 |
Who is on-line? |
 |
 |
On Line:59
Visitors:4
Guests: 53
Robots: 2
|
Visitor's list:
lex, RamesesII, dj12, jobs99
Robot's list:
MSN, Google.com
|
|
 |
 |
 |
 |
|
Friends |
|
|
jasapaal
 Into the Rhythm
|
|
|
|
|
|
 |
 |
1950-1951: Eddie Heywood 1950-1951 |
Stride, Swing, Mainstream |
 |
|
 Artist: Eddie Heywood Album: Eddie Heywood 1950-1951 Label: Classics Years: 1950-1951, release: 2004 Quality: MP3@320 kbps Size: 163 mb Total time: 76:09 AMG rating  Î÷åðåäíàÿ âñòðå÷à ñ ïðåâîñõîäíûì ïèàíèñòîì Ýðû ñâèíãà! Perfectly suited for the task of providing attractive and accessible music for public consumption, jazz pianist Eddie Heywood, Jr. occupies a comfortable stylistic plateau somewhere between the flashy Herman Chittison and the painterly Erroll Garner. Famous as an accompanist for Billie Holiday and leader of a widely acclaimed small group that recorded for the Commodore label during the early and mid-'40s, Heywood was forced by failing health to take a three-year hiatus from professional activity beginning in 1947. This fourth installment of his complete works in chronological order presents Heywood's comeback recordings, starting with four unaccompanied solos from 1950 and four 1951 piano studies with unidentified large-band accompaniment. The instrumental arrangements follow the pattern established by Heywood's Commodore ensembles, whereby the piano remains very much in the foreground while the horns serve only to accentuate and lightly embellish. This tidy formula, typified by Heywood's 1944 recording of "Begin the Beguine," sometimes caused frustration among his sidemen. Vic Dickenson was known to express laconic resentment at being made to feel superfluous when Heywood's band performed in public. This, of course, has no bearing whatsoever upon the material heard here. Eight sides recorded for Columbia in August and September of 1951 perfectly illustrate the pianist's whimsy, and with all respect to the bassist and drummer, it probably doesn't matter who they were. Most of the time the whole point of an Eddie Heywood performance was the pianist first and foremost. Eight tracks recorded for MGM in December of 1951 illustrate the point to perfection -- the other musicians remain anonymous while Heywood basks calmly in the limelight. "Stompin' at the Savoy" and "Perdido" are relaxed grooves well worth visiting. Here is lounge piano that's substantial and rewarding. ~ arwulf arwulf, All Music Guide |
|
|
1945-1948: Dizzy Gillespie & Miles Davis - Anthroplogy |
Music » Jazz » BeBop |
|
|
 Artists: Dizzy Gillespie & Miles Davis Album: Anthroplogy Label: History Years: 1945-1948, release: 1999 Format, bitrate: Flac Time: 1:54:29 Size: 379MB
From Swing to Bebop: Recordings by the Best Performers gathers performances by Thelonious Monk, Dizzy Gillespie, and Errol Garner. Monk's "Ruby My Dear," "Billie's Bounce," and "Off Minor"; Gillespie's "Anthropology," "Oop Bob Sh'Bam" and "One Bass Hit"; and Garner's "Time on My Hands," "Sweet Lorraine," and "China Boy" are among the highlights of this collection. While the isn't in-depth, From Swing to Bebop ... does provide a useful overview of Monk, Gillespie, and Garner's careers. ~ Heather Phares, All Music Guide |
|
|
1988: Bobby Previte - Claude's Late Morning |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Bobby Previte Album: Claude's Late Morning Label: Gramavision Records Year: 1988, release: 1994 Format, bitrate: mp3, 320 kb/s Time: 56:06 Size: 125 mb AMG Rating:  Ranked #78 on Pierro Scaruffi's list of Greatest Jazz Albums of All Time ”One of the finest compositions of the decade.” - Andy Warhol Bobby Previte's Claude's Late Morning is a pivotal release in the composer/drummer's early career as a bandleader, signifying his ability to break from somewhat conventional jazz instrumentation (as in Bump the Renaissance and Pushing the Envelope) and — with great success — write for an ensemble featuring a wide array of both acoustic and electronic instruments. Perhaps most striking is Previte's skill in composing music that fully integrates these disparate instruments — including drums and drum machine, electric guitar and keyboards, trombone, harp, accordion, banjo, pedal steel guitar, tuba, and harmonica — while emphasizing each instrument's unique, individual sound. The opening number, "Look Both Ways," displays what could be considered a signature Previte style; he builds