Artist: Jorge Lуpez Ruiz
    Album: El Grito, Suite Para Orquesta de Jazz
    Label: Acqua records
    Year: 1967
    Quality: mp3
    Size: 182 MB





   Jorge Lуpez Ruiz, a highly respected arranger, composer and bassist (on this album also playing electric bass, cello and piano), had played with a legendary quintet led by Lalo Schifrin in 1956-1957; the featured saxophonist was Gato Barbieri. Lуpez Ruiz had also been Schifrin's big band bassist along with Gato. Lуpez Ruiz always played with the best in argentinean jazz.

Artist: Herbie Harper
Album: Herbie Harper
Label: Bethlehem BCP 1025 (LP 10"-Toshiba Japan Release)
Year: 1955
Genre: Jazz
Format, bitrate: mp3@320kbs Front/Back Covers at 300dpi
Time: ~27 min
Size: 61,74MB

A fine trombonist active in the West Coast jazz scene of the 1950s, Herbie Harper spent most of his playing time after 1955 as a studio musician, although he occasionally re-emerged in the jazz world. After playing with Charlie Spivak's Orchestra (1944-1947), Harper settled in Los Angeles, where he gigged with Teddy Edwards and had short-time associations with Benny Goodman, Charlie Barnet, and Stan Kenton (1950). In addition to recording in the 1950s with June Christy, Kenton, Maynard Ferguson, Benny Carter, and Barnet, Herbie Harper led five albums of his own during 1954-1957 for Nocturne, Tampa, Bethlehem, and Mode. He mostly worked in the studios afterwards, but emerged to play with Bob Florence's big band and, in the 1980s, he recorded for SeaBreeze and with Bill Perkins for VSOP. ~ by Scott Yanow, AMG

     Artist: Sam Butera
     Album: Big Horn
     Label: Capitol Records
     Year: 1959
     Source: Vinyl rip
     Quality: mp3 - 192 kbps
     Size: 40 mb



This album is refreshing. Sam Butera, “speaks more eloquently through his tenor sax than some people can with words in a whole year.” Backing “The Big Horn” are “The Witnesses” the group that’s on all the Capitol albums by Sam’s mentor, Louis Prima. Lou Sino is on trombone, Bobby Roberts is swinging on guitar and Willie “The Wailer” MacCumber is rocking the piano. The rhythm comes from Chu Chu Liuzza on bass and Paul Ferrara on drums. This is a classic in jazz favorites and a great addition for a jazz collector.

     Artist: Houston Person
     Album: Person-ified
     Year: 1997
     Label: High Note
     Genre: Jazz
     Format, bitrate: MP3;VBR
     Time: 0:43:09
     Size: 55,31 MB (sharebee)
     AMG rating:

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    Most of Houston Person's late-'90s albums are interchangeable collections of standards recorded with a small combo (the rhythm section led by either a piano or an organ, depending on Person's whim) and featuring Person's sterling tenor saxophone solos on top of a conservative backing. 1997's Person-ified is one of the string, but it's more interesting than some due to a slightly more adventurous taste in song selection. The track listing still leans heavily toward standards, but this time, Person has reached a bit deeper than usual into the great songbooks, coming up with somewhat less-obvious choices like "There's a Small Hotel," "In the Wee Small Hours of the Morning," and "I'll Never Stop Loving You," all of which are excellent. Even oddball choices like Mr. Acker Bilk's novelty trad jazz hit "Stranger on the Shore" and the gospel-tinged coda "May the Good Lord Bless and Keep You" sound great. His backing combo is fairly anonymous, but never simply dull, and even at that, it means that Person's remarkable, underrated tenor playing is always front and center. Not bad at all. ~ Stewart Mason, All Music Guide

    Artist: Richard "Groove" Holmes
    Album: Hot Tat
    Label: Muse
    Year: ; release: 1989
    Genre: Soul Jazz
    Format mp3, bitrate: 320 kb/s
    Time: 47:09
    Size: 108 Mb
    AMG Rating:

