Artist: Dominguinhos
     Album: Dominguinhos Duetos
     Label: Sony / Bmg Brazil
     Year: 2003, release: 2007
     Format: MP3,VBR
     Size: 71,5 mb



The wave of "new forró" in the late 90's in Brazil, that is, a wave of renewed popularity of the Northeastern grooves promoted by the industry, has brought dispensable poppish fakes and excellent releases, such as this one. Dominguinhos is since long a virtuose on accordion in the best Northeastern tradition. Also a singer, he played for Luiz Gonzaga in 1949 in his home town. Later, he met Rei do Baião in Rio, began to play with him and became his protégé. This first album of a two-volume project is a tribute to Luiz Gonzaga, where Dominguinhos plays some of Gonzaga's best and biggest hits, constituting a wonderful introduction to the best in this genre. Special guests include Gilberto Gil, Heraldo do Monte, Marinês, Djavan, Nando Cordel, Genival Lacerda, Jane Duboc, Sérgio Reis, Waldonys, Daniela Mercury, Daniel Gonzaga, João Bosco and Geraldo Azevedo. ~ Alvaro Neder, All Music Guide

     Artist: The Claudia Quintet
     Album: Royal Toast (Cuneiform, 2010)
     Label: Cuneiform
     Year: 2009, release: 2010
     Format: MP3; 320 kb/s
     Size: 112 mb
     Time: 69:14
     AMG Rating:


Throughout the decade of the 2000s, the Claudia Quintet recorded, toured, and became one of the top five progressive jazz units in the U.S. and the world. For 2010 they continue with Royal Toast, implying elegance and a golden brown, perfectly prepared, even buttery music. Percussionist/composer/bandleader John Hollenbeck has retained saxophonist and clarinetist Chris Speed, the piquant subtle vibraphonist Matt Moran, accordion specialist Ted Reichman, and the great bassist Drew Gress, adding special guest Gary Versace, not on organ but acoustic piano. The resulting music is surprising low-key, less complex and intricate, but still bold, groundbreaking, and spread across numerous colorful sonic palettes. Many of these performances have solo preludes from individual bandmembers, with Hollenbeck's drums preceding the more involved funk of "Keramag," the pithy bass of Gress leading into the driven and heavy fast march "Sphinx," and Speed's counterpoint overdubbed saxes as an intro for the sideways title track, recalling recent efforts of David Binney. The stand-alone "Crane Merit" lives up to its title in the lugubrious but dignified persona of the near extinct bird, while "Paterna Terra" is free to soulful and the tandem "Ideal/American Standard" is mysterious to insistent. Versace's role is that of shading or propping up these melodies, and one should listen closely to his contributions here. It's another extraordinary musical experience from the Claudia Quintet, who deserve all the high marks they receive as an innovative, thought-provoking, singularly unique contemporary ensemble.

     Artist: Mick Goodrick & Joe Diorio
     Album: Rare Birds
     Label: RAM
     Year: 1993
     Format, bitrate: mp3 224 kbps
     Time:1:14:40
     Size: 119 mb (with scans)

This is a remarkable album of duets with fellow jazz guitar virtuoso and educator, Mick Goodrick. There are six standards and six originals which, the producer's liner notes say, 'were all improvised and composed at the very moment I was pushing the record button on my tape machine.'

Joe and Mick sound destined to play together, so well do they combine on this album; the two players weave around each other in a way that I find captivating. They push the boundaries with free improvisations and play the standards as well - but in a fresh way. One of the originals ('Romantic Carnival') is so remarkable that it deserves to become a standard in its own right. It is one of the most beautiful pieces of music I have ever heard, yet it was improvised on the spot, with only the chord structure planned.

At times on this album, the two players abandon the convention of one player comping and the other soloing and instead, play in counterpoint - weaving single lines around each other - eg. 'Counterpoint Carnival/Manha de Carnival' and the gripping 'Rare Birds'. On the other hand, in 'Blue in Green', the tune is not stated until the end.

This is an album of surprise and innovation, virtuosity and serenity. It's probably essential listening for any jazz guitarist and one of the classics in the jazz guitar catalogue. I am entranced whenever I listen to it.

