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jasapaal
 Into the Rhythm
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1976: Shakti With John Mclaughlin - A Handful Of Beauty |
Fusion, Jazz-Rock |
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 Artists: Shakti With John McLaughlin Album: A Handful Of Beauty Label: Columbia Records Year: 1977, release: 1996 Genre: jazz/rock, fusion, raga Format, bitrate: flac, lossless (flac, tracks+cue+log+scans) Time: 48'00" Size: 290 mb Shakti headed for the safer confines of a London recording studio on its second album, minus R. Raghavan and minus some of the volatile energy that they generated on their debut record. They were, however, a more integrated, more subtle ensemble now, exploring quieter, more lyrical corners of their East-West fusion, with L. Shankar's spectacular violin and Zakir Hussain's tabla taking the solo foreground as much as, if not more than, McLaughlin's acoustic guitar. With the exception of an arrangement of a traditional South Indian piece "Kriti," McLaughlin and Shankar contribute all of the compositions, which lean even more heavily toward South Indian music with reminders of McLaughlin's Western roots. As a whole, this is less accessible to McLaughlin's jazz-rock flock than the first Shakti album, but still fascinating for contemporary listeners with a yen for world music, as well as curious stragglers from the classical Indian world dominated by Ravi Shankar (another indefatigable champion of East-West fusions). ~ Richard S. Ginell, All Music Guide |
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1995: Grady Gaines & The Texas Upsetters - Full Gain |
Music » Blues » Modern electric blues » Modern Electric Texas Blues |
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 Artist: Grady Gaines And The Texas Upsetters Album: Full Gain Label: Black Top Year:1987/1988 Release: 1995 Format, bitrate: mp3, 320kbps Time: 50.01 Size: 116.60 MB A meeting of Houston-based all-stars that scorches from the first track to the last. Tenor saxman Grady Gaines is in charge of the proceedings, wailing on the instrumentals "There Is Something on Your Mind" and "Soul Twist," while pianist Teddy Reynolds, Gaines's guitar-wielding brother Roy Gaines, and Joe Medwick divvy up the vocals. Outstanding guitarist Clarence Hollimon is also on board. ~ Bill Dahl, All Music Guide |
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2009: Walter Trout - Unspoiled By Progress |
Music » Blues » Modern electric blues |
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 Artist: Walter Trout Album: Unspoiled By Progress Label: Provogue Music Productions (UK) Year: rec.1989-Mar 3, 2009 / rel.2009 Format: MP3 @ 320 Kb/s Time: 78:24 Size: 171,5 Mb AMG rating:  To my friends in JBC! Please enjoy.
Walter Trout has always been a blues man with rock & roll on his mind first and foremost. Though showy and loud, Trout keeps on the path of least resistance for an audience that wonders what Stevie Ray Vaughan, Luther Allison, Albert Collins, or Jimi Hendrix would sound like were they still alive. Still, Trout has carved out a career and a living playing music that definitely gets people out of their seats and raving for more. This collection -- correctly subtitled "Twenty Years of Hardcore Blues" -- has Trout picking favorites from various live performances recorded over the years by the BBC and, as he puts it, were selected favoring performance over recording quality. It should be pointed out that there's absolutely nothing wrong with the sound quality of these select dates and songs, and there are a couple of studio tracks thrown in, adding to the special nature of this disc, for both fans and novices. Notable for being the last recording done with bassist Jimmy Trapp (2005 in Las Vegas,) "Sweet as a Flower" is especially poignant, a rattlesnake shaker that recalls Peter Green when he was with Fleetwood Mac, while "Two Sides to Every Story" adopts an acoustic-style slide guitar-centered slow stomp that stands apart from the other tracks. Tougher than tough is a version of the Don Nix evergreen popularized by Freddie King "Goin' Down"; there's Buddy Guy's juke joint-rockin' shuffle "She's Out There Somewhere," and the classic old-school rocker "Long Tall Sally" -- all played with great energy and good spirit. The band also covers John Mayall's "Somebody's Acting Like a Child" with stinging guitar as good as anyone's, and the Finis Tasby tune "Goin' Back Home," fairly typical, from Bonn, Germany in 1991. Trout's originals include a new studio recording of the two-chord, organ-fed rocker "They Call Us the Working Class," and live performances of the hard rock blues "Life in the Jungle" (Amsterdam, 1991) which was the title track of his first album, and the instrumental "Marie's Mood" showing a jazzier side. Sammy Avila on the Hammond B-3 organ, bassist Rick Knapp, and drummer Michael Leasure join Trout for the majority of these concert shows. While there's nothing groundbreaking here, or out of character with Trout's reputation and estimable talent, it's a solid collection of songs featuring the worked-up guitar of the leader that should appeal to the guitar hero nation without reservation. ~ by Michael G. Nastos, AMG.
