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jasapaal
 Into the Rhythm
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2002: Lizz Wright - Salt |
Music » Jazz » Vocal Jazz |
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 Artist: Lizz Wright Album: Salt Lable : Verve Year: 2002, release: 2003 Quality: APE + Cue Size: 288mb Total time: 01:02:20 Vocalist Lizz Wright delivers jazz that harks back to such luminaries as Nina Simone and Abbey Lincoln on her debut Verve release, Salt. Still in her early twenties, Wright has a warm, dusky voice reminiscent of Cassandra Wilson and similarly to Wilson seems interested in tackling an eclectic mix of jazz standards, traditional folk, and R&B. Early on, a folky afterglow-Latin version of "Afro Blue" takes center stage followed by the gorgeous "Soon as I Get Home," which betters the version from The Wiz. Wright fairs equally well as a songwriter with about half the album filled with her soaring, bluesy ballads. There is a melancholy yet positive '70s vibe that eminates from songs like "Fire," which resonates lyrically as well as melodically much like the personal/sociopolitical writing of another of Wright's obvious inspirations, Terry Callier. Perhaps a little too low-key to register very high on the pop radio scale, but invested with enough sanguine emotionality and chops to make Salt easily recommended to fans of the neo-soul movement. ~ Matt Collar, All Music Guide |
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1977: Gil Scott-Heron & Brian Jackson - Live at the Bottom Line (ROIO) |
Music » Jazz » Fusion |
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 Artist: Gil Scott-Heron & Brian Jackson Album: Live at the Bottom Line, 1977 (ROIO) Label: Recording of Independent Origin Year: 1977 Format, bitrate: mp3@320kb/s Time: 1:53:54 Size: 272.6MB This recording features Gil Scott Heron and musical partner Brian Jackson (whom he met while attending Lincoln University in Pennsylvania), and the exceptional group of musicians they fronted, the Midnight Band. Recorded on Scott-Heron's and Jackson's home turf of New York City, this recording is as powerful as the double live album the two issued the previous year (entitled It's Your World), and offers a compelling document in the history of spoken word performance.
Remarkably, Scott-Heron never planned to be a musical artist; originally, his aspiration was to become the most important poet and urban writer since Harlem renaissance icon Langston Hughes. But thanks in large part to the favorable reception of the book of poetry, Small Talk at 125th and Lenox, Scott-Heron was introduced to legendary producer Bob Thiele, who had worked with every major jazz artist from Louis Armstrong to John Coltrane. Thiele encouraged Scott-Heron to perform his poetry, and for his debut release, Small Talk at 125th and Lenox, recorded the young bard reciting over a backing ensemble of percussionists. Thiele produced two more critically acclaimed albums for his Flying Dutchman Records: 1971's Pieces of a Man and '72's Free Will, in addition to the aforementioned . He and Jackson produced Winter in America, in '73, which yielded the hit "The Bottle" (performed here). In 1975, Scott-Heron became the first artist signed to Clive Davis' newly launched Arista label, where he and Jackson produced six albums together, until artistic differences led them to go their separate ways in 1980 (the same year, incidentally, that Scott-Heron was booked as the opener for Stevie Wonder's Hotter Than July tour).>>> |
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2007: Ornette Coleman Quintet - Complete Live At The Hillcrest Club |
Modern Jazz, Freejazz |
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 Artist: Ornette Coleman Quintet Album: Complete Live At The Hillcrest Club Label: Gambit Records Year: 1958 Release: 2007 Format, bitrate: mp3, 320kb/s Time: 66:23 min. Size: 135MB The complete performance on a single CD for the first time. Ornette Coleman's epic 1959 LPs The Shape of Jazz to Come and Change of the Century were pivot points in modern post-bop jazz and early creative music. This recording is a prelude to those epics, a live two-night engagement in October of 1958 at the Hillcrest Club in Los Angeles. The Coleman quintet, with trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins, plus a then-young pianist Paul Bley, sets up that new shape of jazz. This eight-selection set features three of Coleman's signature originals, two standards, and three lesser-known, fairly rare pieces that Coleman did at the time. The program kicks off with Charlie Parker's "Klactoveedsedstene," an on-fire free bopper where Coleman's alto sax in tandem with Cherry reflects a quest for cleanliness and innocent, alive freshness, well transferred, balanced, and reproduced digitally. Whoever tagged this music unlistenable needs to revisit the symbiosis of the front-line horns present. Three of Coleman's all-time immortal compositions on call are the relaxed and easily swung harmolodic dream "The Blessing" accented by Ornette's piquant alto, the call-and-response-laden "When Will the Blues Leave?," and the post-bop evergreen "Ramblin'." The stairstep ascending and descending melody for "Free" also remains arresting, taking no prisoners. It's interesting how alleged rebel Coleman pays reverence to two ballad standards, Roy Eldridge's pensive "I Remember Harlem" and Cherry's trumpet-led "How Deep Is the Ocean?" Closing is the frantic, scattershot two-minute improvisation "Crossroads." A major fault of this recording is Bley's piano, which is unfortunately so far down in the mix that it is virtually inaudible. One really has to strain, even with headphones, to hear the true depth of Bley's clearly brilliant, probing, but muffled and muted playing. There's no doubt as to the historical and musical significance of this date, and it belongs in the collection of any follower of Coleman, despite the one production flaw. ~ Michael G. Nastos, All Music Guide |
