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jasapaal
 Into the Rhythm
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1998: Richie Beirach trio - What Is This Thing Called Love ? |
Music » Jazz » Mainstream |
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 Artist: Richie Beirach Album: What Is This Thing Called Love ? Label: Venus Records, 24 k Gold Year: rec. 1998/rel. 2001 Format: MP3 @ 320 Kb/s Time: 58:22 Size: 127,6 Mb Strongly recommend to all my friends in JBC!
Special for dear zuziki !
Although somewhat underrated, Richie Beirach is a consistently inventive pianist whose ability to play both free and with lyricism makes him an original. After studying classical piano, Beirach switched to jazz. He studied at Berklee and the Manhattan School of Music, and took lessons with Stan Getz, Dave Holland, and Jack DeJohnette. Beirach played electric piano while with Dave Liebman's Lookout Farm in 1974, but afterward mostly stuck to acoustic piano. He teamed up with Liebman on many occasions (including the early-'80s group Quest) and has recorded frequently since the '80s. Among his many jobs as a sideman were important stints with Getz, Lee Konitz, John Abercrombie, and Chet Baker, and Beirach has played music ranging from hard bop to totally free. His classical training can sometimes be heard in his more advanced improvisations, along with the sensitivity of a Bill Evans.
~ by Scott Yanow, AMG |
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Jazz Casual - Tenor Sax Players |
Music video |
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 Artist: Various Artisis Album: Tenor Sax Players Label: bootleg Release: ? Genre: jazz/post-bop Format: mpg Time: 1:43:13 Size: 765 Mb Bubu's Rating:  This 93 min black & white video compilation concentrates on tenor saxophone acts broadcasted by Ralph J. Gleason's famous "Jazz Casual" TV series and filmed in the 60s. |
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1957-58: Cannonball Adderley - Cannonball's Sharpshooters |
Cool, Hard-bop |
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 Artist: Cannonbal Adderley Album: CANNONBALL`S SHARPSHOOTERS Label: American Jazz Classic Year: rec.March 4 & 6, 1958, December 19 & 24, 1957./rel.2009 Format: MP 3 @320 Kb/s Time: 72:40 Size: 149 Mb AMG rating:  To my friends in JBC!
Two faimous LP firs time on CD!
This release presents the original classic album Cannonball’s Sharpshooters in its entirety, plus two extra tracks that complete the sessions and were not included on the LP.
As a bonus, this CD also contains all of the tunes from Machito’s album Kenya featuring Cannonball.
Âåëèêîëåïíûé àëüáîì! Ñîâåòóþ! Äâà LP âïåðâûå íà CD!
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2007: Van Morrison & John Lee Hooker - Together |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artists: Van Morrison & John Lee Hooker Album: Together Label: Bootleg(?) Quality: mp3; 192 kb/s Size: 84 mb Blues dean John Lee Hooker and Belfast cowboy Van Morrison, together again... |
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2009: Ella Fitzgerald - Ella Fitzgerald (Remastered) |
Music » Jazz » Vocal Jazz |
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 Artist: Ella Fitzgerald Album: Ella Fitzgerald Year Of Release: 2009 Label: Habama Formate,bitrate: MP3;320kbps / 44.1kHz / Joint-Stereo Total Size: 121.72 MB Early recordings brilliant vocalist! |
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1957: Pat Moran - This Is Pat Moran |
Music » Jazz » Mainstream |
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 Artist: Pat Moran Album: This Is Pat Moran Label: Audio Fidelity AFLP 5875 Year: 1957 Format, bitrate: mp3@320 kb/s Time: ~39 min Size: 95,68 AMG rating  If you are familiar with the name Pat Moran, you know your Chicago mainstream jazz from the late '50s. A wonderful stylist molded in the musical post-bop-to-cool visage of a Red Garland, Wynton Kelly, or Bill Evans, Ms. Moran played spirited standard fare, and on this CD interpretations of Dave Brubeck's "In Your Own Sweet Way," Oscar Pettiford's "Collard Greens and Black-Eyed Peas," and the simple "Blues," all of which advance well beyond mere cocktail lounge background music. This reissue, originally from the Audio Fidelity label releases This Is Pat Moran and Beverly Kelly Sings, features Moran's bright piano on American popular songs for four of the eight tracks with her trio, including the vaunted bassist Scott LaFaro. Two years after these sessions, LaFaro would join the trio of Bill Evans, and was killed in a car accident two years after that in the summer of 1961. Also included in the instrumental fare is an obscure Frank Rosolino composition, "Onilosor," which perfectly showcases LaFaro's tight, innovative bass wizardry. Bev Kelly, a skilled singer in the Anita O'Day tradition, has at it for another ten songs and sounds great, and Moran ends the affair with two solo piano performances. A precious bit of history from that great and enduring year in jazz, 1957, this extra-special document should make all listeners wish they had heard more of Moran and Kelly, not to mention the immortal Scott LaFaro, who reflected on this date as one of his most memorable and enjoyable. ~ Michael G. Nastos, AMG |
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2009: Seasick Steve - Man From Another Time |
Music » Blues » Modern electric blues |
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 Artist: Seasick Steve Album: Man From Another Time. Label: Warner Bros Year: 2009. Format, bitrate: mp3;320k/s Size: 76,1 mb. Total time: 50:43 Õî÷ó ïðåäñòàâèòü ýòîãî ìåãà-ñàìîðîäêà, èãðàþùåãî Ìèññèñèïè áëþç, îí â 14 ëåò ñáåæàë èç äîìà, áîìæeâàë, à ñåé÷àñ îí óæe ñîáèðàåò ñòàäèîíû! Recorded live on old-style analogue equipment, Man from Another Time is typically enjoyable, though not quite as potent as the quarter-million-selling I Started Out with Nothing and I've Still Got Most of It Left – despite Steve's lo-fi ringing of the changes, with his trusty "three-string trance wonder" guitar set aside occasionally in favour of slide licks played on a homemade cigar-box guitar ("Happy"), and more primitive still, the single-string device whose construction is explained and demonstrated in "Diddley Bo".
