Artist: Norah Jones
    Album: The Fall
    Label: Blue Note EMI Music
    Release: 17 Nov 2009
    Styles: Songwriter/Adult Alternative
    Format mp3, bitrate: 320 kb/s
    Time: 45:00
    Size: 105 Mb
    Bubu's Rating:

Two boyfriends, a band and one nice-girl image later, for her fourth album Norah Jones returns to the things in life a girl can trust: Tom Waits and her dog,
■ Norah Jones's first three albums,starting with 2002's surprise"phenomenon" Come Away With Me, have sold around 36 million worldwide.
■ Jones wrote most of The Fall on guitar.although she usually plays piano on stage.This is nothing new, however. She wrote her first ever solo composition, Come Away With Me, on guitar on her bed in a cupboard-size Greenwich Village apartment.
■ The fall's production by Jacguire King and inspiration from Male Variations isn't Jones's first Tom Waits connection. She recorded his The Long Way Home on second album Feels Like Home.
Key tracks: Waiting, You've Ruined Me, Tell Yer Mama. - By Phil Sutcliffe at Mojo

     Artist: Juliette
     Album: Mutatis Mutandis
     Year: 2004
     Label: Universal Records (France)
     Quality: mp3 - 192kbs
     Size: 71 mb - covers

Juliette Noureddine, better known as Juliette, made her name by singing in the tradition of French chanteuses like Edith Piaf and Fréhel – at the beginning of her career, she was something of the Harry Connick, Jr. of la chanson française. On “Mutatis Mutandis” (Universal/Polydor), her fifth album, she moves away from that musical ghetto, although the album does feature one pleasing accordion-backed music hall-style number, “Les Garçons de Mon Quartier,” and she demonstrates her ability to achieve a dramatic Piaf-style catch in the voice and throaty rolling r’s on the song “La Braise.”

But even these songs are not interpretations of old standards; Juliette has written the words and music for all the songs on the album, with the exception of the “Franciscæ Meæ Laudes,” an adaptation of a Charles Baudelaire text in Latin. She seems determined to revive Latin, by the way – each song is accompanied by a Latin quotation, thoughtfully translated on the liner notes.

Many of the songs have a humorous touch, like “Maudite Clochette!,” in which a maid is driven mad by her mistress’s bell-ringing and plans to murder her, and “Mémère dans les Orties,” a duet with actor François Morel in which an engaged couple’s argument deteriorates into vicious name-calling. Others have a more somber edge, like “Il S'est Passé Quelque Chose,” about a terrorist attack. Juliette is also branching out musically, with Arab rhythms on “L’Ivresse d’Abhu-Nawas” and a Latin beat on others.

Unabashedly overweight, Juliette doesn’t hesitate to wear glasses and dress up in outrageous costumes. With her strong, assertive personality and musical talent, she’s an original on the French music scene.

     Artist: Brigitte Fontaine
     Album: Comme à la Radio
     Label: Saravah
     Year: 1971; release: 2006
     Quality: mp3;192 kb/s
     Size: 44 mb


Of all the strange records this French vanguard pop chanteuse ever recorded, this 1971 collaboration between the teams of Brigitte Fontaine and her songwriting partner Areski and the Art Ensemble of Chicago -- who were beginning to think about returning to the United States after a two-year stay -- is the strangest and easily most satisfying. While Fontaine's records could be beguiling with their innovation, they occasionally faltered by erring on the side of gimmickry and cuteness. Here, the Art Ensemble provide the perfect mysterious and ethereal backdrop for her vocal explorations. Featuring the entire Art Ensemble of that time period and including fellow Chicago AACM member Leo Smith on second trumpet, Fontaine and Areski stretched the very notion of what pop had been and could be. With strangely charted arrangements and mixing (percussion was in the foreground and horns were muted in the background, squeezed until they sounded like snake-charming flutes), the ten tracks here defy any and all conventions and result in the most provocative popular recording of 1971 -- and that's saying something. For their part, the Art Ensemble hadn't played music this straight since before leaving Chicago, with long, drooping ballad lines contrasted with sharp Eastern figures and North African rhythmic figures built in. The finest example of how well this works, and how seductively weird it all is, is on the two-part "Tanka." Here, Malachi Favors' bass and Areski's percussion meet everything from bouzoukis to clarinets to muted trumpets to sopranino saxophones, courtesy of Joseph Jarman, Roscoe Mitchell, Smith, and Lester Bowie, who play in tandem, using striated harmonies and modal intervals in order to stretch the notion of time and space under Fontaine's vocals. The effect is eerie, chilling, and hauntingly beguiling, and sets the tone for an entire album that runs all over the stylistic map while not adhering to anything but its own strange muse. This is remarkable stuff from a very adventurous time when virtually anything was possible. ~ Thom Jurek, All Music Guide

