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jasapaal
 Into the Rhythm
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1945-1953: Membran Music's Jazz Ballads Series, Set-V: Don Byas |
Swing, Mainstream |
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 Artist: Don Byas Album: Jazz Ballads Label: Membran Music Year: 1945-1953; release: 2004 Format, bitrate: mp3, 320 kbps Time: 1h, 1 min, 4 sec + 1h, 00 min, 46 sec Size: 147+146 mb. È ñíîâà â ïðåääâåðèè âûõîäíûõ ïðåäëàãàþ Âàøåìó âíèìàíèþ î÷åðåäíóþ ïîäáîðêó áàëëàä îò Ìåìáðàíû. Êàê ñêàçàë íàø äîðîãîé àäìèí lex â êîììåíòàðèè ê ïðîøëîé íîâîñòè À ÷òî? Íè÷åãî íîâîãî! Ïðîñòî ïðåâîñõîäíûé äæàç... Íàäåþñü, ýòîò êîììåíòàðèé ïðèìåíèì ê ëþáîìó èç äèñêîâ ýòîé çàìå÷àòåëüíîé ñåðèè. An advanced swing stylist, Byas‘ playing looked toward bop. His decision to move to Europe probably ist the reason for him being underrated. This 2 CD set contains a lot of great tracks |
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1956: Hank Mobley - The Jazz Message of Hank Mobley Vol.1 |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Hank Mobley Album: The Jazz Message of Hank Mobley Vol.1 Label: Savoy Jazz Year: 1956, release: 1994 Quality: MP3@320 kbps Size: 87,6 mb (sharebee) Total time: 41:37 Î÷åðåäíàÿ âñòðå÷à ñ áëåñòÿùèì ñàêñîôîíèñòîì! Other than a Blue Note date from the previous year, this CD contains tenor saxophonist Hank Mobley's first two sessions as a leader. With trumpeter Donald Byrd, either Hank Jones or Ronnie Ball on piano, Wendell Marshall or Doug Watkins on bass, drummer Kenny Clarke and (on three numbers) the unusual altoist John LaPorta, Mobley performs a mixture of originals and standards. The results (highlighted by "There'll Never Be Another You," "When I Fall in Love" and "Budo") are a swinging hard bop date. Nothing all that unusual occurs and the CD clocks in at an average LP's length but the swinging music is easily recommended to straight-ahead jazz fans and (unlike many of Denon's Savoy reissues), these two sessions are brought back complete. ~ Scott Yanow, All Music Guide |
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1932-1941: Art Tatum - Complete Brunswick & Decca Recordings 3CD Box |
Stride, Swing, Mainstream |
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 Artist - Art Tatum Album - Complete Brunswick & Decca Recordings 1932-1941 (3CD-box) Label - Affinity Years - 1932-1941, release - 1993 Quality - MP3@320 kbps Size 137 + 151 + 160 mb Total time - 65:18 + 72:13 + 76:25 AMG Rating:  Ïðåäëàãàåì âàì ïðîñëóøàòü ïðåêðàñíûé àëüáîì, â êîòîðûé âîøëè ñàìûå ïåðâûå çàïèñè Ãåíèàëüíîãî ïèàíèñòà! REPOST by request Born nearly blind, Tatum gained some formal piano training at the Toledo School of Music but was largely self-taught. Although influenced a bit by Fats Waller and the semi-classical pianists of the 1920s, there is really no explanation for where Tatum gained his inspiration and ideas from. He first played professionally in Toledo in the mid-'20s and had a radio show during 1929-1930. In 1932 Tatum traveled with singer Adelaide Hall to New York and made his recording debut accompanying Hall (as one of two pianists). But for those who had never heard him in person, it was his solos of 1933 (including "Tiger Rag") that announced the arrival of a truly major talent. In the 1930s, Tatum spent periods working in Cleveland, Chicago, New York, Los Angeles, and (in 1938) England. Although he led a popular trio with guitarist Tiny Grimes (later Everett Barksdale) and bassist Slam Stewart in the mid-'40s, Tatum spent most of his life as a solo pianist who could always scare the competition. Some observers criticized him for having too much technique (is such a thing possible?), working out and then keeping the same arrangements for particular songs, and for using too many notes, but those minor reservations pale when compared to Tatum's reworkings of such tunes as "Yesterdays," "Begin the Beguine," and even "Humoresque." Although he was not a composer, Tatum's rearrangements of standards made even warhorses sound like new compositions. ~ Scott Yanow, All Music Guide |
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2004: John Zorn - Magick |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artists: John Zorn Album: Magick Label: Tzadik 8006 Year: 2004 Format, bitrate: FLAC Time: 31:24 Size: 157M Further explorations into the worlds of Magick and Alchemy, here featuring the long awaited premiere recording of Zorn's new string quartet. Necronomicon is a transcendent five movement work of unparalleled ensemble virtuosity and formal beauty, brilliantly played by the Crowley Quartet. Also included is an astounding piece of witchcraft and sorcery for two bass clarinets, one of the most difficult yet written for the instrument, performed with passion and precision by two of the greatest players in the world~ Tzadik.com |
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1965: Andrew Hill - Pax |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Andrew Hill Album: Pax Label: Blue Note Year: 1965; release:2006 Format, bitrate: mp3@192(VBR) Time: 49:51 Size: 68.8 mb Pax is one of those seminal Andrew Hill albums that sat locked in Blue Note's vaults for a decade before the first five cuts here were finally released as part of a double-LP package in 1975 entitled One for One. The final pair, recorded at the same time, didn't see the light of day until they appeared on the limited-edition Mosaic Select Blue Note recordings a decade after that. The personnel on this disc is a dream band: Hill with Joe Henderson, Freddie Hubbard, Richard Davis, and Joe Chambers. All of the these players but Hubbard had played with Hill before, and the telepathy is simply synchronistic. The opening cut, "Eris," is a