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jasapaal
 Into the Rhythm
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1990: Mitch Watkins - Curves |
Music » Jazz » BeBop » Post-bop |
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 Artist: Mitch Watkins Album: Curves Label: Enja Year: May 1990 Format: mp3 & FLAC Size: mp3: 97.31MB / FLAC: 129.32MB + 128.7MB Time: 45:31 AMG Rating:  Fusion guitarist with wild streak. Also capable sideman in the soul/jazz organ combo. A progressive musician, leaning toward rock, but influenced by many musicians. A comer.~Michael G. Nastos, All Music Guide |
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1989: Keshavan Maslak - Mother Russia |
Music » Jazz » Modern Jazz » Freejazz |
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 Artists: Keshavan Maslak Album: Mother Russia Genre: Avant-Garde,Free Jazz Label: LEO Year: 1989, release: 1991 Format, bitrate: FLAC Size: 382.5M American-born saxophonist Keshavan Maslak (Kenny Millions) traveled to the Soviet Union in 1989, and while there toured the country, performing solo concerts for virtual handfuls of people and playing with Soviet musicians as well. These included pianist Misha Alperin, drummer Vladimir Tarasov (from the then-intact Ganelin Trio), and reedist Anatoly Vapirov. This disc is a record of some of those performances. There's no doubt that Maslak, or Millions, can play his ass off. He is a badass saxophonist with a wicked sense of humor. The first track, "Kenny Praises the Mother," is a solo blowing session in which his scalar and intervallic inventions fluctuate wildly between tonalities. On "Kenny Meets Misha Meets Hieronymous Bosch," Alperin's own sense of irony (entirely lost on his ECM recordings) responds to the surreal humor of Millions. What is essentially a Dudley Doright theme develops first into a Fats Domino romp and then a gypsy klezmer wail through vaudeville, ragtime, and bebop! You gotta know a tune is in for a working over when Millions is handling the melodic aspect of the harmony. It's funny as hell and bears repeated listening -- especially when friends become too serious. On the first of five duets with Vapirov, the wheels come off the whole enchilada. Together, these two have no sense of decorum, propriety, or anything else but wailing, ass-kicking, my-turn/your-turn improvisation, in which tonal invention and harmonic reality are things of the past. But what music it is! It is truly amazing in its technical and emotional reach, without a letup in the intensity for over 45 minutes. Finally, there is a duet with Tarasov beating the sh*t out of his kit with gleeful abandon, and Millions has finally met his match. He cannot contain his joy and bleats all over the place to let the audience know. Leo Fegin may not make any money on these weird little records he issues, but he certainly provides some of us with the luck to hear them and the verve and tenacity to seek them out with much pleasure; this one certainly fits that bill. As a result of his efforts, Kenny Millions has sold perhaps 30 albums and Leo Fegin's reward in heaven grows ever greater. ~ Thom Jurek AMG |
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1962: Dinah Washington - Music For Lovers |
Music » Jazz » Vocal Jazz |
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 Artist: Dinah Washington Album: Music For Lovers Label: Blue Note/EMI Year: 1962,release: 2006 Format, bitrate: mp3, VBR2 Time: 0:34:11 Size: 39.52 Mb Ðåìàñòåðèíã ïåñåí èçâåñòíîé àìåðèêàíñêîé äæàçîâîé ïåâèöû The Music for Lovers series from EMI and Blue Note spotlights the balladic nature and romantic side of artists who have recorded for its associated labels. Dinah Washington, of course, was a superb ballad singer whose elegance brought a maximum of feeling to the standards she sang. Her Music for Lovers volume includes songs from some of the very last sessions she recorded, in 1962, with orchestras conducted by Don Costa. This period has more detractors than champions, but Washington's magnificence as a vocalist was clear on anything she ever recorded. The collection begins on a melancholy note with "Lover Man," and overall, balances the sweet with the bitter. ~ John Bush, All Music Guide |
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1964: Benny Goodman - Hello, Benny! |
Music » Jazz » Swing |
