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Artist: Dorothy Ashby Album: In A Minor Groove Label: Prestige Year: 1958 Release 1992 Format, bitrate: mp3, 320 kbps; FLAC Size: 385 + 174 MB (artwork) AMG Rating
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While not the first male or female jazz harp player (Casper Reardon of Jack Teagarden's bands, Adele Girard performing with her husband Joe Marsala, or Corky Hale set precedents), Dorothy Ashby was the very best and most swinging performer on the multi-stringed instrument associated with the gates of heaven. Here on Earth, Ashby adeptly plucked and strummed the harp like nobody else, as evidenced on this single CD reissue containing her two best LPs for the Prestige and Prestige/New Jazz labels from 1958 -- Hip Harp and In a Minor Groove. Alongside her prior efforts for the Savoy label, they collectively represent a small but substantive discography for the Detroit native in small group settings. With the exceptional flute sounds produced by Frank Wess, the combo plays music that is oriented via a unique sonic palate, further enhanced by the principals in the standards and originals they have chosen. Fellow Detroiter Herman Wright is here on bass, with duties split between legendary drummers Art Taylor and Roy Haynes, who place particular emphasis on subtle brushwork. Of course, the watchword of Ashby's sound is elegance, as she and Wess weave magical threads of gold and silver through standards like the circular and pristine "Moonlight in Vermont," the dramatic, slow "Yesterdays," or the sad "Alone Together." In a more Baroque or chamber setting, "Charmain" and "It's a Minor Thing" have Wess and Ashby thinking on a regal or Grecian platform. The variety on this collection is impressive, as you hear cinematic bluesy proclamations on "Autumn in Rome," striking mystery in "Taboo," mischievous and sly winks during "Rascallity," and a sexy calypso-to-swing beat as "You'd Be So Nice to Come Home To" unfolds. Two originals of Ashby's stand out -- the well swung, blues based yet exotic "Pawky" with the singularly unique flute of Wess, and the delicate but decisive "Jollity" that moves along nicely. Of course these are straight-ahead mainstream jazz musicians, and you also get a soaring, clean version of the tricky "Bohemia After Dark" and "Dancing in the Dark," where Ashby's harp acts like a rhythm guitar. In fact, it is this aspect of Ashby's performing style that sets her apart from being a singular or simplistic crystalline melodic implement. Then add to this element that Wess is so acutely fine tuned to pure tonal discourse simply by the nature of his instrument, and can carry the load by himself. This is a delightful package that deserves further recognition as a project unique to jazz and modern music, perfectly showcasing Dorothy Ashby as an individualist for the ages.~ Michael G. Nastos, AMG
Composer: Franz Joseph Haydn Artists: Cho-Liang Lin (violin), Wynton Marsalis (trumpet), Yo-Yo Ma (cello) Album: Three Favorite Concertos Label: CBS Sony, Tokyo, Japan Year: 1981, 1983; release: 1984 Genre: classical music Format, bitrate: mp3, 320 kbps Time: 58 min, 55 sec. Size: 150 mb
Итак, друзья мои, поздравляю всех со всеми наступившими (слава тебе, Господи) праздниками (а в странах бывшего Союза ещё и сегодня гуляют), желаю, чтобы все беды и неудачи в 2010 году пришлись на один-единственный день - 29-е февраля, а самое главное пожелание - не расставайтесь с хорошей музыкой (которой, как известно, должно быть много). А теперь позвольте предложить вашему вниманию первый в новом году букет моих любимых "фиалок". Прошлую среду в связи с атакой праздников пришлось пропустить, но надеюсь наверстать упущенное уже на следующей неделе. А сегодня давайте-ка поговорим о Йозефе Гайдне. До сих пор ни один из букетов не был посвящён этому выдающемуся композитору. А ведь именно он сформировал состав симфонического оркестра, каким мы и видим его по сей день (с небольшими изменениями, конечно - ведь время не стоит на месте) Итак...
Artist: Buddy Rich Album: Blues Caravan Label: Verve V/V6 8425 Year: 1961 Format, bitrate: mp3@320kbs Time: ~31 min Size: 68,68MB
This crack sextet recording by Buddy Rich is one of the long lost treasures in his vast discography as a leader, featuring a band he took on a State Department-sponsored tour of the Far East and Asia not long after the recording sessions were completed for this album. The band includes flutist Sam Most, trumpeter Rolf Ericson (who achieved his greatest fame with Duke Ellington), Wyatt Ruther (previously a sideman with Dave Brubeck), vibraphonist Mike Mainieri, and the somewhat obscure pianist Johnny Morris. Rich's pulsing drums are right in front in their aggressive arrangement of Horace Silver's blues "Blowin' the Blues Away," in which each soloist seems stimulated by the musician preceding him. "Caravan" begins with the leader's thunderous solo, though it quickly softens with Rich taking a backseat to Most and Ruther; the remainder of the band makes a delayed entrance. Mainieri contributed the exciting blues "Young Blood," which showcases his best solo on the date. The vibraphonist is also the featured soloist in the mellow interpretation of "I Remember Clifford," where he is backed by the haunting blend of trumpet and flute, with Rich staying very much in the background. Reissued as a limited-edition CD by Verve in 2005, this should be considered an essential Buddy Rich recording.~ Ken Dryden, All Music Guide
Artist: Charlie VenturaQuintet Album: High On An Open Mike 2LP/1CD Label: Fresh Sound Records Year: 1956, release: 2002 Quality: MP3@320 kbps Size: 152 mb Total time: 72:45
Знаменитый саксофонист исполняет вечно-зелёные стандарты!
For My Friends!