Richard "Groove" Holmes had less than two years to live when he recorded Hot Tat, but the Hammond B-3 great gives little or no indication that his health was in decline on this enjoyable, though not essential, soul-jazz date. Much of the time Holmes is in a relaxed mood and generally favors what is essentially mood music, but mood music with integrity. Most of the players heard on 1988's Blues All Day Long are employed on this album, including tenor saxophonist Houston Person, trumpeter Cecil Bridgewater, guitarist Jimmy Ponder, and percussionist Ralph Dorsey. But this time, Holmes works with bassist Wilbur Bascomb instead of handling all of the bass work himself, and employs Greg Bandy in place of Cecil Brooks III. Hot Tat will be of interest primarily to "Groove" Holmes' diehard fans; for more casual listeners, Blues All Day Long would be a better introduction to his Muse output. - Alex Henderson at All Music Guide

     Artist: Miguel Zenon
     Album: Looking Forward
     Year: 2001,release: 2004
     Label: Fresh Sound/New Talent (FSNT119-CD)
     Quality: ogg
     Size: 117 mb (with scans)
     AMG rating:


Alto saxophonist Miguel Zenуn has made a name for himself as a distinguished sideman and a member of David Sбnchez's band. His fiery debut as a leader, Looking Forward, revolves around a quartet comprised of pianist Luis Perdomo, bassist Hans Glawischnig, and drummer Antonio Sбnchez. Guest percussionists William Cepeda and Pernell Saturnino appear on a handful of cuts; David Sбnchez, guitarist Ben Monder, and trumpeter Diego Urcola each make cameos along the way. While Zenуn's music certainly owes much to Sбnchez (the two even employ much of the same personnel), his capacity for nuance and surprise sets him apart. Listen to some of his monster endings and you'll likely agree. His hard-edged, high-velocity alto suggests just a trace of Greg Osby; his compositions, like Sбnchez's, blend indigenous Latin forms with highly advanced jazz harmonies, lines, and rhythms. In addition to the dense interplay of "El Bloque" and "El Cruze," and the blistering swing of "Yochabel," Zenуn offers a revelatory take on Bach, titled "J.S.B.," a Spanish chant/avant-garde freakout called "Anxiety," and gripping renditions of songs by Silvio Rodriguez, Rafael Hernandez, and Juanito Marques. He sets it all up with a rubato "Prayer #1 (Blessing)" and closes with "Prayer #2 (Thanksgiving)," multi-tracking hypnotic flutes under a dancing alto sax improvisation. Zenуn comes across as focused, imaginative, and highly articulate, tempering chops with tremendous sensitivity. ~ David R. Adler, AMG

     Artist: The Modern Jazz Quartet
     Album: Concorde
     Year: 1955; release: 1992
     Label: Prestige/OJC
     Format, bitrate: MP3@320 kb/s
     Time: 36:27
     Size: 78,46 MB (+5% recovery, sharebee)
     AMG Rating:

After issuing 10" EPs for several years, Concorde (1955) marked two significant touchstones in the five-plus-decade career of the Modern Jazz Quartet (MJQ). One of those was the replacement of co-founder Kenny Clarke (drums) with former Lester Young quintet member Connie Kay (drums), who joined in time for the other hallmark -- this, the MJQ's very first full-length long-player. Kay remained with the combo for the better part of four decades, until his passing in 1994. The transition between percussionists is both smooth as well as sensible. Kay's understated rhythms and solid timekeeping are perfectly suited to the clever arrangements and sophisticated sound of Milt Jackson (vibraphone), John Lewis (piano) and Percy Heath (bass). One MJQ constant is the blend of classic covers and stunning original compositions that comprise their releases. Concorde is certainly no exception as the effort kicks off with a mid-tempo Jackson's "Ralph's New Blues." Immediately, Kay's contributions are ample yet discrete, as he interacts with a consistent backbeat, supporting the tasty vibe runs and improvisations from the tune's author. The title track "Concorde" is the other tune to be derived from within the band. Lewis' effervescent syncopation drives through the heart of the melody, with the pianist laying down essential interplay. Once again Kay impresses with well-placed ringing interjections that never overpower the soloist. Most notable among the reworked popular standards are the slightly brooding opulence of Cole Porter's "All of You" and the fugal, if not slightly Third Stream approach taken on "Softly, As in a Morning Sunrise" from the short-lived collaborations of Sigmund Romberg and Oscar Hammerstein II. However, the centerpiece is undoubtedly the four selections within the "Gershwin Medley." The interpretations of "Soon," "For You, For Me Forevermore," "Love Walked In" and "Our Love Is Here to Stay" are nothing short of definitive. They collectively provide keen insight into the inner-workings of the MJQ and their collective abilities to improvise with purpose, rather than simply combining aimless solos. All manner of post-bop jazz listeners will find much to enjoy throughout Concorde. ~ Lindsay Planer, All Music Guide

