Artist: Seasick Steve
     Album: Dog House Music.
     Label: Bronzerat
     Year: 2006.
     Format, bitrate: mp3;320k/s
     Size: 149 mb.
     AMG rating

Yes, they really do still make albums like this in the 21st century. Steve Wold, otherwise known as Seasick Steve, released his second album, Dog House Music in 2007, his first purely solo effort; he had previously released an album entitled Cheap several years earlier for which he shared the credit with Swedish band the Level Devils. Dog House Music is like a really old John Lee Hooker or Muddy Waters album, or maybe something even less commercial as Steve strums his guitar and sings along, his voice sounding drowned in bourbon, and occasionally a song such as "Fallen off a Rock" crashes to life, literally, with the guitar no longer picking out a sorrowful blues lick but strumming wildly and the drums smashing away in the foreground played by two members of his family, HJ Wold and PM Wold. Apart from that however, the entire album is played by Steve, recorded in what sounded like one take, when he might have been sitting in a leaky shack by the Mississippi, almost every track given a short introduction almost as if to explain to a personal audience what the forthcoming song is about and why it is important. The album begins with the very short (just over one minute) track, "Yellow Dog" which sounds like it was been recorded at the bottom of a well, the acoustics are so terrible. When the final track, "I'm Gone," finishes, there is a small gap which is followed by Steve reciting a real shaggy dog story, over five minutes long, no music, just Steve rambling about being arrested and after spending six months in jail, looking for his runaway dog; this eventually runs into another sad blues song (about a dog). Not sure why anybody would want to listen to this story more than once. Even the album cover looks like it was designed and drawn by a six-year-old, but that simply adds to the unpolished and underproduced nature of the work, which is a credit, not a fault.~ Sharon Mawer, All Music Guide

     Artists: Rahsaan Roland Kirk with Jack McDuff
     Album: Kirks Work
     Label:OJC/Prestige
     Year:1961, release: 1991
     Format, bitrate:mp3;256K
     Size: 52 Mb
     AMG Rating:

Kirk's Work -- Rahsaan Roland Kirk's third long-player -- teams him up with organist "Brother" Jack McDuff for Kirk's most soulful post-bop set to date. His unorthodox performance style incorporates the polyphonies of a tenor sax, flute, manzello, and stritch. The latter instrument is Kirk's own modification of a second-generation B-flat soprano sax. This contributes to the unique sonic textures and overtones Kirk creates when playing two -- and often three -- of those lead instruments simultaneously. The loose and soulful nature of McDuff's Hammond organ lends itself to the swinging R&B vibe pervasive throughout the album. Completing the quartet is Joe Benjamin (bass) and Art Taylor (drums) -- both veteran jazzmen in their own right. They lend their expertise as well as innate sense of rhythm to the up-tempo "revival meetin'" rendition of Sammy Kahn's "Makin' Whoopee" as well as the ominous swing of the title track. This is also an ideal showcase for Benjamin and Taylor's running counterpoint that glides throughout -- supporting soloists Kirk and McDuff. Of the four original Kirk compositions, "Doin' the Sixty-Eight" is arguably the strongest. The percussive rhythms weave a hypnotic Latin groove over which Kirk and McDuff both snake some highly cerebral solos. The stellar interpretation of "Skater's Waltz" combines a well-known traditional melody with some of the most aggressive interaction from the quartet. The tune is put through its paces and the tenor sax/Hammond organ leads bounce around like a game of sonic ping pong. The more aggressive performance style that Kirk would later incorporate definitely shows signs of development on Kirk's Work. While certainly not the best in his catalog, it is a touchstone album that captures the early soulful Rahsaan Roland Kirk. ~ Lindsay Planer, All Music Guide

Artist: Claudio Roditi
Album: Brazilliance X 4
Label: Resonance Records
Year: 2009
Quality: mp3@320 Kbps
Total time: 55:21
Size: 79.2 mb



Charles Mingus would have loved the way Claudio Roditi plays his horn. He is most like Clarence ”Gene” Shaw. And like Shaw, Roditi knows the importance of the space between the notes; when to play a note; a quick flurry, or merely a short intricate phrase… and when not to play. His voice is unique; his sound is bright, delivered in short, round bursts of emotion and energy. And because he is one of the most thoughtful musicians around, he almost never plays a wrong note. On Brazilliance x 4 Claudio Roditi is on top of his game, once again. Moreover like the great bebop musicians, whom Roditi no doubt admires—men like Bird and Diz, who was his boss for several years in the United Nations Orchestra—he solos with sonorous rhythm and a quiet fire always aglow, but is the epitome of brevity, always… In and out in a few bars, perhaps a chorus or two. This way the music is always magnificently highlighted, while Roditi and his cohort merely embellish its intricacies in short gentle bursts.>>>