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 Artist: Benny Goodman Album: Hello, Benny! Label: Capitol Year: 1964 Quality: MP3@320kbs/s (LP - rip.) Size: 61,1 mb Total time: 28:16 REPOST by request All performers, no matter how great, are bound to make one real bad recording during their career, especially if it is a long career. For Benny Goodman it's this strange 1964 album for the Capitol label. Despite heading a band chaired with outstanding West Coast musicians like Ray Triscari, Teddy Edwards, Pete Jolly, and Monty Budwig, playing charts by Gerald Wilson, Bill Holman, and Tommy Newsom, the result is dull and listless. None of those involved seemed to be very interested in playing tunes like "People," "The Pink Panther Theme," or "Hello, Dolly," perhaps feeling that this music was not up to their standards. There are even some Goodman fluffs on clarinet which Goodman, or the producer, didn't bother to remove from the master. Given Goodman's legendary attention to detail and professionalism, it is a surprise he let this album be released at all, much less with his playing below par. To be fair, the session is not a total loss. There are a couple of interesting cuts like "The Lamp Is Low" and a Fletcher Henderson chart for "Them There Eyes," with some good solo work by Pete Jolly andTeddy Edwards, respectively. ~ Dave Nathan, All Music Guide |
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2009: Paul Motian Trio - Lost In A Dream |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Paul Motian Trio Album: Lost In A Dream Label: ECM Year: 2009, release: 2010 Format/Bitrate: mp3/ 320 kb/s Size: 128 mb The album is sourced from live recordings made during the trio’s week long engagement at New York City’s famous Village Vanguard in February 2009. Motian and producer Manfred Eicher selected the very best performances for the album and the programme consists of nine Motian originals with new material featuring alongside the old classics ”Birdsong”, ” Drum
Music” and ”Abacus”. The trio also undertake an exploration of Irving Berlin’s ”Be Careful It’s My Heart”. Here is an album that is likely to appear in the ”best of year” lists when the time comes around and in the longer term it’s a record that is destined to be viewed as one of the jewels in the already illustrious ECM crown. |
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1964: Lalo Schifrin - Gone With The Wave |
Latin, Bossa Nova |
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 Artist: Lalo Schifrin Album: Gone With The Wave Year: 1964 Label: Colpix Genre: Original Soundtrack Quality:320 kbps Total Time: 00:31:13 Total Size: 74 mb Gone With The Wave is a Lalo Schifrin score for a Bruce Brown-like surfing documentary in the mid 60s -- but instead of the usual guitar riffing and bongo drumming on such a soundtrack, Lalo uses a lot of jagged jazzy lines -- working in a bit of light bossa, some heavier Latin rhythms, and plenty of cool instrumentation! The players alone make the set worth having -- especially the percussion from Milt Holland, Francisco Aguabella, and Shelly Manne -- as well as the light guitar touches from Howard Roberts, Bob Bain, and Laurindo Almeida. Paul Horn plays some great alto sax and flute on the set, Victor Feldman's on piano, and Frank Rosolino's on trombone -- and Lalo changes up the instrumentation from track to track to really keep the overall feel of the set incredibly fresh! Titles include "Breaks", "Gone With The Wave", "Taco Taquito", "Halieva Blues", "A Taste Of Bamboo", "Aqua Blues", "Surf Waltz", and "Breaks Bossa Nova". © 1996-2010, Dusty Groove America, Inc. |
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1984: Elomar, Geraldo Azevedo, Vital Farias & Xangai - Cantoria 1 |
Music » Jazz » Latin |
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 Artist: Elomar, Geraldo Azevedo, Vital Farias & Xangai Album: Cantoria 1 Label: Kuarup Year: 1984 Format: mp3 ,bitrate: 320 kb/s Time: 1 hour Size: 71 Mb AMG Rating  In January, 1984, Elomar and other important proponents of the Northeastern culture (Xangai, Geraldo Azevedo and Vital Farias) performed at Teatro Castro Alves, Salvador, for a full house. The enthusiastically acclaimed show made it to the heading news and brought fame and recognition to their music, less-known even to non-Northeastern Brazilians. Differently from the expected Northeastern music, which is heavily rhythmic and richly percussive, the four musicians play their violões with no other support, revealing a delicate face of their music, haunting and mysterious in its medieval modalism, humorous in its folkloric lyrics. ~ Alvaro Neder, All Music Guide |
