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Artist: Hamid Drake & Bindu Album: Reggaeology Label: Rogue Art Year: 2010 Format, bitrate: mp3, 320 Size: 152 mb
Highly recommended to all jazz fans with even modest interest in reggae music
For the first two minutes of atmospheric discourse between the twin trombones of Jeb Bishop and Jeff Albert, and the human beatbox that is Napoleon Maddox, you would be forgiven for thinking that Hamid Drake's Reggaeology was an ironically titled free improv set. But that impression doesn't last. Infectious riddims kick in, based on Bob Marley's "One Drop," and from that point on it's a joyous ride. As the third disc from the drummer's leadership vehicle, Bindu, Reggaeology continues the template set by its predecessors only inasmuch as it is completely different to what went before. Their eponymous debut featured four saxophones, stoked by the leader's drums, while Blissful (RogueArt 2008) was predicated upon spontaneously generated string and percussion grooves, and devotional declamations. This time out, while the recitations—by either Maddox or Drake—remain, they are slung from reggae beats with a two-'bone horn section. Also gathered under the Bindu umbrella are fellow Windy City fixtures Jeff Parker on guitar and Josh Abrams on bass and guimbri. To oversimplify, the 68-minute program alternates overtly reggae-based pieces with other world-based rhythm outings, all spiced with pockets of improvised colloquy and timbral exploration. Given Drake's extensive reggae back story, it's no surprise that the riddims carry conviction. Both trombonists stretch the horn section vernacular with expressive soloing and relaxed conversation, without the need to draw on avant technique to make their mark. Parker nails the off-beats, but still gets to step out, with guitar hero calisthenics, on the standout opener, "Kali's Children No Cry." Elsewhere he's more restrained, while Abrams gets right down to the roots. Maddox is the wildcard, whether plying a litany of shushes, clicks and pops, crooning sweetly, or intoning spiritual texts. "Togetherness" spotlights Maddox simulating scratching and dub technology, a trick cleverly echoed by the syncopated trombones, while Drake's bass and drum "Take Us Home" benefits from the real thing. Reprised from the band's debut, "Meeting and Parting" is given a choppy, reggae makeover, features amiably duetting trombones. A half-spoken Maddox lyric—which, like a few of the vocals, holds up less well over repeated listens than the accompaniment—is one of the few misfires on this successful genre-busting mash-up.
Guitarist Warren Cuccurullo began his career with Frank Zappa, so it should come as no surprise that when he made his return to experimental music after years of pop craftmenship with Duran Duran and Missing Persons, he would do so under the guise of Thanks to Frank, a tribute to the late composer. Working with bassist Pino Palladino and drummer Vinnie Colaiuta, Cuccurullo sounds creatively reborn. Drawing from a variety of different world musics, the guitarist fashions complex and challenging soundscapes that prove he learned a lot from Zappa. It's not a consistent record, but the best moments on Thanks to Frank showcase a guitarist overcome with the joy of finding his own voice.
Artist: Hank Jones Album: Relaxin' At Camarillo Label: Savoy Jazz Year: 1956 Quality: MP3@320 kbps Size: 78,3 mb (LP-rip) Total time: 34:45
Pianist Hank Jones recorded fairly extensively for Savoy during 1955-56, and most of the music was reissued on LPs in the late '70s and early '80s, although the performances have only partially appeared thus far on CD. For his final Savoy session, Jones is teamed with Bobby Jaspar (an excellent tenor player who here sticks exclusively to his fluent flute), bassist Paul Chambers and drummer Kenny Clarke. The music is quiet, but often swings hard. Jones is well featured on three underrated standards ("Moonlight Becomes You," and Cannonball Adderley's "Spontaneous Combustion" and a 13-minute rendition of "Relaxin' at Camarillo"), the obscure ballad "Sunday in Savannah," and his own "Minor Contention." This combination of musicians works together quite well.
