Artist: Katie Melua
     Album: Live at the O² Arena
     Label: Dramatico
     Year: May 18, 2009
     Format, bitrate: mp3, 320kb/s
     Size: 165MB


     Live at the O² Arena is a live album by Georgian-born British singer–songwriter Katie Melua.
     2009 UK 19-track CD album - 'Live at the O2 Arena was recorded on 8th November 2008 during Katie's 'Pictures' world tour. Katie opened the concert, with just her electric guitar for accompaniment, singing 'PieceBy Piece' and 'Lilac Wine' before taking a seat at the grand piano to play the Georgian folk song 'Yellow Leaves' [or 'Qviteli Potlebi']. The concert was a celebration of the remarkable success that she has enjoyed since the release of 'Call Off The Search'[2003]. Joined by her 6 piece band, Katie weaved her way through her three multi-platinum selling albums with performances of her debut single 'Closest Thing To Crazy', the international hit single 'Nine Million Bicycles' and the tracks from the 'Pictures' album. After a mesmerising cover of Janis Joplin's 'Kosmic Blues', Katie closed the show as she began, unaccompanied, to sing the heartbreaking 'I Cried For You'

     Artist: Kenny Dorham
     Album: Osmosis
     Year: 1961
     Label: Black Lion
     Time: 69:12
     Quality: MP3 @320 kbps(Covers + Scans, 160mb) / FLAC (Covers + Scans, 420mb)




     Originally released under drummer Dave Bailey's name and given the accurate title Modern Mainstream, this Black Lion CD reissue has excellent straightahead jazz from Bailey, trumpeter Kenny Dorham, trombonist Curtis Fuller, the obscure but talented tenor Frank Haynes, pianist Tommy Flanagan and bassist Ben Tucker. The CD reissue not only has the original seven selections but four previously unreleased alternate takes. Dorham and Haynes are in fine form but it is pianist Flanagan (well-showcased on "Just Friends" and two versions of "Like Someone in Love") who often takes solo honors.

     Artist: Abdullah Ibrahim & The WDR Big Band Cologne
     Album: Bombella
     Label: Intuition
     Year: 2009
     Format, bitrate: mp3, 320kb/s
     Time: 74.31
     Size: 156MB
     AMG rating:

     Previous projects pairing Abdullah Ibrahim in an orchestral setting have yielded wonderful results, and this collaboration with the WDR Big Band from Cologne, Germany is just as marvelous. Ibrahim's spiritually driven piano playing is at the center of WDR's expansive charts that brings the music into full flower, punchy, deep, or serene as it tends to be in spots. The material is familiar to all fans of Ibrahim's, as he brings back some older favorites, and expounds on the influence of mentors Duke Ellington and Thelonious Monk, with perhaps a nod to Gil Evans as well. The NDR band is loaded with fine soloists -- Paul Heller's tenor sax is particularly arresting -- and they each get a turn, but also provide the bright colors that enhance Ibrahim's music in a way small ensembles cannot. With a max level of resourcefulness, the band picked Karolina Strassmayer to lead out on piccolo for the familiar theme "Mandela," but she embellishes high-end notes with a bop style amidst the South African shuffle so identifiable with township music. That rolling train sound, accented by brushes on snare drum, also permeates another favorite, "African River," as Ibrahim's Ellington-flavored piano intro (paraphrasing "The Jeep Is Jumpin'") fires up the choo choo in steamy, subtle phrases. An incredible revisit of "Bombella" -- for the rail cars that transport migrant workers to the South African gold mines -- is a powerful musical statement, with the band roaring in full brawny and shouted-out multiple layers of a complete whole, as Ibrahim's piano conducts the punctuations and clickety-clack seam sounds. Still recalling the horrific practice of apartheid, "District Six" sports another mobile conveyance in musical terms, as bassist John Goldsby and Ibrahim's piano set up a broad blues visage, throbbing with the pain of oppression under the valve trombone of Dave Horler. There's a love ballad testimonial for Ibrahim's wife "Song for Sathima," led by alto saxophonist Heiner Wiberny, the elegant remembrance in tribute to an Ellington trombonist "For Lawrence Brown" featuring Ludwig Nuss, and two combo pieces including the solo piano "Meditation" merging with a solemn, horn-filled, light pop piece "Joan Capetown Flower," and "I Mean You/For Monk," the former in a different, lower key than the original, the latter splattered with various solo sections. As a fuller representation of his straight-ahead jazz side, "Excursions" (subtitled "Masters & Muses") is a bouncy swinger with a simple melody that changes into a waltz. Well into his seventies, Abdullah Ibrahim seems to always find the right accompanists to broaden the horizons of his magical music, and with Bombella he's done it again, perhaps better than ever.

