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 Into the Rhythm
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2002: Derek Bailey - Ballads |
Modern Jazz, Freejazz |
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 Artist: Derek Bailey Album: Ballads Label: Tzadik Year: 2002 Quality: mp3,VBR Size: 56,58 mb AMG Rating  It's not as though Derek Bailey hadn't given a hint or two before. On his wonderful Drop Me Off at 96th (on Scatter), he tantalized listeners with a couple of bars of "I Didn't Know What Time It Was." Even those who might have preferred that he stood steadfast and true to the non-idiomatic free improv "tradition" might have wavered slightly. Still, for those so inclined, Ballads might be a bittersweet experience. They might prefer to understand that Bailey was quite capable of playing in a traditionally, romantically beautiful manner but feel that he had no need to prove it, rather having him wend his unique way through a strange landscape. However, met on its own terms, Ballads is stunningly gorgeous, lovely melodies like "Laura" being passionately stroked even as they abut against Bailey's questioning angularities and brusque, impolite commentary. The pure sound he elicits from his acoustic guitar is mouthwatering, so reverberant and alive. When he absolutely wrenches the melody of "Stella By Starlight" from the poor body of his instrument, it's enough to leave one gasping. And longtime Bailey fans might simply shake their heads in disbelief when he strums with schmaltz -- as well as beauty -- the sentimental theme from "My Buddy" before taking it on a circuitous walk. Whether one is glad or distressed that he chose to dip his toes into these waters, Ballads is a singularly lovely recording, one that certainly stands out in Bailey's oeuvre and one that is nigh impossible not to smile about and linger over. Highly recommended. ~ Brian Olewnick, All Music Guide |
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1956: Paul Whiteman - 50th Anniversary |
Classic Jazz, Stride, Swing, Mainstream |
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 Artist: Paul Whiteman Album: 50th Anniversary 2LP Label: Grand Award Year: 1956 Quality: MP3@320 kbps (LP-rip) Size: 135 + 29,9 mb (sharebee) Total time: 76:21 Påäêèé þáèëåéíûé êîíöåðò çíàìåíèòîãî "Êîðîëÿ äæàçà"! Although Paul Whiteman's first permanent band was organized in 1918, he had had his first musical job back in 1906, and he used the excuse to celebrate his 50th anniversary in 1956. Never mind that Whiteman had been living off his past successes since the early 1940s; the double LP (which contains an excellent booklet) came off quite well. A large orchestra (with only a few surviving Whiteman alumni like trumpeter Charlie Margulis) performs one of the livelier versions of "Rhapsody In Blue," featuring pianist Buddy Weed, plus four shorter numbers, including "When Day Is Done" and "Limehouse Blues," but surprisingly none of the famous Bill Challis charts. There are individual features for former Whiteman stars Joe Venuti, Jimmy Dorsey, Tommy Dorsey (his last recording), Hoagy Carmichael ("Washboard Blues") and a few for Jack Teagarden and Johnny Mercer. The very intriguing (if hard-to-find) twofer concludes with a radio broadcast saved by Whiteman from 1943 that features a reunion by the Rhythm Boys (Bing Crosby, Harry Barris and Al Rinker) during which they sing "Mississippi Mud" with plenty of spirit and humor. Other than a 1960 television show celebrating his 70th birthday (its soundtrack was released by the Sounds Great label), this twofer is Paul Whiteman's swan song, and an excellent way to go out. ~ Scott Yanow, All Music Guide |
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2008: Buena Vista Social Club At Carnegie Hall |
Music » Jazz » Latin » Afro-Cuban Jazz |
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 Artist: Buena Vista Social Club Album: Buena Vista Social Club At Carnegie Hall(live) Label: Nonesuch Records Year: Jul 1, 1998 Release: Oct 13, 2008 Format, bitrate: mp3, 320kb/s Size: CD1-82, CD2-82MB AMG Rating:   It seems very strange that World Circuit/Nonesuch would wait ten long years to issue this historic document of the grand, wildly celebrated Buena Vista Social Club concert at Carnegie Hall. This is the very show so wonderfully and artfully detailed by filmmaker Wim Wenders in his documentary on the project that reunited these then-obscure Cuban music legends for an album and a tour and catapulted them to worldwide fame. Perhaps it was worth the wait; perhaps this music should have been in our midst all along. Of the four older legends, those who had made music together in Cuba before Castro, only Omara Portuondo remains on the Earth, and she is still quite active. The other three, vocalist Ibrahim Ferrer, pianist Rubén González, and guitarist and vocalist Compay Segundo, have passed away -- Segundo lived to be 96! The youngster of the group, guitarist Eliades Ochoa, continues to record and tour