Charlie Ventura originally gained fame as Gene Krupa's extroverted tenor saxophonist in 1945, featured on "Dark Eyes." His "Bop for the People" orchestra gained some recognition in the late 1940s, but in the '50s, he more often performed with a quartet/quintet as the only horn. This part CD' reissue finds Ventura switching between tenor, alto, baritone and bass saxophones while joined by the young Dave McKenna on piano, guitarist Billy Bean, bassist Richard Davis and drummer Mousey Alexander. Ventura performs ten veteran standards, which range from "I've Got You Under My Skin" and a remake of "Dark Eyes" to "Bill Bailey" and "The Saints," although none of the music would really be considered Dixieland. The CD also has two added alternate takes, but two songs on the original Tops LP ("Paper Moon" and "Harvest Moon") have been left off, and the playing time is a very chintzy 34 minutes. Good music.~ Scott Yanow, AMG
Eddie ”Lockjaw” Davis (1922-1985) has always been one of the super top tenor players in jazz. From the beginning he had his unique sound and way to improvise, and an original, immediately identifiable tenor tone. This CD is special for several reasons. The first part is a session that Count Basie produced in 1957 for ”Lockjaw” with another Basie alumnus, the great trumpeter Joe Newman. What makes this album unusually interesting is that Basie plays the piano while Shirley Scott plays the organ. To complete this CD, a special compilation has been added – eight little-known recordings of tunes when Basie was featuring ”Lockjaw” in his big band (1952-1957) which show that the pair were simply destined for each other musically in one of the historic comings-together in jazz. ~ Fresh Sound Records
Artist: Oscar Peterson Ray Brown Ed Thigpen Album: The Final Concerts Label: Gambit Year: 1964; release: 2005 Genre: Mainstream Jazz Format mp3, bitrate: 320 kb/s Time: 1:18:41 Size: 183 Mb (full covers) Bubu's Rating:
EVERY DAY IS AN OSCAR PETERSON DAY !
After a short study of this CD featuring the trio's final concerts, the listener will certainly have to agree that a case could be made for the "greatest piano trio ever" status. Whether listening to the aforementioned performance recorded at Copenhagen's Tivoli Gardens on May 29,1965, or the preceding concert, recorded in London on October 1,1964, it is evident that there is absolutely no limit as to what the trio could accomplish. The incomparable technical skill, swinging feel and impeccable taste of the band members, coupled with their exquisite and often telepathic interplay left audiences, critics and fellow musicians alike shaking their heads in wonder and disbelief.
In a jazz scene literally overflowing with brilliant pianists, the clear truth is that a disproportionate number of them rely on their skill as technicians rather than their imagination, their wit and their new approach to older ideas. Mostly, the latter attributes are lacking. In Kenny Drew, however, we had a pianist whose skill was readily apparent—it was so apparent, in fact, that he chose not to belabor the point and astonish us with virtuosity for its own sake. Skill having been stated to everyone’s satisfaction, Drew went on to other matters—to the subtleties in shading and expression that made him unique.
Artist: Bob Brookmeyer, Stan Getz Album: Complete 1953-1954 Quintet Studio Recordings with Stan Getz Label: Definitive records, Spain Year: rec. 1953-54/rel. 2004 Format: MP3 @ 320 Kb/s Time: 65:51, 70:00 Size: 140 Mb, 145 Mb. AMG rating:
To my friends in JBC! Please enjoy.
This release features all the studio recordings made by Brookmeyer as a member of Stan Getz's legendary quintet with Johnny Williams, Bill Crow, Teddy Kotick, Al Levitt and Frank Isola.
Artist: Buena Vista Social Club Album: Buena Vista Social Club Label: Elektra Entertainment Year: ; release: 1996 Genre: Cuban Jazz Format mp3, bitrate: 320 kb/s Time: 59:44 Size: 157 Mb (covers + booklet) AMG Rating: This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during the Castro reign. Ry Cooder went to Cuba to record a musical documentary of these performers. Many of the musicians on this album have been playing for more than a half century, and they sing and play with an obvious love for the material. Cooder could have recorded these songs without paying the musicians a cent; one can imagine them jumping up and grabbing for their instruments at the slightest opportunity, just to play. Most of the songs are a real treasure, traversing a lot of ground in Cuba's musical history. There's the opening tune, "Chan Chan," a composition by 89-year-old Compay Segundo, who was a bandleader in the '50s; the cover of the early-'50s tune "De Camino a la Verada," sung by the 72-year-old composer Ibrahim Ferrer, who interrupted his daily walk through Havana just long enough to record; or the amazing piano playing on "Pablo Nuevo" by 77-year-old Rubén González, who has a unique style that blends jazz, mambo, and a certain amount of playfulness. All of these songs were recorded live — some of them in the musicians' small apartments — and the sound is incredibly deep and rich, something that would have been lost in digital recording and overdubbing. Cooder brought just the right amount of reverence to this material, and it shows in his production, playing, and detailed liner notes. If you get one album of Cuban music, this should be the one.- Steve McMullen at All Music Guide
Artist: Summit Big Band by Slide Hampton & Dusko Goykovich Album: Jazz A Confronto Vol.18 Released: 1972 Label: HORO Quality: mp3 CBR 320 (vinyl rip) Size: 78 MB
В продолжение темы - отличный big band, причем на редкость интернациональный - пять американцев, один югослав, один поляк, два итальянца, француз и англичанин. В тяжелое для бигбэндов время они собрались в Риме и записали отличный альбом. Наслаждайтесь!
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EVERY DAY IS AN OSCAR PETERSON DAY ! 
Artist: Summit Big Band by 