 |
Friends |
 |
 |
jasapaal
 Into the Rhythm
|
 |
 |
 |
 |
|
 |
 |
2002:The Dizzy2000: Gillespie Alumni All-Stars Big Band - Things To Come (Live) |
Music » Jazz » BeBop » Post-bop |
 |
|
 Artist: The Dizzy Gillespie Alumni All-Stars Big Band Album: Things To Come Label: McG Jazz Year: 2000, release:2002 Format, bitrate: Mp3, 320 Kbps Time: 60:20 Size: 134 MB AMG Rating:   The Dizzy Gillespie Alumni All-Stars are a "ghost" band of sorts run by trumpeter and Gillespie protégé Jon Faddis. Recorded to celebrate the music and memory of Gillespie, Things to Come is a fiery live recording made in September of 2000 at the Manchester Craftsmen's Guild; all proceeds from the sale of this disc go directly to the Craftsmen's Guild's minority-focused arts and learning center. Featuring various Gillespie band alumni, from saxophonist Jimmy Heath to trombonist Slide Hampton, the album features updated arrangements of Gillespie originals and songs associated with the innovative jazz icon. The supersonic trumpet of Faddis is featured throughout and, as he's been called upon to do many times, he does a terrific job of emulating his idol. While this is a pristine-sounding and flawless recording, the simple fact that these songs, such as "Manteca" and "Stablemates," are such warhorses of the jazz idiom makes the CD seem a tad predictable. Nonetheless, fans of straight-ahead modern jazz and bebop should be very pleased with the results.
~ Matt Collar, All Music Guide |
|
|
1991: Bix Beiderbecke - At the Jazz Band Ball |
Music » Jazz » Traditional Jazz |
|
|
 Artist: Bix Beiderbecke Album: At the Jazz Band Ball Label: ASV Living Era CD AJA 5080 Year: Feb 18, 1924-Sep 8, 1930 Release: 1991 Format, bitrate: mp3, 320 kbps Time: 64:46 Size: 117 Mb This compilation features original Mono recordings made by the Bix Beiderbecke between 1924 and 1930, from his earliest with the Wolverines to one of his last recordings with his own orchestra. Some of the finest musicians of the period are to be heard and they include Frankie Trumbauer, Benny Goodman, Adrian Rollini, Jimmy Dorsey, Tommy Dorsey, Don Murray, Eddie Lang, Miff Mole and Joe Venuti. Bix was a very lyrical player and possessed a clear unmistakable tone coupled with a great understanding of harmony. When required he could also employ a hard attack to his swinging solos. It is well documented that when it came to composing he was one of the first jazz musicians to be drawn to the harmonic ideas of Debussy. So, for anyone who is not already familiar with Bix’s work there could not be a better introduction than ‘At The Jazz Band Ball.’
Whilst Bix’s relationship with Paul Whiteman was often far from amicable some of his best solo work came about when he was with Whiteman – especially on ‘San’ and ‘From Monday On.’ Unfortunately there is only one track featuring the superb line-up that made up the Biederbecke Orchestra in 1930 - ‘Deep Down South.’ The final track is certainly Bix’s most famous composition ‘In A Mist’ which, as Vic Bellerby says in his accompanying notes, ‘was to have an influence on many jazz experiments to follow.’~ Jack Ashby, Jazz CD Reviews |
|
|
1971: Maynard Ferguson - Maynard Ferguson (AKA "Alive and Well in London") |
Music » Jazz » Fusion » Crossover Jazz |
|
|
 Artist: Maynard Ferguson Album: Maynard Ferguson (AKA " Alive and Well in London") Label: Wounded Bird Records Year: 1971, release: 2005 Quality: MP3@320 kbps Size: 81,7 mb Total time: 37:20 Also released under the title Alive and Well in London, this 1971 release contains some of Maynard's most memorable performances, and continued his tradition of putting his own unique stamp on some of the popular rock and pop hits of the day.