One thing the music on this lavishly packaged double-disc set does accomplish, however, is reveal without doubt that the music in the film is as profound, sensual, and beautiful as it was when accompanied by images. It is true that eight of the songs that appeared on the eponymous studio album are replicated here, but these live versions blow them away. In addition, the 16 songs here, covering two full discs, offer extended instrumental workouts to go along with the glorious vocals, making each tune -- from the opening "Chan Chan" all the way through to the glorious bolero "Silencio" duet between Ferrer and Portuondo -- reflect all of the lived history not only of the singers, but of the entire era for an audience to behold. Segundo's rich and lived-in baritone inhabits disc two's opener, "Orgullecida," so fully that no one should ever be allowed to cover it again. As is the standard for Nonesuch, the sound of the evening is fantastic, the spark in the mix has been left in, and the backing band sounds as varied and tight as it did in the film. The enclosed booklet contains Jon Pareles' original New York Times review of the performance and reminiscences from many of those involved in the evening, including Omara Portuondo and producer and backing guitarist Ry Cooder. This set is every bit as necessary as the solo albums by the singers, and perhaps even more than the studio effort. It is not only a historical document; it is a living, breathing piece of work that guarantees the transference of emotion from tape to listener, and cements the Buena Vista Social Club's place not only in the Latin music pantheon, but in the larger context of popular music history.~ Thom Jurek, All Music Guide |
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1966: Sam Rivers - A New Conception |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Sam Rivers Album: A New Conception Label: Blue Note LP 4200 Series Year: 1966 Format, bitrate: mp3, 320kb/s Size: 99.75 MB (+ Scans) The title of A New Conception refers to Sam Rivers' ingenious interpretations of standards on this record. Rivers treats the songs -- such familiar items as "When I Fall in Love," "I'll Never Smile Again," "That's All," "What a Difference a Day Makes," and "Secret Love" -- with respect, but he doesn't treat them as museum pieces. He knows that if the songs are to remain fresh, they need to be heard in different ways, and he skillfully opens up each composition to contemporary avant-garde techniques. Rivers and his supporting trio of pianist Hal Galper, bassist Herbert Lewis, and drummer Steve Ellington gradually ease each number into more adventurous territory, slowly shifting into exploratory instrumental sections, slyly varying the melodic themes, or adding shaded dissonant textures. It's challenging music that remains accessible, since it reconfigures familiar items in new, intriguing ways. The sheer skill in Rivers' arrangements once again confirms his large, unfortunately underappreciated, talent.~ Stephen Thomas Erlewine, All Music Guide |
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1995: Renaud Garcia-Fons - Alborea |
Music » Jazz |
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 Artist: Renaud Garcia-Fons Album: Alboreá Label: Enja Year: 1996 Total time: 52:32 Format: FLAC + MP3 (320k/s) Size: 302 + 124 MB (inc. covers) Jazz has taken some unexpected directions in Europe. Garcia-Fons is a double-bass player, and he leads a French quartet that consists of himself, another double-bass player, an accordionist and a drummer. In this arrangement, Garcia-Fons exploits the huge range of the bass to play melody, while the other bassist large plays the traditional low part.
The well-known artist closest to Garcia-Fons' sound would have to be Astor Piazzolla, and indeed Alboreá does contain one tango, anagrammatically entitled "Natgo." Garcia-Fons also makes use of other world music sources, such as the Moorish sound of "Secret Zambra." And many of the tracks, not surprisingly, seem to owe something to French musette. Although Garcia-Fons might like to say his biggest musical influence was Charlie Mingus, it sometimes sounds as if his real mentor was André Previn, not just as jazz musician but as film score composer. Some of the tracks on Alboreá, like the title track, are very "big" and dramatic. However, the real show is, of course, the bass playing. Just to give one example, on "Amadu" you will think they snuck in an electric guitar, distortion and all, without crediting the musician -- until you realize that it's Garcia-Fons plucking and bowing away on his bass. Both those coming to this disc out of the jazz world and those interested in international music will find something to latch onto in this substantial and passionate album. ~ Kurt Keefner, All Music Guide |
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1966-1970: Martin Scorsese Presents The Blues - Jimi Hendrix |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Jimi Hendrix Album: Martin Scorsese Presents the Blues: Jimi Hendrix Label: MCA Years: 1966-1970; release: 2003 Format, bitrate: mp3; 320kb/s Time: 1:15:02 Size: 175 MB. As part of the numerous compilations issued in conjunction with the major television documentary series The Blues, this is a collection of blues-oriented Hendrix recordings. A couple of considerations conspire to make this one of Hendrix's less essential releases. First, the blues were just a part of Hendrix's musical mix, though an important one. Second, there was a previous compilation of Hendrix's blues-oriented work in 1994, simply titled Blues. There's little repetition between Martin Scorsese Presents the Blues and Blues, though, and it works as a decent grouping of some of his bluesiest recordings for those listeners who want to plunge especially deeply into one facet of his repertoire. "Red House" and "Voodoo Chile" are by far the