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1934-1949: Ben Webster - Cadillac Slim 2CD |
Music » Jazz » Mainstream |
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 Artist - Ben Webster Album - Cadillac Slim Label - History Years:1934, 1939-1941, 1946, 1949, release - 2002 Quality - MP3@320 kbps Size - 99,8; 97 mb (sharebee) Total time: 47:23+55:15 REPOST by request with new links Ben Webster was one of the great pre-bop tenor saxophonists, ranking just below Coleman Hawkins (his main influence) and Lester Young (with whose family band he had played early on) in importance. This 2002 CDs has highlights from the first half of Webster's career, but it is a rather frivolous release. All of the music (15 selections from a two-year period with Duke Ellington, three songs from Rex Stewart's small group from the Ellington band, two tunes with Bennie Moten in 1932 and a song apiece with Willie Bryant, Lionel Hampton and Benny Carter in 1946) is currently available elsewhere. No rarities are included, except for perhaps the 1946 rendition of "Cadillac Slim." Webster is heard throughout at his best, but since he did not record for Victor as a leader, he is just one of many top sidemen. While the set is filled with classics (including "Cotton Tail," "All Too Soon," "Bojangles," "Just A-Sittin' and A-Rockin'" and "Chelsea Bridge"), one wishes that RCA had spent their time and resources making more obscure music available instead. ~ Scott Yanow, All Music Guide |
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1998: A Portrait Of Duke Ellington |
Music » Jazz » Traditional Jazz » Classic Jazz |
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 Artist: Duke Ellington Album: A Portrait Of Duke Ellington [Gallerie] 2cd Label: Gallerie UK)/Music Club Format, bitrate: 320 kbs mp3 Time: 2:25:34 Size: 361 mb (covers) Duke Ellington led the world's finest big band for almost half a century, wrote over 5,000 compositions, ranging from straight pop songs through to complete suites, provided film soundtracks and generally, more than anyone else, provided the name of jazz with respectability...
But the Duke always acknowledged that his musicians, many of whom stayed with him for what seemed like a lifetime, were just as important as he himself. Men like baritone saxist Harry Carney, who joined the band in 1926, alto-playing creator of beauty Johnny Hodges, who linked with Duke two years later, growl trumpet specialist Cootie Williams a stayer from 1929, and trombonist Lawrence Brown, who joined in 1932. Without the men, what could I do ?" Ellington once remarked, "I could keep on composing something I always intended to do but then I'd have nobody to play the things I write so that I can know what they sound like.". When writing, the bandleader always knew the sounds and colours that specific musicians could create. It made things easier. When writing pieces like "Concerto For Cootie", he could know exactly how Cootie Williams would interpret the theme. |
Not that his sidemen appreciated Duke's genius during his early days. The exquisite "Creole Love Call", featuring the wordless vocal of Adelaide Hall, blended with clarinet, was among the arrangements that seemed completely off-the-wall in the late '20s. Clarinetist Barney Bigard, a co-writer of Mood Indigo, which featured a then-unique trombone, clarinet and bass clarinet sound considered that Ellington "wrote so weird." But Bigard, like many others, came to realise that they were contributing to something that was well ahead of its time, created by one of the few men who ever really changed the the face of jazz. Surprisingly, perhaps, it was Billy Strayhorn, a classically trained musician, who changed genre allegiance after hearing Duke's 'Ebony Rhapsody', who wrote 'Take The A Train', an instrumental that became
Ellington's theme tune. Strayhorn, whose other compositions heard here, include the wistful 'Chelsea Bridge' (written after viewing a Thames-side painting by Whistler) and the off-centre riffs that comprise 'Johnny Come Lately', became Ellington's co-conspirator, bringing added sophistication to the band up to the time of his death in 1967, an event which deeply affected Duke. But he upped the already alarming tempo of his work and, as if suddenly realising that life wasn't forever, he moved into compositional overdrive claiming: "Worry is the shortcut to the end of line. Nothing's worth worrying about, because worry destroys you." So Duke died as he wanted,