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2009: The Claudia Quintet - Royal Toast |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Claudia Quintet Album: Royal Toast Label: Cuneiform Records Year: 2009, release: 2010 Time: 69:14 Size: 117 mb 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. ~ Michael G. Nastos, All Music Guide |
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1961: John Coltrane - Ole Coltrane |
Music » Jazz » BeBop » Post-bop |
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 Artist: John Coltrane Album: Ole Coltrane Label: Atlantic Records Year: 1961,release: 1992 Format, bitrate: MP3, 320 CBR Time: 45:39 Size: 100 Mb AMG Rating “Çíàåòå, ÿ õîòåë áûòü ñèëîé äîáðà, âûñòóïàòü ïðîòèâ ñèë çëà. Ñèë, êîòîðûå ïðèíîñÿò ëþäÿì è îáùåñòâó â öåëîì áåäó. À ÿ ñòðåìèëñÿ áûòü ïðîâîäíèêîì âñåîáùåãî äîáðà.” (Äæîí Êîëòðåéí) The complicated rhythm patterns and diverse sonic textures on Olé are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- over and beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced -- two days prior to this session -- on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner -- the song's author -- and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. The CD reissue also includes an extra track cut during the Olé sessions. "To Her Ladyship" is likewise on the seven-volume Heavyweight Champion: The Complete Atlantic Recordings box set. ~ Lindsay Planer, All Music Guide |
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1959: Arnett Cobb - Blow Arnett, Blow |
Music » Soul » Soul-Jazz |
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 Artist: Arnett Cobb Album: Blow Arnett, Blow Label: Prestige/OJC Format: MP3 320kbps Release: 1994 (original: 1959) Total time:38:32 Size:78 MB AMG rating  Arnett Cobb's debut for Prestige and his first recording as a leader in three years (due to a serious car accident in 1956) is an explosive affair. Cobb is matched up with fellow tough tenor Eddie "Lockjaw" Davis, and there are plenty of sparks set off by their encounter. With organist Wild Bill Davis, bassist George Duvivier, and drummer Arthur Edgehill keeping the proceedings heated, Cobb and Davis tangle on a variety of basic material, alternating uptempo romps such as "Go Power" and "Go Red Go" with slightly more sober pieces highlighted by "When I Grow Too Old to Dream." This is a great matchup (reissued on CD through the OJC imprint) that lives up to its potential. ~ Scott Yanow, All Music Guide |
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2002: School Days - In Our Times |
Post-bop, Modern Jazz, Freejazz |
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 Artist: School Days Album: In Our Times Label: Okka Disk Year: 2001; release: 2002 Format, bitrate: mp3, 320 Time: 62:50 Size: 138 mb AMG Rating:  "Music of lasting quality" - All About Jazz Modern jazz for the millennium — what else can you term it? Hard-hitting, filled with joy, and yet somehow unpretentious, School Days produces sounds splendidly and even magnificently. Vandermark and Bishop are both in top form for this concert recorded live in Norway. Has School Days ever recorded anything less than exciting? By the time of this recording, the group was so tight, so well-prepared, and so immersed in a tradition of free jazz that all the pieces sound logically self-evident — which of course none really are. Jeb Bishop's trombone is more upfront and in-your-face than on previous recordings by the group, and he shows a more confident and aggressive side than is customary: He growls and cajoles, his exposed (though clearly well-practiced) sound rough and raw. His raunchy punches transcend the moment with a secretive view toward the future, while Vandermark (who is also in tiptop shape) appears relieved to share the responsibilities of leadership. The real sleeper is vibraphonist Kjell Nordeson, who infuses his instrument with invigorating structures. At its heart, School Days is about melody and its ability to stretch and bend, which it does here with uncanny regularity The roots go back to Ornette Coleman — an obvious influence — but School Days takes them to another dimension with a more varied palette and a more diverse instrumentation, not to mention some extraordinary writing and soloing. For those who enjoy Jeb Bishop's talking trombone or Ken Vandermark's offbeat saxes, this one just can't be beat. Even among the remarkable discography of School Days and of Ken Vandermark, it stands out as a prime release. ~ Steven Loewy, All Music Guide |