most celebrated tracks here, but the accent is on lesser-heard performances that first came out on other archival compilations. In fact, the fine Earl King cover "Come On (Let the Good Times Roll)" (from Electric Ladyland) is the only other song that came out in Hendrix's lifetime. The other selections vary from inspired ("Hear My Train a Comin'," recorded in early 1969 with the original Jimi Hendrix Experience lineup, and a solo "Midnight Lightning") to rather routine jams, though Hendrix's imaginative virtuosity and affinity for the blues is usually evident. This being a posthumous Hendrix release, it couldn't be complete without a couple of previously unissued tracks to tempt the completists, though these aren't too exciting. Those are the 1969 outtakes "Georgia Blues," on which Hendrix is actually more like a backing musician for Lonnie Youngblood (who takes lead vocals), and "Blue Window," a nearly 13-minute outing that gives vent to his jazzier tendencies, the arrangement also featuring organ, three saxophones, and two trumpets. The liner notes about Jimi's blues record collecting habits by mid-'60s girlfriend Faye Pridgon, by the way, are pretty cool. ~ Richie Unterberger, All Music Guide |
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2006: Al Di Meola - Consequence Of Chaos |
Music » Jazz » Fusion |
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 Artist: Al Di Meola Album: Consequence Of Chaos Label: Telarc Distribution Year: 2006 Format, bitrate: mp3, 320 kbps Time: 1:03:53 Size: 103.27 Mb The sticker on the disc's cover states that this is "a return to his solid-body electric guitar," and while that may be true in parts, Consequence of Chaos is still pretty far from the tense, nonstop electric sizzle of di Meola's first three albums, which are landmarks in the jazz fusion genre. And while there is plenty of electric guitar here -- and a musical reconnection with Chick Corea, Steve Gadd, and Barry Miles, all of whom have previously worked with di Meola -- this is still dominated by the world music and more subtle framework that have characterized the guitarist's playing for the last few decades. The performances are uniformly excellent, and even though the approach shifts from prog to acoustic to electric and world, di Meola's distinctive style and classy approach congeal the music with authority. "Tao" alone takes more turns than a craggy mountain road, but never gets predictable or pretentious. Di Meola knows when to hold back and when to unleash his precise, percussive, fret-shredding Latin lines, and it's that sense of restraint that makes this disc, and much of his recent work, so successful. These instrumental pieces lay down a groove upon which di Meola solos with different combinations of musicians. Melodies are difficult to pinpoint, but the sublime playing keeps the listener's interest despite a tendency to wander. Four brief, low-key interludes feature an unaccompanied di Meola playing all the instruments, and provide a more relaxed counterpoint to the busier band tracks. Percussionists Ernie Adams and Gumbi Ortiz's standout work, especially on the subtle "Hypnose," add hot, bubbling flavor to the project. Chick Corea only appears on two tracks, but both are highlights. The lovely acoustic duet on "Cry for You" brings out the best in both musicians as their interplay reaches new heights. Di Meola calls the nine-minute "Tempest" his most complex piece -- which is saying a lot -- as it twists through different moods and tones utilizing varying rhythms in an impressive display of the guitarist's dazzling skills. It's a summation of this album that shows di Meola, after 30 years as a solo artist, to be on the top of his game. ~ Hal Horowitz, All Music Guide |
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2002: The Modern Jazz Quartet - Complete 1951-1953 Studio Sessions |
Music |
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 Artist: The Modern Jazz Quartet Album: Complete 1951-1953 Studio Sessions Label: Definitive Records Year: Aug 18, 1951-Jun 25, 1953 ; release: 2002 Genre: Jazz/Cool Format mp3, bitrate: 320 kb/s Time: 1:02:45 Size: 146 Mb (full covers) AMG Rating:  This Definitive edition gathers the first recordings by the Modern jazz Quartet between 1951-1953, at a time when the group was still primarily known as Milt Jackson's Quartet. Some of these sessions represent the first officially issues of the original MJQ with drummer Kenny Clarke replaced two years later by Connie Kay. - freshsoundrecords.com |
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1980: Ernestine Anderson - Never Make Your Move Too Soon |
Music » Jazz » Vocal Jazz |
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 Artist: Ernestine Anderson Album: Never Make Your Move Too Soon Label: Concord Jazz Year: 1980; release: 1992 Quality: FLAC Tracks. Scans. Size: 203 Mb. AMG Rating 
The title cut of this near-classic album became a sort of theme song for Ernestine Anderson, but it is not the only high point. The singer sounds in top form on such fine material as "As Long As I Live," a touching "Old Folks," "My Shining Hour," and "Poor Butterfly." With fine assistance from pianist Monty Alexander, bassist Ray Brown, and drummer Frank Gant, Ernestine Anderson is heard throughout in prime form, sounding quite enthusiastic and powerful. Highly recommended. ~ Scott Yanow, All Music Guide |
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