     Artist: Gotan Project
     Album: Tango 3.0
     Label: XL Recording
     Release Date:03/20/2010
     Format: Lossless
     Size: 265 mb

Gotan Project's new album Tango 3.0 fluidly steps back on the dance floor where their last album Lunatico left off. Group members Philippe Cohen Solal,Christoph Mueller,and Eduardo Makaroff have constructed yet another beautiful melange of traditional Argentinean tango, dub, jazz and electronics. Tango 3.0's 11 tracks are at once seductive and propulsive.

France’s Gotan Project has seen their recordings sell over two million copies worldwide to date , and has had their songs used in television commercials, radio ads, feature and documentary films — and more than a few corporate business presentations. Founding members Philippe Cohen Solal, Christoph H. Müller, and Eduardo Makaroff have an uncanny track record for melding Argentinian tango to virtually any music they choose. The difference between their 2001 debut La Revancha del Tango and 2006’s Lunático was pronounced. The former utilized ambient dub and downtempo wed to tango music from the '30s through the '70s, with the accent heavily on electronics. The latter took a rootsier approach. Pianist and musical director Gustavo Beytelmann utilized a string quartet, jazz, vocalist Cristina Villalonga, Calexico, and even rapper Xoxmo, against sonic atmospheres and beats. Inextricable from the mix was Nini Flores' bandoneon and a woodsy upright bass. On 2010’s Tango 3.0, the root music featured here comes more from the Nuevo Tango aspect of the music's development, and is wed to even more diverse sources. Villalonga, Flores, and the upright bass are back, with a larger string section; clarinet, harmonica, horns, and guests. The first single, “La Gloria,” is a shimmering midtempo tango that features upright and synth basslines, bandoneon, and legendary football announcer Victor Hugo Morales, who narrates his storied homage to Marradonna's second “goooaaallll!” against England. Dr. John plays B-3 on opener “Tango Square,” a slow, moody, jazzy piece with a beautiful horn section; this slow tango could have come from after-hours clubs in either Buenos Aires or New Orleans. It’s steamy, dark, and forbiddingly sensual. On “Rayuela,” author Julio Cortázar reads from his novel of the same name, backed by slippery rhythms, jazzy piano, organic and sampled percussion, horns, bandoneon, and a children’s choir. “De Hombre a Hombre” fuses spaghetti western, surf guitar themes, and film noir soundtrack music to modern tango, while “Peligo” samples '30s tango and melds it seamlessly to nuevo tango with understated but emotionally expressive vocals by Villalonga. The hypnotic "Panamericana” features acoustic guitars, bandoneon, a jazzed-up middle eight on piano, handclaps, and a spare use of synths. Tango 3.0 steps further into Gotan Project's chosen music of origin, and simultaneously creates something wholly of the 21st century, all the while keeping its central dance motifs and narrative concerns largely intact.

     Artist: Steve Davis
     Album: Eloquence
     Label: Jazz Legacy Productions
     Year: 2009
     Format, bitrate: mp3, 320kbps
     Size: 114 MB
     AMG Rating:

     Steve Davis has distinguished himself as one of the first-call trombonists in New York City, while he has also been an important contributor to the group One for All, though he has an extensive discography as a leader as well. These 2007 sessions find Davis in top form, with a dream rhythm section anchored by the ageless pianist Hank Jones, with bassist Nat Reeves and drummer Joe Farnsworth. Davis' rich tone and fluid technique are evident in the run through "Yardbird Suite," while the loping treatment of "How Deep Is the Ocean" works equally well. Davis' one original is the soulful, gospel-flavored "The Blues," which adds trumpeter Roy Hargrove and vibraphonist Steve Nelson. Jones contributed "Minor Contention" (which also includes the expanded lineup), a snappy vehicle that at times suggests Horace Silver. There are plenty of compelling interpretations of standards and timeless jazz compositions, while the driving post-bop take of "When the Saints Go Marching In" is a refreshing change, particularly with Davis' amusing insertions of song quotes.

     Artist: Don Menza
     Album: Horn of Plenty
     Label: Pausa
     Year: 1979
     Quality: MP3@320 & FLAC
     Size: MP3: 93.89MB / FLAC: 122.64MB + 121.24MB
     Time: 44:16
     AMG Rating:



     Tenorman Don Menza's regular sextet of the late 1970s (which also includes trumpeter Chuck Findley, trombonist Bill Reichenbach, pianist Frank Strazzeri, bassist Frank De La Rosa and drummer John Dentz) is heard in fine form on two Ellington/Strayhorn standards and originals by Menza, pianist Frank Strazzeri and Marc Levin. Menza's ability to write catchy, fresh-sounding boppish lines and his fiery solos are two strong reasons to search for this little-known but superior LP.