    Artist: Tom Waits
    Album: Nighthawks at the Diner
    Label: Asylum
    Year: ; release: 1975
    Genre: Jazz/Blues/Show
    Format mp3, bitrate: 320 kb/s
    Time: 1:13:51
    Size: 123 Mb (covers)
    Bubu's Rating:

For his third album, Nighthawks at the Diner, Tom Waits set up a nightclub in the studio, invited an audience, and cut a 70-minute, two-LP set of new songs. It's an appropriate format for compositions that deal even more graphically and, for the first time, humorously with Waits' late-night world of bars and diners. The love lyrics of his debut album had long since given way to a comic lonely-guy stance glimpsed in "Emotional Weather Report" and "Better Off Without a Wife." But what really matters is the elaborate scene-setting of songs like the six-and-a-half-minute "Spare Parts," the seven-and-a-half-minute "Putnam County," and especially the 11-and-a-half-minute "Nighthawk Postcards" that are essentially poetry recitations with jazz backing. Waits is a colorful tour guide of midnight L.A., raving over a swinging rhythm section of Jim Hughart (bass) and Bill Goodwin (drums), with Pete Christlieb wailing away on tenor sax between paragraphs and Mike Melvoin trading off with Waits on piano runs. You could call it overdone, but then, this kind of material made its impact through an accumulation of miscellaneous detail, and who's to say how much is too much? - William Ruhlmann at All Music Guide

     Artist: Son Seals
     Album: Living in The Danger Zone
     Label: Alligator Records
     Year: Rel. 1991
     Format, bitrate: MP3 @320 Kbps
     Time: 52:02
     Size: 120.8 Mb

     Artist: Joe Louis Walker
     Album: Playing' Dirty
     Label: JSP
     Year: rel.Sep 19, 2006
     Format: MP3 @ 320 Kb/s
     Time: 47:51
     Size:107,6 Mb
     AMG rating:

    Artist: Kenny Wayne Shepherd Band
    Album: Live On
    Label: Giant
    Year: release: 1999
    Genre: Hard Blues
    Format mp3, bitrate: 320 kb/s
    Time: 54:54
    Size: 129 Mb (covers)
    AMG Rating:

Being a teenage blues guitar prodigy is a double-edged sword. Stunning technique brings attention, but also criticism that it's all style and no soul. This criticism plagued Kenny Wayne Shepherd since his popular debut album, Ledbetter Heights, and it's warranted to a certain extent. It didn't help that Shepherd so strongly recalled Stevie Ray Vaughan. It also didn't help that some of his material was a little too slick, appealing as much to album rock as to blues-rock audiences. By the time of his third album, 1999's Live On, he had begun to reconcile these two sides of his personality, but the best thing about the record is that it's tougher and stronger than its two predecessors. There's still a fair amount of crossover — a Buddy Miles cover and a cover of Fleetwood Mac's "Oh Well" — but Shepherd not only seems to be developing a style of his own, the playing of his band has become grittier, or at least it's being captured better on record. Shepherd can still fall prey to excess, but not as often as he used to. He's figuring out how to restrain himself, and his music is all the better for it. - Stephen Thomas Erlewine at All Music Guide

     Artist: Carey Bell
     Album: Goin' On Main Street
     Year: 1994
     Label:Evidence ECD 26055-2
     Format: Mp3 @ 320 Kbps
     Time: 57:06
     Size:71.5 + 54.9 Mb