Artist: Duke Ellington Album: Unknown Session Label: Columbia/Sony Music Distribution Year: 1960; release: 1979 Format mp3, bitrate: 320 kbs (vinyl rip) Time: 38:53 Size: 94,8 mb AMG rating
Discovered in Columbia's vaults 19 years after it was performed, this recording features a septet from Duke Ellington's orchestra keeping busy in the studios mostly playing standards and blues. With altoist Johnny Hodges, baritonist Harry Carney, trombonist Lawrence Brown and cornetist Ray Nance all having ample solo space, these renditions are quite enjoyable, swing hard and sound fresh. Ellington fans should pick this one up. ~ Scott Yanow, All Music Guide
Artist: Jessica Williams Quartet Album: Jessica's Blues Label: Jazz Focus Year: 1996,release: 1997 Format, bitrate: mp3, 320kb/s Size: 144MB Total time: 66min 30sec AMG Rating
Virtuosic pianist Jessica Williams is best heard as an unaccompanied soloist, where her imagination and wit can run wild, but she also fares quite well when playing with sympathetic musicians. This outing matches her with bassist Jeff Johnson, drummer Mel Brown and (on seven of the 11 numbers) Jay Thomas, who shows that he is equally skilled on tenor and trumpet. The emphasis is on the blues (other than "Baby, Won't You Please Come Home"), but by using different tempos, moods, and to a small extent styles, the musicians perform a surprisingly varied program. Thomas' swinging tenor solos (in the tradition of Gene Ammons) and fluent trumpet (check out the ancient sound he gets while muted on "St. Louis Blues") are major assets; he sometimes overdubbed a second horn for the ensembles. However, Jessica Williams easily emerges as the main star, whether ripping into the cooking "Raised Fourth" (a Thelonious Monk line), playing a boogaloo-ish "Sneak Preview," hinting at Red Garland and Bill Evans, or contributing a whistle to "Smoking Section" (which is dedicated to Rahsaan Roland Kirk). This date is highly recommended to straight-ahead jazz fans and is yet another strong addition to Jessica Williams' rapidly growing discography. ~ Scott Yanow, All Music Guide
Artist: The Modern Jazz Quartet Album: The Little Comedy: Fontessa: Ljublijana, May 1960 Label: Giants Of Jazz Year: 1960, release: 1999 Format: APE, CUE Time: 62:23 Size: 267 Mb
After drummer Connie Kay passed away, this previously unreleased concert, recorded in Slovenia in 1960, was issued on a CD and dedicated to him. The Modern Jazz Quartet (which also includes pianist John Lewis, vibraphonist Milt Jackson and bassist Percy Heath) is heard in surprisingly inspired form playing their usual repertoire of the time. Highlights include a 23-minute medley of John Lewis compositions, "How High the Moon".Lewis has stated that the group never played better than during this concert. Although that statement is debatable, the MJQ certainly sounds in prime form throughout the easily recommended release.~ Scott Yanow, All Music Guide
Artist: Monty Alexander, Ray Brown & Herb Ellis Album: Triple Treat II (live) Label: Concord Jazz Year: ; release: 1987 Genre: Piano Jazz Format mp3, bitrate: 320 kb/s Time: 52:31 Size: 122 Mb AMG Rating:
Five years after the original Triple Treat, pianist Monty Alexander has a reunion with guitarist Herb Ellis and bassist Ray Brown in a program that is in the tradition of both Oscar Peterson and Nat King Cole. A special bonus is violinist John Frigo who sits in on four of the eight songs. Highpoints include Ray Brown's "Lined with a Groove," "Straighten up and Fly Right," "Seven Come Eleven" and "Lester Leaps In." -Scott Yanow at All Music Guide
Artist: Wayne Shorter Album: Joy Rider Year: 1988 Label: CBS Format: MP3, 320 kbps Time: 44 min Size: 101 MB
Wayne Shorter's occasional Columbia records of the 1980's are all disappointments. His compositions (there are seven on this out-of-print set) lacked the originality and quirkiness of his 1960's work and, although his sound was still very much intact, Shorter's improvisations tend to wander a bit aimlessly. On this album, Shorter (doubling on soprano and tenor) is joined by a basic trio (keyboardist Patrice Rushen, bassist Nathan East and drummer Terri Lyne Carrington) and such guest musicians as keyboardists Herbie Hancock and Geri Allen, bassist Darryl Jones and (on "Someplace Called Where") vocalist Dianne Reeves; it does not help. Skip this one and get Wayne Shorter's Blue Notes instead.
