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jasapaal
 Into the Rhythm
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1995: Shirley Bassey - The Remix Album...Diamonds Are Forever |
Soul-Jazz, Funk-Jazz, Compilation |
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 Artist: Shirley Bassey Album: The Remix Album...Diamonds Are Forever Label: Nettwerk Records Year: 1995, release: 2000 Format, bitrate: mp3, 192kbps Time: 51 minutes Size: 69,2 MB Before this album, I was only familiar with Shirley Bassey from the Bond themes she sang (Goldfinger, Diamonds Are Forever, and Moonraker). I was in a store not long ago and saw the import box set from France, the 10 track CD with a bonus three song CD. I loved it.
Naturally, I was VERY happy to see that all 13 tracks made in on to an American CD. There are certainly no misses on this album. One of my favorite mixes is Propellerhead's funk soundng mix of Goldfinger. Moloko (DJ Skymoo) does an intense, fast-paced mix of "If You Go Away." awayTeam adds a sort of hip-hop sound to "Where Do I Begin" with much success. Superfunk does a twangy mix of "Moonraker" with dialogue throw in at parts. Mantronik contributes two mixes of "Diamonds Are Forever" which seem to both preserve the original song and add a good deal of substance to it by making it sound more modern.
The new mixes seem to make Shirley Bassey's powerful voice stand out even more and give a new electronica spin to some old classics. It's definitely worth checking out and this particular CD is the best value for the money. ~ Anthony Stokes (Riverside, CA USA) |
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1947-1948: Peanuts Hucko And The All Stars - Jam With Peanuts |
Swing, Mainstream |
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 Artist: Peanuts Hucko And The All Stars Album: Jam With Peanuts Label: Sounds of Yester Year Years: 1947-1948, release: 2006 Quality: MP3@320 kbps Size: 83,9 mb Total time: 38:14 As unjust as it is, Peanuts Hucko is not a household name. He was easily Benny Goodman's equal on clarinet and could easily be mistaken for Stan Getz on tenor sax when so inclined. He was Louis Armstrong's clarinet player in the Louis Armstrong All-Star band from 1958 to 1960. He played with bands fronted by Goodman, Jack Teagarden, Glenn Miller, and Eddie Conlon, and even led the Glenn Miller ghost band for several years in the 1970s, and all of that was in addition to the work he did leading his own groups. He should be remembered, and there should be recordings to give listeners a good jumping-off point for listening.
This album serves just that purpose, as it spotlights Peanuts at the height of his popularity and technical prowess. It was recorded in 1947 and 1948, with a variety of musicians at several locations. Due to recording equipment of the time the album suffers from some of the normal recording limitations that must be expected. The trumpets sometimes overpowered the microphones during their solos, and generally the album pops and cracks are in evidence. However, the sound quality for most of the songs is certainly better than many recordings of the era, and record noise truly seems to add to the ambiance of the recording rather than distract the listener. The balance of the group is very good, with the bass and drums much more prominent in the mix than many recordings. This is definitely nice, as a bass-boost equalizing effect isn't needed in order to hear the full rhythm section. >>> |
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1965: Archie Shepp- Fire Music |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: Archie Shepp Album: Fire Music Label: Impulse! Year: 1965, release: 1995 Genre: Avant-Garde Format, bitrate: mp3, 320kb/s Time:38:20 Size: 134MB Rating:   This particular early Archie Shepp recording has its strong moments, although it is a bit erratic. Four selections utilize an advanced sextet. Of these songs, "Hambone" has overly repetitive and rather monotonous riffing by the horns behind the soloists, and Shepp's bizarre exploration of "The Girl From Ipanema" gets tedious, but the episodic "Los Olvidaos" is quite colorful, and the tenorman sounds fine on a spacy rendition of "Prelude to a Kiss." "Malcolm, Malcolm-Semper Malcolm" has Shepp reading a brief poem for the fallen Malcolm X before he jams effectively on tenor in a trio with bassist David Izenzon and drummer J.C. Moses. Overall, this set, even with its faults, is recommended. [The CD is rounded out by a "bonus" cut not on the original LP — a live version of "Hambone" that is much more interesting than the earlier rendition.] ~ Scott Yanow, All Music Guide |
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2007: Eliane Elias - Something For You |
