Artist: Billy Hart Trio
     Album: Live At The Cafe Damberd
     Label: Enja
     Year: 2009
     Format, bitrate: mp3, 320kb/s
     Size: 119MB

     Uberdrummer Billy Hart, who has played with everyone who's anyone in jazz, is caught live in a performance at Belgium's Cafe Damberd in a trio format with two German cohorts--saxman Johannes Enders and drummer Martin Zenker. The sax-bass-drums setup necessitates some heavy lifting on the part of all three. Naturally, Hart--the quintessential post-Elvin Jones percussive colorist--takes the opportunity to create a whole universe with his inspired explorations of texture and time. But his mates prove themselves up to the challenge too, particularly Enders, who offers everything from Coltrane-flavored coruscations to angular post-bop minimalism with elan. cduniverse
     A flexible drummer who has been a sideman in many different settings, Billy Hart is a creative player most at home playing advanced jazz. He worked early on in Washington, D.C., with Buck Hill and Shirley Horn, and was with the Montgomery Brothers (1961), Jimmy Smith (1964-1966), and Wes Montgomery (1966-1968). Hart was a member of Herbie Hancock's challenging sextet (1969-1973), and played regularly with McCoy Tyner (1973-1974) and Stan Getz (1974-1977), in addition to extensive freelancing (including recording with Miles Davis on 1972's On the Corner). His own opportunities to lead sessions have been comparatively rare, but Billy Hart has led interesting dates for Horizon, Gramavision, and Arabesque.

     Artist: Rudy Rotta & friends
     Album: Some of My Favorite Songs for...
     Label: Zyx Records/Pepper Cake
     Year: 2006
     Format MP3, bitrate: 320 kbps
     Time: 55:21
     Size: 95.78+30.84 Mb (+3%)

     Artist: Lester Young/Paul Quinichette
     Album: Pres Meets Vice-Pres
     Label: EmArcy MG 36021
     Years: 1943-1951, release: 1952
     Format, bitrate: mp3@320 kb/s Covers Front/Back HD ripped from original 10inch LP
     Time: ~25 min
     Size: 58,26 MB





Пол Квиничетт (Paul Quinichette, 17.05.1916 - 25.05.1983) - американский джазовый тенор-саксофонист. Его прозвали Vice Prez за схожесть техники исполнения с техникой исполнения Лестера Янга, известного как Prez. Дебютировал в оркестре Шорти Шерона в Чикаго в начале 40-х годов.

     Artist: Benjamin Herman
     Album: Blue Sky Blond
     Label: Dox records
     Year: 2009
     Quality: mp3@320
     Size: 135 mb (covers: all + autographs)

Benjamin Herman got his first saxophone at the age of twelve. At thirteen he was already playing on the professional club circuit. Within a few years he was appearing with different groups around the world and initiating projects of his own. His fame spread beyond jazz circles in the 1990s when he formed the groundbreaking ensemble New Cool Collective. Having made a name as soloist while still a teenager, Benjamin Herman has appeared on over a hundred records with all kinds of artists, from Candy Dulfer to Misha Mengelberg.

Herman has also built a career in Holland and abroad as a composer. With New Cool Collective as well as with his smaller band’s his gigs are inspired by dance floor jazz, surf and punk music, free jazz and traditional music from all over the world, attracting music fans of all genres as well as straight ahead jazz aficionados. At the same time he has explored in depth the repertoire of composers such a Byard, Monk and Mengelberg.

Today Benjamin Herman is one of the most original and productive jazz musicians in the Netherlands exploring influences beyond the confines of the jazz world. After signing to DOX Records in 2005 Benjamin Herman produced a series of cd’s and vinyl’s. He also won his third Edison for the album ‘Campert’ (featuring Dutch poet Remco Campert), He recorded and toured with Paul Weller, programmed several festivals, toured in Brazil, Argentina, Kenya, Russia, Britain, Canada, England, Ireland and Japan and worked on numerous projects in the Netherlands. In 2006 he received the prestigious VPRO/Boy Edgar Award and was voted 'Best dressed Dutchman of 2008' by Esquire magazine. ~ myspace.com

     Artists: VA
     Album: Sax Stylists
     Label: Capitol
     Source: vinyl rip
     Quality: WAV
     Size: 150mb

     Artist: Ron Carter
     Album: Meets Bach
     Label: Blue Note
     Year: 1991, release: 1992
     Format, bitrate: mp3, 320 kbps
     Time: 41:24
     Size: 96 mb (megaupload)
     AMG Rating:


Итак, дорогие друзья, "в догонку" к фиалкам от crazy_captain, хочу представить вашему вниманию один из "классических" альбомов великого басиста. Альбом, на мой вкус, вышел немного нудноватым и, к сожалению, свою столь низкую оценку от AMG он заслуживает, но окончательные выводы делать только вам.

This isn’t Mr. Carter’s first blending of jazz and the classics. In 1993, his album Friends included works by, among others, Rachmaninoff and Chopin. In 1994 he recorded Ron Carter Meets Bach, a deeply serious tribute in which he multiplied his solo bass with multitracked clones, allowing him to form an ensemble of basses all by himself.
What, purists might wonder, is going on here? Is it legal to take classical works, and add notes the composers didn’t write? One answer, from inside the classical tradition, says "Why not?" The second movement of the Third Brandenburg contains just two long chords, and any musicologist will tell you Bach expected someone to add a made-up solo. (Mr. Carter, of course, seizes the opportunity.) Mozart wrote his own elaboration of Handel’s Messiah, and, more recently, composers haven’t hesitated to transform older music, as Luciano Berio did in his 1960’s work Sinfonia where he wove a movement from Mahler’s Second Symphony into a tapestry all his own.
But doesn’t Mr. Carter take a further leap, by mixing classical music with sounds that aren’t from the classical tradition? Of course he does, and for anyone who hates that, I’d have three answers. The first is the militant one. Enough of these barriers! Tear down the walls! The second takes a laissez-faire approach. If you don’t like Mr. Carter’s Bach and Grieg, then just don’t listen to it. The third answer, though, might be the most encouraging. There’s a lot of music in this world of ours, and many of us don’t build fences in our listening. We go out to buy CDs, and come back with Bach, Elvis Costello, and John Coltrane. Why shouldn’t Mr. Carter do something similar when he plays? ~ Wall Street Journal, March 11, 1997

    Artist: Ahmad Jamal
    Album: Jamal plays Jamal
    Label: 20th Century Records
    Genre: Jazz/Post-Bop
    Format mp3, bitrate: 320 kb/s (vinyl rip)
    Time: 43:38
    Size: 100 Mb
    AMG Rating:

Jamal Plays Jamal epitomizes the commercial leanings and pop textures that dominate Ahmad Jamal's mid-'70s fusion efforts for the 20th Century label. Though his funkiest and most accessible recording to date, it nevertheless retains the melodic invention and intricacy of his more conventional jazz records. Despite the me-first title, the success of Jamal Plays Jamal hinges most on the pianist's longtime bassist Jamil Nasser, whose fluid, supple rhythms galvanize funk-inspired material like "Eclipse" and "Dialogue." Richard Evans' inspired arrangements are also vital, ranging from the dramatic "Pastures" to the shadowy "Death and Resurrection." Of course, it's Jamal's name above and in the title, and his keyboard work here is both nuanced and dynamic. Jazz purists may reject this music on principle, but more open-minded listeners will appreciate its energy and excitement. - Jason Ankeny at All Music Guide