the piece from fragments — short riffs, glissandos, minimalist ostinatos, and a handful of chords — all of which fit into a sonic puzzle held together by his driving, thrashing percussion. The result has multi-layered depth that draws the listener in, while of course maintaining hard-charging forward momentum (and, it should be mentioned, providing room for a screaming Bill Frisell guitar solo). "Sometimes You Need an Airport," with its infectious backbeat and polyrhythmic riffing, gives trombonist Ray Anderson a chance to cut loose, and also features some Hammond organ stylings from Wayne Horvitz that recall Joe Zawinul with early electric Miles Davis; Previte's love of the trumpeter's late-'60s and early-'70s music would later be on full display with his Miles repertory band the Horse (aka the Voodoo Orchestra). "The Voice" places a blistering solo from Frisell over hard-hitting accompaniment, suggesting a blues-rock band with undercurrents of the more ominously dramatic moments from Phillip Glass' Koyaanisqatsi. And then, at the album's midpoint, Previte loosens the reins and reveals the full extent of his skills as a composer in the contemporary avant-garde. The cinematic "Claude's Late Morning" is at turns focused and disorientingly ethereal; especially near the beginning, it has the uneasy sense of a pleasant dream on the verge of turning nightmarish. The darkness is held at bay, however, as the piece glides through beautiful, hovering passages (prominently featuring Guy Klucevsek's moody accordion) before drawing to an understated close. Banjo, pedal steel, harp, and country-tinged piano next color "First Song for Kate," a venture into Americana that wouldn't be out of place on a Frisell record from a decade or so later. In the lovely and reserved "Ballet," the many instruments pirouette in nearly minimalist fashion around shifting rhythmic pulses; there are no drums, and Previte is featured only on marimba this time around. "Look Both Ways" is reprised near the conclusion of Claude's Late Morning and, as the album draws to a close, its sense of cohesion despite the juggling of diverse styles seems all the more remarkable. This is an essential recording for those interested in Bobby Previte's range as a composer and bandleader; it remains one of his strongest and most appealing recordings in a career that would have many peaks to follow.~ Dave Lynch, All Music Guide |
|
|
1989: Dizzy Gillespie and the United Nation Orchestra - Live at the Royal Festival Hall |
Music » Jazz » Latin » Afro-Cuban Jazz |
|
|
 Artist: Dizzy Gillespie and the United Nation Orchestra Album: Live at the Royal Festival Hall Label: Rhino Year: 1989, release - 1991 Quality: MP3@320 kbps Size : 166 mb Total time: 79:51 REPOST by request Dizzy Gillespie, who was nearing 72 years old at the time of this concert, headed one of his finest big bands during his later years, The United Nation Orchestra. With such stellar sidemen as trumpeters Arturo Sandoval and Claudio Roditi, trombonists Slide Hampton and Steve Turre, altoist Paquito D'Rivera, James Moody on tenor and alto, pianist Danilo Perez and singer Flora Purim, Gillespie was relieved from having to carry this concert by himself and could concentrate on taking short solos and enjoying listening to the band play. Whether it is "Tanga," "And Then She Stopped" or an 18-minute version of "A Night in Tunisia," every selection on this excellent CD works. ~ Scott Yanow, All Music Guide |
|
|
2005: Marvin Gaye at the Copa |
Music » Jazz » Vocal Jazz |
|
|
 Artist: Marvin Gaye Album: Marvin Gaye at the Copa Label: Motown Records Year: August 5-August 6, 1966 Release: 29 Apr, 2005 Format, bitrate: mp3, 320kb/s Time: 64:02 Size: 140MB AMG Rating: Marvin Gaye at the Copa is a live album recorded at the exclusive New York club, the Copacabana, where singer Marvin Gaye performed in August 1966, over a year following The Supremes' ballyhooed 1965 performance there. Marvin was only one of just a few R&B musicians after Sam Cooke and Jackie Wilson to perform at the club where performers such as Sammy Davis, Jr., Nat King Cole and Frank Sinatra had performed at regularly. Marvin was the second act from Berry Gordy's fabled Motown label following the Supremes to perform at the nightclub and would be followed by The Temptations in 1968 and Martha (Reeves) and the Vandellas that same year. According to the liner notes later on, Marvin's performance there was a success, however, an ongoing feud between Gaye and his brother-in-law, Motown recording boss Gordy, was said to have been one of the reasons why the album was eventually shelved with the duo fighting over how the album was to be produced. The album had been scheduled for release in January 1967 as Tamla 273 before its permanent shelving. In 2005, Hip-O Select Records, a Motown-associated label created to re-release or release unreleased material from Motown's vaults re-mastered sessions from this album and released it that year. |
