams, drummer Billy Hart, Mtume on congas, and two spots for the voice of Songai. Worth investigating. - Scott Yanow at AMG

    Artist: McCoy Tyner
    Album: Cosmos
    Label: Blue Note
    Year: 1969 - 1970
    Release: 1970
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s (vinyl rip)
    Time: 1:15:20
    Size: 172 Mb
    AMG Rating:

The music on this double LP had been unreleased when the two-fer came out in 1976 and has yet to be reissued on CD, but that had more to do with the decline of Blue Note in the late '60s than with the quality of the performances, which are consistently high. In fact, the impressive variety makes this a release well worth bidding on. The innovative pianist McCoy Tyner performs two numbers with his 1969 trio (featuring bassist Herbie Lewis and drummer Freddie Waits); three other songs add Harold Vick's soprano, the reeds of Al Gibbons, and a string quartet, while the three remaining pieces feature the trio with altoist Gary Bartz, flutist Hubert Laws, and the oboe of Andrew White. All of the compositions (the best known is "Song for My Lady") are Tyner originals, and the music is consistently intriguing. - Scott Yanow at AMG

    Artist: McCoy Tyner
    Album: Extensions
    Label: Blue Note
    Release: 1970
    Style: Post-Bop/Modern Free
    Format mp3, bitrate: 224 kb/s
    Time: 40:12
    Size: 64,7
    AMG Rating:

This CD has an interesting combination of players. It may be the only recording to include both pianist McCoy Tyner and his successor with the John Coltrane Quartet, Alice Coltrane (who adds atmosphere with her harp). This set also matches the young altoist Gary Bartz with Wayne Shorter (doubling on tenor and soprano), who he succeeded in Miles Davis' group, and has reunions between Shorter and bassist Ron Carter and between Tyner and drummer Elvin Jones. The all-star sextet stretches out on lengthy renditions of four of Tyner's modal originals, and there is strong solo space for the leader and the two saxophonists. Wayne Shorter in particular is often quite intense. Stimulating music. - Scott Yanow at AMG

     Artist: Scott Henderson
     Album: Tore Down House
     Label: Mesa
     Release: 1997
     Format, bitrate: mp3, 320 kbps
     Time: 60:08
     Size: 157 MB (100 + 57)
     AMG Rating

This album resonates with sheer power. Like a steamroller tearing down a house, Scott Henderson and company comes shining through with Tore Down House, a gripping list of songs that beg the listener to truly appreciate the blues. Throughout the compilation, Henderson explores his diverse range of blues improvisation, using a plethora of pedals and effects, but not as so to diminish the full strength of the classic Fender Strat sound. "Dolemite" gets the jam going with a spontaneous free-for-all blues session. "I Hate You" is a romantic, witty ballad seemingly coming from the lost decade of the '50s. "Darling you ruined my life/so I hate you and I always will," sings guest Thelma Houston with chants of "You suck" in the background, granting a message of what one would feel about those who can't stand to be around that certain someone that's destroying their life. "Take this job and shove it./I'm going to guitar school," shouts the fiery Henderson in the rocking blues breaker, "Gittar School." With six other surprises featured on Tore Down House, it's a sure bet the first time listener of this artist's art will become a longtime fan. His band features a splendid group of experienced blues rockers, such as the likes of Pat O'Brien on harmonica, Dave Carpenter on bass, Kirk Covington on drums, Scott Kinsley on keyboards, and a host of sax, trumpet, and other brass players. This is a hands down classic blues album and a must for those who are crazy for the genre. ~ Shawn Haney, AMG

     Artist: Horace Silver
     Album: Silver's Serenade
     Label:Blue Note (RVG Edition)
     Year: 1963, release: 2006
     Quality: mp3@320 kbps
     Time: 37:41
     Size: 82,52 mb + 24,95 mb (scans)
     AMG rating



Horace Silver's LP Silver's Serenade is a swan song; it was the final recording with his most famous quintet, which included drummer Roy Brooks, bassist Gene Taylor, saxophonist Junior Cook, and trumpeter Blue Mitchell. The band had made five previous recordings for the label, all of them successful. The program here is comprised of Silver compositions. The blowing is a meld of relaxed, soulful, and swinging hard bop, as evidenced in the title track. However, "Let's Get to the Nitty Gritty" has one of those beautiful winding heads, beginning so slowly and then jumping a notch in both tempo and intensity. By the time the tune gets to full steam, though there are short stops, the joint is swinging in blues -- check Mitchell's solo on this tune and how he keeps returning to Silver's theme as the root for his blowing. "Sweetie Sweetie Dee" moves from hard bop to funky bop. The dissonant chords that open "The Dragon Lady" have an Eastern tinge. The tune's head is spacious and breezy within a minute, and the tune begins to swing. Silver returns to those chords again and again as if to keep the players inside the mode he's created, letting them solo for only a bit at a time. The knotty turn-on-a-dime changes in "Nineteen Bars," the final track, are pure instrumental and compositional virtuosity. Cook's blowing on his solo is matched by Silver's comping, moving through octaves and key changes. The tune smokes from start to finish as the album comes to a close. This is another excellent recording by the greatest Silver quintet. The 2006 Rudy Van Gelder Edition features no bonus tracks, but sound fanatics will be pleased by the clarity and separation here. ~ Thom Jurek, All Music Guide