     Artists: MorelenbaumІ/Ryuichi Sakamoto
     Album: A Day in New York
     Label: Sony Music Distribution
     Format, bitrate: mp3, 256 kb/s
     Year: 2002, release: 2003
     Size: 73 Mb
     AMG rating

A Day in New York, recorded at the end of a U.S. tour the group made in 2002 in support of the Casa release is, simply, Morelenbaum Squared's live set performed -- live -- in a New York studio. The emphasis, of course, is on songs by Antonio Carlos Jobim, although Caetano Veloso, Joгo Gilberto, and even Ryuichi Sakamoto and Paula Morelenbaum get a look in. The music is exquisite, gently understated, and shimmering like a heat mirage. Morelenbaum is a more than capable singer, and often a delight here (as on "Fotografia"), while Sakamoto is the real revelation of the album. He blends in so perfectly it's hard to believe he's not Brazilian; he's deft in rhythmic support, and never pushes too much on his solos. Cellist Jacques Morelenbaum is the veteran, but he keeps a sense of discovery in his playing, and the inclusion of the bowed instrument offers an almost chamber music-feel to this music, bringing another dimension to the sound. The three are the focal points, but kudos too, to the guitarist and drummer, who keep in the background, but offer vital support. It's remarkable just how familiar many of these songs are; not merely the obvious "Desafinado" and "Chega De Saudade," but "Samba De Aviгo" and "Fotografia." In a way, it's like chancing upon an old friend after many years, and finding a new richness. A joy to the ear. ~ Chris Nickson, All Music Guide

     Artists: Ella Fitzgerald & Duke Ellington
     Album: Ella & Duke at the Cote D'Azur
     Label: Verve
     Year: 1966, release 1997
     Quality: MP3@320kb/s
     Size: 97,6+98,3 MB
     Time: 45:22 + 46:06


     Продолжим знакомство с Эллой и Дюком. Такие концерты конечно надо смотреть вживую, или хотя бы на DVD..; вот же повезло тем, кто там был в июле 1966 года на Лазурном берегу Французской Ривьеры, в Антибе.... Да ладно, не будем о грустном, давайте просто слушать и наслаждаться!

This two-disc package features highlights from several concerts by Duke Ellington and Ella Fitzgerald during the Le Festival International de Jazz d'Antibes-Juan-les-Pins in the south of France between July 26 and July 29, 1966. Both jazz legends are in top form throughout and the obvious affection between them results in some sublime musical interaction. This CD set also includes a pair of additional Ellington pieces -- "The Trip" and "Jive Jam" -- from the 29th. Although the collection lacks the organic cohesion of a singular performance, the 18 tracks do feature some undeniably prime moments. Of the nine vocals, only three -- "Mack the Knife," "It Don't Mean a Thing...," and "Just Squeeze Me..." -- feature both Sir Duke and Ella together. Otherwise, Fitzgerald is backed by the more intimately suitable Jimmy Jones trio. Additionally, it should be noted that during this series of concerts, Fitzgerald lost her sister. So between sets she flew to New York and back to France to honor the engagement. Although a consummate professional, this undoubtedly affected the uniformity in her performance. Unscathed however is her signature scat style of vocal improvisations -- especially on "It Don't Mean a Thing..." -- which is effortless and effervescent throughout. This is contrasted by the emotive affection of tracks such as "The More I See You." The Ellington performances are typical of his mid-'60s sets. His orchestra is especially effective on the wailin' "Diminuendo in Blue" -- featuring a blistering blow from Paul Gonsalves (tenor sax). Another particularly inspiring track is the ten-plus-minute "The Old Circus Train Turn-Around Blues" -- featuring Ellington on keys doing his best Thelonious Monk imitation. He emphatically interjects chords that are ever so slightly askew, yet rhythmically perfect. [In 1998 Verve issued an eight-disc collection titled Cote d'Azur Concerts on Verve -- while this may be a bit on the excessive side, the set offers interested parties a much more accurate overview of the festival -- including a rare public rehearsal from the Ellington congregate.]

