Artist: Игорь Бриль / Igor Bril
     Album: Дорога без конца / The endless road
     Release: 2004
     Label: Мелодия (MEL CD 60 00837)
     Format, bitrate: MP3@320 kbit/s
     Time: 76:13
     Size: 85+84 MB

     Продолжаем тему российского джаза.
     Игорь Бриль - российский джазист, пианист и композитор. К его 60-летию фирма Мелодия выпустила диск - это сборник его лучших вещей. Всем любителям джаза прослушивание этого диска доставит истинное удовольствие.

     Igor Bril - one of the best jazz pianists in Russia.

     Artist: Buddy Tate All Stars
     Album: Jive At Five
     Label - Storyville
     Release:1992
     Recording date:1975
     Time : 49:59
     AMG rating


     Tenor-saxophonist Buddy Tate, trombonist Vic Dickenson and trumpeter Doc Cheatham make for a potent frontline, pianist Johnny Guarnieri is heard in prime form and bassist George Duvivier and drummer Oliver Jackson are typically tasteful in support...
     However it is the four group jams that are most exciting. Easily recommended to mainstream jazz fans.(AMG)

     Enjoy...

To my friends...

     Artist: Michael Buble
     Album: Crazy Love [Bonus Track]
     Label: 143/Reprise
     Year: October 09, 2009
     Format, bitrate: mp3, 320kb/s
     Size: 106MB

     Buoyed by the popularity of the hit contemporary pop ballad "Home," singer Michael Bublé's 2005 album, It's Time, clearly positioned the vocalist as the preeminent neo-crooner of his generation. Bublé's 2007 follow-up, Call Me Irresponsible, only further reinforced this notion. Not only had he come into his own as a lithe, swaggering stage performer with a knack for jazzing a crowd, but he had also grown into a virtuoso singer. Sure, he'd never drop nor deny the Sinatra comparisons, but now Bublé's voice -- breezy, tender, and controlled -- was his own. It didn't hurt, either, that he and his producers found the perfect balance of old-school popular song standards and more modern pop covers and originals that at once grounded his talent in tradition and pushed him toward the pop horizon. All of this is brought to bear on Bublé's 2009 effort, Crazy Love. Easily the singer's most stylistically wide-ranging album, it is also one of his brightest, poppiest, and most fun. Bublé kicks things off with the theatrical, epic ballad "Cry Me a River" and proceeds to milk the tune with burnished breath, eking out the drama line by line. It's over the top for sure, but Bublé takes you to the edge of the cliff, prepares to jump, and then gives you a knowing wink that says, not quite yet -- there's more fun to be had. And what fun it is with Bublé swinging through "All of Me," and killin' Van Morrison's classic "Crazy Love" with a light and yearning touch. And just as "Home" worked to showcase Bublé's own writing abilities, here we get the sunshine pop of "Haven't Met You Yet" -- a skippy, jaunty little song that brings to mind a mix of the Carpenters and Chicago. Throw in a rollicking and soulful duet with Sharon Jones & the Dap Kings on "Baby (You've Got What It Takes)," and a fabulously old-school close-harmony version of "Stardust" with Bublé backed by the vocal ensemble Naturally 7, and Crazy Love really starts to come together. All of this would be enough to fall in love with the album, but then Bublé goes and throws in a last minute overture by duetting with fellow Canadian singer/songwriter Ron Sexsmith on Sexsmith's ballad "Whatever It Takes." A devastating, afterglow-ready paean for romance, the song is a modern-day classic that pairs one of the most underrated and ignored songwriters of his generation next to one of the most ballyhooed in Bublé -- a classy move for sure. The result, like the rest of Crazy Love, is pure magic. ~ Matt Collar, All Music Guide

Artist: Stan Tracey Quartet
Album: For Heaven's Sake
Label: Cadillac
Year: 1996
Release: 1996
Format, bitrate: MP3, 320 Kbps
Time: 60 mins (approx)
Size: 118MB


The opportunity to present this first recording by the New Stan Tracey Quartet has been an event of great importance to me for a number of reasons. It perfectly fulfils the motivation for the Cadillac Label's creation and continuance since 1973, to wit the documentation and dissemination worldwide of unique moments of creative music making by artists with whom it has been my privilege to associate on a basis other than the purely commercial. It once again links us with a highly significant point in Stan's continual artistic development following on from his historic Wigmore Hall concert in June 1974 when we presented him in a solo and duo recital that produced the Alone LP (SGC 1003).