Artist: Philip Catherine
Album: Summer Night
Year: 2002
Label: Dreyfus
Quality: mp3@320kbps
Size: 113 MB
Total Time: 56Min.
AMG rating

Guitarist Philip Catherine, once dubbed "Young Django" by Charles Mingus, shows several facets of his playing on this studio recording. Alternating between trio numbers with bassist Philippe Aerts and drummer Joost van Schaik and a quartet adding trumpeter and flugehornist Bert Joris, Catherine divides his set between standards and originals. His somewhat subdued interpretation of "'Round Midnight" sparkles with inspired runs inserted at key points; "Laura" adds a disguised introduction to a very upbeat arrangement. Catherine's writing style is diverse; "Tiger Groove" emphasizes a rock flavor that pales only slightly during his unison lines with Joris; while the ballad "Letter From My Mother" is considerably more subdued and lyrical. "Francis' Delight" is a swirling post-bop line, though the waltz "Le Jardin de Madi" (written in honor of his wife) may be the most accessible of his compositions to new listeners. This enjoyable effort is heartily recommended. ~ Ken Dryden, All Music Guide

     Artist: Richie Beirach
     Album: Elm
     Label: ECM, Japan
     Year: rec.May 1979/ rel.1979
     Format: MP3 @ 320 Kb/s
     Time: 42:15
     Size: 96 Mb
     AMG rating:

     Artist: Barbara Rosene
     Album: Deep Night
     Label: Stomp Off Records 1368
     Year: 2002
     Format, bitrate: MP3, 320 kbps
     Time: 59:46
     Size: 198 MB

     New York/Cleveland vocalist Barbara Rosene has teamed up with Vince Giordano and the latest incarnation of the Nighthawks for a romp through 20 songs from the 1920s and 1930s. Some of these nuggets are familiar, others haven't been recorded for awhile. These Prohibition-era tunes were performed by Ruth Etting, Annette Hanshaw, Connee Boswell, and others, who laid down the foundations for popular-song singers to come. Even though some of the tracks retain that "old" sound, such as the title tune, "Deep Night," which has that Russian Tea Room violin of Andy Stein playing the interludes, they don't sound dated for nary a minute. Many of the old trappings are present. When Rosene sings the line about knockin' on wood on "Ain't That a Grand and Glorious Feeling?," there's Arnie Kinsella hitting the wood block. Among the selections Rosene picked for this session is "Cooking Breakfast for the One I Love," a tune made popular by Fanny Brice in the 1929 film Be Yourself. Rosene brings just the right vocal expression and emphasis to each tune with her very appealing vocalizing. She has a great feel for the offbeat syncopation inherent in music from this era, such as on "Exactly Like You," in which Rosene warbles with Rose Murphy in mind, while Conal Fowkes' music hall piano is plunking the melody right along with the singer, a rarity these days. These orchestrations are from the fine hand of Giordano. Rosene is fortunate to have the veteran trad jazz stylist on this her debut album. There are few who have devoted more time to transcribing, performing, and recording vintage jazz from the period covered by the album. The result? A fun, happy CD is the product of a fine vocalist and top-of-the-list musicians and is recommended.~ Dave Nathan, All Music Guide

     Artist: Jason Miles
     Album: Miles to Miles: In the Spirit of Miles Davis
     Label: Narada
     Year: 2005
     Format,Bit Rate: Mp3 320 Kbps
     Time: 56:30
     Size: 111 Mb

