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jasapaal
 Into the Rhythm
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2005-2006: Sonny Rollins - Sonny, Please |
Jazz, Post-bop |
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 Artist: Sonny Rollins Album: Sonny, Please Year: 2006 Label: Doxy Records Format: Mp3, Bitrate: 320 Time: 54:20 Size: 135 Mb (5% Recovery Info) Most musicians would at least be considering the idea of retirement by the time they reach their mid-seventies, but most musicians aren't Sonny Rollins. After a five-year recording hiatus, Rollins returned from a Japanese tour and took his band into the studio to cut Sonny, Please. It's the first release on his own Doxy label, coming after a monumental 35-year stay at Milestone that produced some of the most forward-looking, trend-setting jazz ever captured on tape. It would be a stretch to say that Rollins is still the innovator he was in the '50s and '60s, but it would be a mistake to underestimate his capabilities as an elder, because Sonny, Please is a respectable, occasionally brilliant effort. It doesn't hurt that Rollins surrounds himself with such fine players as his perennial bassist Bob Cranshaw, with whom he has worked since his late '50s comeback from an extended vacation; the ubiquitous drummer Steve Jordan; trombonist Clifton Anderson (who is Rollins' nephew); guitarist Bobby Broom; and percussionist Kimati Dinizulu. As supportive as they all are, though, Rollins remains the focus, blowing his sax as assuredly as ever, if with a little less abandon than during his heyday. Rollins splits the program between new self-composed tunes -- among which "Nishi" and the opening title track are the most exhilarating -- and standards, including "Stairway to the Stars" and Noël Coward's "Someday I'll Find You." Rollins' soloing is, as ever, full of both fire and fancy. The album closer, the tropical-toned original "Park Palace Parade," is somewhat typical: Rollins' tenor glides effortlessly from the start, exploring the tune's melodic nuances. He takes a break while Broom peels out tasty licks, then Rollins returns to approach the song from another angle. Most of his playing here is relatively easygoing. Rollins still enjoys taking it to the limit, just not as often as he once did. He doesn't need to, though; with nothing left to prove, he can afford to stand back and just enjoy being Sonny Rollins. ~ Jeff Tamarkin, All Music Guide |
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1956 - 1957: Thad Jones - Mad Thad |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Thad Jones Album: Mad Thad Label: OJC/Period Years: 1956 - 1957, release: 1999 Quality: MP3@320 kbps Size: 101 mb (sharebee) Total time: 44:48 Though still a member of the Count Basie band, Thad Jones began to make his mark as a forward-thinking bop trumpeter and writer with recordings such as these from 1956 and 1957. Like its companion release, The Jones Boys, the performances are from a gathering of the leader's namesakes and members of the Basie band. The Detroit connection is also represented by pianist Tommy Flanagan and bassist Doug Watkins, along with Thad and his brother Elvin (on drums for four tracks). The music is cool, swinging bop that has affinities with the transitional sounds of Jones' contemporaries Miles Davis and Clifford Brown. The Basie influence is evident in the insistent, economic pulse of the rhythm section. The young leader's tart, inviting sound finds good company in the energetic, swinging, imaginative work of saxophonists Frank Foster and Frank Wess (who switches to flute for a track). Trombonist Henry Coker sets up some closely voiced Gil Evans-like harmonies on three tracks. The performances are from a December 1956 quintet date that includes two tracks arranged and conducted by Quincy Jones, and from a January 1957 sextet session. The CD includes a ballad medley from the 1957 session that was originally put out on a release shared with Sonny Rollins. With the exception of the medley, the performances have the energy and impact of early bop informed by the harmonic innovations that were evolving in the latter half of the 1950s. The medley ("Flamingo," "If You Were Mine," "I'm Through With Love," "Love Walked In"), on the other hand, has a traditional swing conception that doesn't mesh well with the progressive tendencies of the other tracks. ~ Jim Todd, All Music Guide |
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1967: Hymie Shertzer and All the King's Saxes |
Swing, Mainstream |
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 Artists: Hymie Shertzer and All the King's Saxes Album: All the King's Saxes Label: Disneyland Record WDL 3017 Years: MId 1960s Source: Vinyl rip Quality: WAV Size: 204 mb Herman "Hymie" Shertzer, including Hymie Schertzer, (born April 2, 1909 in New York City † March 22, 1977 [2]) was an American alto saxophonist of the swing, known for his time with Benny Goodman.
