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 Into the Rhythm
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1970: Jimi Hendrix - Live at Berkeley: 2nd Show |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Jimi Hendrix Album: Live at Berkeley (2nd show) Label: MCA Year: 1970; release: 2003 Genre: Rock, psychedelic rock, acid rock, blues-rock Format, bitrate: mp3;320kb/s Time: 67:47 Size: 159 MB The Berkeley shows by Jimi Hendrix are fairly well known because not only were the shows filmed, but they have been bootlegged pretty extensively over the years, as well. Live at Berkeley: 2nd Show marks the first official release of this material, and, like its predecessor, Blue Wild Angel: Live at the Isle of Wight, the show has its strengths and weaknesses. Things start loose, very loose, on "Pass It On," which is actually the music from "Straight Ahead" with some off the cuff lyrics, then into "Hey Baby (New Rising Sun)." Hendrix's guitar tone is fantastic, and there are some fine moments of soloing, but as far as the songs go, he seems distracted. Things start to pick up with "Lover Man" (check Billy Cox's bass playing here), and Hendrix really seems to find himself while romping through some older material like "Stone Free" and "Hey Joe." In fact, the solo on "Stone Free" is amazing, and quite unlike other live versions. It's clear that all the guitar electronics were working together (despite the brief security interruption on "Hey Joe;" again, shades of Isle of Wight), and by the time he gets into "I Don't Live Today" and "Machine Gun," Hendrix is in the stratosphere. The intensity drops just a bit as he finishes up the set, drifting into "Keep on Groovin'" while in the middle of "Voodoo Child (Slight Return)," but "Purple Haze" and "Foxey Lady" are still strong showings. The official release of more Hendrix archival material is not likely to ease his reputation as an inconsistent performer, but those who rightfully regard him as one of the finest electric guitarists ever will always be clamoring for good sounding live shows, and Live at Berkeley: 2nd Show will not disappoint at that level. ~ Sean Westergaard, All Music Guide |
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1967: Thad Jones & Mel Lewis - Live At The Village Vanguard |
Music |
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 Artist: Thad Jones & Mel Lewis Album: Live At The Village Vanguard Label: Blue Note Year: Apr 28, 1967 ; release: Jun 1, 1967 Genre: Jazz/Hard-Bop Format mp3, bitrate: 256 kb/s Time: 1:08:44 Size: 127 Mb Live at the Village Vanguard is a 1967 big band jazz album recorded by the Thad Jones / Mel Lewis Jazz Orchestra and released on the Solid State Records label. The album was nominated for a 1967 Grammy award in the "Best Instrumental Jazz Performance - Large Group..." - Wikipedia |
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1955: Herb Geller Quartet - The Gellers |
Cool, West Coast Jazz |
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 Artist: Herb Geller Quartet Album: The Gellers Label: EmArCy Year: 1955 Quality: MP3@320 kbps Size: 104 mb (sharebee) Total time: 48:32 Ïðîäîëæàåì çíàêîìñòâî ñ ñàìûìè èíòåðåñíûìè äæàçîâûìè ìóçûêàíòàìè! Herb Geller became one of the most important alto saxophonists of West Coast Jazz in the 1950s, beside Bud Shank and Lennie Niehaus. He always had his own, precise definition of jazz. For him, improvisations have to be melodic. ‘If you play,‘ he said, ‘it‘s like composing, just more difficult because it is impossible to erase faults‘. In 1965 Geller moved to Hamburg. Later he was a member of the NDR Big Band for several years and teached at the conservatory. ~ membran.comAlto saxophonist Herb Geller and his wife Lorraine Geller were married for only seven years prior to her sudden death from an undiagnosed heart ailment in 1958, but they were fortunate that they were able to work regularly together and also make several records with each other (three albums for Emarcy and an extended-play 45 rpm disc for Imperial), all of which are gathered in this compilation. Herb has been an underrated saxophonist because he has spent most of his working life in Europe following Lorraine's death, but he was among the top echelon of West Coast players during the 1950s, while Lorraine was just as capable, whether soloing or backing her husband. ~ Ken Dryden, All Music Guide |
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2009: The Vandermark 5 - Annular Gift |
Modern Jazz, Freejazz |
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 Artist: The Vandermark 5 Album: Annular Gift Label: Not Two Records Year: 2009 Format, bitrate: mp3, 320 Size: 169 mb "Annular Gift is its most accessible and swinging recording to date" - Mark Corroto, All About Jazz Multi-instrumentalist, composer, and bandleader Ken Vandermark has led his flagship ensemble, the Vandermark 5, through a decade's worth of personnel changes. Despite the band's rotating roster, the ensemble's sound has remained remarkably consistent. A powerhouse unit capable of serene delicacy as well as unfettered intensity, the quintet has won a legion of fans the world over for its uncompromising vision of contemporary creative improvised music.
