Album: Nueva Generaciуn
     Artist: Andres Boiarsky
     Year: 1984
     Label: CBS
     Genre: Jazz argentino
     Quality: WAV (LP-rip)
     Size: 100+100+60 mb

Andres Boiarsky (b.1957) was born in Buenos Aires, Argentina, where he began music lessons as a young child. He started taking an interest in jazz in 1972 when he saw a Duke Ellington concert in Buenos Aires. Later, he attended a Dizzy Gillespie performance and was inspired by the trumpeter to study jazz. Andres is thoroughly versed in the classics, having studied at a conservatory in Argentina and the Royal College of Music in England. Boiarsky made New York his permanent residence in the mid-ґ80s, working as musical directory for Lionel Hamptonґs Orchestra (ґ89-ґ93) playing in Paquito DґRiveraґs United Nation Orchestra (ґ93-present), and collaborating with Claudio Roditi on a string of samba-tinged jazz recordings. He may be heard as a leader on his album Into the Light.

     Artist: David Sanborn
     Album: Only Everything
     Year : 2010
     Label: Decca
     Quality: Mp3;320 kb/s
     Total Size: 111.23 MB
     AMG rating

Only Everything, David Sanborn’s second album for Decca, feels like part two of his debut for the label, 2008’s Here & Gone. That set was a tribute to Ray Charles and Hank Crawford -- the alto saxophonist who played with Charles in the '50s and early '60s, and influenced Sanborn tremendously. That set featured loads of vocals and tightly arranged tunes that were indicative of the performances of Charles' bands. Only Everything delves into more of that territory, but this time, Sanborn reflects more heavily on Crawford and David “Fathead” Newman, another legendary Charles ace from roughly the same period. The charts here allow for more soloing and offer a looser, more intimate, spontaneous feel. It contains only two vocal appearances: one by Joss Stone on a punchy “Let the Good Times Roll,” and one by James Taylor in a unique interpretation of “Hallelujah I Love Her So.” There are two different bands here -- one a septet with a horn section, the other an organ trio. Steve Gadd handles all the drum chores here, with Joey DeFrancesco as organist on all cuts. The larger group includes saxophonists Bob Malach and Frank Basile, with Teddy Kadleck on trumpet, and trombonist Mike Davis. The only original here is the title cut, a ballad for trio, while everything else is R&B-drenched, soul-inflected jazz that may have come from a somewhat distant era yet feels contemporary whether played in septet or trio format. Crawford’s “The Peeper” is a soulful blues stutter with Sanborn’s alto lead being punctuated mightily by the horn section underscoring the melody; DeFrancesco fills the backdrop as Gadd swings away. Another highlight is Paul F. Mitchell's “Hard Times,” most recently associated with the Crusaders, but here woven through with soul and gospel via a beautiful horn chart that nods to the Charles band. Sanborn’s solo on this track is just outstanding. The album closes with a noirish yet emotional read of Johnny Mercer's and Harold Arlen's “Blues in the Night,” with DeFrancesco playing an inspired starring role. Any way you cut it, Sanborn’s continued exploration of his roots makes for terrific listening; it builds a smooth, groove-laden bridge between the music of Charles, Crawford, and Newman, to contemporary jazz seemingly effortlessly. ~ Thom Jurek, All Music Guide

     Artist:Joe Henderson
     Album: The Milestone Years (8 CD's box set)
     Label: Milestone Records (more info see in scan)
     Year: rec. Aug 10, 1967-Sep 26, 1976 / rel. Sep 1, 1994
     Format: MP3 @ 320 Kb/s + scan with info
     Time: 581:39
     Size: about 1,23 Gb
     AMG rating:

     Artist: Chris Whitley
     Album: Dirt Floor
     Label: Messenger Records
     Year: 1997, release:1998
     Format, bitrate: mp3; VBR ~216 kpbs
     Time: 27:10
     Size: 42 MB

This is the most consistent and accessible disc of Chris Whitley's off-and-on recording career. The album is just Whitley singing and accompanying himself on banjo, guitar and foot stomp. It has a simple and wonderfully stripped-down sound that fits perfectly with the morose yet tumultuous mood of the songs, establishing a strong atmosphere that is almost as important to the work as the mood in a '40s film noir. This is an exceedingly short work, only 27+ minutes, yet it really shouldn't be much longer. If you were expecting Big Sky Country in sound, you will be both happy and disappointed: happy because there is the same stripped-down, nasal singing and story-songs, and disappointed because there is not as much dobro, nor a band helping him flesh out the tunes. He does an excellent job on the small amount of material here, yet it does not develop into anything due to the lack of time; at the same time, the tone is so very angst-ridden that the short length may work in its favor. There are no liner notes or comments for this disc. What is here is excellent in its own right and stands up as some of his best work; I just wonder if maybe another song or two might have made it a stronger work.