Shertzer met with 9 years with 16 years of playing violin and saxophone. 1934 to 1938 he played with Benny Goodman, who initially sought only because he also played violin. Also at Carnegie Hall concert, he was there. He was then a year with Tommy Dorsey, again in 1939 with Goodman until 1940, then again at Dorsey returned to Goodman and 1943/44. He then became a studio musician at NBC in New York City. In the film's soundtrack of Benny Goodman Story (1955) he played with it again.
In addition to recordings with Goodman, he recorded in the late 1930s, with Billie Holiday / Teddy Wilson and Lionel Hampton. He also recorded under his own name. For Goodman, he was not even as a soloist (the subject was presented on the alto saxophone Dave Matthews). |
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1994: Monty Alexander - At Maybeck |
Music |
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 Artist: Monty Alexander Album: At Maybeck (Maybeck Recital Hall Series, Vol. 40) Label: Concord Year: Sep 20, 1994; release: July 18, 1995 Genre: Piano Jazz Format mp3, bitrate: 320 kb/s Time: 59:04 Size: 135 Mb  EVERY DAY IS A WONDERFUL PIANO JAZZ DAY ! Monty has his own sound and identity when he chooses to pursue it, but here, in Vol. 40 of the Maybeck series, he remains mostly hidden behind the usual bop-and-standards conventions that have come to dominate these concerts. So we get the Tatum flourishes on "Close Enough for Love" and "Speak Low," a mildly introspective Evans-ish "Smile," etc. etc. However, a more individualistic Alexander does come through in spots, like his tune "The Serpent" — a clever, running ostinato blues — or the refreshing doo-wop triplets that open and occasionally recur in "For Sentimental Reasons." The most down-home performance per se is the Belafonte hit "Island in the Sun," awith its happy, authentic calypso rhythms and permutations of the theme; this is the first tune to indicate who this fellow is. Of course, Alexander is a fine technician, the piano sound is great, the audience is quite enthusiastic — and thus, those who know what to expect at Maybeck will be satisfied customers. - Richard S. Ginell at All Music Guide |
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1979: Count Basie and Orchestra - On The Road |
Swing, Mainstream, Basie Count |
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 Artist: Count Basie and Orchestra Album: On The Road Label: Pablo, Japan (24 bit remastered) Year:rec.Jul 12, 1979 / rel.1980 Format:MP3 @ 320 Kb/s, flac + cue + cover Time: 45:46 Size: 101,4 Mb, 247,9 Mb AMG rating:  To my friends in JBC! Please enjoy.
This release gives one a definitive look at the Count Basie Orchestra during its final years. Trumpeter Pete Minger, trombonist Booty Wood and Eric Dixon on tenor and flute are the main soloists, but it is the classic Basie ensemble sound (which never seems to get dated or lose its charm and power) that carries the day. Whether it is "Wind Machine," "Splanky" or "In a Mellow Tone, " this is a highly enjoyable set. ~ by Scott yanow, AMG.
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1972: Masabumi Kikuchi + Gil Evans |
Music » Jazz » BeBop » Cool |
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 Artist: Gil Evans Album: Masabumi Kikuchi + Gil Evans Label: Philips Japan FS 6510 Year: 1972 Genre: Jazz Format, bitrate: mp3/320 kbs (rip from original LP) Time: ~ 43 min Size: 96,23 MB A brilliant pairing of piano talents - and a record that also features some incredible horn work from Billy Harper and Hannibal Marvin Peterson too! Masabumi Kikuchi plays electric piano throughout - working with a large Evans-led ensemble that also includes Harper on tenor and flute, and Peterson on trumpet and flugelhorn - not to mention some surprising sounds on ring modulator from Evans himself! The arrangements are quite bold - like the best of Gil's work of the time - and really do a great job of mixing electric and acoustic elements in a really fresh way - quite different from any other big band styles of the time, and with all the modernism you'd expect from Evans' music. Titles include "Priestess", "Ictus", "Cry Of Hunger", "Eleven", "Drizzling Rain", and "Thoroughbred". |
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