The current line-up has been active for three years now, documented on two remarkable studio records, A Discontinuous Line (Atavistic, 2006) and Beat Reader (Atavistic, 2008). Annular Gift is this incarnation's first live album, documenting in crystal clear sound their unflagging energy and dynamic sensibility over two nights (March 14 & 15, 2009) at the internationally renowned jazz club Alchemia, in Krakow, Poland.
The mammoth opener "Spiel (for Bertolt Brecht and Kurt Weill)" showcases the remarkable versatility of the newest member, cellist Fred Lonberg-Holm. Negotiating the lengthy tune's numerous dramatic shifts, Longberg-Holm alternates between amplified and acoustic sonorities, veering from coruscating feedback to spectral pointillism. Typical of Vandermark's episodic writing, the piece eschews standardized forms, modulating through a series of stylistic changes that range from metallic funk to austere neo-classicism. The rhythm section gracefully complies with each transition as Vandermark's brawny tenor cries and tranquil clarinet musings contrast with Dave Rempis' serpentine alto salvos.
The thorny harmonic changes of the boppish "Table, Skull, and Bottles (for Bruno Johnson)" provide fodder for a string of pungent soliloquies, including an especially trenchant alto screed from Rempis. Taking advantage of a brief respite, Vandermark reveals his bluesy lyricism on the somber beginning of "Early Color (for Saul Leiter)," before the piece builds to a caterwauling finale. Kent Kessler's quicksilver bass technique introduces the robust swinger "Second Marker (for Ab Baars)" and drummer Tim Daisy provides the labyrinthine "Cement (for Michael Haberz)" with a hypnotic groove, fueling Lonberg-Holm's kaleidoscopic ruminations and a climactic tenor saxophone duel between Vandermark and Rempis. The entire ensemble contributes to the punchy closer "Cadmium Orange (for Francis Bacon)," ending the set with a rousing assault of jagged angles and pugilistic downbeats.
For many reasons, working groups tend to be an unfortunate rarity in today's jazz scene. For 11 years Vandermark has done a phenomenal job of keeping this group together, and not only vital—but inspiring. Annular Gift proves their second decade looks to be as promising as their first. ~ Troy Collins, All About Jazz |
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2001: Black Note - 43rd. & Degnan |
Jazz, West Coast Jazz, Post-bop |
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 Artist: Black Note Album: 43rd. & Degnan Label: World Stage Year: 2001 Format: mp3, 320 kb/s Size: 160MB (w/scans) Time: 1:03:32 Straight Ahead Jazz produced by legendary drummer Billy Higgins. Although the Los Angeles-based group Black/Note has recorded for Columbia and Impulse, their debut was actually made for the tiny World Stage label, which (like the club) is run by drummer Billy Higgins. At the time the group was a quintet (trumpeter Richard Grant would eventually depart), and while sticking to originals, Black/Note essentially played modern hard bop. With the Jackie McLean-inspired altoist James Mahone, pianist Ark Sano, bassist Mark Shelby and drummer Willie Jones III (who has thus far had the most significant individual career) joining Grant in the band, the music is well-played, spirited and swinging in its own fashion. Worth searching for. ~ Scott Yanow, All Music Guide |
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1976: Stomu Yamashta, Steve Winwood & Michael Shrieve - Go |
Music » Jazz » Fusion |
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 Artists: Stomu Yamash'ta, Steve Winwood, Al Di Meola, Klaus Schulze & Michael Shrieve Album: Go Label: Universal Distribution Year: 1976 Format mp3, bitrate: 320 kbs (LP-rip) Time: 41:06 Size: 95,34 mb AMG rating  Go (1976) is a concept album in the truest sense of the term, fusing pop/rock with tinges of jazz and elements of classical all connected by a central motif of space travel. More specifically, according to Robin Denselow's liner essay, the theme deals with "change and polarity-fantasy and reality, death and re-birth, things changing to their opposites." Stomu Yamashta, Steve Winwood and Michael Shrieve lead an impressive ensemble through soundscapes, unveiled in a variety of perspectives. Perhaps it is the international cast of performers that allows for such an unfettered consortium of ideas that brought together former