      Artist: Sonny Rollins
      Album: Moving Out
      Label: Prestige/OJC
      Year: 1954
      Format: FLAC
      Time: 31:29
      Size: 68MB x 3
     Time: 31:38
      AMG Rating:

REPOST With new link from M-r. canito

      Sonny Rollins' "Movin' Out" is a classic set of hard bop from the mid-50s. Four of the albums songs feature the personnel of Kenny Dorham, Elmo Hope, Percy Heath and Art Blakey joining Sonny, while on one track, the lenghty ballad "More Than You Know," the band consists of Sonny, Monk, Tommy Potter and Art Taylor. The standout tune on this recording is "Solid," one of Sonny's most covered compositions, and this is the definitive version. But the other songs are no slouches -- the title track and "Swinging for Bumsy" are hard driving, straight ahead boppers, while the high point on the mid-tempo "Silk N' Satin" is a glorious, distant echo-like trumpet line from Dorham. "Movin' Out" doesn't net a fifth star in my opinion because this is very short CD, only around 30 minutes. But the music is excellent, so "Movin' Out" may be short, but it is definitely sweet.
   Michael B. Richman (Portland, Maine USA) Amazon.com

     Artist: Gerry Mulligan And The Concert Jazz Big Band feat. Zoot Sims
     Album: Live in Zurich
     Label: TCB Records
     Year: 1960 ; release : 1999
     Format, bitrate: MP3, CBR 320
     Time: 56:17
     Size: 124 Mb

     It's always regrettable when a high-quality jazz band isn't recorded as much as it deserves to be; in fact, it's downright tragic that Thelonious Monk's 1957 performances with John Coltrane at the Five Spot in New York weren't documented extensively. But thankfully, Gerry Mulligan's Concert Jazz Band of 1960-1963 was well documented and resulted in some rewarding albums. One of them is Zurich, 1960, which was recorded live at Mustermesse Basel in Zurich, Switzerland, on November 17, 1960. This CD finds the 14-piece Concert Jazz Band in excellent form during a concert that ranges from well-known standards (including "Body and Soul" and "You Took Advantage of Me") to swinging Mulligan originals like "The Apple Core," "C," and "Walkin' Shoes." Although Mulligan's subtle, lyrical baritone sax is the main attraction -- arguably, he was the Stan Getz of the baritone -- the improviser doesn't hesitate to feature such five-star soloists as trumpeter Conte Candoli, tenor saxman Zoot Sims, trombonist Bob Brookmeyer, and alto saxman Gene Quill (who is also heard on clarinet). And whoever is taking a solo, the band has a consistently insightful and sensitive drummer in Mel Lewis.

     Artist: Freddie Hubbard
     Album: Here To Stay
     Year: 1962 / 2006-RGV
     Label: Blue Note
     Time: 38:04
     Format: MP3 @320kbps / FLAC
     Size:101mb (RS.com) with 5% file recovery; Includes covers & scans / (82MB x 2)+ 79MB
     Time: 38:04
     AMG rating:



     This two-LP set, which was released in 1979 as part of United Artists' Blue Note reissue series, brought back trumpeter Freddie Hubbard's early album Hub Cap, a sextet session with tenor-saxophonist Jimmy Heath, trombonist Julian Priester, and pianist Cedar Walton. Although that session (comprised of four Hubbard compositions, one of Walton's songs, and Randy Weston's "Cry Me Not") is excellent, it is the full album of previously unreleased material from an all-star quintet that is of greatest interest. Hubbard teams up with fellow Jazz Messengers Wayne Shorter (on tenor), Walton, bassist Reggie Workman, and (in Blakey's spot) drummer Philly Joe Jones for some advanced hard bop. Highpoints include the fiery "Philly Mignon" and a strong version of "Body and Soul."

     Artist: The Nels Cline Singers
     Album: Instrumentals
     Label: Cryptogramophone
     Year: 2002
     Format, bitrate: mp3, 320
     Size: 172 mb
     AMG Rating:


     As both a sideman and a leader, guitarist and composer Nels Cline has been prolific over the past ten years, lending his six-string wisdom, production, and compositional help to a number of projects and exploring the unknown with his own ensembles. This trio, ironically called the Nels Cline Singers, features only the voices of guitars, basses, and various forms of acoustic and electric percussion. Accompanied by drummer and loops/processing whiz Scott Amendola and bassist Devin Hoff, Cline turns in one of his most genuinely mystifying performances to date. Using an entire host of guitars, including 12-string and baritone guitars in addition to his army of electrics, Cline looks to the jazz muse for inspiration and finds it. While these tracks transcend jazz-like structures after awhile in search of the inexpressible, they nonetheless take their cue from the rhythm, harmony, and (truncated) melody formula. There is great inspiration here, a spirit of cooperation and communication that transcends genres yet sticks close to jazz as a guiding principle. The trading of solos in the opener "A Mug Like Mine" between Hoff and Cline as Amendola literally dances around before driving through both of them is a case in point. The haunted beauty of "Harbor Child" is another, with Cline's fingerpicked melody enveloped in the soft, lonesome swirl of Hoff's arco work and the gull-like percussion effects of Amendola. Then there's the dirty, screwed-up blues of "Lowered Boom," which sounds like it's the backing track to some outtake off of Tom Waits' Bone Machine album. It's blues hoodoo with a greasy-assed guitar that sounds positively evil. The most mystifying and maddening thing on the album is the 15-minute "Blood Drawing," which begins as a microtonal noise exploration, becomes an avant-classical chamber piece drawing heavily on post-serialist concerns, and ends as a rocked-out, screaming skronk piece, coming to a complete clattering halt before "Slipped Away" commences to end the album. The final track is a shimmering glissando jazz ballad with restrained dynamics and timbres and an ethereal hint of a melody that resonates long after the recording ends. This is one of Cline's strongest and most innovative efforts. Where the notion of "Singers" comes from, perhaps, is that these musicians make these tracks sing with invention, inspiration, and a rough-hewn grace.

     Artist: Yamandu Costa & Dominguinhos
     Album: Yamandú + Dominguinhos
     Label: Biscoito Fino
     Year: 2007
     Genre: MPB (Musica Popular Brasileira)
     Format: mp3
     Bitrate: 256 kbps
     Time: 52 min
     Size: 83 MB

     By bringing together Yamandú Costa Dominguinhos and in the studio to record a CD, the producer Joseph Milton had a clear intention: to leave the two musicians to play what were willing, not stuck in one style or another. Succeeded.
     The gaucho of Passo Fundo and the pernambucano of Garanhuns, who had played together only once, took so well that they became partners until there's time, when a subject completed Dominguinhos initiated by Yamandú, which gave the title "Cute."
     The work was conducted in so harmoniously that was published almost in the order they were recorded. Each chose what you like to play, knowing both the harmonies and tessitura of each song.
The rest of the repertoire came in intuition, in the studio, different genres, and composers (Brazilian composers in total). Besides compositions of the two musicians, the CD also has Tom Jobim, Sivuca, Abel Ferreira, Chico Buarque, Luiz Gonzaga, Waldir Azevedo, Pedro and Ramon Humberto Teixeira Custódio Mesquita and Sadi Cabral.
Check it out! -
Unbelievable register of the popular Brazilian music.

     Artist: Bobby Enriquez     
     Album: The Prodigious Piano of Bobby Enriquez
     Label: GNP/Crescendo Records Inc.
     Release Date: Apr 19, 1991
     Recording Date :1983
     Formatr/Bitrate: Mp3/320
     Time : 60:22

For My Friends!
Enjoy...

     Bobby Enriquez was a technically gifted pianist who could play very explosive versions of standards. On this excellent set with bassist Abraham Laboriel, drummer Alex Acuna and percussionist Poncho Sanchez, Enriquez brings a lot of personality and witty ideas to such tunes as "This Masquerade," "Billie's Bounce," "Senor Blues" and "Cherokee." An excellent example of Enriquez's talents.(AMG)

     Artist: Helge Lien Trio
     Album: What Are You Doing The Rest Of Your Life
     Label: Curling Legs
     Year: 2001
     Format, bitrate: mp3/320 kbps
     Size: 106 Mb

     Artists: Territory Band 6 with Fred Anderson
     Album: Collide
     Label: Okka
     Year: 2007
     Format, bitrate: FLAC
     Size: 324.1M


     The tenor saxophonist Fred Anderson has been an inspiration to subsequent generations of Chicago musicians. He agitated alongside the Art Ensemble of Chicago in the 1960s, and his club, the Velvet Lounge, cross-fertilised the city’s jazz and postrock scenes in the 1990s. Here, he guests with the saxophonist Ken Vandermark, a musical polymath who looks like a US marine drill sergeant, and his Territory Band, a loose collective that reconciles American jazz and European free improvisation. These five tracks swing, allow Anderson spaces to solo, then fragment into scratchy fractals, like Gil Evans arranging a Sonic Youth instrumental.~ Okka Disk