     Artist: Ron Carter
     Album: Etudes
     Label: Wounded Bird Records
     Year: 1982, release: 2008
     Format, bitrate: mp3, 320 kbps
     Time: 36:01
     Size: 85 mb (megaupload)
     AMG Rating:



Sophisticated, elegant quartet date from 1982, with Art Farmer's serene trumpet and flugelhorn playing setting the tone, backed by tenor and soprano saxophonist Bill Evans, who's more restrained than usual. Carter's bass and Tony Williams' drums are both understated and definitive in their support and backing rhythms ~ Ron Wynn, All Music Guide.

     Artists: Mel Torme (featuring Al Porcino and his orchestra)
     Album: Live At The Maisonette
     Label: Atlantic
     Year: 1974
     Format, Bitrate: Mp3 320 Kbps
     Time: 40:09
     Size: 84,7 Mb


     Recorded more than twelve years after his first live album on Atlantic, Mel Tormй's Live at the Maisonette shows the effects of time on an aging band singer, which isn't always a bad thing. A bit less bouncy and unhinged than at his 1962 Red Hill gig, Tormй is the consummate showman here, inaugurating his fourth season at the Maisonette Room of New York's St. Regis Hotel with a new band (Al Porcino's Orchestra), new arrangements (as usual, by Tormй himself), and a few surprises for the crowd. After jumping in with an up-tempo opener ("Jet Set"), he turns the lights down for "What Are You Doing the Rest of Your Life," cranks the tempo back up for "Mountain Greenery," and indulges in a familiar impersonation of Ella Fitzgerald for "Route 66." After taking a mere 15 minutes to spin through a 17-song (!) medley celebrating the 75th anniversary of George Gershwin's birth (again feting Fitzgerald in the process), Tormй delivers the big surprise of the set, a solid -- yet slightly stodgy -- version of Stevie Wonder's hit "Superstition."

     Artist: Sam Cooke
     Album: Night Beat
     Label: RCA
     Year: 1963; remastered 2006
     Format, bitrate: MP3, 320kbps
     Time: 37:13
     Size: 102MB (with covers)
     AMG Rating:

      Saddled with soaring strings and vocal choruses for maximum crossover potential, Sam Cooke's solo material often masked the most important part of his genius — his glorious voice — so the odd small-group date earns a special recommendation in his discography. Thankfully, Cooke's voice took center stage on this admirably low-key session from February 1963, recorded in Los Angeles with a quartet of studio veterans. Unlike so many session crews and producers of the time, these musicians gave him plenty of space and often simply framed Cooke's breathtaking vocals. (On one of the best tracks here, "Lost and Lookin'," he's barely accompanied at all; only bass and cymbals can be heard far in the background.) The results are wonderful — except for his early Soul Stirrers sides, Night Beat is the best place to marvel at one of the two or three best voices of the century. The songs are intimate blues, most taken at the pace of a late-night stroll, but despite the dark shading and heart-rending tempos, Cooke's voice is so transcendent it's difficult to become depressed while listening. Cooke also wrote three of the songs, including the excellent "Mean Old World," and rendered the traditional "Nobody Knows the Trouble I've Seen" practically unfamiliar with his own re-arrangement. Cooke also stretches out on a pair of jump blues classics, "Little Red Rooster" and "Shake, Rattle and Roll," summoning some honest grit for the former and putting the uptown swing into the latter. He also allows some solo space, from Barney Kessel's simple, unadorned solo on "Get Yourself Another Fool" to Billy Preston's playful organ vocalizing on "Little Red Rooster." If Sam Cooke had lived longer, there would've been several more sessions like this, but Night Beat is an even richer treasure for its rarity.

    Artist: Milt Jackson & Big Brass
    Album: For Someone I Love
    Label: Original Jazz Classics
    Year: Mar 18 - Aug 5, 1963; release: 1991
    Genre: Jazz/Hard Bop
    Format mp3, bitrate: 320 kb/s
    Time: 36:21
    Size: 94 Mb (full covers)

The main reasons for this CD reissue's success are Melba Liston's inventive and unpredictable arrangements for the brass orchestra. Vibraphonist Milt Jackson has nearly all the solos (although trumpeter Clark Terry, trombonist Quentin Jackson, Julius Watkins on French horn and Major Holley on tuba do make their presence known) and seems understandably inspired by the backup orchestra which consists of four or five trumpets, three trombones, three or four French horns, Holley's tuba and a rhythm section. The well-conceived set (which includes such songs as "Days of Wine and Roses," "Save Your Love for Me," some Duke Ellington ballads and "Bossa Bags") is consistently excellent, making this a highly recommended set. - Scott Yanow at All Music Guide