The award-winning producer/composer/keyboardist/synthesizer arranger Jason Miles plays tribute to one of his major influences, the legendary trumpeter Miles Davis. With Miles to Miles a 12-track disc featuring symbolic titles that recognize some of Davis' exquisite tastes, Jason Miles has created a masterful musical program that is resplendent with both the spirit and creative vibe of the legendary trumpeter. Jason Miles' masterful programming and synth arrangements expand the musical ideas into an otherworldly realm that was unheard of during Davis' modal period and reign with arranger/orchestrator Gil Evans in the late '50s and early '60s. The songs here are truly 21st century concepts. The set opens with "Ferrari," a reference to Davis' red motorcar and the high-speed drive that the two musicians took up the Pacific coast. The energetic rhythms capture this trip's velocity as saxophonist Michael Brecker adds an angular melody line over the electronic funk. DJ Logic's turntables add extra dimensions and colors. "Butter Pecan" is a take on the trumpeter's love of butter pecan ice cream. This track is great and features an overdubbed sax section played by Gerald Albright and a solo by Adam Holtzman. One of the brightest spots on this amazing recording is "Flamenco Sketches,"the Spanish-influenced song from Davis' classic 1959 album titled Kind of Blue. With updated lyrics and instrumental stylings written to the melodies of Davis' and John Coltrane's original solos, and guest appearances from pianist Keiko Matsui and guitarist Marc Antoine, this song comes alive with the beauty and spirit of Davis' genius. Miles to Miles was inspired by the first time Jason Miles ever met Miles Davis, who sketched a little stick figure on a note pad and autographed it "Miles to Miles" with a little trumpet. With the addition of some of contemporary jazz's most in-demand musicians, these 12 musical stories tell a tale of their creativity, inspiration, and friendship, and aptly demonstrate Jason Miles' capabilities as a true innovator. ~ Paula Edelstein, All Music Guide

     Artist: VA
     Album: MOD JAZZ
Label: Kent
     Year: 1960-1968, release: 1996
     Format, bitrate: VBR 128-192 kbps
     Time: 01:14:04
     Size: 102 Mb

     Artist: Richie Beirach
     Album: Hubris
     Label: ECM, Japan
     Year: rec. 1977/rel. 1978
     Format: flac, cue, scans
     Time: 39:33
     Size: 142. Mb

     Artist: Billy T Band
     Album: A Little Mixed Up
     Label: Big H Records
     Year: 2007
     Genre: Urban/R&B: Traditional R&B
     Format, bitrate: mp3, 192 kb/s
     Time: 41:29
     Size: 57,5 Mb


The cover material unearthed for this album is magical and the band should be congratulated in releasing an album that includes so many quality songs, these include; ”Love Sickness” by Sir Mack Rice, ”Groovin” by the Young Rascals and ”Lovers Rock” by Sonny Burgess. The leader of the band is New York born vocalist and bassist William Troiani, who has pulled in musicians from his new home in Norway, who deliver an authentic funky Blues and soul feel to these songs – on the aforementioned ”Lovers Rock”, the band pay homage to the original but add some additional smoothness, which works well. Besides the covers, William has penned a couple of tracks which are not lost amoungst the more illustrious material – his ”Don’t Do It” song is pure ’60s R&B. The supporting musicians highlight that Norway has an abundant depth of Blues talent, particuliar mention must go to; Ivar Olav Erstad on Hammond B3 organ and Ian Fredrick Johannessen on guitars. A very stylish release that brings back memories of the R&B era. ~ Adrian Blackbee

    Artist: McCoy Tyner
    Album: McCoy Tyner Plays Ellington
    Label: GRP/Impulse!
    Year: 1964
    Release: 1997
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s
    Time: 46:21
    Size: 114 Mb (covers)
    AMG Rating:

This is an interesting project (reissued on CD) that works quite well. The already distinctive pianist McCoy Tyner utilized bassist Jimmy Garrison, drummer Elvin Jones and two Latin percussionists to interpret a full set of Duke Ellington songs (although "Caravan" was actually composed by Juan Tizol). For this CD the original seven tunes are joined by a "new" alternate take of "Gypsy Without A Song" and previously unreleased renditions of "It Don't Mean A Thing" and "I Got It Bad." In addition to some well-known standards, Tyner debuted an unrecorded Ellington piece "Searchin'" and revived "Mr. Gentle & Mr. Cool." This is an excellent outing that displays both Tyner's debt to the jazz tradition and his increasingly original style. This fine set was reissued on CD by Impulse in 1997. - Scott Yanow at AMG

    Artist: Keith Jarrett
    Album: Tokyo 1996 (two parts)
    Label: RCA
    Release: 1998
    Genre: jazz/post-bop
    Format avi, bitrate: 310 kb/s
    Time: 1:42:54
    Size: 975 Mb
    Bubu's Rating:

TOKYO '96 was nominated for a 1999 Grammy for Best Jazz Instrumental Performance, Individual Or Group.
After several years together, Keith Jarrett's trio developed a kind of special musical relationship among its members that seems to defy explanation.
TOKYO '96 is one of the best ways to witness their unique kinship, other than seeing them in person. With Jack DeJohnette (drums) and Gary Peacock (bass), this group performs as if of one mind and spirit. It's often difficult to perceive the divisions between the three.
The gentle opening of "It Could Happen To You" leads us into the heart of the trio's soul as Jarrett's rubato solo transforms into a lightly swinging ensemble arrangement. In contrast, Charlie Parker's "Billie's Bounce" is off and running on all
cylinders as the three toy with meter and tempo like a cat with a mouse. DeJohnette's colorful opening solo to "I'll Remember April" builds into a torrent of salsa-flavored rhythms that is quickly taken up by his bandmates for a rousing performance.
Ballad lovers will especially love the trio's treatment of the classics "Never Let Me Go," "Summer Night," "Mona Lisa" and the darkly beautiful "My Funny Valentine."

