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jasapaal
 Into the Rhythm
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1991: Scott Hamilton - Race Point |
Music » Jazz » Mainstream |
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 Artist: Scott Hamilton Album: Race Point Original Release Date: September 18, 1991 Label: Concord Records Format, bitrate: flac Total Time: 56:50 Size: 100+100+100+31MB Repost with a flac links from mr. Luiggi Fornicalli Scott Hamilton - yäèâèòåëüíûé ìóçûêàíò. Íà÷àâ âûñòóïàòü â ñåðåäèíå 70-õ, êîãäà â ìîäå áûëè â ïåðâóþ î÷åðåäü ôüþæí è äæàç-ðîê, îí èãðàë ìýéíñòðèì. Åãî êðèòèêîâàëè ãëàâíûì îáðàçîì çà íåìîäíîñòü – ñëèøêîì, ìîë, ïîõîæ íà Buddy Tate, Zoot Sims è Ben Webster. Ñåãîäíÿ, ñïóñòÿ ïî÷òè 25 ëåò ïîñëå âûõîäà ïåðâîãî àëüáîìà ñàêñîôîíèñòà, âñå ýòè ÿêîáû íåäîñòàòêè âûãëÿäÿò î÷åâèäíûìè äîñòîèíñòâàìè. Íèêòî èç êîëëåã Hamilton, ïîÿâèâøèõñÿ íà ñöåíå çà îò÷åòíûé ïåðèîä, òàê è íå ñìîã ñîñòàâèòü åìó êîíêóðåíöèþ. |
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1954: Conte Candoli - Sincerely, Conti |
Music » Jazz » BeBop » West Coast Jazz |
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 Artist: Conte Candoli Album: Sincerely, Conti Label: Bethlehem BCP 1016 (LP 10" Toshiba Japan Pressing) Year; 1954 Format, bitrate: mp3@320 kbs Front/Back covers at 300dpi Time: ~27 min Size: 40,64MB A fine session by this mainstream/bop trumpeter. ~ David Szatmary, All Music Guide Secondo "Conte" Candoli (July 12, 1927–December 14, 2001) was an American jazz trumpeter based on the West Coast of the US. He played in the big bands of Woody Herman, Stan Kenton, Benny Goodman, and Dizzy Gillespie, and in Doc Severinsen's NBC Orchestra on The Tonight Show. He played with Gerry Mulligan, and on Frank Sinatra's TV specials. He also recorded with a band called Supersax, a Charlie Parker tribute band that consisted of a saxophone quintet, the rhythm section, and either a trumpet or trombone. |
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1964: Count Basie - Basie Land |
Music » Jazz » Swing |
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 Artist: Count Basie Album: Basie Land Label: Verve Year: 1964, release: 2009 Quality: MP3@320 kbps Size: 73,7 mb (sharebee) Total time: 34:16 AMG rating:  For My Friends! In 1964, Count Basie handed the reins of his band over to composer and arranger Billy Byers, purportedly to modernize his sound to the times. More accurately, Byers energized the band with his bright charts loaded with counterpointed exchanges and interplay, plus a depth and density the Basie band had long since relinquished to other similarly sized groups. With stellar personnel -- including Eric Dixon, Frank Foster, Frank Wess, Marshall Royal, Al Aarons, and Don Rader -- Byers and Basie stoked the coals of the band with some red hot bop and intricate charts atypical to the laid-back approach that always served the band and its fans well. The upbeat tracks, the roaring "Basie Land," hard charging "Rabble Rouser" and the tumbling melody of "Gymnastics" are particularly noticeable, as the horns jump in and out of unison, shout amongst themselves, and stress the quite capable, energetic musicianship the band always sported, but had somewhat suppressed. "Big Brother" and "Instant Blues" are typical, laid-back Basie style pronouncements in moderate or midtempo, but the horns still proclaim their innocence in a louder mindset. A feature for the underrated alto saxophonist Marshall Royal during the perfectly titled, slow slung "Wanderlust" has his style approaching the vibrato shaded Johnny Hodges, while the delicate "Count Me In" parallels Foster's epic ballad "Shiny Stockings" in its basic melodic precept, accented by Basie's chiming piano chords. The world class Wess on flute takes the lead for the chugging along blues "Sassy," dedicated to Sarah Vaughan, the piece again saturated with call and response, while Wess, Foster, and Dixon gang up on flutes for "Yuriko" as Basie's tinkling piano makes the impatient horns blurt out uncontrollably on occasion to get their two cents in. The set concludes with perhaps one of Basie's all-time signature tunes as contributed by Byers with "Doodle-Oodle," a famous hot bop, hummable or whistleable melody that can easily be copied while walking down the street. Byers added something different to this version of the Count Basie Orchestra, and only fans can be the ultimate judge of whether it was for the best. Basie Land is certainly quite a substantive and compelling big-band jazz effort from A to Z. ~ Michael G. Nastos, All Music Guide |
