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 Into the Rhythm
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1969: Earl Hooker - Funk: Last Of The Great Earl Hooker |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
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 Artist: Earl Hooker Album: Funk: Last Of The Great Earl Hooker Label: Blues On Blues LP 10002 Year: 1969; release: 1974 Format, bitrate: MP3 @ 320 Kb/s Time: 33:24 Size: 77.3 MB The last recordings from Earl Hooker recorded in 1969 & released in 1972 on "Blues on Blues" label.
Since then it's been re-released several times but this is the original cheap pressing. Rare.
A favorite highlight is the killer instrumental Hooker Cooker. |
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1958: Count Basie - Chairman of the Board |
Swing, Basie Count |
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 Artist: Count Basie Album: Chairman Of The Board Label:Roulette Records Year:rec.Mar 4, 1958-Dec 11, 1958 / rel.2003 Format:MP3 @ 320 Kb/s Time:48:02 Size: 105 Mb AMG rating:  Repost with new links from Mr. Teds! Please enjoy.
Although it appeared at a time when Count Basie was enjoying respect from all quarters (as evidenced by the pop acclaim of several Grammy awards and the jazz faithful's enthusiasm for his concert at Newport), Chairman of the Board was, comparatively, a low-profile session. The record was surrounded in Basie's discography by several prize-winners and a parade of studio collaborations -- with vocalists Tony Bennett, Lambert, Hendricks & Ross, and Billy Eckstine, plus arranger Neal Hefti. This 1958 date for Roulette was a rare chance for the orchestra to perform on its own, and listeners to hear how powerful the band could be when its concentration was undiverted. Of course, Basie's band already possessed three fine arrangers (Frank Foster, Thad Jones, and Frank Wess) and at least a dozen solo voices. Each of the ten songs on Chairman of the Board were originals by Foster, Jones, Wess, or Ernie Wilkins, all of them arranged by the composer. The record is admittedly heavy on the blues, but it's a brassy, powerful vision of the blues; Foster's "Blues in Hoss' Flat" and Wilkins' "Kansas City Shout" take the band back to its hometown, beginning with a subtle swing but ending with a raucous display of power from each section. The contributions by Jones and Wess provide a necessary complement to that forceful swing. Jones' "Speaking of Sounds" employs the woodwinds to provide color and texture, while Wess' "Segue in C" relies on bassist Eddie Jones and Basie's piano to lead the band while Wess himself takes several choruses on alto sax. A dynamic date, it shows the "new testament" edition of Basie's orchestra in top form.~ by John Bush, AMG.
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2001:Erroll Garner - The Piano Player |
Stride, Swing, Mainstream |
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 Artist: Erroll Garner Album: The Piano Player (Compilation) Label; Jazz Pack Years: 50th-60th,release: 2001 Format; MP3, 320kbps Time; 40:11 Size: 84.4 MB (with covers) I always play what I feel. I always feel like me, but I'm a different me every day. I get ideas from everything. A big color, the sound of water and wind, or a flash of something cool. Playing is like life. Either you feel it or you don't. ~ ERROLL GARNER Erroll Garner was a giant among jazz pianists. His ability to spontaneously create great musical works at the piano while performing for an audience was legendan/Inherent in that unique talent was his ability to make a personal musical statement that was as well constructed and logically organized as it would have been if he had preconceived it and planned every detail, In other words, Garner was a first rate composer who used musical theory and form in traditional ways, yet was inventive enough to create music instantly which contained all the elements of good composition. His music is melodic, rhythmic, rhapsodic, and original. As a musician he was one of a kind ~ Billy Taylor The extraordinary thing about Erroll Garner and his ballads is that they are completely lyrical. They are incredibly durable, lasting, melodic and beautiful word pictures, no matter who does the singing. I'll never forget that it was Sarah Vaughan with that amazing pipe organ voice of hers that first introduced me to Erroll's ballads, and that introduction turned into a life-long love affair I've had with this man's music--a man who has left his indelible mark on the world of music. ~ Johnny Mathis ...Garner is the single most important piano stylist of the past 35 years .,.Most every piano player who has heard Erroll Garner owes him something... Garner epitomizes all that makes jazz the great music of our age... He is a natural... His music communicates to those who know nothing of the meaning of the word jazz. His music is serious, yet joyous, He has developed an individuality of style that has blessed only the greatest exponents of music... To put it simply, Erroll Garner is a great musical genius. He has given me some of the most memorable and musical moments of my life. ~ George Wein |
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1986: Jimmy Smith - Go for Whatcha Know |
Music » Soul » Soul-Jazz |
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 Artist: Jimmy Smith Album: Go for Whatcha Know Label: Blue Note Year: 1986 Format: Flac+ cue +cover Time: 36:18 Size: 190 MB AMG Rating:  Repost with new flac links from Mr. Teds! Please enjoy.
Î÷åðåäíîé ïðèÿòíûé àëüáîì âûäàþùåãîñÿ îðãàíèñòà...