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2000: Cuong Vu - Pure |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Cuong Vu Album: Pure Label: Knitting Factory Works Year: 2000 Format, bitrate: mp3, 320 Size: 149 mb AMG Rating:  "...An acoustic hall of mirrors..." - The Wire Cuong Vu and his associates are creating a world of their own, presenting very long pieces based on the threesome of drums, bass, and trumpet. And if their jazz is of the experimental kind, it remains — but for the rare noisy digressions — very melodic. One will not find a classic type of jazz drumming here, since the drums are used as an instrument capable of making tunes. Stomu Takeishi plays the bass in a post-rockish style. Vu does not blow his trumpet like a crazy jazzman; well, he occasionally does, and at those times, it feels good. On the contrary, Vu takes his time for each note, letting it sound in a way that brings out all the trumpet's sonorousness. Sometimes, listeners may even wonder whether it is a trumpet or not, particularly when it gives the impression of a guitar solo. Most of the compositions follow the pattern of being calm at the beginning, creating tension, reaching a climax, and returning to normal. The pieces range from eight to 18 minutes in length and — despite the tensions in them — after hearing Pure, one thinks of the album's cooler aspects.~ Romain Guillou, All Music Guide |
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1957: Andre Previn & His Pals - Pal Joey |
Cool, West Coast Jazz |
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 Artist: Andre Previn & His Pals Album: Pal Joey Label: OJC/Contemporary Year: 1957, release: 1991 Quality: MP3@320 kbps Size: 84 mb Total time: 40:17 AMG Rating  For this CD reissue, pianist André Previn, bassist Red Mitchell and drummer Shelly Manne perform eight songs that debuted in the show Pal Joey. Best known is "I Could Write a Book," which quickly became a standard, but the other, more obscure songs such as "Take Him," "Zip" and "Do It the Hard Way" are also generally good devices for jazz improvising. An enjoyable set of straight-ahead trio music. ~ Scott Yanow, All Music Guide |
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1981: Tal Farlow - Chromatic Palette |
Music » Jazz » BeBop » Cool |
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 Artist: Tal Farlow Album: Chromatic Palette Label: Concord Jazz Year: 1981, release: 1994 Format/Bitrate: AAC/256 (VBR) Size: 71 mb This album is most notable for the interplay between veteran guitarist Tal Farlow and pianist Tommy Flanagan. With bassist Gary Mazzaroppi completing the trio, the musicians perform Tal's "Blue Art, Too" (based on a blues), plus seven superior standards, including "Nuages," "If I Were a Bell" and "St. Thomas." In general, the music is on the relaxed side but there is plenty of inner heat to be felt on the fine set. ~ Scott Yanow, All Music Guide |
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1957: Art Blakey & the Jazz Messengers - Theory of Art |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Art Blakey and Jazz Messengers Album: Theory of Art Label: RCA Year: 1957; release : 1997 Format, bitrate: MP3, 320CBR Time: 53:49 Size: 122 Mb This CD contains two unique sessions in the history of Art Blakey's Jazz Messengers. Five numbers feature a sextet that includes both altoist Jackie McLean, who had recently left the band, and his replacement, tenor saxophonist Johnny Griffin along with trumpeter Bill Hardman; "A Night in Tunisia" best shows off this short-lived group. The remaining two numbers were unissued until this CD came out and feature Blakey heading a nonet that included future Messenger Lee Morgan, trombonist Melba Liston and Griffin. The music is consistently excellent and also succeeds as a historical curiosity that should greatly interest Blakey collectors. ~ Scott Yanow, All Music Guide |
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1976: Houston Person - Pure Pleasure |
Music » Soul » Soul-Jazz |
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 Artist: Houston Person Album: Pure Pleasure Year: 1976 Label: Prestige Records Size: 75.46 mb Format/Bitrate: mp3/320kbps In the 1990s, Houston Person kept the soulful thick-toned tenor tradition of Gene Ammons alive, particularly in his work with organists. After learning piano as a youth, Person switched to tenor. While stationed in Germany with the Army, he played in groups that also included Eddie Harris, Lanny Morgan, Leo Wright, and Cedar Walton. Person picked up valuable experience as a member of Johnny Hammond's group (1963-1966) and has been a bandleader ever since, often working with singer Etta Jones. A duo recording with Ran Blake was a nice change of pace, but most of Houston Person's playing has been done in blues-oriented organ groups. He has recorded a consistently excellent series of albums. This is his 1976 release with Cecil Bridgewater (trumpet) and others. ~ Amazon.com |
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1995: Oscar Peterson, Clark Terry, Benny Carter, Ray Brown - The More I See You |
Music » Jazz » Mainstream |
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 Artists: Oscar Peterson, Clark Terry, Benny Carter , Ray Brown Album: The More I See You Label: Telarc Distribution Year: 1995 Format, bitrate: Flac Time: 63:07 Size: 366 MB AMG Rating After Oscar Peterson suffered a severe stroke in the spring of 1993, it was feared that he would never again play on a professional level, but two years of intense therapy resulted in the masterful pianist returning to what sounds, on this Telarc CD, like near-prime form. For the all-star date, The More I See You, Peterson tears into seven standards and two blues and outswings all potential competitors. Altoist Benny Carter at 87 sounds like he is 47 (if Carter had retired back in 1940 he would still be a legend), and flugelhornist Clark Terry (here 74) proves to be not only (along with the remarkable 90-year-old Doc Cheatham) the finest trumpeter over 70 but one of the top brassmen of any age. The cool-toned guitarist Lorne Lofsky and drummer Lewis Nash are also strong assets while bassist Ray Brown (a year younger than Peterson at a mere 68) displays his typical limitless energy on appealing tunes such as "In a Mellow Tone," "When My Dream Boat Comes Home," and a medium/up-tempo version of "For All We Know." The musicians all play up to their usual high level, making this a joyous comeback album for the great Oscar Peterson. ~ Scott Yanow, All Music Guide |
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