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 Into the Rhythm
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1989: The Best of Moe Koffman, Vol. 1 & 2 |
Music » Jazz » Fusion » Jazz-Pop |
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 Artist: Moe Koffman Album: The Best of Moe Koffman Vol.1 & 2 Year: Original Release Date: 1989 Label: Anthem Format: MP3 320kbps Time: 71:55 Size: 150 MB Moe Koffman became famous for his 1957 hit recording of "Swinging Shepherd Blues," a catchy flute feature. Otherwise, throughout his career Koffman has been a popular soloist whose music ranges from cool-toned bop to jazz interpretations of more pop-ish material; his commercial successes have sometimes overshadowed his fine improvising talents. Although he has spent most of his life in Canada, Koffman did work with the bands of Sonny Dunham, Ralph Flanagan, Charlie Barnet, Tex Beneke, and Jimmy Dorsey in the U.S. during the first half of the 1950s. Later on, Koffman played at George's Spaghetti House in Toronto for over three decades (one week every month), worked extensively in the studios, and has been with Rob McConnell's Boss Brass since 1972. Few of Moe Koffman's records (the earlier sessions were cut for Jubilee and he made a pair for Duke Street in the mid-'80s) are available. ~ Scott Yanow, All Music Guide |
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1963: The Three Sounds - Some Like It Modern |
Music » Soul » Soul-Jazz |
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 Artist: The Three Sounds Album: Some Like It Modern Label: Mercury Records Year: 1963 Format, bitrate: FLAC (LP-rip.) Time: 0.33:00 Size: 188 MB Ïðîäîëæàåì òåìó î Gene Harris. Âíîâü îí èãðàåò â ñîñòàâå " The Three Sounds". REPOST with new links (flac plus scan) from Mr.cvllos The Three Sounds were one of the most popular artists on Blue Note Records during the late '50s and '60s, thanks to their nimble, swinging, blues-inflected mainstream jazz. Since their records sounded interchangeable and their warm, friendly jazz was instantly accessible, many critics dismissed the group at the time as lounge-jazz, but in the '90s, critical consensus agreed that the group's leader, pianist Gene Harris, was an accomplished, unique stylist whose very ease of playing disguised his technical skill. |
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1958: Pee Wee Russell - A Portrait of Pee Wee |
Music » Jazz » Swing |
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 Artist: Pee Wee Russell Album: A Portrait of Pee Wee Original Release Date: February 18, 1958 Label: Empire Musicwerks Format, bitrate: mp3@320 Time: 38:39 Size: 66 Mb Repost with a new link from mr. malieff Issued originally on Counterpoint and reissued many times since by budget labels like Everest, this CD version has superior sound. From 1958, this set matches the great clarinetist Pee Wee Pussell with an all-star horn section (trumpeter Ruby Braff, trombonist Vic Dickenson and tenor-saxophonist Bud Freeman) on a program of swing standards along with "Pee Wee Blues." Russell, a bit weary of playing Dixieland by this time, was starting to look toward more modern eras of music, although in reality his own playing was always beyond categorization. ~ Scott Yanow, All Music Guide |
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1973: The Barry Sisters - Our Way (Tahka - Tahka) |
Music » Jazz » Vocal Jazz |
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 Artists: The Barry Sisters Album: Our Way (Tahka - Tahka) Label: Mainstream/Reboot Stereophonic Year: 1973, release: 2008 Quality: MP3@320 kbps Size: 69,5 mb Total time: 32:43 By request Ïðåâîñõîäíàÿ ìóçûêà äëÿ ñóááîòíåãî âå÷åðà, áëåñòÿùèé ñâèíãîâàííûé âîêàë, çíàìåíèòûå ìåëîäèè! "The Barry Sisters were the first to bring popular adaptations of Yiddish folk songs to a mass audience. It took just one record or so for them to be established as the United States' leading exponents of Yiddish Swing. From that point on, their tremendous abilities as international pop singers, a hugely successful sister act, and two fun, charming beauties--quickly led to international stardom ... the perfect pop blend of fun and first-rate talent." ~ Vintage Lady Born to Yiddish speaking immigrants in the Bronx, the Barry Sisters rose to the forefront of the Jewish-American music world in the 1930s through their early recordings with RCS Victor and their association with the biggest names on the Second Avenue scene. They became the official voices of the Yiddish Swing Craze in the '40s and '50s during their tenure on Sam Medoff's radio shows, and went on to release a slew of singles and full-length LPs that garnered them recognition beyond the confines of the Jewish musical community. Our Way is the eleventh and final album by the Barry Sisters, released by Mainstream Records in 1973. On this album, the sisters took on the '20s pop chestnut "Tea For Two" and used Yiddish to return the vanilla Perry Como smash "It's Impossible" to its Mexican bolero roots. They raided Hollywood for "Love Story" (imagine Ryan O'Neal crooning in Yiddish at the bedside of a dying Ali McGraw), raided Broadway for "Cabaret" and "Alice Blue Gown," and turned out what just might be--second only to the version Cuban audio priestess La Lupe did just three years earlier--the most liberating version ever of the Sinatra staple "My Way." So they didn't sing "What's Goin' On" or "I Wanna Be Your Dog" (which, for what it's worth, would have been called "Ikh vil zein dein hoont"). The effect was still the same: seventies America woke up in a Technicolor Yiddish dream. ~ from liner note |