sprawling blues clocking in at nearly 11 minutes. Full of Hill's knotty harmonics, and truly fiery playing by Hill and Hubbard, it's one of Hill's finest moments on record from the mid-'60s. "Calliope" is an off-kilter, medium tempo swing jam. There is a sense of time being stretched here that is simply uncanny. Of the two final tracks, being heard here by the general populace for the first time -- though this too is a limited edition in the Connoisseur Series (so the label can make you buy it again later in some other form) -- one was recorded sans horns. "Roots 'N' Herbs," (not Wayne Shorter's ) and the Afro-Cuban percussion and hypnotic bassline make it a curious midtempo ballad even as its meter shifts and floats and then becomes free before it enters the more conventional rock & roll backbeat rhythm pattern that Hill picks up on and stretches to the breaking point before it exhausts itself. The final cut is an interesting alternate of "Euterpe," which is not all that different from the first. In all, however, this is a semi-rough and wonderfully rowdy Hill date that deserves serious aural exploration. ~ Thom Jurek, All Music Guide |
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1985: Anthony Braxton - Seven Standards 1985 Volume 1 |
Music » Jazz » Fusion » Contemporary Jazz |
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 Artists: Anthony Braxton Album: Seven Standards 1985 Volume 1 (LP) Label: Magenta Records Year: 1985 Format, bitrate: FLAC Size: 246.5M On the first of two Lp's released by Windham Hill's mid-80's jazz subsidiary Magenta, the great avant-garde altoist Anthony Braxton teams up with a modern bop trio (consisting of pianist Hank Jones, bassist Rufus Reid and drummer Victor Lewis) to explore seven jazz standards. Included along with a few familiar pieces are such obscurities as Clifford Jordan's "Toy" and Warne Marsh's "Background Music." Braxton generally plays the melodies fairly straight before taking off into abstract improvisations; unfortunately his sidemen seem to mostly operate independently of the altoist. ~ Scott Yanow, All Music Guide |
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1970: Esther Phillips - Burnin': Live at Freddie Jett's Pied Piper, L.A. |
Music » Blues » Blues woman |
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 Artist: Esther Phillips Album: Burnin': Live at Freddie Jett's Pied Piper, L.A. Label: Atlantic Year:1970 Genre: Jazz Blues Format, bitrate:mp3@320kb/s Time:41:09 Size:87,58 MB Stunning live set that marked Esther's move from being a loud young R&B singer into an older, more mature interpreter of material in a more jazzy style. She's backed here by a good group that includes Jack Wilson on piano, Richard Tee on organ, Chuck Rainey on bass, and Cornell Dupree on guitar -- and she moves through a heartbreaking set of material that heralds her later 70's recordings for Kudu. Tracks include "Don't Let Me Lose This Dream", "And I Love Him", "Shangri-La", "I'm Getting' 'Long Alright", and "Please Send Me Someone To Love" © 1996-2010, Dusty Groove America, Inc. |
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2006: Bobby Previte - Coalition of the Willing |
Music » Jazz » Modern Jazz |
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 Artist: Bobby Previte Album: Coalition of the Willing Label: Ropeadope Records Year: 2005; release: 2006 Format, bitrate: mp3, 320kb/s Size: 105 mb AMG Rating:   Bobby Previte has been full of surprises during his long and quirky career as a musician's musician. Whether playing swing, hard bop, or vanguard free jazz, or playing electronic drums and keyboards in space-age jams with Charlie Hunter, he's never failed to ignite whatever project he's been part of. Coalition of the Willing is a different animal altogether. Previte's new offering employs a core of musicians including guitarist Hunter and Jamie Saft on keyboards while bringing in players such as trumpeter Steve Bernstein, Latin for Travelers' Stew Cutler on harmonica and slide guitar, and saxophonist Skerik. The music runs rabbit-like all over the map. This is militant music made by a militant composer. It's rock music for a different age — one that is scarier, angrier, and more put-upon to just surrender than any in memory. The set opens with a hard-driven organ and guitar duel in "The Ministry of Truth," which is space-age surf music. The spaced-out jazz-rock of "Airstrip One" is a startling change of pace, but it too gets upended in the funky roots rock of "Versificator." "The Ministry of Love" — with Hunter just losing it — is simply über acid rock & roll that becomes undone when the jangly 12-string-driven "Oceania" drops deep into Middle Eastern dub reggae abut halfway through. Then there are the noir-ish country soundtrack atmospherics in "The Inner Party," which get stranger and more atmospheric in "Memory Hole," as Bernstein and Cutler take turns delightfully out-weirding each other. The set closes with "Anthem for Andrea," a bona fide instrumental rock anthem worth every bit of the Pete Townshend dynamics it wears on its sleeve, with Skerik's saxophone solo juxtaposed against Saft's keyboards and Bernstein's beautifully repetitive solo. All the while, through all of these cuts, Previte directs from the trap kit. He's fully Bobby Previte without being anything like the Previte you would recognize. He's the same but somehow new as a rock & roll musician with not only chops but a fertile and unhinged imagination. And this disc — the latest in the Ropeadope label's scintillating series of provocative offerings — is one of those winners that in five years, no matter how often you've heard it, will yield something new. ~ Thom Jurek, All Music Guide |
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