     Artist: Uri Caine
     Album: The Sidewalks Of New York
     Year: 1999
     Label:Winter Moon
     Format, bitrate: MP3, 320 kb/s
     Size: 174 Mb

Pianist Uri Caine's work is always intriguing but this CD is something very different. This unusual release comes off like the soundtrack to an as yet unmade documentary about Tin Pan Alley at the turn of the century, complete with sound effects of horses and people on the street, folks celebrating in a rowdy saloon, and so on. "The Sidewalks Of New York" serves as a recurring theme, first as a dreamy solo by Caine, later with Ralph Alessi's distant trumpet, and finally in a bar with a determined singer. Other familiar pieces include Eubie Blake's still challenging "Charleston Rag," a low fidelity "Memphis Blues" that's made to sound as if it's being played on an ancient Victrola, and the timeless "Take Me Out To The Ball Game." There are some hilarious long forgotten pieces like "Has Anybody Here Seen Kelly?" and Irving Berlin's whimsical "Cohen Owes Me Ninety Seven Dollars; " as well as revivals of once popular but now long forgotten tunes like the tear jerking "After The Ball" and the draggy narrative "Nobody." The talented supporting cast includes clarinetist Don Byron, trumpeter Dave Douglas, and violinist Mark Feldman, among a large cast. As a concept package complete with period photographs it is very successful, but the numerous sound effects make repeated listening a little more difficult. Perhaps Uri Caine should introduce himself to documentary maker Ken Burns and suggest a Tin Pan Alley project.

     Artist: Richie Kamuca & Bill Holman
     Album: Jazz Erotica
     Label: Jazz Track
     Year:1958 ; release :2009
     Format, bitrate: MP3, 320 CBR
     Time: 41:24
     Size: 92 Mb
     AMG rating


Originally recorded for the Hi Fi label, this CD reissue features tenor saxophonist Richie Kamuca as the main soloist on a variety of standards and basic material arranged by Bill Holman, who plays baritone with the octet. Also heard from are trumpeters Conte Candoli and Ed Leddy, trombonist Frank Rosolino, pianist Vince Guaraldi, bassist Monty Budwig, and drummer Stan Levey. The music, although based on the West Coast, is not as cool-toned or as laid-back as one might expect. High points of the consistently swinging session include "Blue Jazz" (a Kamuca blues), "Star Eyes," "Linger Awhile," and "(Back Home Again In) Indiana." ~ Scott Yanow, All Music Guide

     Artist: William Parker Quartet featuring Leena Conquest
     Album: Raining on the Moon
     Label: Thirsty Ear Recordings
     Year: 2002
     Format, bitrate: mp3, 320
     Size: 107 mb
     AMG Rating:


     Following on the heels of his spectacular 2001 recording O'Neal's Porch, bassist William Parker has assembled the same quartet for a more roots-oriented session featuring vocalist Leena Conquest. Raining on the Moon draws upon these musicians' keen ability to listen and respond, and it aims successfully for a more organic sound.
     The sparkling intensity of the opener, "Hunk Pappa Blues," rests solidly on a foundation which combines Parker's bass groove with peppery support from drummer Hamid Drake. The tune takes a voyage into outer sound after the quartet states the theme, and horn players Rob Brown and Lewis Barnes use this opportunity to engage in a fiery and spirited exchange. Moments later, vocalist Leena Conquest soars out of the mix proclaiming "My name is Hope." This is where Parker begins to engage his long-term interest in poetry; his stated philosophy with respect to lyrics is that "the words help to tell the story inside the music." For those not familiar with Parker's poetry, these pieces pursue an elemental purity through mystical language and metaphor, often verging on the psychedelic. The twist on "Song of Hope" comes at its conclusion, where Conquest repeats the querying line "Would you let me live?" It's hard to say no.
     Music this free does not often incorporate vocals, and when it does it must walk the difficult tightrope between clear, open expression and the deep well of unpredictability. Conquest's singing on Raining on the Moon serves the over-riding thrust of the group, but its true strength comes from the words she delivers. Never pretentious and often almost childlike in their uncluttered message, the lyrics do indeed bring a higher level of meaning to the music in which they are embedded. The instrumental portions of Raining on the Moon cover a range of territory but most often dwell in the realm of relaxed swing, warm blues, and pulsing, understated energy.
     What marks Raining on the Moon as unique in Parker's long list of recordings is its raw accessibility. Listeners from various backgrounds will find this disc inviting and exciting. And if that serves the purpose of introducing Parker's vision to new ears, it's more than done its job. William Parker is one of those extremely rare musicians who seems to impart a warm glow to every musical group he joins. When jazz historians look back on improvised music at the turn of this century, William Parker will stand as a giant among men.