Spencer Davis Group, Traffic and Blind Faith member Steve Winwood, as well as Santana co-founder Michael Shrieve and mid-'70s era Santana percussionist Yamashta — the latter of whom were key benefactors to the criminally underrated Santana long-player Borboletta (1974). Ably assisting the festivities are Return to Forever's Al DiMeola (guitar), Klaus Schulze (synthesizer) whose contributions to Tangerine Dream and Ash Ra Tempel remain unequaled, and Winwood's one-time Traffic accomplice Rosko Gee (bass), who also had a fruitful run with Can. Each side of the original LP contains a complete suite of interconnected and continuous music. The haunting and brooding "Crossing the Line" is reminiscent of prog-rockers Alan Parsons Project or pretentious Pink Floyd [read: anything past Meddle (1971)]. Winwood's echo-laden vocals give him an almost palpable and uncomfortable quality, perfectly suited for the austere setting that is light years away from the likes of "Sea of Joy" or "Gimmie Some Lovin'," yet is remarkably akin to "No Time to Live" from Traffic's self-titled platter. Exceedingly soulful is the propellant "Ghost Machine," with DiMeola's fiery fretwork at its best. The funky "Time Is Here" gives Winwood a perfect outlet for his R&B roots, while "Winner/Loser" — boasting the project's only lyrics penned by Winwood — concludes with what is arguably the most accessible pop excursion. Robin Denselow's aforementioned essay goes into great detail regarding a rather involved story line aimed at further unifying the otherwise disparate pieces. While the plot won't be ruined here for potential consumers, if your non-musical interests include Dungeons & Dragons, Star Wars and other Brainiac-related activities, the two song cycles that comprise Go will definitely be right up your alley. It scored considerably well with audiences in 1976, reaching number 60 on the Pop Album chart. In 2004, Hip-O Select compiled both Go and the companion concert. Go Live From Paris (1977). on to a limited-edition (of 2,500) two-CD package with audio remastered by Gavin Lurssen of the illustrious Mastering Lab. ~ Lindsay Planer at All Music Guide |
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1962: Nina Simone Sings Ellington |
Music » Jazz » Vocal Jazz |
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 Artist: Nina Simone Album: Nina Simone Sings Ellington Label: Roulette Records Year: 1962 Format mp2, bitrate: 320 kbs Time: 32:00 Size: 86,25 mb (with covers) Nina Simone was on her way to becoming a major name by 1962, with her protest and civil rights songs giving her acclaim and recognition far beyond the jazz world. This CD reissue is a change of pace for the singer/pianist, who is heard performing 11 songs written by Duke Ellington and/or Billy Strayhorn. Backed by an unidentified string orchestra (the accompaniment is often sparse) and the Malcolm Dodds Singers, she not only revives the usual Duke hits but such obscurities as "Hey, Buddy Bolden," "Merry Mending," and "You Better Know It." None of these performances sound like the typical treatment of Ellington material, with "I Got It Bad" having a gospel feel, "Something to Live For" being brief but heartfelt, "I Like the Sunrise" sounding like a big production number, and "Satin Doll" being taken as an instrumental. The brevity of this CD is unfortunate and this project should have been combined with another former LP, but what is here is quite intriguing and original. ~ Scott Yanow, All Music Guide |
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1976: Ahmad Jamal - Steppin Out With A Dream |
Music » Jazz » BeBop » Post-bop |
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 Artist: Ahmad Jamal Album: Steppin Out With A Dream Label: 20th Century Records Year: 1976 Quality: mp3\320 Size: 99.14 ÌÁ
Unlike Ahmad's other LPs for 20th Century, this one's a fairly straight set of tracks, with (mostly) acoustic piano (although he does play Fender Rhodes on one track). He's backed by a nice combo that features Calvin Keys on guitar, Frank Gant on drums, John Hurd on bass, and Selden Newton on assorted percussion. The tracks are long, with a spiritual vibe that sounds like some of the Walter Bishop records on Black Jazz. The set includes the nice electric track "Tuscon", plus "Crossfire" and "Handicapper". © 1996-2010, Dusty Groove America, Inc. |
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