Best one in 2009! Recommended. Èòîãîâûé àëüáîì çà 20 ëåò ñîëüíîé äåÿòåëüíîñòè!
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2005: Bill Evans and Orchestra - Brandeis Jazz Festival |
Music |
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 Artist: Bill Evans and Orchestra Album: Brandeis Jazz Festival Label: Gambit Year: 1957; release: 2005 Genre: Jazz/Post-Bop Format mp3, bitrate: 320 kb/s Time: 1:10:15 Size: 166 Mb (full covers) AMG Rating: 
This oddly packaged CD compilation issued by the European label Gambit is a bit misleading, as it combines titles that appeared on several different releases, though none of the performances actually come from a concert. Most of the material is representative of third stream experiments popular for a time in the late '50s and early '60s, with Bill Evans in the role as a hired hand rather than leader, the role that falls either to conductors Gunther Schuller or George Russell, with most of the tracks originating from a Columbia LP titled Modern Jazz Concert and having reappeared in various incarnations with other selections in earlier reissues. Russell's impressive modern big band scoring of his "All About Rosie" is easily one of the highlights, with terrific ensembles and solos. Charles Mingus' "Revelations" is rather ominous, often suggesting the influence of Igor Stravinsky. The last three tracks are from an unrelated live Newport Jazz Festival Verve recording by mellophonist Don Elliott, who leads a quartet with Bill Evans, bassist Ernie Furtado, and drummer Al Beldini through merely average arrangements of three standards. The piecemeal gathering of these very dissimilar sessions for two different labels is troublesome, though the difficulty in acquiring this music make this edition a viable option for collectors. - Ken Dryden at All Music Guide |
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1969: The Trumpeters - Jazz Fest Masters |
Swing, Mainstream |
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 Artists - VA Album - The Trumpeters: Jazz Fest Masters Label - Zomba Year - 1969, release - 1992 Quality - MP3@320 kbps Size - 98,6 mb (sharebee) Total Time: 43:11 REPOST with a new link, by request A lot of classic greats are heard on this CD, taken from the 1969 New Orleans Jazz Festival. Roy Eldridge performs four songs while backed by pianist Jaki Byard, bassist Richard Davis and drummer Alan Dawson; on "Perdido" fellow trumpeters Bobby Hackett and Clark Terry sit in. Dizzy Gillespie plays two obscure numbers with his quintet of the time (with James Moody on tenor and flute) while Buck Clayton heads an octet on "St. Louis Blues" that also includes Buddy (not Bunny as it says in the scanty liner notes) Tate and trombonist Dickie Wells. The performances are quite enjoyable, obscure and well-recorded. This CD is worth getting for Roy Eldridge's playing by itself. ~ Scott Yanow, All Music Guide |
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1981: Clark Terry – Yes, The Blues |
BeBop, Rhythm-n-Blues |
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 Artist: Clark Terry Album: Yes, The Blues Label: Pablo, Japan (24 bit remastered) Year:rec.Jan 19, 1981 / rel. 2002 Format:MP3 @ 320 Kb/s Time: 43:23 Size: 95 Mb AMG rating:  To my friends in JBC! Please enjoy.
This blues-oriented Pablo recording has an ideal match: flugelhornist Clark Terry and altoist Eddie "Cleanhead" Vinson. For Yes, The Blues, both musicians take a good-humored vocal apiece, but the emphasis is on their playing. The complementary stylists, backed by pianist Art Hillery, bassist John Heard, and drummer Roy McCurdy, work together very well on their originals, plus "Swingin' the Blues," and create some memorable, if fairly basic, music straddling the boundaries between swing, bop, and early R&B. [This Japanese release includes bonus material.] ~ by Scott Yanow, AMG.
Recommended! Âåëèêîëåïíûé àëüáîì óêðàøåíèå êîëëåêöèè!