23 years after leaving the label, organist Jimmy Smith returned to the Blue Note label. In addition to signing up two of his old associates who had been with him on many classic Blue Note albums of the past (guitarist Kenny Burrell and tenor saxophonist Stanley Turrentine), Smith uses such fine payers as guest pianist Monty Alexander (on two songs), bassist Buster Williams and drummer Grady Tate (who takes a warm ballad vocal on "She's out of My Life"). "Fungii Mama" and "Go for Whatcha Know" are the highlights of this enjoyable LP. ~ by Scott Yanow, AMG.
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1973: Sarah Vaughan - Live in Japan |
Music » Jazz » Vocal Jazz |
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 Artist: Sarah Vaughan Label: Mainstream / Legacy Year: 1973, release: 1993 Quality: MP3@320 kbps Size: 126 mb (sharebee) Total time: 57:39 This is the original great single-album version of her master 70s concert. ~ Ron Wynn, All Music Guide A 70s set from Sarah Vaughan, but one that's recorded in a classic small combo mode acoustic overall, and a bit of a change from her other sessions for Mainstream Records! The date's a live one, and the tracks are taken at a looser level than some of Vaughan's studio work a bit more open, and with a bit of conversation too which is a nice surprise. The group's a trio with Carl Schroeder on piano, John Gianelli on bass, and Jimmy Cobb on drums and titles include "I Could Write A Book", "Love Story", "Wave", "Misty", "There Will Never Be Another You", "A Foggy Day", and "Round Midnight". © 1996-2010, Dusty Groove America, Inc. |
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1963: Count Basie And His Orchestra - This Time By Basie: Hits Of The 50's & 60's! |
Jazz, Traditional Jazz |
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 Artist: Count Basie And His Orchestra Album: This Time By Basie: Hits Of The 50's & 60's! Label: Warner Bros,archives Year:rec.Jan 21, 1963-Jan 24, 1963 / rel.1993 Format:MP3 @ 320 Kb/s Time: 51:57 Size: 112 Mb AMG rating:  To my friends in JBC! Please enjoy.
Three decades after the fact, people looking at releases like This Time by Basie would tend to dismiss it as pandering, Count Basie doing a "pops"-type outing -- the cheesy cover art even emphasized the songs over Basie and his band. Nothing could be further from the truth, however -- this 16-song release reveals a wonderful body of work, and deserves to be better known. For starters, This Time by Basie swings, smooth and easy but taut, or hot and heavy. From Sonny Payne's understated cymbal intro to "This Could Be the Start of Something Big" to the bluesier notes of "One Mint Julep," Basie and company sound like they're enjoying themselves, whether elegantly stretching out on "I Left My Heart in San Francisco" or "Moon River," or soaring into the air on the hotter numbers -- one of the more surprising covers here is "Walk Don't Run," which even works in a big-band arrangement. Highlights amid all of this surprising splendor include Marshall Royal's alto sax on "What Kind of Fool Am I" and Frank Foster's tenor sax on "Something Big." Quincy Jones arranged and conducted This Time by Basie, and the record was successful, returning the Count to the pop charts on the eve of the British Invasion. The last five songs here are drawn from Pop Goes the Basie, a 1965 album arranged and conducted by Billy Byers, and produced by Teddy Reig -- the playing is as good as the companion work on numbers like "The Hucklebuck." Their version of Roy Orbison's "Oh, Pretty Woman" is a big-band blues rendition of the song (sung by Leon Thomas) that buries the original's grand operatic romantic sensibilities in a posed soulfulness. "Oh Soul Mio" (highlight by Al Grey's trombone work), "Shangri-La" and "At Long Last Love" (both prominently featuring Eddie "Lockjaw" Davis) come off better -- the last number could've come off of any of Basie's best post-1951 albums. The remixing from the original three-track studio masters has yielded an especially clean sound with vivid stereo separation, enhancing the solos (check out Davis' on "At Long Last Love") and the overall ensemble. ~ by Bruce Eder, AMG.
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1976: Monty Alexander - Monty Strikes Again: Live In Germany |
Music |
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 Artist: Monty Alexander Album: Monty Strikes Again: Live In Germany Label: MPS Records Year: Oct 1974; release: 1976 Genre: Piano Jazz Format mp3, bitrate: 320 kb/s vbr (vinyl rip) Time: 41:38 Size: 75,6 Mb AMG Rating:  Not every musician can pull off a program in front of an audience that ranges through a wide variety of jazz styles, but Monty Alexander does so, even within the opener, "On Green Dolphin Street." Starting this familiar standard in a bop mode, he detours into boogie-woogie until guitarist Ernest Ranglin takes over. His lovely improvised introduction to "Emily" gives way to a much slower than typical arrangement, which emphasizes the beauty of Henry Mancini's original conception, though with a few changes incorporated by the leader. Alexander likely lifted a few eyebrows when he began playing Scott Joplin's classic rag "The Entertainer." After one straight-ahead chorus, he segues into a hard bop setting, trading hot licks with Ranglin. "Chameleon," Herbie Hancock's funk masterpiece from the fusion era, is next, but Alexander's quartet eschews any electronic keyboards or special effects, just digging into it with gusto. The leader also contributed two strong originals to the date. Recorded for the German label MPS, this highly recommended LP is long overdue to be reissued on CD. - Ken Dryden at All Music Guide |
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