     Artist: David Honeyboy Edwards
     Album: Mississippi Delta Bluesman
     Label: Smithsonian Folkways Recordings
     Years: Aug 12, 1928-1974; Released: 2001
     Genre: Delta Blues, Acoustic Blues, Country Blues
     Format mp3, bitrate: 320@kbps
     Time: 45:02
     Size: 102.29 MB


David Honeyboy Edwards presented a mixture of originals and covers of songs by the likes of Tommy Johnson, Robert Johnson, Howlin' Wolf, Charley Patton, and Memphis Minnie on this solo country blues session, originally issued by Folkways in 1979. There's nothing extraordinary about this album, true, but it's solid Delta Blues that feels lived in. Edwards does much to add interest and variety to the material by varying between chording and single-string playing and high and low notes, and changing the rhythms unpredictably, sometimes with a stop-start feel. His husky voice is warm and communicative, if not as distinctive as some of the legends he hung out with, which included Patton, Robert Johnson, and others. ~ Richie Unterberger, All Music Guide

     Artist: Randy Weston
     Album: Little Niles & Piano-a-La-Mode
     Label: Jazz Track
     Year: 1957-1960; release: January 9, 2009
     Format, bitrate: mp3 320 kbps + scans
     Size: 144.74 MB
     

This CD contains Randy Weston’s complete original LP “Little Niles” (1958), presenting his own compositions arranged by Melba Liston. As a bonus, it's dded the complete album “Piano a-la-Mode” (1957), plus a 1960 quartet version of “Saucer Eyes” taken from a rare anthology.

This attractive two-LP set has selections drawn from three of pianist Randy Weston's most interesting sessions of the late '50s. Seven songs (taken from the original album Little Niles) feature Weston in a sextet with tenor-saxophonist Johnny Griffin and either Ray Copeland or Idrees Sulieman on trumpet while four other selections (drawn from Destry Rides Again) match the pianist with four trombonists. However it is the second disc (originally issued as Live at the Five Spot) that is of greatest interest because Weston heads an all-star quintet (given Melba Liston's arrangements) that includes tenor-saxophonist Coleman Hawkins and trumpeter Kenny Dorham. Overall the music is advanced bop with a strong nod toward African music. Well worth searching for.

     Artists: Derek Bailey With Min Tanaka
     Album: Music And Dance
     Genre: Free Improvisation
     Label: Revenant
     Year: 1996
     Format, bitrate: FLAC
     Size: 303 Mb
     AMG rating

Min Tanaka is a dancer, and although one can hear the sporadic shuffling or stomping of feet or the slapping of hands against a wall, one gets the impression that Derek Bailey is being more directly influenced by the dance movements themselves and adjusting his improvisations accordingly. A photo inside the disc package shows Bailey walking and playing around Tanaka who, in this instance, is huddled nude, pressing himself into a wall.

The ambience of the recording site, a glass-ceilinged, abandoned forge in Paris, plays the other significant role here. Several minutes into the first track, a heavy rainstorm erupts, creating a low roar that briefly threatens to overwhelm the music. Bailey, with his classic English ability to take things in stride, simply uses the sound as material to work with and accompanies the downpour with aplomb. When the leaking roof causes a small fusillade of water drops, these too are incorporated into the fabric of the piece, and quite beautifully. In fact, on occasion Bailey sits out entirely, allowing the rain splatters, the dancer's movements and the passing car engine to fully inhabit the sound space.

As is the case with many of his releases, Bailey consistently amazes the listener both with his extraordinary ability to coax sounds from his guitar that may have never before been heard or imagined and, more importantly, his unerring sense of exactly when to utilize those sounds. While Bailey remains maligned in so-called traditional circles, it's clear that he's admired by one of the musicians most deeply involved with the entire tradition of the guitar. ~ Brian Olewnick, All Music Guide