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1973: Duke Jordan - Flight To Denmark |
Music » Jazz » BeBop » Post-bop |
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 Artist: Duke Jordan Trio Album: Flight To Denmark Label: Steeplechase/Video Arts Year: Nov 25 - Dec 2, 1973 ; release: 1973 Genre: Piano Jazz Format mp3, bitrate: 320 kb/s Time: 1:11:44 Size: 170 Mb (full covers) AMG Rating:  REPOST with additional link from Mr.Gkjoflm Upon Duke Jordan's initial visit to Copenhagen, Denmark, followed by his decision to make the move as an expatriate permanent, he was tempted to stay by playing with some extraordinary Scandinavian rhythm sections. Bassist Mads Vinding, one of many skilled Danish jazz bassists, is here on the date performing in fine style. Drummer Ed Thigpen, who left the U.S. to take up permanent residence in Europe, was an even bigger influence in making Jordan's decision a good one, and is an equally skillful musical partner on this date. This is an expanded edition from the previous original issue on the Steeplechase label; a Japanese import with several alternate takes. It's an understated session for the most part, equal parts melancholy and hopeful, as one might expect with the trepidation of leaving home for new, unknown horizons to be discovered in a foreign land. The upbeat songs, as the modal, popping, tom-tom driven "No Problem" (from the movie soundtrack Les Liason Dangereuses) and the famous bop flag-waver "Jordu," bookend the CD. The bulk of the recording showcases the softer side of Jordan, with takes of the somber ballad "Here's That Rainy Day," the slightly brighter "Everything Happens to Me," and two versions of the polite waltz "Glad I Met Pat," dedicated to a nine-year-old girl Jordan knew in New York City prior to her being kidnapped. The pianist employs chiming piano chords for "How Deep Is the Ocean?," is lighthearted in his slight interpretation of the well worn "On Green Dolphin Street," does two takes on the light, bluesy swinger "If I Did, Would You?," and ramps up to midtempo the bluesy original "Flight to Denmark," reflective of the insecurity and consequential optimism that followed his leaving the States. This is Duke Jordan at his most magnificent, with the ever-able Vinding and expert Thigpen playing their professional roles perfectly, producing perhaps the second best effort (next to Flight to Jordan from 13 years hence) from the famed bop pianist. ~ Michael G. Nastos, All Music Guide |
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1959: Charles Mingus - Mingus Dynasty |
Hard-bop, Post-bop, Progressive Jazz |
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 Artist: Charles Mingus Album: Mingus Dynasty Label: Sony Music Distribution Year: 1959, release: 1994 Format, bitrate: mp3, 320 Time: 59:15 Size: 131 mb AMG Rating:  Inducted in the Grammy Hall of Fame in 1999 Mingus Ah Um catapulted Charles Mingus from a much-discussed semi-underground figure to a near-universally accepted and acclaimed leader in modern jazz. Perhaps that's why his Columbia follow-up, Mingus Dynasty, is often overlooked in his canon — it's lost in the shadow of its legendary predecessor, both because of that album's achievement and the fact that it's just a notch below the uppermost echelon of Mingus' work. Having said that, Mingus Dynasty is still an excellent album — in fact, it's a testament to just how high a level Mingus was working on that an album of this caliber could have gotten lost in the shuffle. There's a definite soundtrack quality to a great deal of the music here, and indeed the majority of Mingus' originals here were composed for film and television scores and an expanded, nine- to ten-piece group. On some pieces, Mingus refines and reworks territory he'd previously hit upon. "Slop," for example, is another gospel-inflected 6/8 stormer, composed for a TV production that requested a piece similar to "Better Get It in Your Soul." The ferocious "Gunslinging Bird" follows a similar pattern, and it's the same piece whose full title — "If Charlie Parker Were a Gunslinger, There'd Be a Whole Lot of Dead Copycats" — is given elsewhere. There are a couple of numbers from the Ellington songbook that both feature cellos — "Things Ain't What They Used to Be" and a fantastic, eight-minute "Mood Indigo" — and a couple of pieces that rely on the even more tightly orchestrated approach of Mingus' pre-Pithecanthropus Erectus days — "Far Wells, Mill Valley" and the atonal but surprisingly tender and melodic "Diane." The CD reissue of Mingus Dynasty — like that of its predecessor — restores the full-length versions of some songs that had portions of solos edited for time on the original LP release. ~ Steve Huey, All Music Guide |