|
|
1970: Ramsey Lewis - Them Changes |
Soul-Jazz, Funk-Jazz |
|
|
 Artist: Ramsey Lewis Album: Them Changes Label: Cadet Year: 1970 Format, bitrate: mp3, 320 kb/s (vinyl rip) Time: 45:00 Size: 105 Mb One of the hardest-hitting electric sets ever cut by Ramsey Lewis -- a live performance from the start of the 70s, done with a really gritty groove! Ramsey's on both Fender Rhodes and acoustic piano -- the former of which is played with even more forces than on his Cadet studio recordings -- heard here in small group formation, without any added studio backings -- just the guitar of Phil Upchurch, the bass of Cleveland Eaton, and the drums of Morris Jennings. The tracks are a bit longer than usual for Ramsey on Cadet too -- and often hit these down-n-dirty modes that are similar to turn of the 70s work by Les McCann or Junior Mance. Tracks include "Do Whatever Sets You Free", "Them Changes", "Unsilent Majority", "Something", and "See The End From the Beginning". © 1996-2010, Dusty Groove America, Inc. |
|
|
1991: Artur Rubinstein - The Chopin Collection (CD-11) |
Music |
|
|
 ÔÈÀËÊÈ ïî ÑÐÅÄÀÌ (âûïóñê 72)  Composer: Frederic ChopinArtist: Artur RubinsteinAlbum: The Chopin Collection (CD-11: Preludes)Label: RCA Year: 1991 Genre: classical music Format, bitrate: mp3, 320 kbps Time: 1 h, 10 min, 15 sec Size: 171 mb. Íó âîò è ïîäîøëà ê êîíöó ìîÿ øîïåíîâñêî-ðóáèíøòåéíîâñêàÿ ýïîïåÿ. Äàæå êàê-òî ãðóñòíî íà äóøå ñòàëî...
Âïðî÷åì, â ìèðå åù¸ î÷åíü ìíîãî êëàññè÷åñêîé ìóçûêè, òàê ÷òî ìîÿ öâåòî÷íàÿ ëàâêà åù¸ íå îäèí ðàç ðàñïàõí¸ò ñâîè äâåðè ïåðåä áëàãîäàðíûìè ñëóøàòåëÿìè.
À ñåé÷àñ (íà âñÿêèé ñëó÷àé) íàïîìíþ Âàì àäðåñà îñòàëüíûõ äèñêîâ Øîïåíà â èñïîëíåíèè Ðóáèíøòåéíà.
×èòàåì äàëåå. |
|
|
2008: Richard Bennett - Code Red Cloud Nine |
Music » Blues » Modern electric blues » Blues-Rock |
|
|
 Artist: Richard Bennett Album: Code Red Cloud Nine Label: Moderne Shellac Year: 2008 Format, bitrate: mp3,320 kbps Time: 48:18 min Size: 108,7 MB " For almost ten years now I've felt very lucky having Richard Bennett as a pal and as a member of the band. His quiet, self-effacing manner hides an encyclopaedic knowledge of all kinds of roots and rock music, from Hillbilly to Hawaiian, played effortlessly on a variety of instruments which appear out of a flight case as big as an Airstream trailer... May his cracking guitar playing find a place in your life as it has in mine", ~ Mark Knopfler" I believe these tracks might reflect the real 'heart and soul' of Richard Bennett. Of course, I think that about everything I hear him play, whether it's jazz, blues, country, pop or rock and roll. And perhaps, as someone once said, he plays that way just because he can!", ~ Duane Eddy |
|
|
1964,1968: Walter Bishop Jr. - Bish Bash |
Music » Jazz » BeBop » Hard-bop |
|
|
 Artist: Walter Bishop Jr. Album: Bish Bash Label: Xanadu Records Years: 1964, 1968 Quality: MP3@320 kbps (LP-rip) Size: 125 mb Total time: 54:42 AMG rating Released for the first time in 1977, the two obscure sessions on this Xanadu set were pianist Walter Bishop, Jr.'s only dates as a leader during the 1964-70 period. The earlier set is particularly valuable, since it offers rare glimpses of the short-lived tenor saxophonist Frank Haynes, who gets to really stretch out on "Days of Wine and Roses" and a medium-tempo waltz version of "Willow Weep for Me." "Summertime" is taken by Bishop's trio (with bassist Eddie Khan and drummer Dick Berk) and acts as a prelude to five numbers from four years later (including four of the pianist's originals), which Bishop performed with bassist Reggie Johnson and drummer Idris Muhammad. Throughout, Walter Bishop, Jr. plays at his most creative, extending the bebop tradition during the enjoyable performances. ~ Scott Yanow, All Music Guide |
|
|
English
Ðóññêèé
Set Home Page
Add to Favorite
Rss 2.0 news