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1958: Max Roach - Deeds, Not Words |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Max Roach Album: Deeds, Not Words Label: Riverside/OJC Year: Sep 4, 1958 Format, bitrate: MP3 , 320 kb/s; FLAC Kbps Time: 43:27 Size: 102,44 mb; 259 + 102 MB w. complete artworks AMG Rating:  REPOST with new links from Mr. hungaropitecus This CD reissue of a Max Roach Riverside date is notable for featuring the great young trumpeter Booker Little and for utilizing Ray Draper's tuba as a melody instrument; tenor saxophonist George Coleman and bassist Art Davis complete the excellent quintet. Highlights include "It's You or No One," "You Stepped out of a Dream" and Roach's unaccompanied drum piece "Conversation." This is fine music from a group that was trying to stretch themselves beyond hard bop. ~ Scott Yanow, All Music Guide |
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1954: Al Haig Quartet |
Music » Jazz » BeBop |
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 Artist: Al Haig Album: Al Haig Quartet 1954 Label: Fresh Sound Records Year: 1954; release: 2004 Quality: MP3@320 kbps Size: 63.4 MB Total time: 29:22 For My Friends! One of the finest pianists of the bop era (and one who learned from Bud Powell's innovations quite early), Al Haig was quite busy during two periods of his career but unfortunately was pretty obscure in the years between. After serving in the Coast Guard (playing in bands during 1942-1944) and freelancing around Boston, Haig worked steadily with Dizzy Gillespie (1945-1946), Charlie Parker (1948-1950), and Stan Getz (1949-1951); and was on many recordings, mostly as a sideman (including some classic Diz and Bird sessions) but also as a leader for Spotlite, Dawn, and Prestige. However (other than little-known dates in 1954 for Esoteric, Swing, and Period), Haig did not lead any more albums until 1974. He played fairly often during the 1951-1973 period, but was generally overlooked. That changed during his last decade, when he was finally recognized as a bop giant and recorded for Spotlite, Choice, SeaBreeze, Interplay, and several Japanese and European labels. ~ Scott Yanow, AMG. |
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2003: John Lee Hooker - Face to Face |
Blues, Boogie-Woogie |
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 Artist: John Lee Hooker Album: Face to Face (compilation) Label Eagle trecords Year: rel 2003 Format: MP 3 @320 Kb/s Time: 69:51 Size: 150.7 Mb REPOST to my friends blues man's in JBC! Please enjoy!
Final Recordings, Vol. 1: Face to Face combines previously released material from John Lee Hooker with unfinished tracks he was working on before he died. Compiled by the estate of Hooker, with his daughter Zakiya at the helm, the unreleased material leans heavily toward soul-blues united with Hooker's patented electric Delta boogie. "Loving People," "Funky Mabel," "Six Page Letter" (a ballad with synth strings), and "Rock These Blues Away" are highlights. Zakiya Hooker takes the spotlight on "Mean Mean World," singing lead alongside her father, and the acoustic "Wednesday Evening Blues" features George Thorogood on guitar. Hooker staples "Dimples," "It Serves Me Right to Suffer," "Mad Man Blues," and "Boogie Chillen" also make their perennial appearances. While there are no real surprises here, Face to Face still sounds great and is recommended alongside John Lee's last official releases, Chill Out and Don't Look Back, both on Pointblank. ~ Al Campbell
FACE TO FACE is the last album John Lee Hooker recorded before his death on June 21, 2001.