My first awareness of Stan came from the Vogue LPs issued during my days behind the counter in Doug Dobell's legendary Record Shop, followed by involvements in appearances by the New Departures Quartet organised by our mutual friend Victor Schonfield - I still remember hitch-hiking to Oxford on my halfday off from Dobell's to see them at the Carfax Rooms followed by climbing in to one of the colleges to spend the night on Victor's floor.>>>

     Artist - Stan Kenton
     Album - Portraits On Standards
     Label - Capitol Jazz
     Years:1951,1953-1954; release - 2001
     Quality - MP3@320 kbps
     Size - 88,9 mb
     Total time - 41:05
     AMG rating




While most of Stan Kenton's recordings in the 1950s tend to be complex and sometimes bombastic, his versions of standards could often be sentimental and very melodic. This LP from the Creative World catalog (music originally released by Capitol) alternates between ballads and boppish romps, mostly featuring the 1953-1954 orchestra, a band that could often swing hard. With such major soloists as altoist Art Pepper (featured on "Street of Dreams"), trumpeter Conte Candoli, Zoot Sims on tenor, altoist Lee Konitz, and trombonist Frank Rosolino, Kenton's orchestra could hold its own with any big band of the period. The arrangements (all by either Bill Russo or Kenton) showcase these talents at their best. ~ Scott Yanow, All Music Guide

Artist: Jascha Heifetz
Album: The Heifetz Collection
Label: RCA Victor Gold Sea
Year: 1917-1946
Release: 1994
Genre: classical music/violin
Format, bitrate: MP3. Cbr 320 Kbps
Time: 13:06:11
Size: 1,76 Gb

Яша (Иосиф Робертович) Хейфец уже при жизни стал легендой, его называли императором скрипки. Крупнейший немецкий скрипач Карл Флеш писал о Хейфеце: «Он, бесспорно, представляет собой вершину современного развития нашего искусства. Прежде всего достойна удивления его постоянная, ничем не скованная техническая оснащенность. Ему не нужно «разыгрываться». Пальцы и смычок действуют безотказно, словно машина, которая нажатием кнопки сразу же начинает работать во всю мощь. Тон Хейфеца благороден и чарующе красив, техническое мастерство не имеет изъянов... Граммофонные записи Хейфеца принадлежат к самым совершенным, так что слава о нем надолго переживет его...».

     Artist: Phil Woods Quintet
     Album: American Songbook
     Label: Kind Of Blue
     Year: 2006
     Format, bitrate:mp3 320 kbps
     Time: 1:06:09
     Size: 161 Mb
     AMG rating

Phil Woods, the great American saxophonist, has been featured in more diverse settings than almost anyone in the history of the music. His constant challenging of himself as a player, bandleader, and composer has been admirable since his debut set as a leader. While standards sets these days are not only a dime a dozen but mostly cop-outs from established artists and newcomers who either lost or never had the chops to execute them with any aesthetic imprint, let alone the one they deserve, septuagenarian Woods breathes life into ten of these tunes, and reinvents them both as harmonic structures and as tools for swing. With trumpeter Brian Lynch, pianist Bill Charlap (a fine leader in his own right), bassist Steve Gilmore, and Billy Goodwin on drums, Woods takes on "Foggy Day" as if it were a new tune. The same goes for the age-old jazz ballad of choice "All the Things You Are," on which Charlap sets the course for a wondrous take with the ensemble playing together as if they co-wrote the tune. Lynch's muted trumpet is a natural choice, but Charlap's extrapolation on the chord voicings and Woods playing the middle-low register of his horn and easing out with a sense of phrasing akin to Paul Desmond's. The front-line interplay on "I've Got You Under My Skin," is simply gorgeous, especially when Woods takes his second solo break and Lynch slips back in behind the beat. One can hear the entire history of the alto as a solo instrument in this tune. And if you are about to groan at seeing the nugget "Summertime" in this set, just take a listen to the Latin backbeat that this tune builds on, where blues, son and samba all meet, and Woods' clarinet playing when juxtaposed against Lynch's mute is simply out of this world. One wonders how anyone ever played it differently. The joint closes with "Right as the Rain," a near pastoral tune, except the shimmering horn interplay brings it right down into the blues again. The fills Charlap plays around the front line are simple, elegant, spare, and attention grabbing. This is one for the summer of 2006, and offers a fine view of what Woods and his crew are capable of when faced with the daunting task of reinventing standards. ~ Thom Jurek, All Music Guide

So many years after his untimely death in a plane crash, Bill Chase is still recognized as one of the premier exponents of Jazz-Rock fusion. Earning his laurels in the lead trumpet chair for bands headed by Maynard Ferguson, Stan Kenton, and Woody Herman he went on to establish his own group to explore the area between Jazz and Rock: Chase

Here you will find all official recordings ever made by the original band Chase, the three studio albums in addition to a triplet live recording from different concerts in US during 1973.