This CD rates 5 stars (which is also the rating it was given in Downbeat Magazine when the album was reviewed there when it first came out). Clean reproduction of one of Maynard Ferguson's best albums from the 70's. Purists may quibble that the album lacks straight-ahead jazz since it is more commercially oriented than some of his other big band/jazz albums. But each and every arrangement swings! |
|
|
2001: Makanda Ken McIntyre - A New Beginning |
Post-bop, Avantgarde |
|
|
 Artist: Makanda Ken McIntyre Album: A New Beginning Label: Passin Thru Records Year: 2001 Format, bitrate: mp3 320 kbps Time: 67 min Size: ~ 132 mb AMG Rating  Multi-instrumentalist, musicologist, and educator Makanda Ken McIntyre led his last recording session on September 18, 1999, playing flute, oboe, bassoon, bass clarinet, and alto saxophone with pianist Joanne Brackeen, bassist Wilber Morris, and drummer Charlie Persip. McIntyre, who wrote all 12 of the pieces realized on that day, left more than 400 compositions and one-dozen albums recorded over a span of 40 years. In keeping with the textural versatility of this artist's recorded output, there are reflective moods, friendly romps, and beatific studies ("Evolvement," "Witch's Brew," "Another Look," and "A New Beginning"); searching lyrical improvisations ("Black Sugar Cane," "Monk & Trane," "Toy Rugs," "Tomorrow? Tonight!") and rhythmic dances suffused with Caribbean rhythms ("Breadfruit," "Smile," and "Sonny," which is clearly a respectful portrait of tenor saxophonist Sonny Rollins.) Brackeen, Morris and Persip interact wonderfully with the composer and multi-instrumentalists on what turned out to be his final gift to the world. ~ arwulf arwulf, All Music Guide |
|
|
1988: Don Pullen - New Beginnings |
Music » Jazz » Modern Jazz » Freejazz |
|
|
 Artist: Don Pullen Album: New Beginnings Label: Blue Note Year: 1988, release: 1989 Format, bitrate: MP3, CBR 320 Time: 49:19 Size: 108 Mb
Although it may be a bit of a simplification, on New Beginnings pianist Don Pullen sets up fairly simple structures (some of which could be grooves for Ramsey Lewis) and then, after stating the theme, tosses in playful runs that are often quite outside, essentially putting his original style from the 1960's in a slightly commercial 1980's setting. Pullen plays quite rhythmically during his more intense phrases and displays a sly sense of humor. Both bassist Gary Peacock and drummer Tony Williams get a generous amount of solo space on the trio date and they are not overshadowed by the leader's often-fanciful flights. However the set does have one strong fault: at under 28 minutes it is way too brief. ~ Scott Yanow, All Music Guide |
|
|
1977: Houston Person - Harmony |
Soul-Jazz, Funk-Jazz |
|
|
 Artist: Houston Person Album: Harmony Year: 1977 Label: Mercury Format/Bitrate: mp3/320kbps Size: 81.55 mb Funky Houston Person on Mercury an album with some nice surprising touches! Person's blowing in a large group on this one in a style that seemed to be an increasing refuge for some of the soul jazz players of the 60s during the time but despite that setting, Houston keeps it real on a few of the album's best tracks - thanks to the kind of far-thinking production that made some of these Mercury jazz funk sides so great! Horace Ott's arranging the backings, and is crowning achievement is the album's extended take on Fela's "I Get No Eye For Back" -- done here as a long drawn-out funky jazz number with great sax from Person, and some really nice keyboard parts! The album also features 2 other nice full funk numbers "Do It While You Can" and "Love Is All We Need" both penned by Ott, with the mixture of large group backing and light vocal refrains that were similar to those used on Jimmy Smith's Mercury album. © 1996-2010, Dusty Groove America, Inc. |
|
|
2006: Mosaic Select 19 - The Pacific Jazz Piano Trios (1952-63) |
Jazz, BeBop, Cool, West Coast Jazz |
|
|
 Artist: Russ Freeman, Richard Twardzik, Jimmy Rowles, Clare Fischer Album: Mosaic Select 19 - The Pacific Jazz Piano Trios Label: Mosaic Year: 1952-63, release: 2006 Format: mp3, 320 kb/s Size: 541MB Time: 1:50:32 AMG Rating:  This set reinstates a number of important piano recordings made for Pacific Jazz (and in the case of Jimmy Rowles Liberty). Russ Freeman and Rowles were seminal to so much of the important music that emanated from Los Angeles in the '50s and '60s that their achievements would be far too many to list here. Freeman's hard swinging style is featured on 14 tracks made between 1952 and '57. Rowles, an encyclopedic piano maestro, is represented by his rare Liberty album Rare - But Well Done and two Pacific Jazz tracks, made the end of sessions by others.
