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Àrtist: Eric Vloeimans' Gatecrash Album: Heavens Above Year: 2009 Label: Challenge records Quality: mp3@320 Size: 169 mb (covers: all + autographs)
The first studio recording from #1 Dutch jazz trumpeter Eric Vloeimans with his band Gatecrash features 13 new original compositions, from lighthearted and danceable to transcendental and meditative. The band's previous live recordings smashed the Dutch charts. Promotion by Braithwaite & Katz.
Artist: Sam Cooke Album: Live At The Harlem Square Club, 1963 (1985) | One Night Stand! Sam Cooke Live At The Harlem Square Club (2005) Label: RCA Year: 1963; original release 1985, and remastered in 2005 Format, bitrate: MP3, 320 kb/s Time: Each just under 39 minutes Size: 88 and 87MB respectively, covers included AMG Rating:
For anyone who thought they knew Sam Cooke's music based on the hit singles, this disc will be a revelation. This is the real Sam Cooke, doing a sweaty, raspy soulful set at the Harlem Square Club in North Miami, FL, on Jan. 12, 1963, backed by King Curtis and his band, a handful of local musicians, and Cooke's resident sidemen, guitarist Clifford White and drummer Albert "June" Gardner. To put it simply, it's one of the greatest soul records ever cut by anybody, outshining James Brown's first live album from the Apollo Theater and easily outclassing Jackie Wilson's live record from the Copa. Cooke's pop style is far removed from the proceedings here, which have the feel of being virtually a secular sermon. The record opens with the frantic, desperate chant-like "Feel It," followed by a version of "Chain Gang" that has all of the gentling influences of the single's string accompaniment stripped from it -- Cooke's slightly hoarse voice only adds to the startling change in the song, transformed from a piece of pop-soul into an in-your-face ode to freedom and release. "Cupid," perhaps the most sweetly textured song that Cooke cut during the 1960s, gets the full soul treatment, with horns and Curtis' sax up front and Cooke imparting an urgency here that's only implied in the studio rendition. "Twistin' the Night Away" gets two hot King Curtis sax solos, the highlights of a pounding, rippling performance with a beautifully vamped extended ending (with the drums, bass, and White's guitar wrapping themselves ever tighter around the central riff) that never would have made it to the floor of the Copa. "Somebody Have Mercy" leads into a long vamp by Cooke, a brief, soaring quotation from "You Send Me" that could easily have been a high point in sheer intensity -- and then Cooke and the band crank the tension and the spirits several notches higher with the greatest version of "Bring It on Home to Me" ever done by anybody. It all ends with a version of "Having a Party" that manages to be both soothing and wrenching at the same time, Cooke luxuriating in every nuance as the crowd joins in singing, reaching a higher pitch to the gently swinging tune, the drums kicking in harder, the rhythm guitar rising up, and Curtis' sax and the horns rising up slowly while Cooke goes on with his singing, which is more like preaching and the group sounds like it could play the riff all night. It's one of the cruel ironies of the recording business that this unique and extraordinary concert recording went unreleased for almost 22 years, in favor of the more polished (but also more antiseptic and duller) Sam Cooke at the Copa.