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1956,1958: Hampton Hawes - Bird Song |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Hampton Hawes Album: Bird Song Label: OJC/Contemporary Years: 1956,1958; release: 1999 Format, bitrate: MP3, 320 kb/s Size: 110 mb Total time: 55:27 AMG rating :  The essence of this set is Charlie Parker's numerous variations on "I Got Rhythm" and Parker's key blues-based tunes, such as "Confirmation." The result is a spirited, highly communicative session, where pianist Hampton Hawes gets to the core of the bop idiom. It's a mystery why these tracks from 1956 and 1958 went unreleased until 1999. They come from a key creative period in Hawes' career when he was enjoying new levels of commercial and critical acclaim. Regardless, the music has now been done justice in a well-mastered release that will please fans of Hawes and of bop piano in general. From a lesser artist, the dry, unadorned, direct style at the center of Hawes' playing could expose technical vulnerabilities. In Hawes' case, it exposes a natural, fluent grace of phrasing and rhythm. Each track is a freshly interpreted joy ride across familiar chord changes. Bassist Paul Chambers and drummer Larance Marable, not Hawes' regular partners from this period, are prominent, supportive parts of the pianist's heartbeat. Besides the Parker originals and Parker-derived themes, there are fine versions of several standards, "Yesterdays" and "Stella by Starlight" being just two deliriously swinging highlights. The three tracks from a 1958 date, with Scott LaFaro on bass and Frank Butler on drums, maintain the same joyous pulse of the earlier tracks. ~ Jim Todd, All Music guide |
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1962: Shelly Manne - 2-3-4 |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Shelly Manne Album: 2- 3 -4 Year: 1962, release: 1994 Label: GRP/Impulse! Quality: mp3/320 kbps Size: 95 MB Time: 41:30 AMG rating This unusual CD reissue has five selections from a date featuring the great tenor Coleman Hawkins, pianist Hank Jones, bassist George Duvivier and drummer Shelly Manne. Both "Take the 'A' Train" and "Cherokee" find the group at times playing two tempos at once (Manne sticks to doubletime throughout "Cherokee") and showing that they had heard some of the avant-garde players. The most swinging piece, "Avalon," was previously available only on a sampler while "Me and Some Drums" features Hawkins and Manne in a very effective duet with the veteran tenor making his only recorded appearance on piano during the first half. This CD is rounded off by a pair of trio features for Eddie Costa (with Duvivier and Manne); one song apiece on vibes and drums. A very interesting set with more than its share of surprises. ~ Scott Yanov, All Music Guide |
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2004: Steve Kuhn - Easy To Love |
Music » Jazz » BeBop » Post-bop |
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 Artist: Steve Kuhn Album: Easy To Love Recording Date: 2004 Label: Venus Records Format: MP3 @ 320 kbps Size: 86 MB It's easy to love the piano of Steve Kuhn -- even without the album's cover image of a model exposing herself by the side of a freeway! Kuhn's keys have a lot more class than warrants the cover -- and from the very first note of the set, you'll be transported away from thinking about that image, and caught in rapt attention to Steve's warm tones on the piano. The album's got a more inside, more lyrical approach than some of his other albums of the past decade or so -- but that's the charm of Kuhn on the Venus label -- as they've really managed to capture the softer, sensitive side of Steve's talents. Bass is by David Finck and drums are by Billy Drummond -- on titles that include "Morning Dew", "Emily", "Dear Old Stockholm", "Super Jet", "Two For The Road", and "Be My Love". ~ © 1996-2010, Dusty Groove America, Inc. |
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1959: Julie London – Swing Me an Old Song |
Music » Jazz » Vocal Jazz |
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 Artist: Julie London Album: Swing Me an Old Song Label: Liberty/EMI Year: 1959, release: 2010 Quality: MP3@320 kbps Size: 68,1 mb Total time: 32:27 Everyone seems to have forgotten that rock & roll wasn't doing so hot with white audiences at the tail end of the 1950s until the Beatles hit the scene and had everyone going electric again. Instead of rockabilly, folk music and Dixieland jazz were huge in 1959 and young audiences were getting into old-time songs that their parents and grandparents knew. Swing Me an Old Song was Julie London's Dixieland-spiced folk revival effort. If it doesn't actually play to her strengths to be cast as a sexed-up version of Burl Ives, it takes some kind of real talent to be able to coo such hoary chestnuts as "Camptown Races" and "Row, Row, Row, Your Boat" without embarrassing yourself too much. Thankfully, the song selection on most of the album is better than these two egregious examples of stale singalongs that should never have made it outside of summer camp. Tracks like "Cuddle up a Little Closer" and "Darktown Strutters Ball" fit London like a satin glove, as does her downbeat take on "Bill Bailey, Won't You Please Come Home" (though she would cut an even better version of this on her 1966 release For the Night People). During the same year as Swing Me an Old Song, London also cut the cool jazz album Julie...at Home (which may just be her single finest work) and Your Number Please..., a swank orchestral set of standards. People often mention Julie London's limited vocal range, but it's surprising how far that her talent could stretch. ~ Nick Dedina, All Music Guide |
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1956: Johnny Hodges and the Ellington All - stars without Duke - Duke's in Bed |
Music » Jazz » Swing |
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 Artist: Johnny Hodges Album: Duke's In Bed Label:Verve/Universal Japan (24 bit remastered) Year: rel.1956/01.09 Format:MP3 @ 320 Kb/s Time:41:14 Size: 89 Mb Repost to my friends in JBC! Please enjoy, this is very rare album.