virtually in harness, still writing, his heart eventually giving way on May 24, 1974, just a few months after playing his final concert. Urbane, witty and a musician who could be ' called a genius without use of hypebole, he left behind a legacy of wonderful music, the cream of which ranging from the pop hits like 'I'm Beginning To See The Light' and 'Don't Get Around Much Anymore' through to 'Black And Tan Fantasy' which appeared in Duke's earliest film is featured on this vital double-album. Love it madly. ~ Fred Dellar at Mojo |
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1993: Pat Metheny - The Road to You: Recorded Live in Europe |
Music » Jazz » Fusion » Crossover Jazz |
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 Artist: Pat Metheny Album: The Road to You: Recorded Live in Europe Label: Geffen Records Year: 1993 Format mp3, bitrate: 320 kbs Time: 73:55 Size: 176 mb (with covers) AMG Rating:  When Metheny celebrates his cerebral side, he usually follows up with something more accessible. After his difficult yet rewarding collaboration with John Scofield, I Can See Your House from Here, Metheny stresses accessibility with this captivating live album. The primary focus is on his Brazilian-influenced material from Still Life (Talking) and Letter from Home, and the very cohesive Pat Metheny Group offers characteristically expressive versions of such favorites as "Have You Heard," "Beat 70," and "Better Days Ahead." While he could have offered a wider variety of material and perhaps revisited some of his early gems, everything that he does include comes across as honest and heartfelt. Thankfully, Metheny's emphasis on accessibility and crowd-pleasing doesn't come at the expense of his artistic integrity. ~ Alex Henderson , All Music Guide |
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1952: Dizzy Gillespie Live A Milano |
Music » Jazz » BeBop |
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 Artist: Dizzy Gillespie Sextet Album: Dizzy Gillespie A Milano Label: Blue Jazz CD 002 Year: 1952 Quality: mp3@320; FLAC Size 123 Mb; 350 Mb REPOST with new links The first italian tour of Dizzy Gillespie was in april 1952 He was coming from Paris (France) and the band was essentially french save for Don Byas (sax t) and Bill Tamper (tbn). The french musicians are: Hubert Fol (sax a), Raymond Fol (p), Pierre Michelot (bs), Pierre Lamarchand (drm). The concert in Milan on april 8 of Teatro Nuovo, the only recorded, was issued more than 30 years after and never reissued. |
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1967–1970: Jimi Hendrix - South Saturn Delta |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Jimi Hendrix Album: South Saturn Delta Label: MCA Years: 1967–1970; release: 1997 Genre: Rock, Acid Rock, Blues-rock, Hard rock, Funk rock Format, bitrate: mp3; 320 kb/s Time: 65:47 Size: 153 MB Shortly after the Hendrix family reacquired the rights to Jimi's catalog, they signed a long-term deal with MCA Records and pulled many of the compilations of unreleased material and rarities off the shelves, with the intent of re-releasing the material in better collections. First Rays of the New Rising Sun, an attempt at assembling Hendrix's uncompleted last album, was the first release from Experience Hendrix LLC, and it was followed months later by South Saturn Delta, a collection of rarities -- all but one of the 15 tracks were never officially released in the U.S. -- that spans his entire career. Its intent is to capture the full range of Hendrix's music through an alternate history, and it works pretty well. Among the highlights are tracks from the War Heroes and Rainbow Bridge Concert albums ("Look Over Yonder," "Tax Free," "Midnight," "Pali Gap," "Bleeding Heart"), "Sweet Angel" (an early version of "Angel"), an instrumental "Little Wing," a solo take on "Midnight Lightning," and a studio version of "Message to the Universe (Message to Love)." There are also alternate mixes of "All Along the Watchtower," "Power of Soul," "Drifter's Escape," "South Saturn Delta," and "The Stars That Play With Laughing Sam's Dice." It's an intelligently sequenced, listenable collection of some of the very best outtakes and rarities from Hendrix, and is another sign that Experience Hendrix LLC's restoration of Jimi's catalog will be smart, stylish, and logical. ~ Stephen Thomas Erlewine, All Music Guide |