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2000: Jessica Williams - I Let a Song Go Out of My Heart (The Music of Duke Ellington) |
Music » Jazz » BeBop » Post-bop |
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 Artist: Jessica Williams Album: I Let a Song Go Out of My Heart (The Music of Duke Ellington) Label: Hep Year: 2000; release: 2001 Format, bitrate: MP3, 320 Kbps Time: 60:28 Size: 141 MB AMG rating A songbook drawn from the vast repertoire of Duke Ellington is hardly an original idea; the challenge to any jazz musician is to come up with fresh interpretations of his music, while hopefully including less frequently performed selections in addition to the hits. Jessica Williams succeeds in both cases on this solo piano CD. Starting with a beautifully reharmonized treatment of "Things Ain't What They Used to Be" (with a floating bassline), she follows it up with a buoyant stride interpretation of "I Let a Song Go Out of My Heart" that would have captured the attention of the best of the Harlem school of ticklers, especially with her brief Tatum-like runs. Her choppy, somewhat dissonant approach to "Prelude to a Kiss," while not all that romantic, is very refreshing. Most musicians probably dread requests for the too frequently played "Satin Doll"; Williams' arrangement sticks fairly close to its theme while incorporating some adventurous improvising in spots. She captures the humor within "Angelica" (also recorded by Ellington as "The Purple Gazelle") with a subtly swinging performance. Surprises come with her back-to-back performances of "C Jam Blues" and its descendant, "Duke's Place." She is reminiscent of Oscar Peterson in her driving take of "C Jam Blues," while incorporating a boogie-woogie bass in the middle of the track. No vocalist is needed for her percussive rendition of "Duke's Place," which is powered by an inventive bassline. In several spots, Williams incorporates improvised interludes between individual Ellington songs. This is another rewarding release by Jessica Williams. ~ Ken Dryden, All Music Guide |
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1975: Bartz - Henderson -Connors - Dance of Magic: Live at Nemu Jazz Inn-1 |
Music » Jazz » BeBop » Post-bop |
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 Artists: Garry Bartz , Eddie Henderson, Norman Connors Album: Dance of Magic: Live at Nemu Jazz Inn -1 Label: Nippon Columbia/Cobblestone Year:1975 Format, bitrate:mp3@320kb/s Time:53:40 Size:114,26 Mb Gary Bartz is certainly on the top alto players of the modern generation, and like so many others - probably one of the most under-appreciated jazz artists. Eddie Henderson's horn is clearly influenced by Miles' early fusion period. Fellow Philadelphians, Elmer Gibson and Norman Connors have recorded with a "who's who" of jazz & fusion giants. It was only a year later that Connors became the Buddah Records Company's musical director.
This live set, "Live at Nemu Jazz Inn - 1", was released only here in Japan and just 500 albums were pressed. This set does not even show up in any of the artists' discographies; makes you wonder if the artists thought it worthy...
Throughout this, post-bop oriented but frequently dallying around the edges of fusion, gig, the group showed what they learned from the likes of Davis, Hancock, Roach, Sanders, Rivers, Harper and Sun Ra, marshaling polyrhythms, electronic textures, and cosmic mysticism to create a deeply spiritual jazz experience. The album kicks off with a darkish and fusion-edged version of Trane's 'Naima'. It was a ferocious attacking force by Bartz on alto, Henderson blew out the walls with his flugelhorn, Workman on bass and Connors' chameleon-like skin work; however, Bartz wins the honours on this track, in my opinion, but Workman gave him a run for his money. Bartz showed his ability to act as the group's adhesive by bopping and weaving his vamps around the others' strong solo works, as Connors continually drew out the map for the band.
The sprawling 26-minute 'Dance of Magic' spans the entirety of the flip side, capturing a memorable jam that explores free improvisation but without stepping beyond a point of no return. Connors' tremendous skins never fail to lead the band back home.