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1992: Mike Oldfield - Tubular Bells II |
Music |
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 Artist: Mike Oldfield Album: Tubular Bells II Label: Warner Bros. Genre: Progressive Format mp3, bitrate: 320 kb/s Time: 58:31 Size: 138 Mb (full covers) Tubular Bells II is the update and/or sequel to Mike Oldfield's landmark 1973 new age recording Tubular Bells, which will resonate forever as the haunting theme to The Exorcist. Here, Oldfield repeats his multi-instrumental performance, playing guitar, banjo, organ, percussion, mandolin, and the titular tubular bells, although in a nod to modernism, the latter instruments often appear as samples through Oldfield's Kurzweil synth rig. It's the piece's captivating main theme that again takes center stage here. The eight-minute opening track "Sentinel" plays it off of whining guitars and breathy female vocals. The latter element is a nice touch. The genre that the original Bells helped establish has come quite a ways in 20 years, and this fact isn't lost on Oldfield. Throughout II, he incorporates the multi-cultural influences that have cross-pollinated with new age, bringing in breathy ethnic flutes, Asian-inflected string sounds, and the whispered foreign words of "Sentinel." The famous ceiling of the album, where each instrument is introduced by a narrator, becomes another summit between old and new. Alan Rickman handles the introductions (during "Bell") and runs through a litany of instruments that includes "digital sound processor," reed and pipe organ, "the Venetian effect," glockenspiel, "two slightly sampled electric guitars," and vocal chords, which Rickman introduces as if they're an exotic museum piece. Some of Oldfield's fancy-handed riffs fail; the bagpipes of "Tattoo" seem too obvious and "Sunjammer" sounds like an unfortunate outtake from the Who's Tommy. But overall, Tubular Bells II succeeds mightily. It doesn't beat its predecessor, but does update its sonics and technology with Oldfield's flair for studied grandiosity. - Johnny Loftus at All Music Guide |
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1959: Count Basie - Dance Along With Basie |
Music » Jazz » Swing |
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 Artist: Count Basie Album: Dance Along With Basie Label: Ais/Roulette Year: 1959, release: 2004 Quality: MP3@320 kbps Size: 81,7 mb (sharebee) Total time: 36:05 Ïîòàíöóåì?
One of the lesser-remembered Basie sessions for Roulette but one of the best ones too! The album follows nicely in the "dance" style of Basie's earlier albums for Clef by offering a set of work that was typical of that the group might have performed on one of their more popular live sets for swingers. The tunes are a bit familiar, the charts are more rhythmic and not too far out but the playing is top-shelf all the way, and the set grooves with a style that makes you easily understand why the Count was still going strong at the time. Titles include "It Had To Be You", "Fools Rush In", "Easy Living", "Give Me The Simple Life", "Secret Love", and "It's A Pity To Say Goodnight". © 1996-2010, Dusty Groove America, Inc. |
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1991: VA - The Alligator Records 20th Anniversary Collection (2 CD) |
Blues, Modern electric blues, Modern Electric Chicago Blues, Blues woman, Harp |
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 Artist: VA Album: The Alligator Records 20th Anniversary Collection Label:Alligator records Year: rel.1991 Format:MP3 @ 320 Kb/s Time: 73:06, 72:57 Size: 157 Mb, 156 Mb. AMG rating:  To my friends in JBC! Please enjoy.
The perfect introduction to the first 20 years of Alligator's recordings, this two-CD set contains over 170 minutes of our best recordings. The 35 songs fill two full discs, and you get them all for the price of one disc! From Hound Dog Taylor's 1971 classic, "Give Me Back My Wig," to 1991 recordings by Kenny Neal and Elvin Bishop, each track was chosen by Alligator's founder, Bruce Iglauer.
The blues sounds and styles on this collection range from the totally raw, electrified slide attack of Hound Dog to the jumping horn-driven R&B of Big Twist to the zydeco accordion of Clifton Chenier to the acoustic sounds and witty lyrics of Saffire-The Uppity Blues Women to the fiery blues/rock of Johnny Winter and Lonnie Mack. These two discs showcase virtually every style of contemporary blues.
In addition to the great music, a lavish booklet contains 18 pages of Iglauer's personal reminiscences of the artists and records, plus15 photos, some never before published.
The Alligator Records 20th Anniversary Collection is the best-selling recording in Alligator's history. Its selection of classic performances continues to please blues fans worldwide. Along with our 25th Anniversary Collection, it's the perfect starting point for building any blues collection, and the best way for you to sample the full range of our blues talent. (www.alligator.com)
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1968: George Benson - Goodies |
Music » Jazz » BeBop » Hard-bop |
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 Artist: George Benson Album: Goodies Label: Verve Year: , release Genre: Crossover Jazz, Hard Bop Format, bitrate: mp3/320 kbps Size: 85 MB This LP by guitarist George Benson was released in 1968 on Verve, players are George Benson on guitar & vocals, Paul Griffin on piano, Leo Morris and Jimmy Johnson Jr. on drums, Chuck Rainey and Bob Cranshaw on bass, Arthur Clarke and George Marge on sax & flute, Buddy Lucas on harmonica, Jack Jennings on congas, Garnett Brown on trombone and Clark Terry on trumpet, plus strings.Verve needed one more album from Benson after he signed with A&M/CTI, and ended up with a strange grab-bag in which Benson plays superbly throughout, whatever the odd goulash of sounds in back of him. Horace Ott's string arrangements are overbearing in scope and undernourished in tone; at times they don't even seem in sync with Benson's group. |
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