     Artist: Eric Dolphy
     Album: Other Aspects
     Label: Blue Note
     Years:1960, 1962; release: 1987
     Quality: mp3@320 kbps
     Time: 40:55
     Size:89,5 mb + 3,97 mb (scans)

Eсли верить буклету, эти записи были переданы Эриком Долфи незадолго до своей смерти своим близким друзьям, неким Хэйлу и Хуаните Смит, у которых и пролежали более двадцати лет, пока Blue Note не выпустили их в 1987 году (ни до, ни после этого они больше не выпускались). Альбом совершенно не похож на остальную дискографию великого музыканта, но все же Долфи на нем легко узнаваем, и эти записи стали настоящей находкой для почитателей его таланта.

Other Aspects is unlike any other title in Eric Dolphy's catalog. The startling 15-minute composition "Jim Crow," recorded in 1962 with an unidentified rhythm section and operatic singer, shows his embracing of 20th century classical composition. Strong Indian influence is heard on 1960's "Improvisations and Tukras," featuring Dolphy's flute mixed with tabla and tamboura. The final three pieces were also recorded in 1960: "Inner Flight 1 and 2" are solo flute pieces, while "Dolphy'n" is a collaboration with bassist Ron Carter featuring Dolphy on alto. This music remained in the private collection of Dolphy's friend Hale Smith until the recordings were handed over to Blue Note in 1985. While Other Aspects is fascinating, and in its own way essential, it should be one of the final discs obtained for your Dolphy library. ~ Al Campbell, AMG

     Artist: Abbey Lincoln
     Album: The World Is Falling Down
     Label: Verve
     Release: 1990
     Format, bitrate: MP3, 320 kbps
     Time: 49:14
     Size: 113 MB



Abbey Lincoln's first in a series of impressive recordings for Verve matches her unique voice and very credible style with flugelhornist Clark Terry, the altos of Jackie McLean and Jerry Dodgion, bassist Charlie Haden, drummer Billy Higgins and French pianist Alain Jean-Marie. McLean has all of the alto solos and most of the instrumental arrangements were contributed by Ron Carter. Lincoln has always been expert at picking out superior material to record and all eight numbers on this CD are memorable in their own way, particularly Haden's classic "First Song," a French version of "How High the Moon," "Hi Fly," Michel Legrand's "You Must Believe in Spring" and Lincoln's two originals "The World Is Falling Down" and "I Got Thunder." ~ Scott Yanow, All Music Guide

     Artist: Pablo Bobrowicky
     Album: Where We Are
     Label: RED (Hong Kong)
     Year: 1999, release: 2000
     Format, bitrate: 192 kbps
     Size: 77,1 MB
     AMG rating



Somehow Bobrowicky's work seems best suited to the trio, in this case guitar, drums, and bass. The Argentinean guitarist's lines are deceptively simple, and the space that he needs to spread out permits him to show considerable grace and a lovely improvisational voice. The superb choice of tunes focuses on standards from the jazz repertoire, such as "Body and Soul" and Bird's "Au Privave," as well as several original compositions. Bobrowicky stamps his own interpretations on the standards without subverting their essence. Luca Conti's intelligent liners refer to the guitarist's South American roots and his previous efforts to perform through the lens of his cultural heritage. Conti views Bobrowicky as informing the jazz tradition with an Afro-bossa connection, and, in doing so, the guitarist expands, ever so slightly, the essence of the tunes. Essentially, the 14 tracks are far from groundbreaking, but they swing lightly, with an attractive, if not overwhelming, technique that pleases as it soothes and occasionally challenges. ~ Steven Loewy , All Music Guide

     Artist: Grant Green
     Album: Street Of Dreams
     Year:rec.November 16, 1964/rel.1998
     Label: Blue Note 84253
     Time:33:37
     Size:73.1 Mb



     Еще один хороший альбом от Grant Green. Квартет, виброфонист Bobby Hutcherson, органист Larry Young, Elvin Jones, ударные.
     Приятного прослушивания. Очень хороший альбом, рекомендую.