Artist: Miles Davis Album: 58 Sessions Featuring Stella by Starlight Label: Columbia Year:May 26, 1958-Jul 28, 1958 Format, bitrate: mp3 320kb/s; flac Time:63:50 Size: 366 Mb AMG rating:
This compilation somewhat erratically distills the contents of two very different releases featuring the 1958 Miles Davis Sextet. The first four tracks were originally issued as one side of a short-lived album entitled Jazz Track. On this disc, that same May 1958 studio session is augmented by three numbers from Jazz at the Plaza. The live session was held in the Persian Room of The Plaza Hotel in New York City on September 9, 1958. The spontaneous and complimentary style of performance ethic and trust among Davis and his musicians is at the fundamental core of his work here. This memorable sextet features: Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Bill Evans (piano), Paul Chambers (bass), and Jimmy Cobb (drums). The disc commences with the ominous enticement of the familiar minor-chord changes of "On Green Dolphin Street." The mid-tempo track revolves around the rush upon rush of solos passed between Davis, Adderley, Coltrane, and Evans in an economical yet carefree manner. Experiencing the multiplicity of depth and beauty on "Stella by Starlight" is the recommended method for maximum effect. The live set includes three staples of Davis' concert repertoire circa his John Coltrane collaborations. Their nod to Thelonious Monk on "Straight, No Chaser" is slippery and double -- possibly triple -- jointed. The band plays as if Monk might have been in the room that night. This is Davis at his most muted magnificence. All interested parties should seek out Jazz at the Plaza [2001], as it includes the entire live performance in the correct running order. Those wanting the complete studio sessions -- including a previously unissued alternate take of "Fran Dance" -- should consider the Complete Columbia Recordings. This somewhat pricey six-disc collection is likewise the final word on the Davis/Coltrane collaborations on Columbia.
Artist: Westlake College Quintet Album: College Goes To Jazz Label: Decca DL 8393 Year: 1956 Format, bitrate: mp3, 320 kb/s Covers Front/Back HD ~ Ripped from Original LP Time: 38 min Size: 80,64MB
A hipper group than you'd expect -- especially since they're all college kids! John Graas found these guys playing at Westlake College, and he rightly thought they had a sound that was well worth recording for Decca -- not surprising, since these guys have a similar chamber modern groove to some of Graas' own work for the label. The ensemble features tenor, trombone, bass, drums, and piano, the last of which is played by Dick Grove, probably the only player in the group who went onto become a more famous name. The titles include a lot of Graas originals -- including "Ghost Talk", "Westlake Bounce", "Theme", "Mood", and "La Paz"
Artist: Mary Lou Williams Album: Free Spirits Label: Steeplechase Year: 1975, release: 1974 Quality: MP3@320 kbps Size: 145 mb (sharebee) Total time: 68:24
Includes great trio cuts w/ Buster Williams (b) and Mickey Roker (d). ~ Ron Wynn, All Music Guide
The First Lady of jazz, Mary Lou Williams (1910 - 1981) was the evolution of jazz itself. Starting her professional career as pianist/composer/arranger in the 20s, her style was swing but in the 40s she adopted bop and later on she even ventured into the realm of avant-garde jazz. Yet she never lost her blues feeling which is evident in this CD. Original release in 1975. She contributed compositions and arrangements for many famous big bands such as Andy Kirk, Benny Goodman, Earl Hines, and Duke Ellington. In the late 60s and the 70s she was more focused on composing sacred music. And one of her jazz masses was choreographed by Alvin Ailey.~ jazzloft.com
Artist - Al Haig Album - Al Haig Trio (Esoteric) Label - Fresh Sounds Year - 1954, release - 2006 Quality - MP3@320 kbps Size - 97,3 mb (sharebee) Total time - 43:41
Repost by request
One of three albums that pianist Al Haig led in 1954 before slipping away into obscurity for the next 20 years, this long out-of-print set was reissued on CD by the Spanish Fresh Sound label. The bop pioneer is heard swinging 13 jazz standards, accompanied by bassist Bill Crow and drummer Lee Abrams. Few surprises occur in this straightforward and concise set other than the inclusion of the Dixieland standard "Royal Garden Blues," but it does give listeners a good example of Al Haig's abilities.~ Scott Yanow, All Music Guide