Music » Jazz » BeBop » Post-bop |
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 Artist: Eliane Elias Album: Something For You Year: 2007, release: 2008 Label: Blue Note Genre: Jazz, Piano and Vocal Format: MP3 192kbps Size: 73,6 MB Total time: 01:02:49 AMG Rating:  Eliane Elias’ return to the Blue Note label after a decade working elsewhere is a triumph. This salute to the late pianist Bill Evans, one of her favorite players, explores a number of songs he recorded, including both standards and originals. Evans’ bassist from his final trio, Marc Johnson, is not only a long-time collaborator with Elias but also her husband; drummer Joey Baron rounds out the band. While Elias is influenced by Evans’ playing style, his arrangements are only a launching pad for her approach to each tune; never does she sound like an obvious Evans clone. Her lush take of “My Foolish Heart” features Johnson on the late Scott LaFaro’s bass (the talented Evans sideman who died in a 1961 car wreck just ten days after recording the landmark sets with the pianist at the Village Vanguard). “Evanesque” is a newly discovered work that came from a cassette given to Johnson by Evans, so Elias adjusted the work by incorporating new material with his conception. The freewheeling take of “Solar” is a masterful group improvisation upon the Miles Davis theme. Elias’ moving ballad “After All” is a sincere tribute to Evans. She has also built confidence in her singing over time; always gifted with a tender, sensuous voice, Elias glides gently over Johnson’s walking introduction to “A Sleepin’ Bee” and offers an equally delicate “Walt for Debby.” She wrote words to Evans’ previously unknown “Here Is Something for You,” which was also discovered on the cassette given to Johnson. It is heard in two versions, a solo version with voice and piano where Elias mostly closely mirrors Evans’ playing, then the original rehearsal by Evans, which segues into an excerpt of Elias’ new version. The Japanese version of this delightful CD features an added track, “Re: Person I Knew.” |
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2009: Lila Downs - En Paris - Live a FIP |
Music » Jazz » Latin |
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 Artist: Lila Downs Y La Misteriosa Album: En Paris - Live a Fip Format: FLAC (cue, log, scans) Size: 455 MB Label: World Village (2010) Total time: 68:50 Given the experience of seeing Lila Downs y la Misteriosa in concert, it’s a wonder it took almost a decade for Anglos to hear her that way on record (thanks to World Village). This offering, recorded at Radio France’s FIP station, features her full international octet: Paul Cohen (her husband) on clarinet and saxophone; drummer Yayo Serka from Chile; Venezuelan guitarist Juancho Herrera; Paraguayan harpist, violinist, and charango player Celso Duarte; bassist Carlos Henderson from St. Louis; Colombian percussionist Samuel Torres; and New Yorkers Rob Curto on accordion and Dana Leong on trombone (the latter is also an accomplished cellist and producer). The essence of Downs' wondrously diverse, mind-blowing show is captured here in brilliant audio. Though she was touring in support of 2008’s Ojo de Culebra -- four of these tracks appeared there -- she performs music from six different albums reaching back to 1999's Sandunga. Whether it’s the conjunto/norteno-infused “El Relampago” or the Spanish-flavored dub of “La Linea” or “La Cumbia del Mole," the energy is the same: focused, spontaneous, and explosive. The lilting traditional ballad “La Llorna” is a standout, as is Chuy Rasgado's ranchera “Naila.” While Downs is a versatile vocalist and a true stylist as well as a dynamic performer, la Misteriosa cannot be overlooked for the sheer force and flow they provide in her live show; they are a sophisticated, forward-thinking ensemble of seasoned players who have been together for years, and now play instinctively with one another, adding an unmistakable dynamic. This one is all killer, no filler. ~ Thom Yurek, All Music Guide |
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2008: Drew Gress - The Irrational Numbers |
Post-bop, Modern Jazz |