     Artist: Aretha Franklin
     Album: The Jamaica World Music Festival 1982 (Bootleg)
     Year: November 26, 1982
     Genre: Soul vocal
     Quality: MP3 / Joint Stereo
     Bitrate: 320 kbit/s / 44.1 Khz
     Total Size: 91.27 MB





This concert in Bob Marley’s hometown was in the same year Franklin had her biggest chart success with Jump To It. Apparently, this show was professionally recorded and the source of this is a cassette taped from the soundboard.

Franklin’s voice was still stellar and she had a hot band. Under the direction of Clive Davis, Franklin was still a creative force albeit not as soulful. Blame it on the market.

     Artist: Aziza Mustafa Zadeh
     Album: Inspiration: Colors & Reflections
     Label: Columbia
     Year: 2000
     Genre: crossover jazz, jazz vocal
     Format, bitrate: mp3, 320 kbps
     Time: 83:25
     Size: 185 MB (100 + 85)

Aziza Mustafa Zadeh was born on December 19, 1969, in Baku, Azerbaijan, in the former USSR, into a musical family. Her father, Vagif Mustafa Zadeh, a pianist and composer, became famous by creating a fusion between jazz and the traditional Azerbaijani music known as mugam. Her mother, Eliza Mustafa Zadeh, was a classically-trained and professional singer from Georgia who then collaborated with her husband in his musical endeavors. Having studied classical piano from an early age, and despite her enthusiasm for the compositions of Johann Sebastian Bach and Frйdйric Chopin, she soon began displaying a gift for improvisation. ”I didn’t practice enough,” she admits. ”If I don’t feel like playing then I don’t play.” So impressive were her talents that a prestigious squad of jazz musicians chose to join her in the studio for 1995’s Dance of Fire. Many novice artists might have been intimidated, overawed, by a line up comprising guitarist Al Di Meola, bassman Stanley Clarke, former Weather Report drummer Omar Hakim, and saxophonist Bill Evans, but once again Aziza produced an album unmistakeably imbued with her particular inclinations.

     Artist: Keith Jarrett Trio
     Album: Inside Out
     Label: ECM
     Year: 2000, release: 2001
     Format, bitrate: mp3, 320 kbps
     Time: 78:04
     Size: 187 MB (100 + 87)
     AMG Rating

For many years, the trio of Keith Jarrett, Gary Peacock, and Jack DeJohnette has been taking jazz standards and expanding them via improvisation into an entire language that reflects not only the history but also the eternal present of jazz. Many have wondered if Jarrett would ever return to the "free" style of playing he did in the 1960s on releases for Columbia, Atlantic, and Impulse! It would be both impossible and unreasonable to expect a musician like Jarrett and his sidemen for that matter to return to the fold of an innocence they lost long ago, when they were lesser musicians than they are now. Inside Out, recorded over two nights in July 2000 in London, bridges that gap: It is completely improvised save for one tune an almost unbearably beautiful reading of "When I Fall in Love" done as an encore. Here are Jarrett, Peacock, and DeJohnette as they haven't been heard from in years, starting from silence, digging deep into the history of jazz, blues and even R&B to invent spontaneously a musical language that is trio-specific, communicative on the deepest levels of nuance, sonances, and spirit. The opening track, "From the Body," begins as a careening trip through the blues, from Memphis to St. Louis back through Mississippi to New Orleans and coming to rest in Chicago. Given how close the dialogue is here, and the expansive harmonic invention at work in the middle registers of the piano and the bass, it becomes a blur it's impossible to really know who is leading or following or if such a hierarchy even exists anymore. When the blues disintegrate gradually -- and momentarily -- and are replaced by what is defined in the vernacular as "free" playing, the dissonance is traipsed upon only slightly. It's not as if it doesn't belong or isn't welcome, it's just that it's a minor concern because these guys know where they are going or at least want to go. It's familiar but not well-tread or predictable; it's invigorating, knife-edge improvisation. By the time the title track fades in, listeners know that the entire fake book has been thrown out the window and the standards have been erased (or at least left in the hallmarks of collective jazz memory), in favor of this language that calls upon their dignity and verve while establishing its own propriety and basis of utterance. Does it swing? Hell yes it does, if your definition of that word is something other than cut, 4/4, or waltz time -- though some of the music played here engages those very signatures exquisitely. Most importantly, the trio of Jarrett, Peacock, and DeJohnette offers a new kind of free jazz one that is lyrical, tonally accessible, and musically elegant, tailored by the ears and executed with the grace of the heart. Many younger players who believe that the only way to improvise freely is to tear their chosen instrument to shreds and bleat every ounce of pain and suffering that can be extracted from it need to hear this record, badly. In it they may find the true secrets of the masters, and the sheer poetics of the improvisational artistry that is jazz. ~ Thom Jurek, AMG