Al Haig (1924-1982) was still on his twenties when he became one of the first influential bebop pianists, having played in the Forties in groups led by Diz, Bird, Wardell Gray, and Stan Getz among others. Haig’s was a singing approach to the piano as well as a swinging one. He played with unusual sensitivity and taste, always lightly energized by an easily flowing pulsation. Al was no stomper, but he was far from fragile. This long one-day session was originally produced by Henri Renaud, the French jazz pianist, when he visited New York in the very early part of 1954. Al’s melodic improvisations get firm, unobtrusive support from drummer Lee Abrams, and bassist Bill Crow. This set was especially valuable because, in the early Fifties,Haig had been all-too-infrequently heard on records and, at 31, he proved he still had an important place in the modern jazz field.~ Fresh Sound Records
Artist: John McLaughlin Album: To The One Label: Abstract Logix Year: 2010; release: april 20, 2010 Format, bitrate: mp3, 320 kbps Time: 40 min, 1 sec Size: 97 mb
Passionate new recording reflects the ongoing profound impact of John Coltrane's A Love Supreme on McLaughlin's musical and spiritual quest (New York, NY) Fiery yet disarmingly open-hearted, the new album from John McLaughlin and the Fourth Dimension, To The One, bravely takes on the artistic and spiritual challenges first offered by Coltrane's jazz masterpiece A Love Supreme, while making extensive use of the pioneering musical and technical vocabulary that McLaughlin has honed since the beginning of his storied career. Available via Mediastarz in Europe and Abstract Logix in USA on April 20, 2010, To The One is the result of a burst of inspiration that struck the legendary English guitarist and composer in summer of 2009. This music started to come to me, McLaughlin explains, without any call from my part. The sound and feel of this new music took me back to 1965, to when I first heard A Love Supreme. I was 23 years old at that time, and struggling with questions of existence that we all confront sooner or later. Some of us discard them or don't bother to delve deeper, but that's not my nature. I was asking big questions: What is the meaning of life? What is this word god? What is this spirit? It was then that Coltrane came along and single-handedly brought this dimension of spirituality into jazz…it was a pivotal experience to me. It was so encouraging to me in both my musical and spiritual quests. To The One, as an album, is about those two aspects of my life music and spirituality crystallized by this recording of Coltrane's, and how A Love Supreme coincided with my search for meaning in life.
Artist: Joe Hill Louis Album: The One Man Band [vinyl rip] Released: 1971 Label: Muskadine Quality: mp3, CBR 320 Size:100 MB
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Artist: Booker Little Album: Booker Little Featuring George Coleman: Complete Recordings Label: United Artists, Bethlehem (CD Lonehill Jazz) Year: 1958 & 1961 (CD 2005) Format: mp3, 320kb/s Size: 175MB w/scans Time: 1:13:54
This exceptional release features trumpeter Booker Little’s complete recorded discography as a leader with tenor saxophone virtuoso George Coleman - on 2 great albums : "Booker Little 4 & Max Roach" (United Artists, 1958) and "Booker Little and Friend" (Bethlehem, 1961) The first album was the trumpeter’s recording debut as a leader; the 1961 album was his last. The listener is thus given the rare opportunity to chart the development of one of jazz’s greatest instrumentalists on one single CD. It is interesting to note Booker Little’s evolution as both a composer and improviser. While the earlier album is excellent, the latter gives testimony to the fact that Little’s playing had arrived at a new plateau. The exquisite compositions Victory And Sorrow, Looking Ahead and Matilde also show just how far the young trumpeter had grown as a writer. Booker Little left us far too soon, but these recordings are precious reminders of a trumpeter whose immense ability even at an early stage of his career leaves us wondering about what might have been.