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1940 - 1945: Artie Shaw - The Complete Gramercy Five Sessions |
Music » Jazz » Swing |
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 Artist - Artie Shaw Album - The Complete Gramercy Five Sessions Label - RCA/Bluebird Years: 1940/45, release - 1992 Quality - MP3@320 kbs/s Size - 93,18 mb (sharebee) Total time - 45:28 AMG Rating:   REPOST by request with a new link Many swing big-band leaders featured small groups out of their orchestra as added attractions, particularly Benny Goodman, Tommy Dorsey with his Clambake Seven, and Bob Crosby's Bobcats. In contrast, Artie Shaw recorded relatively few sides with his Gramercy Five. His original unit from 1940 found the great pianist Johnny Guarnieri playing harpsichord exclusively and matched Shaw's clarinet with trumpeter Billy Butterfield. Their eight recordings include "My Blue Heaven," "Smoke Gets in Your Eyes," and a million-seller, "Summit Ridge Drive." The remainder of this CD is from 1945 and features Shaw, trumpeter Roy Eldridge, and the two young modernists, pianist Dodo Marmarosa (on piano) and guitarist Barney Kessel. Shaw would lead a few other Gramercy Fives in the future, but these are his two most famous. The music is consistently brilliant with every note counting. ~ Scott Yanow, All Music Guide |
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2009: Al Haig - Enigma |
Music » Jazz » BeBop |
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 Artist: Al Haig Album: Enigma Label: Jazz Ball Records Year: 1977 Release: 2009 Format, bitrate: mp3, 320kb/s Time: 71:08 Size: 149 MB to zuziki with love!
Happy "Bedoba" to you !!!   This release presents two impressive 1977 trio sessions by the great Al Haig. One of the most exquisite bebop pianist, Haig plays a mixture of tunes here, including many compositions by Bird and Diz.
Also contains five solo piano pieces from the same sessions. 8 tracks for the first time ever on CD ~ jazzmessengers When the great Charlie Parker picked a young white guy named Al Haig as the pianist for his quintet in 1946, a lot of people were surprised. However, Haig was one of the very first pianists to follow the trend started by Bud Powell, and his technique, style and impeccable taste earned him the right to be in Parker's group. In his last years (he died in 1982) he would make more than a dozen albums. Two of these LPs - both of which were recorded in 1977 - have been compiled here. ~ PRODUCT INFO |
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1967: The Modern Jazz Quartet - Under The Jasmin Tree |
Cool, Third Stream |
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 Artist: The Modern Jazz Quartet Album: Under The Jasmin Tree Label: EMI Int'l Audio CD December 8, 2003 Format: MP3 bitrate 320kbps Time: 31:48 Size: 61.2 MB A more unlikely match of artists and label you will rarely find -- the dignified, classically influenced, indelibly Afro-American Modern Jazz Quartet and the Beatles' Apple Corps, Ltd. But Apple in its Rocking '60s heyday was one of the most daringly eclectic labels on the scene, and as the sole jazz act on the roster, the MJQ was given complete artistic freedom, with no electric guitars or period psychedelia apart from the misleading cover art. The program is more or less standard, poised, painstakingly structured, gently swinging MJQ fare, the group's contrapuntal interplay as telepathic as ever. The most distinctive of John Lewis' compositions is the revolving minor-key theme of "Three Little Feelings, Pt. 1" (part of a three-movement suite), while "The Blue Necklace" has a bell going off like that of a cash register, and Milt Jackson is clearly in his element on the gospel-ish "The Jasmin Tree." An extremely rare LP even when it was in print -- the Beatles' rock audience ignored it, and MJQ's fans couldn't find it. [ The CD was released in 1993 as part of EMI's extensive Apple reissue series.] Richard S. Ginell, AMG |
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1965: Ben Webster - Gone with the Wind |
Music » Jazz » Mainstream |
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 Artist: Ben Webster Album: Gone with the Wind Label: Black Lion Year:rec. Jan 31, 1965 Format: MP3@320 Kb/s Time: 58:53 Size: 125 Mb To my friends in JBC! Please enjoy!
Recorded early in tenor-saxophonist Ben Webster's long European period, this quartet set (reissued on a Black Lion CD) features Webster with piansit Kenny Drew, bassist Niels Pederson and drummer Alex Riel. The music is typical of the tenor's repertoire of the period, mostly swing standards with a few medium-tempo romps sandwiched by warm ballad statements. Highlights include "I'm Gonna Sit Right Down And Write Myself A Letter," "Sunday," "Gone With The Wind" and "Over The Rainbow." ~ by Scott Yanow, AMG.