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 Artist: Drew Gress Album: The Irrational Numbers Label: Koch Records Year: 2008 Format, bitrate: mp3, 320 Size: 142 mb AMG Rating:  "Incomparable." - UK Jazz Mann "Agressively innovative.....beautiful" - Time Out/Chicago "Relentlessly creative." - New York Times Drew Gress was wise to reassemble the group that assisted him in realizing 2005's 7 Black Butterflies. In alto saxophonist Tim Berne, trumpeter Ralph Alessi, pianist Craig Taborn, and drummer Tom Rainey, the virtuoso double bassist and composer had a ready-made ensemble whose members, thanks to extensive touring since the last album, already understood one another intuitively. Outside of this configuration they each also boasted a towering list of additional credentials — experience that, once the players met up again, easily enabled them to push Gress' compositions beyond his blueprints into unexpected and surprising places. Gress can be among the most aggressive of jazz-informed bassists around (perhaps he should call an album "Ag-gress-ion"), but he can also be a sweetie, tempering that eagerness to get fired up by cherishing melodicism and form. On tracks like "Chevelle" and the 12-and-a-half-minute "Neopolitan" (whether Neapolitan is deliberately misspelled is unknown, but there is an undeniable neo-ness to the track), the musicians sometimes teeter on the edge of atonality. At times they cross that edge into a place bordering on craziness and chaos (electronics supplied by Gress and deft production touches by David Torn help send it in that direction). But then at others they're a uni-minded, conversational beast, locked into step and blowing as an ensemble with a singular vision. Gress likes having it both ways but he also likes to tease, so regardless of how far the players wander, they always return to a recognizable theme — even if that means waiting a few songs to do so. All of these musicians have serious avant-garde bona fides, and their natural tendency is to head in that direction, but part of Gress' job here is to serve as the unifier, and he does so with aplomb: when Taborn and the two horns venture outside, basking in quasi-dissonance, breaking free and raising hell, Gress calls on his lyrical side and his own bass (he takes several solos) to rein them back in. Tones and tempos may, therefore, not always adhere to form and function, but the pieces do always cohere. Instruments may collide harshly, but they never fail to kiss and make up. On "True South," the closing track, during which Gress ostensibly pays homage to John Philip Sousa's "Stars and Stripes Forever," what begins as a free-for-all ultimately syncs spectacularly in great washes of lush, embracing sound, and although "Fauxjobim" bears little resemblance to classic bossa nova, it's not difficult to understand why Gress called it that, as there's a delightfulness to the way the piece unfolds over its unconventional course, its rhythms and solos remaining sleek and soothing even as each player states his own case. Throughout The Irrational Numbers, there's a tendency to feel that Gress is about to lose his grip on where exactly the music is heading. But he never does: regardless of how far it goes when it escapes, it always comes home again. ~ Jeff Tamarkin, All Music Guide |
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1982: Woody Shaw - Lotus Flower |
Jazz, Post-bop, Modern Jazz |
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 Artist: Woody Shaw Album: Lotus Flower Label: Enja Records Year: 1982, Released 1990 Format: mp3@320 kb/s Size: 104MB w/scans Time: 42:40 AMG Rating:  This CD features one of trumpeter Woody Shaw's finest groups, a quintet with trombonist Steve Turre, pianist Mulgrew Miller, bassist Stafford James, and drummer Tony Reedus. The five-song program has an original apiece by each of the musicians (other than Reedus) with two by the leader. Shaw was one of the great trumpeters of all time, as he shows on such advanced yet swinging numbers as "Eastern Joy Dance," "Rahsaan's Run," and "Song of Songs." Virtually every Woody Shaw recording is well worth acquiring, including this one. ~ Scott Yanow, All Music Guide |
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1977: Houston Person - Wild Flower |
Music » Soul » Soul-Jazz |
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 Artist: Houston Person Album: Wild Flower Label: Muse Records Year: 1977 Format/Bitrate: mp3/VBR~256~320kbps (LP-rip) Size: 52.5mb AMG rating Starting in 1976 and continuing for 20 years, Houston Person was a steady fixture on the Muse label. A throwback to Gene Ammons, Gator Jackson and Red Holloway, Person never received much publicity but has been near the top of his field since the late '60s. His basic, swinging approach has resulted in a consistent string of rewarding and accessible albums. This fine Muse LP teams Person with trumpeter Bill Hardman, guitarist Jimmy Ponder, organist Sonny Phillips, drummer Idris Muhammad and percussionist Larry Killian. The repertoire on the album is more inspired than usual, with Phillips contributing the catchy title tune; other songs include the obscure Tadd Dameron ballad "Dameron," "Ain't Misbehavin'" and "My Romance." Worth searching for. ~ Scott Yanow, All Music Guide |
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