     Artist: Gary McFarland & Bill Evans
     Album: The Gary McFarland Orchestra
     Label: FiveFour
     Year: 1963, release: 2005
     Format, bitrate:320K
     Size: 93M


Bill Evans is regarded by many as the greatest pianist in the history of jazz. This is one of his most beautiful pieces, and one of his rarest recordings. Gary McFarland (a genius in his own right) played the role of musical director allowing Bill Evans' incredible ability to take center stage. No jazz record collection worth the name should be without this album. Features 6 tracks. FiveFour. 2005.

A stirring, beautiful score and certainly one of McFarland's very best. His painterly talents at evoking moods succeed most brilliantly here. The album is like a soundtrack celebrating the excitement of a big urban wonderland. The compositions are first-rate, McFarland's occasional vibes playing is simple and perfect. Bill Evans buoys the event with his graceful, individual style. The whole record represents a beautiful moment in jazz and richly deserves to be issued on CD. ~ Douglas Payne

     Artist: Pat Moran
     Album: While At Birdland
     Label: Bethlehem BCP 6018
     Year: 1957
     Style: bop, jazz vocal
     Format, bitrate: mp3@320 kb/s covers 600dpi
     Tme: ~ 40 min
     Size: 105,99MB

Pat Moran led an unusual quartet for a time in the 1950s, consisting of three instrumentalists (Moran on piano, bassist John Doling, and drummer John Whited) who also sang, plus a fourth vocalist, Beverly Kelly.Though some of the group vocal arrangements seem like a throwback to groups of a decade earlier, the harmonies are always right on the mark and enjoyable. There are some surprises on the second half of this reissue. "It Never Entered My Mind" seems like an obvious candidate for their group vocals, but Moran tackles it as a dramatic piano solo instead. Nat Pierce conducts the expanded band with bassist Oscar Pettiford, flutist Sam Most, trumpeter Burt Collins, trombonist Earl Swope, and alto saxophonists Anthony Ortega and Dick Meldonian. Some of these numbers are a bit uneven, though the lightly swinging take of "Just Squeeze Me" works well. Unavailable since Evidence quit its distribution of Bethlehem reissues, this set is well worth picking up. ~ Ken Dryden, AMG

     Artist - Clarence Williams
     Album - You Rascal You 4CD
     Label - Membran
     Years: 1929-1931, 1934-1935, 1937; release - 2006
     Quality - MP3@320 kbps
     Size: 145+122+108+117 Mb
     Total time - 67:30+58:04+50:55+54:44

Пианист, руководитель оркестра, композитор, продюсер, издатель. Уилли Лайон Смит сказал о нем: "Кларенс не был великим пианистом, но он — замечательный организатор". Вошел в историю джаза как создатель ансамбля Blue Five и как автор первых джазовых хитов — Royal Garden Blues; Westend Blues; Baby, Want You Please Come Home; Sugar Blues; Ev’rybody Loves My Baby; Kansas City Man; Gulf Coast Blues и других (некоторые написаны совместно с его однофамильцем, пианистом Спенсером Уильямсом).

Clarence Williams was the most successful African-American music publisher and composer of his time. He spent a lot of time on the preoccupation with current music streams. He sold his first commercially marketed composition ‘Brownskin, Who You For?‘ for 1.600 dollars which was by his own admission more than anyone else in New Orleans had ever received until then. This 4 CD set contains for example Whoop It Up - What If We Do - Michigan Water Blues - Jerry The Junker

     Artist: Hiromi Uehara
     Album: Plase To Be
     Label: Telarc
     Year: 2009
     Formate, bitrate: Mp3, 320 kbps
     Size: 152 mb