Richard Twardzik was a startlingly original pianist/composer on the Boston scene in the early '50s. Russ Freeman heard him there and convinced Pacific Jazz to record him. Ironically when he died of an overdose in Paris on October 21, 1955, he was Russ's replacement in the Chet Baker quartet. These seven trio selections represent the only music he recorded professionally as a leader.
Clare Fischer, the only living pianist represented on this set, is best known for his brilliant writing. His abilities as a commanding, inventive jazz pianist have taken a back seat to other achievements. His first two albums, included here, are marvelous trio sessions that feature three of the greatest bassists on the LA scene at the time: Gary Peacock, Ralph Pena and Albert Stinson. Clare consented to the release of three unreleased tunes from these sessions. ~ Mosaic Records |
|
|
2008: Wadada Leo Smith's Golden Quartet - Tabligh |
Modern Jazz, Avantgarde |
|
|
 Artist: Wadada Leo Smith's Golden Quartet Album: Tabligh Label: Cuneiform Records Year: 2008 Format, bitrate: mp3, 320 Size: 139 mb AMG Rating: "Feverishly recommended" - Jazzreview.com Trumpeter Wadada Leo Smith remains as ambitious and creative as ever. Smith's Golden Quartet was formed — and its membership has shifted — to foster a particular kind of dynamic musical engagement. For this date, recorded at the RedCat (sic) in Los Angeles, Smith called upon the talents of pianist and keyboardist Vijay Iyer, bassist John Lindberg, and drummer Shannon Jackson. The set is comprised of four long pieces that run from eight-and-a-half minutes to over 24. "Rosa Parks," a 16-minute piece, opens the CD. It reflects the ongoing influence of Miles Davis' electric work on Smith. A lone trumpet is heard at the outset, sparse, single-note phrases played with great restraint, but muscularity too. Iyer's Fender Rhodes enters very slowly and skeletally at first, coloring Smith's lines only slightly. His synth provides a "breathing" atmospheric sound under the Rhodes. Jackson enters with cymbals with Lindberg playing arco. The halting, evolving melody begins to change shape a few minutes in and the band comes together behind Jackson's shimmering yet propulsive beat. They engage as an ensemble from the jump, wah-wah pedals on the bass, the more strident pronouncements of the Rhodes and the dancing trapkit create a palette for Smith to enter and play off of, winding them around him and his trademark phrasing playing through them. The piece ends in a complete different place than it began. "DeJohnette," named for the drummer (a founding member of this band) comes at improvisation from a different angle. Iyer is on grand piano, and of course Jackson laying down beats, breaks, and stuttering stops and angles for the band to play off of. He is a consummate rhythm master. The pianist and Lindberg engage freely in improvisation-building intensity before Smith enters at about the four-minute mark, blowing hard. This is intense listening music: phrases fly simultaneously from one player to another, all picked up in tandem almost instinctively as they flow as a unit off the bandstand. By contrast, "Caravan of Winter" feels almost like a mirror image piece as it flows directly out of "DeJohnette," though the tempo is slower and the engagement a little more sparse. Its Spanish flamenco and Asian overtones are delightful even as the piece itself is moody and somewhat angular. Finally, the title track, which is defined as "the work done by Muslims to call others to Allah" — and the longest cut here — comes off more as a suite than a single tune. Like "Rosa Parks," it begins with glimmering, nocturnal sounds from Iyer's various keyboards. Smith uses a mute for large swathes of this, and it seems he is offering a ballad, but that's deceptive. In fact, as his trumpet enters, it is almost like the sound of a Muzzein calling the faithful to prayer. Iyer switches to piano at about seven minutes, and the rest of the band enters in force. The work becomes a powerful improvisation with Lindberg and Jackson powering the band right out front, as Smith and Iyer color their rhythmic interaction. Dynamics shift and shape the sense of time and space with in the tune, and it finishes almost as a lullaby. Smith, in his 60s, is not only as inventive and adventurous as he was when he was a younger player, but his creativity and ability to direct a band into new territory is actually farther reaching than ever before. This is brilliant work. ~Thom Jurek, All Music Guide |
|
|
English
Ðóññêèé
Set Home Page
Add to Favorite
Rss 2.0 news