Artist: Marcus Miller, Michel Petrucciani, Biréli Lagrène, Lenny White & Kenny Garrett Album: Dreyfus Night In Paris Label: Dreyfus Records Year: Jul 7, 1994; release: 2003 Genre: jazz Format mp3, bitrate: 320 kb/s Time: 50:26 Size: 123 Mb (full covers) AMG Rating:
The unique all-star group featured on this live set from 1994 had not only never performed together before as a band, but most of the musicians had never been on the same stage with each other before. Miles Davis had passed away three years earlier, so the two Marcus Miller pieces, "Tutu" (which sounds surprisingly similar to "So What" during the solos even if the chords are different) and "The King Is Gone" are in tribute to the late trumpeter. "The King Is Gone" is a straight-ahead extended blues, while "Looking Up" has heated solos over a simple vamp. Overall, Kenny Garrett and Michel Petrucciani generally take solo honors (Biréli Lagrène is a bit overshadowed), while Miller and Lenny White keep the rhythms stimulating. Although the three selections are each quite extended, they hold one's interest throughout.Excellent music. - Scott Yanow at All Music Guide
Artist: Elemer Balazs Quintet Album: Always That Moment Year: 2000 Label: BMC Total time: 61:41 Size: 467 + 151 MB (Inc. covers) Format: FLAC + MP3@320 Kbps
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Standard, in the dictionary this word means something set up as a rule for a measuring or as a model to be followed. According to a different meaning it stands for a figure adopted as an emblem by a people, or the flag. In jazz this means a well-proven repertory coming from the outside, mainly from the realm of popular music. Jazz musicians use this material since the first initiations of Louis Armstrong in the twenties. The list starts from Cole Porter with the Gershwin brothers, Jerome Kern, Richard Rodgers, through the composers of the prevailing superstars like Bing Crosby, Frank Sinatra, Elvis Presley, the Beatles, to the pop music of these days. Hungarian light music is also in possession of this musical layer, although our jazz musicians used it rather infrequentley, preferring American composers. These five Hungarian musicians have chosen the standards of Iván Szenes, Szabolcs Fényes, István Mihály, Jenõ Horváth, András Bágya, the elité of Hungarian light music as basis of their performance; proving that Hungarian composers created music equal in value to that of their world famous American contemporaries; although these pieces were written some decades ago, they still have something to tell today.From the CD cover
Artist: Nina Simone Album: Forbidden Fruit Label: Blue Note Year: 1961 Release Date: 07/03/2005 Format, bitrate: MP3, 320 KB/s Size: 166MB
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This is a reissue of Nina's 1961 Colpix album 'Forbidden Fruit', with the addition of an extra eleven tracks. The original LP has been reissued as part of other collections and many of the individual tracks also feature in other compilations. Both the songs from the original LP and the additional tracks feature Nina with just a small, sympathetic band - guitar, bass and drums - so this package does hang together and this is my favourite setting for Nina, so there are no distractions from her voice and piano. She's on great form here and songs like "Gin House Blues", and Oscar Brown Junior's "Work Song" and "Rags and Old Iron" are among her best work. The title track is also an Oscar Brown Jr. song and she and the band all sound as though they are really enjoying themselves on this uncharacteristically light-hearted song. Many of the additional tracks are also high quality offerings including Gershwin's "Porgy I'm still your woman" and Bessie Smith's "Gimme a pigfoot" and I particularly liked "Lonesome valley" and the very emotional "My ship". There are many Nina Simone CDs available but this one represents good value for 21 tracks from the early 60s featuring Nina at the top of her game doing a mixture of blues, jazz and standards.
Artist: Freddie Hubbard Album: High Blues Pressure Label: Atlantic SD 1501 Year: 1967/68 Format, bitrate: mp3, 320 kb/s Covers Front/Back HQ ~ Ripped From Original LP Time: 40min Size: 93,76MB
For this studio album, Freddie Hubbard expanded his quintet by adding tenor-saxophonist Bennie Maupin, Kiane Zawadi on euphonium and the tuba of Howard Johnson. The music is complex but swinging with fine solos from the trumpeter/leader, altoist James Spaulding, Maupin and pianist Kenny Barron.
Artist: Ben Webster&Stan Tracey Album: Soho Nights Vol. 1 Label: Resteamed Year: Jan 13, 1968 Release: 2008 Format, bitrate: mp3, 320kb/s Size: 122MB
Playing what fellow tenorman Simon Spillett's excellent sleeve notes refer to as 'a typical autumnal Ben Webster set', the great saxophonist is joined by Stan Tracey (piano), Dave Green (bass) and Tony Crombie (drums) for this January 1968 recording, taken from two sets played at Ronnie Scott's, where Tracey was house pianist. Previously unissued – and future releases from the same source are set to feature Freddie Hubbard, Sonny Rollins, Jimmy Deuchar and others – this album contains a good deal of Ellington or Strayhorn material (which Spillett rightly calls 'the thread linking Webster and Tracey') and the odd standard; whatever he's playing, though, Webster displays the mature, ripe, characterful sound that made him what Ronnie Scott calls him in his announcements: 'everybody's favourite tenor player'. To balance his familiar abrasive, querulous up- and mid-tempo tone, Webster has an affecting fluting high-register sound and his trademark breathy vibrato (especially effective on 'Londonderry Air' and 'Come Sunday' here), and Tracey, too, showcases his own utterly distinctive tripping, pleasingly clangorous, pungent approach in his solo spots. Selflessly driven by Green and Crombie, this is highly individual, informally idiosyncratic music from two great originals.
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Artist: Westlake College Quintet
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