“I love Bach, I love Oscar Peterson, I love Franz Liszt, I love Ahmad Jamal,” she says. “I also love people like Sly and the Family Stone, Dream Theatre and King Crimson. Also, I’m so much inspired by sports players like Carl Lewis and Michael Jordan. Basically, I’m inspired by anyone who has big, big energy. They really come straight to my heart.” --Hiromi
Klingt wie But few Japanese jazz pianists are as strikingly original, either as composers or performers, as Hiromi Uehara, who performs under her first name only. She has an instantly recognizable style, featuring a dense flurry of notes and chords that recalls Art Tatumwho, not surprisingly, is one of her idols. ~ Billboard "Artist To Watch"

Among those artists currently reinventing the jazz piano triosuch as E.S.T and The Bad PlusHiromi is rapidly moving to the forefront...Hiromi practices an art of surprise, touching on video-game tempos and Bill Evans harmonies as she arranges tradition and novelty in fresh configurations. ~ Amazon.com

[Hiromis] solos flow like water and demonstrate classical chops harnessed to a fierce energy. The title tracks many facets range from a gentle, tuneful passage to a merry-go-round on growth hormones. Bassist Tony Grey, drummer Martin Valihora, and bassist Anthony Jackson provide simpatico backing for the Hiromi tsunami. ~ Philadelphia Inquirer

Hiromis loving energetic character seeps into your skin while listening, and its rather a refreshing experience. There is a blasting beaming ray of light filtering through this artistic young talent. Listen to it speak! ~ The Female Musician

     Artist: Various Artists
     Album: The Blues Collection Vol. 5 and 6
     Label: Chess/MCA, Limited edition (UK)
     Year: rel.1986
     Format: MP3 @ 320 Kb/s
     Time: 35:51 + 44:51
     Size: 160.8 Mb
     Rating:

     Artist: Ernst Glerum
     Album: 57 Variations
     Label: Favorite
     Year: 2009
     Format: MP3 @ 320 Kb/s
     covers: all + autographs
     Time: 58:22
     Size: 2x 65 Mb




Dutch bassplayer Ernst Glerum is the winner of the Boy Edgar Prize 2009, the most important prize in the field of jazz and improvised music in the Netherlands. The jury called him 'an absolute master of his instrument (...) who represents all the virtues of an improvising jazz musician in a exceptional way.' Glerum's exuberant side is best reflected in his own Omnibus groups and compositions. The jury called his music: 'Straight ahead jazz, sharp, robust, elegant and beautifully bright swinging.' During this concert of two sets, he will perform own work for contrabass and piano, highlights from jazz history with an Omnibus-twist and bass covers of pop hits.

    Artist: John Abercrombie
    Album: Abercrombie Quartet
    Label: ECM
    Release: 1979
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s (vinyl rip)
    Time: 45:34
    Size: 104 Mb (cover)
    Bubu's Rating:
    Guest Artist: Richie Beirach

A long time out of print beautiful recording that gathers one of the most outstanding bands under Abercrombie's lidership. Although John's guitar sounds more than Metheny, this collection is very much inspirational and rewarding. Tagged in many places as a life recording it was in matter of fact Recorded on November 1979 at Talent Studio, Oslo. Recommended to all true jazz music lovers. - Bubu Hans

    Artist: David Liebman Quintet
    Album: Pendulum
    Label: Artists House
    Release: 1978
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s
    Time: 43:03
    Size: 100 Mb (cover)
    AMG Rating:
    Guest Artist: Richie Beirach

Recorded at the Village Vanguard in the spring of 1978, this album is an obscure classic of hard-hitting, post-bop New York jazz. It consists of only three tunes, played by a tremendous lineup — Liebman on tenor and soprano saxes (he'd soon switch to soprano exclusively, then back again around 1996), Randy Brecker on trumpet, Richard Beirach on piano, Frank Tusa on bass, and Al Foster on drums. The quintet begins with Beirach's modal milestone "Pendulum" and hammers away at it for over 18 minutes. Liebman's mid-tempo, boppish "Piccadilly Lilly" is next, followed by a 17-minute romp on Wayne Shorter's "Footprints." The original LP includes photos of the band, in garish '70s garb, kicking back with Max Gordon, the late owner of the Vanguard. There's also a booklet with Liebman's shop-talking liner notes, an early Liebman discography, and lead sheets for "Piccadilly Lilly" and "Pendulum." A collector's item, and a terrific listen as well. - David R. Adler at AMG