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1925-1928: The California Ramblers 1925-1928 |
Music » Jazz » Traditional Jazz » Classic Jazz |
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 Artist: The Californian RamblersAlbum: The California Ramblers 1925-1928Label - Timeless Years: 1925-1928, release: 1999 Quality: MP3@320 kbps Size: 158 mb Total time - 38:08 In the first few years after 1917 the Original Dixieland Jass Band had begun to make its famous series of Victor discs, popular music was mostly recorded by small (usually five-piece) groups playing in the Original Dixieland Jass Band tradition. In the early 1920's, however, it became apparent that there was a growing demand for jazz-flavored dance music and the record companies in New York were looking for somewhat bigger orchestras that could capably handle the "Latest Hits". In November 1921 a nine-piece group assembled in the Vocalion recording studio to wax two titles, The Sheik and Georgia Rose, which were issued as '"Played by The California Ramblers". The name was chosen in true fashion of the day, slightly exotic and definitely non-east coast, which seemed to indicate that their music was totally new and unconventional. (There were also the Original Memphis Five, Original Indiana Five, and Tennessee Tooters, Arkansas Travelers and many more, strictly New York based bands.) The Ramblers were mostly a studio outfit and for almost ten years they recorded for practically every company, although by about half of them they were labeled "Golden Gate Orchestra".>>> |
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2008:Dizzy Gillespie All-Star Big Bamd - I'm BeBoppin' Too |
Music, Jazz, Post-bop |
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 Artist: The Dizzy Gillespie Alumni All-Stars Big Band Album: I'm BeBoppin' Too Label: Halfnote Records Year: 2008, release: 2009 Format, bitrate: Mp3, 320 Kbps Time: 68:16 Size: 127 MB AMG Rating  Tribute bands are often bland affairs, because they become too predictable, while often omitting any artists who played with the deceased artist. Fortunately, this third CD by the Dizzy Gillespie All-Star Big Band mixes veterans who worked with the trumpeter and talented younger players who acquit themselves very well. Trombonist Slide Hampton contributed a fresh chart of Dizzy's "Manteca" that is a bit more introspective and less percussive and shouting, with potent solos by pianist Cyrus Chestnut. Tenor saxophonist Jimmy Heath scored the subtle, hip treatment of Kenny Dorham's "Una Mas," showcasing alto saxophonist Mark Gross, trombonist Douglas Purviance, and baritonist Gary Smulyan. Vocalist Roberta Gambarini's solid performance of "'Round Midnight" (and Hampton's fresh arrangement) trump those who claim that this landmark Thelonious Monk composition is recorded all too often; there is always room for a top-notch recording such as this one. Gambarini also guests in Heath's setting of Tadd Dameron's bittersweet ballad "If You Could Seem Me Now" and Hampton's snappy setting of "Lover, Come Back to Me." Nor should the brass players be overlooked: Roy Hargrove's lush playing in "I Can't Get Started," plus his comic vocal in the jive piece "I'm BeBoppin' Too," are complemented by Greg Gisbert's searing trumpet and Michael Dease's brief, effective trombone solo. Recommended. ~ Ken Dryden,All Music Guid |
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1959: Yusef Lateef - Cry! Tender |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Yuseff LateefAlbum: Cry! TenderLabel: New Jazz/Original Jazz Classics Year: 1959, release: 1991 Format: mp3@320 kb/s Size: 84MB Time: 41:34 AMG Rating:  In 1959, Yusef Lateef began using the oboe in his recording sessions and on live dates. This album marks that occasion, and is thus a turning point in an amazingly long and varied career. Accompanied by Lonnie Hillyer on trumpet, Hugh Lawson on piano, bassist Herman Wright, and drummer Frank Gant, Lateef was digging deeply into a new lyricism that was Eastern-tinged (the full flavor of that obsession would be issued two years later on Eastern Sounds and had been touched upon two years earlier on Other Sounds, released on New Jazz, where Lateef had used an argol as well as his sax and flute), modally