He may no longer ride the rails, but Steve's hobo experiences still drive his muse, with recollections of time spent sleeping rough, picking apples as a migrant worker ("Wenatchee") and spending time in Spokane jail ("Never Go West"). Elsewhere, "Just Because I Can" and "Big Green and Yeller" respectively find a nostalgic Steve hopping a freight train for old time's sake, and devising a plan to buy himself a tractor and caravan and "drive down the highway blockin' traffic every chance I can". He has two basic modes: the itchy boogie groove most effectively employed on the prison lament "That's All", evoking the restless frustration of pacing a tiny cell; and the more low-key style of "The Banjo Song", a sympathetic reflection on the ostracism of ageing drifters, where the dry-gulch plunk of his banjo perfectly matches the hoarse rasp of his voice. ~ The Independent |
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1989: Abdullah Ibrahim - Blues for a Hip King |
Jazz, Modern Jazz |
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 Artist: Abdullah Ibrahim Album: Blues for a Hip King Label: Camden Year: 1989 Format: MP3, 256 kbps Time: 73:00 Size: 134 MB This marvellous album from Abdullah Ibrahim (aka Dollar Brand) is as good way as any to start listening to this great South African Jazz Pianist.
Listen to 'Sweet Basil Blues', its instantly catchy and it sounds very simple (probably fiendishly difficult actually!), and it certainly has a blues influence. All of Abdullah's self-penned tracks are like this. The musicians playing with him are of all of the highest quality, amongst the better known are Blue Mitchell and Basil Coetzee.
Abdullah actually stood in for Duke Ellington in the early 60's, and his influence and Monk's can certainly be heard in his Piano playing. On a few tracks here Abdullah gives a nod to that American influence, playing covers of two Monk tunes, and some of his own compositions are clearly Monk/Ellington inspired. Its also worth mentioning the opening track 'Ornette's Cornet' which I believe is a reference to Ornette Coleman. ~ S.J. Buck |
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1951: Bill Russo - A Recital In New American Music |
Music » Jazz |
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 Artist: Bill Russo Album: A Recital In New American Music Label: Dee Gee LP 1001 Year: 1951 Format, bitrate: mp3@320 kb/s Time: ~ 25 min Size: 58,31 In the late Forties trombonist and composer Bill Russo, a young and prominent disciple of Lennie Tristano, was already leading his own experimental studio bands in Chicago. He always composed with a concern for jazz, and did much in the field of advanced orchestral writing, finally rising to fame when successful bandleader Stan Kenton hired him in early 1950. He became one of Kenton’s most brilliant orchestra arrangers, but decided to return to his hometown in 1955 to continue writing and conducting. He proved to be an extraordinarily well-informed individual in diverse areas, with the felicitously stimulating personality of one who
is always an intellectual but never an intellectual snob. He worked in the jazz and classical fields and, in his opinion, a good symphony musician could play really swinging jazz if it was properly written. And he brought a much needed insistence on integrity to the music. This CD compiles the most important of his early works, including The World of Alcina, a ballet score in five dances which Russo defined as “a piece written in terms of my background in jazz.” ~ Absolute Distribution |
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McCoy Tyner - Expansions |
Music » Jazz |
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 Artist: McCoy Tyner Album: Expansions Label: Blue Note Release: 1968 Style: Post-Bop Format mp3, bitrate: 256 kb/s vbr Time: 46:30 Size: 70,3 Mb (covers)   Of pianist McCoy Tyner's seven Blue Note albums of the 1967-1970 period, Expansions is the most definitive. Tyner's group (comprised of trumpeter Woody Shaw, altoist Gary Bartz, tenor saxophonist Wayne Shorter, Ron Carter on cello, bassist Herbie Lewis, and drummer Freddie Waits) is particularly strong, the compositions (four Tyner originals plus Calvin Massey's "I Thought I'd Let You Know") are challenging, and the musicians seem quite inspired by each other's presence. The stimulating music falls between advanced hard bop and the avant-garde, pushing and pulling at the boundaries of modern mainstream jazz. - Scott Yanow at AMG |
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Keith Jarrett - Spheres |
Music » Classical music |
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 Artist: Keith Jarrett Album: Spheres Label: ECM Release: 1976 Style: modern classic Format mp3, bitrate: 256 kb/s vbr Time: 40:38 Size: 77,4 Mb (cover) Hymns/Spheres, the original double LP from which the four pieces here are drawn, was perhaps too long and somewhat self-indulgent, and ultimately risked tedium. Yet the album contained some of the most transcendent music Keith Jarrett has recorded. In 1976, he came upon the mighty Trinity Organ, built by Karl Joseph Riepp (1710-1775) at the Benedictine Abbey in Ottobeuren, and proceeded to extend its already awesome capabilities by experimenting with partial openings of its stops. The result was an array of eerie tonalities with which he could accomplish a memorable contribution to the long tradition of organ improvisation. The opening section of the nine-part "Sphere" (four selections of which comprise this release) is a grand, piercing, and elevating summoning of shadowy recesses of the spirit, and of their liberation in devotion to whatever one's gods. --Peter Monaghan at Amazon.com |
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