     Artist: Abdullah Ibrahim
     Album: Cape Town Revisited
     Label: Tip Toe
     Year: 2000
     Format: MP3, 320 kbps
     Time: 57:43
     Size: 133 MB
     AMG rating



Pianist Abdullah Ibrahim has celebrated his South African heritage in music ever since being forced to emigrate from his homeland in the early '60s. Considering that this CD was recorded in Cape Town, South Africa in 1997 and that apartheid is a thing of the past, it is not surprising that Ibrahim's music is even happier than usual. The 15 songs, all originals by the pianist, are played in a continuous performance, including some old favorites ("The Wedding" and "The Mountain") plus a few newer tunes; "Someday Soon Sweet Samba" and "African Street Parade" are particularly joyous and rousing. Ibrahim is joined by bassist Marcus McLaurine, drummer George Gray and (on three numbers) trumpeter Feya Faku, whose entry on the seventh song is somewhat jarring. Overall, this is one of Abdullah Ibrahim's best all-round sets. ~ Scott Yanow, AMG

     Artist: Jackie McLean
     Album: Presenting Jackie Mclean
     Year: 1955, release: 2006
     Label: Fresh Sound
     Quality: mp3@320kbps
     Size: 84 MB
     Total Time: 40 Min





Originally issued in 1955, this is Jackie McLean's debut date as a leader. The band includes Donald Byrd on trumpet (himself a young lion at the time), pianist Mal Waldron, Doug Watkins on bass, and drummer Ronnie Tucker. A standard late bebop and early hard bop date (but then again, hard bop was still fresh and new at the time, and McLean was at the forefront of it), the album is most notable for its two McLean originals: "Little Melonae" and the beautiful blues "Blue Doll." Mal Waldron's "Mood Malady" closes the set with a wonderful showcase of his own use of extended harmonic reaches inside a conventional hard bop tune. ~ Thom Jurek, AMG

     Artist:Champion Jack Dupree
     Album: New Orleans Barrelhouse Boogie
     Label: Columbia/Legacy
     Years: 1940-41, release:1993
     Format, bitrate: mp3; 320 Kbps
     Time: 68:00
     Size: 157.0 MB
     AMG Rating



The New Orleans barrelhouse boogie piano specialist's earliest sides for OKeh, dating from 1940-1941 and in a few cases sporting some fairly groundbreaking electric guitar runs by Jesse Ellery. Dupree rocks the house like it's a decade later on two takes of "Cabbage Greens" and "Dupree Shake Dance," while his drug-oriented "Junker Blues" was later cleaned up a bit by a chubby newcomer named Fats Domino for his debut hit 78 "The Fat Man." ~ Bill Dahl, All Music Guide

     Artist: Bill Evans
     Album: Ao Vivo No Chico's Bar
     Label: Loronix
     Year: 1979, release: 1980
     Format, bitrate: mp3@320 kb/s
     Time: ~60 min
     Size: 135,08MB


Finally arrived. It is everything I was wondering to be. You don't need to clean your glasses or check if your monitor is having problems, what you read is what you will hear, Luiz Eca and Bill Evans performing together at Chiko's Bar, Rio de Janeiro, 1980.

This is Luiz Eca & Bill Evans - Ao Vivo no Chiko's Bar (1980), for Loronix. I never heard about Bill Evans in Brazil and I have to say many thanks to JustBeto for making his K-7 tape available and Luiz Harding for the excellent remastering to digital format. The tape features an hour of music, including the guest appearance of Leny Andrade, singing Wave and some other nice things, such as Luiz Eca and Bill Evans talking to each other and some Eca improvisations using the acute keys of the piano.

JustBeto said to do not separate tracks to provide the full experience, but I decided to split the concert in 14 tracks with the whole concert. Applauses, conversations and piano improvisations are in the end of each track and the splits did not left a second of music out. Anyway, thanks JustBeto and Luiz.