    Artist: Keith Jarrett
    Album: Shades
    Label: Universal Japan
    Release: 1975
    Style: Post-Bop
    Format mp3, bitrate: 256 kb/s
    Time: 33:48
    Size: 62 Mb
    AMG Rating:

Pianist Keith Jarrett's mid-'70s quintet was the strongest regular group that he ever led and all of its recordings (even some that ramble a bit) are worth picking up. Thanks to its strong start, Shades is one of this unit's most rewarding recordings. "Shades of Jazz" has a memorable melody and logical (if unpredictable) improvisations by Jarrett and tenor-saxophonist Dewey Redman. The momentum slows down a bit with the gospellish "Southern Smiles" and "Rose Petals" but picks up again with the final number, the rather intense "Diatribe," an excellent vehicle for this classic group. Throughout, bassist Charlie Haden, drummer Paul Motian and percussionist Guilherme Franco keep the band's juices flowing. - Scott Yanow at AMG

    Artist: Keith Jarrett
    Album: El Juicio (The Judgement)
    Label: Atlantic
    Release: 1976
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s
    Time: 39:10
    Size: 92,6 Mb (covers)

..."El Juicio", recorded in July 1971, has a youthful exuberance and liveliness rarely found in Jarrett's subsequent albums ... Jarrett's American quartet is one of the essential post-bop ensembles, composed by strong-minded individuals who gave the band a powerful sound and an intensity rarely found in any jazz era.
Dewey Redman plays some of his best solos up to that day, and he sounds specially charged in the explicit Ornette Coleman's tribute "Piece for Ornette". It is important to acknowledge Ornette's influence on the quartet, which proved that the new conceptions in jazz were finally breaking through, and new sounds emerged to express this radically new, evolving language. Charlie Haden, another one of Ornette's associates, shines throughout the album with a firm pulse, always giving the band a sense of direction. Paul Motian, arguably the most underrated member of Bill Evans' classic trio, shows that he's a true master of jazz, capable of creating strong grooves and giving emotional fuel to the soloists at the same time.;;;

    Artist: Keith Jarrett
    Album: Sun Bear Concerts (6 cds box set)
    Label: ECM
    Release: 1976
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s
    Time: 6:37:40
    Size: 945 Mb (fullcovers)
    AMG Rating:

This gargantuan package — a ten-LP set now compressed into a chunky six-CD box — once was derided as the ultimate ego trip, probably by many who didn't take the time to hear it all. You have to go back to Art Tatum's solo records for Norman Granz in the '50s to find another large single outpouring of solo jazz piano like this, all of it improvised on the wing before five Japanese audiences in Kyoto, Osaka, Nagoya, Tokyo, and Sapporo. Yet the miracle is how consistently good much of this giant box is. In the opening Kyoto concert, Jarrett's gospel-driven muse is in full play, up to the level of his peak solo performances in Bremen and Koln, and the Osaka and Nagoya concerts have pockets of first-rate, often folk-like, even profound, lyrical ideas. The Tokyo concert takes a while to get in gear, but when Jarrett finally locks into one of his grooving vamps, he carries us along, and there is a memorably melodic encore. In Sapporo, Jarrett breaks from a nicely flowing pattern into a jumpy rhythm that reminds one of C&W guitar fingerpicking, and there's some exuberant barrelhouse stuff and outbreaks of dissonance in part two. Each concert is placed on a single CD, while the much briefer sixth disc is reserved for the encores from Nagoya, Tokyo, and Sapporo. While Sun Bear breaks little ground that his earlier solo piano albums had not already covered, it is nevertheless richly inventive within Jarrett's personal parameter of idioms. If price is not a barrier, the Jarrett devotee need not hesitate. - Richard S. Ginell at AMG

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