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1959: Wayne Shorter - Introducing Wayne Shorter |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Wayne Shorter Album: Introducing Wayne Shorter Label: Vee-Jay Year: 1959, release: 2004 Format: mp3@256 kb/s Size: 120MB w/scans Time: 1:05:52 Also known as Blues A La Carte, this Vee Jay disc has tenor-saxophonist Wayne Shorter's first session as a leader and it shows that, even at this early stage, Shorter was far along toward developing his own sound. Teamed up with trumpeter Lee Morgan, pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb, the six selections (five of which are Shorter originals) capture the young tenor shortly after he joined Art Blakey's Jazz Messengers. The music is essentially hard bop and, although none of these Shorter tunes caught on, the music is quite enjoyable. A special treat is the one standard of the date, a swinging version of "Mack The Knife." ~ Scott Yanow, All Music Guide |
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Membran Music's Jazz Ballads Series, Set-II: Ben Webster (2 CD) |
Music |
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 Artist: Ben WebsterAlbum: Jazz BalladsLabel: Membran Music Year: 1940-1954; release: 2004 Genre: jazz, swing, balllads Format, bitrate: mp3, 320 kbps Time: 1h, 1 min, 39 sec + 1h, 0 min, 37 sec Size: 148+146 mb. Ïðîäîëæó ñåðèþ äæàçîâûõ áàëëàä, íà÷àòóþ ã-íîì Malieff. Ñåãîäíÿ Âàøåìó âíèìàíèþ ïðåäëàãàåòñÿ âòîðîé ñåò èç ýòîãî çàìå÷àòåëüíîãî ñáîðíèêà, ïîñâÿù¸ííûé òâîð÷åñòâó ïîòðÿñàþùåãî ñàêñîôîíèñòà - Áåí Óýáñòåðà.
Âû ñïðîñèòå ìåíÿ, ïî÷åìó èìåííî âòîðîé ñåò, à íå ïåðâûé. À Âû âçãëÿíèòå íà êàëåíäàðü - èìåííî ñåãîäíÿ Áåíäæàìèíó èñïîëíèëñÿ áû ðîâíî ñòî îäèí ãîä. Òàê ÷òî, êàê ïðèíÿòî ïèñàòü â íàøåì êëóáå - HAPPY BIRTHDAY, mr. WEBSTER! |
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1943: Lester Young & Coleman Hawkins - Classic Tenors |
Music » Jazz » Mainstream |
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 Artists: Coleman Hawkins, & Lester Young Album: Classic Tenors Label: Joker/Philips Year: 1943, release: 1962 Quality: MP3@320 kbps (LP-rip) Size: 90,3 mb (sharebee) Total time: 43:55 AMG Rating Although this LP is long out of print, its brilliant contents have since been reissued by Bob Thiele on a couple of his labels. Hawkins is featured on eight of the 12 selections. Half come from a fine session with trumpeter Bill Coleman, but the other four are of greatest interest, for they find the tenor saxophonist in a quartet with pianist Eddie Heywood, bassist Oscar Pettiford, and drummer Shelly Manne. Their rendition of "The Man I Love" has what is arguably Heywood's finest solo, preceding a lengthy roaring statement by Hawkins. The other tracks ("Sweet Lorraine," "Get Happy," and "Crazy Rhythm") are almost as special. In addition, this LP finishes off with an excellent session from tenor saxophonist Lester Young, trombonist Dickie Wells, and trumpeter Bill Coleman. Wells' high-note trombone solo on "I'm Fer It Too" is a crackup. ~ Scott Yanow, All Music Guide |
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2009: Monty Alexander - Calypso Blues: The Songs of Nat King Cole |
Music |
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 Artist: Monty Alexander Album: Calypso Blues: The Songs of Nat King Cole Label: Chesky Records Genre: Piano Jazz Format mp3, bitrate: 320 kb/s Time: 56:03 Size: 128 Mb AMG Rating:  Monty Alexander follows up his tribute to Tony Bennett with an homage to another classic jazz singer, Nat King Cole. Also recorded in New York City at St. Peter's Episcopal Church with the same trio of Chicagoans Lorin Cohen on bass and drummer George Fludas, the veteran pianist seems more in his element with this artist's repertoire that sharply defined his personal sound and thinking about populist jazz. Though all of the tunes selected are not so closely linked to Cole's hit parade songbook, the way Alexander plays them with subtlety and depth certainly reflects what made Cole the king in the late '50s and early '60s. Though a competent singer, Alexander does not attempt vocalizing them, and that's all right. What he does is lovingly construct these melodies and extrapolate on them later — the best way of honoring these great American popular songs. Though "Straighten Up and Fly Right" is not credited as it is in Ira Gitler's liner notes, it's a distinct part of