informed, and distinctly light in texture -- with the exception of the deep, dark, arco work at the beginning of "Dopolous," by Wright. Lateef was already moving away from what most people would call jazz by this time, yet, as evidenced here, his music remained challenging and very accessible. This is meditative music with a stunningly rich rhythmic palette for how muted and edgeless it is. And, like John Cage or Morton Feldman, the absence of those edges was written in; it's not random. On tunes like the aforementioned, "Butter's Blues," or even "If You Could See Me Now," Lateef could take the blues and move it into shadowy territory, pulling out of the intervals and changes certain harmonic concepts to turn the music back on itself. If restraint got practiced in the dynamic range, the drama in the music would be all the greater because of the wider harmonic palette -- because it could be heard, not just felt. The result is a seamless, velvety, yet poignant take on the blues that echoed the tears referenced in the title of the album. And yet, the beauty, such a tender beauty, was so unspeakably fragile that the brass and reed instruments seemed to hover over the rhythm section and cut holes in the air like fine razors that can only be praised for the fineness of their slash. This was the beginning of Lateef's change in direction and, as a result, it deserves to be noted for that. However, it needs to be doubly noted for its truly magnificent sound, texture, playing, composition, and choice of tunes.~ Thom Jurek, All Music Guide |
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1979: Kenny Wheeler - Around 6 |
Music » Jazz » BeBop » Post-bop |
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 Artist: Kenny Wheeler Album: Around 6 Label: ECM Year: 1979; release: 1996 Format, bitrate: 320 CBR Size: 121 MB AMG rating Kenny Wheeler's third ECM album as a leader is most notable for teaming his trumpet with the innovative tenor and soprano of Evan Parker, a brilliant British avant-garde player who is often overlooked in the U.S. With fine playing from trombonist Eje Thelin, vibraphonist Tom Van Der Geld, bassist J.F. Jenny-Clark and drummer Edward Vesala, the sextet performs six Wheeler originals that combine together advanced swinging with fairly free explorations. Stimulating music.~ Scott Yanow, All Music Guide |
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1977: Houston Person - Stolen Sweets |
Soul-Jazz, Funk-Jazz |
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 Artist: Houston Person Album: Stolen Sweets Label: Muse Records Year: 1977 Format/Bitrate: mp3/320kbps (LP-rip) Size: 85,43mb AMG Rating  First-rate soul jazz, funk, blues, and ballads by tenor saxophonist Houston Person. Vocalist Etta Jones wasn't on this session, so things were mostly uptempo and cooking, with plenty of robust tenor from Person, tasty guitar by Jimmy Ponder, swirling organ riffs and support from Sonny Phillips, and percussion and rhythmic assistance from Frankie Jones and Buddy Caldwell. ~ Ron Wynn, All Music Guide |
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1956-1964: Ultra-Lounge, Vol. 4: Bachelor Pad Royale |
Music » Jazz » Fusion » Jazz-Pop |
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 Artists: VA Album: Ultra-Lounge, Vol. 4: Bachelor Pad Royale Label: Capitol Years: 1956-1964, release: 1996 Quality: MP3@320 kbps Size: 111 mb (with all scans) Total time: 50:37 Ïðåâîñõîäíàÿ ìóçûêà íàñòðîåíèÿ! As the title implies, the songs on this 18-song compilation were intended for bachelors who wanted to create a suitably suave atmosphere between the mid-'50s and mid-'60s. So although the music draws from jazz (both big band and cool), lounge pop, and film/TV soundtracks, it's primarily designed to set a mood or background. That means that when it's pushed to the foreground, it really doesn't sound all that entertaining, even as it evokes archetypical (and oft-silly) vibes of a certain era. Martin Denny, Julie London, Nelson Riddle, and a host of no-names from the Capitol vaults bring you that sound here. When an occasional element of excitement, even danger, creeps in (Riddle's "Theme from Route 66," Elliott Fisher's "Theme from Our Man Flint," Jimmie Haskell's "A Shot in the Dark"), the interest level rises, as it does for any slice of good soundtrack music. Otherwise, these days it makes the ambience stuffier, not cooler. ~ Richie Unterberger, All Music Guide |
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