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Buddy Miles - Them Changes |
Music |
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 Artist: Buddy Miles Album: Them Changes Label: Universal Distribution Year: 1970; release: 2003 Genre: Soul-Blues Format mp3, bitrate: 320 kb/s Time: 33:45 Size: 83,4 Mb AMG Rating:   This 1970 release by former Band of Gypsy's drummer Buddy Miles is, quite simply, one of the great lost treasures of soul inspired rock music. From the funky drive of the title track to Miles' plaintive singing on "I Still Love You, Anyway" and Greg Allman's "Dreams," the album is filled with the best qualities of both genres. Not only does Miles prove himself to be a great interpretor of songs, but with the title track and "Heart's Delight," he demonstrates his ability to write solid material on his own. Complimented by the Memphis Horns, Miles' songs soar and swing as hard as any Stax release, and his voice, underutilized when he played with the Electric Flag and Hendrix, combines the nuance of soul singing with the grit of rock. Them Changes is definately worth the extra effort to try to locate. - Steve Kurutz at All Music Guide |
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2003: Van Morrison - What's Wrong With This Picture? |
Jazz, Blues, Modern electric blues |
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 Artist: Van Morrison Album: What's Wrong With This Picture? Label: Blue Note Resords Year: Original Release Date: October 21, 2003 Format: MP3 / 320 kbit/s / 44.1 Khz / Stereo Size: 147, 2 Mb Mb AMG rating:  REPOST with link from Mr. Teds! Please enjoy!
While 2002's Down the Road was the best Van Morrison release in ages — with its autobiographical allusions, cultural critiques, and new band — it could not have prepared listeners for the jolt of this, his Blue Note Records debut What's Wrong With This Picture? While the album is hardly a straight jazz record, it does take the territory he explored on Down the Road another step further into the classic pop music of the 20th century filtered through his own Celtic swing, R&B, vocal jazz, and blue-eyed soul. The title track that opens the album is as close to an anthem as Morrison's ever written; he states with an easy, swinging, jazzy soul groove that he is not the same person he once was and wonders why that was so difficult for others to accept. There is no bitterness or bite in his assertions. If anything, the question is asked with warm humor and amusement as if it is indeed the listener's hangup if he/she can't accept Morrison "living in the present time." He asks, "Why don't we take it down and forget about it/'Cause that ain't me at all," as the song whispers to a close. Morrison's employment of a large horn section — actually a pair of them as the disc was recorded in different sessions — is full of teeth and big, bad soul. "Whinin Boy Moan" is a direct cue from Mose Allison as read by Big Joe Turner. Hard-swinging R&B horn lines (including his own alto saxophone) combine with killer solos by tenorman Martin Winning and trumpet boss Matt Holland as Morrison does his most inspired blues shouting since Wavelength. Celtic soul is never far behind, either, as it displays itself on the stunningly beautiful "Evening in June." The way Morrison employs brass, woodwind, and reed textures is unique for him as clarinets, alto and bass, flügelhorns, and loads of saxophones gradually build as the emotion in a tune imparts itself. Acker Bilk makes a return appearance here co-writing and performing on the elegant, bluesy swing of "Somerset." Other than this collaboration and stellar covers of "St James Infirmary" and Lightnin' Hopkins' "Stop Drinking" — the most unique and timely interpretation of the nugget since Louis Armstrong's, and it contains the greatest horn solo interplay on any Morrison record ever — Morrison's songwriting is more expansive, more intricate, and more luxuriant in its use of grooves, vamps, and riffs as they intertwine with beautiful horn charts, sophisticated melodies ,and the always-present blues feel. There are 13 tracks here, and virtually all of them would be standouts on any of his other records. But the aforementioned tracks, along with "Meaning of Loneliness" and "Once in a Blue Moon," are among the finest tunes he's ever written, let alone recorded. This is the sound of an artist who is comfortable making a break with his past because it is not a break; he understands it as the next part of a continuum that goes deeper and wider than anyone else ever expected. This is the sound of self-assurance as it articulates itself with grace and aplomb. ~ by Thom Jurek, AMG.
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