and extant in the theme of the bluesy, two-fisted, and breezy "Can't See for Looking." "Ramblin' Rose" is not at all typical in a bouncy, cowpoke swing, and "Send for Me" has Alexander staggering the chord phrases as if he's juggling them, with double stops and bouncy stride or boogie-woogie inferences. Most typically Nat is the straight-ahead take of "Almost Like Being in Love," the short and sweet "Fascination," and the steamrolling "Sweet Georgia Brown," a tune Cole loved to tear it up on, showcasing Alexander at his best. The most unusual selections go into ethnic overtones, as "Hajji Baba" is Arabic in nature with its mystical exoticism and the storybook, childlike version of "Never Let Me Go" refers to Alexander's Caribbean roots, mixing a bossa nova and reggae feel into a light, cool whip. The CD is bookended with versions of the title track, where Alexander wields the melodica playfully, again in spicier Latin frames. With the immaculate sound and performance by this fine trio — not to mention that they didn't exactly play Cole's songbook rote or by the numbers — it's hard to fault the effort, heart, and soul behind this concept album that should delight many jazz listeners. - Michael G. Nastos at All Music Guide |
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1978: Lenny White - Streamline |
Music » Jazz » Fusion |
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 Artist: Lenny White Album: Streamline Label: Wounded Bird Records Year: 1978; release: 2002 Format, bitrate: mp3, 320kbps Time: 34:21 Size: 90Mb Lenny White's 1977 recording The Adventures of Astral Pirates was an incredibly tough act to follow — so tough, in fact, that anything less than a five-star gem was likely to seem a bit disappointing. Streamline, the 1978 LP that came right after The Adventures of Astral Pirates, isn't a five-star gem, but it isn't bad either. Although not in a class with The Adventures of Astral Pirates or 1975's Venusian Summer, let alone White's work with Return to Forever, Streamline is a generally decent, if mildly uneven, collection of instrumental jazz fusion and R&B vocal numbers. While this album (which White produced with Earth, Wind & Fire keyboardist Larry Dunn) isn't as R&B-oriented as White's Twennynine projects would be, the drummer is obviously going after R&B audiences on "Time" (a somewhat Earth, Wind & Fire-ish funk item) and an interesting cover of the Beatles' "Lady Madonna" (which features soul goddess Chaka Khan). But there is also plenty of fusion, and instrumentals like "Night Games," "Struttin'," and the Brazilian-influenced "Pooh Bear" are enjoyable even though they fall short of the brilliance of the material on The Adventures of Astral Pirates and Venusian Summer. While Streamline isn't among White's essential albums, it's a likable set. ~ Alex Henderson, All Music Guide |
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1955: Dizzy Gillespie - Afro |
Music » Jazz » BeBop |
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 Artist: Dizzy Gillespie Album: Afro Label: Verve Year: 1955 Release: 2002 Format, bitrate: mp3, 320kb/s Size: 65MB AMG rating:  Pairing Dizzy Gillespie with Cuban arranger/composer Chico O'Farrill produced a stunning session which originally made up the first half of a Norgran LP. O'Farrill conducts an expanded orchestra which combines a jazz band with a Latin rhythm section; among the participants in the four-part "Manteca Suite" are trumpeters Quincy Jones and Ernie Royal, trombonist J.J. Johnson, tenor saxophonists Hank Mobley and Lucky Thompson, and conga player Mongo Santamaria. "Manteca," written during the previous decade, serves as an exciting opening movement, while the next two segments build upon this famous theme, though they are jointly credited to O'Farrill as well. "Rhumba-Finale" is straight-ahead jazz with some delicious solo work by Gillespie. A later small-group session features the trumpeter with an all-Latin rhythm section and flutist Gilberto Valdes, who is heard on "A Night in Tunisia" and "Caravan." Both of the Latin versions of these pieces are far more interesting than "Con Alma," as the excessive percussion and dull piano accompaniment add little to this normally captivating theme. Long out of print, this 2002 CD reissue will only be available until May 2005; it is well worth acquiring. ~ Ken Dryden, All Music Guide |
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