There was a certain coolness, a distorted sense of despair or subtle melancholy to this show that remains very clear in my memory to this day. Connors' oddly timed garbling/vocals perfectly suit a dark-toned feeling. I believe in the old adage that, "the only good jazz is jazz that is live" and here you will see what I mean ~ enjoy! ~ Jazz-Nekko |
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1978: Jim Hall - Jim Hall And Red Mitchell |
Music » Jazz » BeBop » Cool |
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 Artist: Jim Hall Album: Jim Hall and Red Mitchell Label: Artist House Year: 1978 Format, bitrate: mp3, 320 kb/s Size: 87 mb (LP-rip) AMG rating This lyrical, introverted, and sometimes exquisite set of duets by guitarist Jim Hall and bassist Red Mitchell was originally made for John Snyder's Artist House label and later reissued on CD by MHS. Hall and Mitchell always had big ears, and although the music is at a low volume and the duo stretches out on a bit on their four originals, the Mexican folk song "Blue Dove" and "Fly Me to the Moon," there are no sleepy moments. ~ Scott Yanow, All Music Guide |
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1970: Johnny Hodges With Leon Thomas & Oliver Nelson-3 Shades Of Blue |
Music » Soul » Soul-Jazz |
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 Artist: Johnny Hodges with Leon Thomas & Oliver Nelson Album: 3 Shades Of Blue Label: Flying Dutchman Year: 1970, release: 2000 Format, bitrate: mp3/320 kbps Size: 69 MB With new links! An excellent late Johnny Hodges album that mixes his supreme talents with two of the other big stars of the Flying Dutchman label -- Oliver Nelson and Leon Thomas -- both of whom contribute wonderfully to the set! Nelson arranged the whole album, and gives it the groovy feel of some of his best orchestrations from the late 60s -- nicely swinging throughout, but also awash in sophisticated colors and tones at the bottom! Leon Thomas sings vocals on a few cuts, and although he's a little straighter than on his own recordings, or the records he did with Pharoah Sanders, he still gives the set a hip sound that's a great change from the usual Johnny Hodges record -- especially some of his 60s sessions with Wild Bill Davis. Hodges is great throughout, and the best tracks include "Yearning", "Welcome To New York", "Disillusion Blues", and Nelson's great "Black, Brown, & Beige" -- plus a hip vocal take on "Dukes Place". © 1996-2010, Dusty Groove America, Inc. |
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1991: Artur Rubinstein - The Chopin Collection (CD-9) |
Music |
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 ÔÈÀËÊÈ ïî ÑÐÅÄÀÌ (âûïóñê 70)  Composer: Frederic ChopinArtist: Artur RubinsteinAlbum: The Chopin Collection (CD-9 - waltzes)Label: RCA Year: 1991 Genre: classical music Format, bitrate: mp3, 320 kbps Time: 49 min, 46 sec Size: 120 mb. È ñíîâà Øîïåí. È ñíîâà íàðîäíûå òàíöû. Òåïåðü - âàëüñû.
Ïðèãîòîâèëèñü...
È-è-è... ðàç-äâà-òðè, ðàç-äâà-òðè... |
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2004: Bill Evans / Randy Brecker - Soul Bop Band Live(2 CD) |
Music » Jazz » Fusion |
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 Artist: Bill Evans / Randy Brecker Album: Soul Bop Band Live Label: BHM Productions Year: 2004, release: 2006 Format, bitrate: Mp3, 320 Kbps Time: CD 1 - 51:24; CD 2 - 45:35 Size: CD 1 - 96,8 MB; CD 2 - 84,4 MB AMG rating During the summers of 2004 and 2005, saxophonist Bill Evans and trumpeter Randy Brecker co-led the Soul Bop Band on tours. The music that they created was funky, heartfelt, and full of strong jazz solos. With a top-notch and versatile rhythm section comprised of guitarist Hiram Bullock, keyboardist David Kikoski, bassist Victor Bailey, and drummer Steve Smith, the sextet performed consistently stirring music. This two-CD set has plenty of heated instrumentals along with occasional ballads, all of it original music coming from either Evans, Brecker, or Bullock. Unfortunately a few of the selections have vocals from Brecker that are primitive at best and an acquired taste although the words to Bullock's "Greed" are worthy. If it were not for the singing, this two-fer would be rated higher, but it does contain some of the best playing of the era from Bill Evans and Randy Brecker, who consistently bring out the best in each other. ~ Scott Yanow, All Music Guide |
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