Artists: The Mastersounds with Wes Montgomery Album: Kismet / The King and I Label: El Records Year: 1957-1958; release: 2009 Format, bitrate: Mp3 320 kbs Time: 1:18:48 Size: 180 Mb
Gorgeous chamber jazz interpretations of Kismet and The King and I by The Mastersounds. Highly regarded and immensely popular recordings in 1958 and reissued in their complete form digital format now for the first time. On Kismet The Mastersounds are augmented by Wes Montgomery, for many, the ultimate jazz guitarist. These recordings are amongst his rarest and will be indispensable to both student of the genre and completists. The decision for such accomplished jazz musicians to take on these two major stage productions was inspired by the resounding success in 1956 of Shelley Manne and Andre's Previn's jazz interpretations of My Fair Lady." ~ boomkat.com
Artist: Joe Zawinul Album: Stories of the Danube Label: Phillips Year: 1996 Total time: 63:23
Billed as Joe Zawinul's First Symphony, this large-scale classical work may seem like a radical departure to the composer/keyboardist's jazz and pop fans, but it is really a logical expression of Zawinul's indestructible European roots. Moreover, it is not as alien to his jazz work as one might suppose; at times, one can hear trademark Zawinul ostinato lines in fleshed-out, orchestrated form, and rhythms and tunes of his jazz-rock days ("Doctor Honoris Causa," "Pharoah's Dance" "Unknown Soldier") turn up like old friends crashing a black-tie ceremony. The storyline of the work is a spinoff of Smetana's "The Moldau," tracing the path of a river from its springhead through Central Europe and the deep historical currents (the Ottoman Empire, Vienna's Golden Age, World War II, etc.) that its journey suggests. Zawinul's own keyboards appear most noticeably in the brooding Third Worldish introductions to the fourth and seventh movements, and the Czech State Philharmonic Orchestra, Brno under Caspar Richter handles the long symphonic writing smoothly. At 63 minutes, this piece is a real stretch -- Zawinul is dealing with a Brucknerian timespan -- and skillful orchestrator, composer and boundless eclectic that he is, he can't quite fill the huge tapestry consistently. Yet repeated listening reveals a coherent if loose overall structure and some emotional depth; if you work at it, the rewards will come.
Artist: Kenny Dorham Albums: Kenny Dorham Sings And Plays: This Is The Moment! Recorded: 1958 Released: 1994 Label: Riverside Quality: mp3 CBR 320 Size: 88 MB
The release of this recording must have surprised most jazz listeners at the time, for trumpeter Kenny Dorham sings on all ten selections. He had never hinted at any desire to sing previously (although he had sung a blues regularly with Dizzy Gillespie & His Orchestra in the 1940s) and, as it turned out, this was his one and only vocal album; the sales were probably quite a bit less than Chet Baker's records of the period. Dorham had an OK voice, musical if not memorable, but the arrangements for these selections (which utilize his trumpet and Curtis Fuller's trombone, both of which are muted all the time) are inventive and pleasing. The supportive rhythm section is also an asset; pianist Cedar Walton made his recording debut on this album (released on CD via the Original Jazz Classics imprint), which is a historical curiosity.
Artist: The John Lewis Group Album: Kansas City Breaks Label: Disques Swing/Sony Music Distribution/DRG Records Year: May 25 - 26, 1982; release: 1982, 1994 Genre: Piano Jazz/Bop Format mp3, bitrate: 320 kb/s Time: 51:06 Size: 130 Mb (covers)
The music on this LP has been reissued several times since its initial release. This was the last record by John Lewis' sextet before it broke up; at the time the Modern Jazz Quartet was beginning to appear again on a full-time basis. Lewis picked an interesting variety of sidemen (flutist Frank Wess, violinist Joe Kennedy, guitarist Howard Collins, bassist Marc Johnson, and drummer Shelly Manne) for his group and together they perform a set of his originals that (tonal variations aside) are not all that different from what one might have heard by the MJQ at the time. "Django," the blues "D&E," and the title cut are among the more memorable selections. The interplay and blend between flute and violin are the main reasons to search for this set.- Scott Yanow at All Music Guide
Artist: Georgie Auld Album: Double Image Label: Ocium Records Year: Jan 17, 1949-Sep 2, 1952 Release: Jun 3, 2003 Format, bitrate: mp3, 320kb/s Time: 64:28 Size: 134MB
This delightful compilation presents a series of recordings made by saxophonist Georgie Auld for Discovery Records in January and March 1949, followed by the material he recorded for the Coral label between March and September 1952. The group used on the Discovery dates was a ten-piece bop band; the producers at Coral were obviously looking for something less adventuresome that would appeal to a wide and more pop-oriented record-buying public. For this reason "Manhattan," "Room with a View," and tracks 19 through 24 are coated with carefully arranged vocals by Jud Conlon's Rhythmaires, a rather Codeine flavored mixed-gender quintet that specialized in oozy harmonies. Compared to some other attempts at group vocal accompaniment perpetrated during the '50s, these tracks are relatively tolerable, even "Lullaby of Broadway" with its raucous group scat and raunchy screams behind Auld's gutbucket sax. Aside from this momentary bit of rowdiness, most of the Coral recordings of Georgie Auld are languid lounge music, perfect for lying around with nothing on.
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