Ïèê òâîð÷åñòâà âåëèêîãî ìàñòåðà è "íåîáû÷íîãî" ñîëèñòà îðêåñòðà Äþêà Ýëëèíãòîíà
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1939-47: Johnny Hodges - Who Struck John? |
Music » Jazz |
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 Artist: Johnny Hodges Album: Who Struck John? Year: rec. 1939 - 47/rel.1999 Label: Definitive Records Format: MP3 @ 320 Kbps Time: 72:27 Size: 90.5 + 55.7 Mb REPOST to my friends in JBC! Please enjoy, links available for registered users also!
The rant in the previous review was off the mark. 1)This is great music; and 2)the major corporate labels have never been known to do a decent job with reissues, nor have they generally given the artists even a fraction of what they should get. Thanks to the European labels that keep great music available in hard/real copies that you can own. The major corporate labels are cutting the great recordings out, wanting you to download poor copies that have limited life...and have zero after purchase value. In just a few years, the European labels will be all there is...hope they survive!! Try to find this material elsewhere...often the European label reissues are far superior to the USA corporate reissues (eg. Armstrong's Hot Fives on JSP label compared with ANY Columbia/SONY reissue)
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1973: Arnett Cobb - Again with Milt Buckner |
Music » Soul » Soul-Jazz |
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 Artist: Arnett Cobb Title: Again with Milt Buckner Label: Black & Blue Original Release: July 23, 1973 Album Release Date: 1991 Formate/Bitrate: MP3/320 Size: 88+68 MB Repost witn new links from KozzakVitaliy  ïîèñêàõ àëüáîìîâ Milt Buckner, ÿ íàòêíóëàñü íà ñîâìåñòíóþ ðàáîòó Arnett Cobb (Tenor Sax) è Milt Buckner (Organ) è ñ óäîâîëüñòâèåì ïðåäñòàâëÿþ ýòó ñåññèþ....  |
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1928 - 1933: Ruben Reeves - The Complete Vocalions 1928 - 1933 |
Music » Jazz » Traditional Jazz » Dixieland |
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 Artist: Ruben "River" Reeves Album: Ruben Reeves Complete Vocalions 1928-1933 Label: Timeless Historical Years: 1928 - 1933, release: 1997 Format, bitrate: Ape Time: 65:57 Size: 206 Mb At one point in the late '20s, Reuben Reeves was one of the more exciting trumpeters in jazz, although his star soon faded. After playing locally in the Midwest, he moved to New York in 1924. The following year, Reeves relocated to Chicago, and in 1926 he became a member of Erskine Tate's orchestra. He recorded with Fess Williams and worked with Dave Peyton during 1928-1930, but most importantly led a series of record dates in 1929 with his Tributaries and his River Boys; sidemen included his brother Gerald Reeves on trombone and the great clarinetist Omer Simeon. Reuben Reeves had a wild extroverted style that was a little bit like what Roy Eldridge would develop a few years later. Reeves was with Cab Calloway's orchestra during 1931-1932, and then in 1933 returned to Chicago and organized his River Boys for one final session. He toured with his own group during 1933-1935, freelanced for a few years, served with the Army during World War II (leading an Army band), and then joined Harry Dial's Blusicians in 1946. His last few years were largely spent outside of music. An RST CD has all of Reuben Reeves' recordings as a leader. ~ Scott Yanow, All Music Guide |
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