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jasapaal
 Into the Rhythm
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1973: Johnny Griffin - Blues For Harvey |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Johnny Griffin Album: Blues For Harvey Label: SteepleChase Year: 1973, release:1995 Quality: MP3@320 kbps Size: 120 mb Total time: 57:11 Î÷åðåäíàÿ âñòðå÷à ñ ïðåâîñõîäíûì òåíîð-ñàêñîôîíèñòîì. Johnny Griffin is heard in a pair of dates recorded in 1972 at Jazzhus Montmartre in Copenhagen, joined by fellow American expatriates Kenny Drew and Ed Thigpen, along with bassist Mads Vinding. Most of this album is devoted to Griffin's originals. His piercing, extended blues "That Party Upstairs" is followed by a somber ballad "Alone Again" (not the bland Gilbert O'Sullivan pop hit "Along Again (Naturally)," as listed in some discographies). His remake of his early composition "Soft and Furry" features Vinding's delightful arco bass in octave unison with Griffin's tenor sax. The furious uptempo "Blues for Harvey" gives way to a turbulent pair of choruses of Thelonious Monk's "Rhythm-A-Ning." There are some exciting moments, but overall, this live record falls just a bit short of essential for hard bop fans. ~ Ken Dryden, All Music Guide |
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1996: Ellery Eskelin - The Sun Died |
Post-bop, Avantgarde, Soul-Jazz |
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 Artist: Ellery Eskelin Album: The Sun Died Label: Soul Note Year: 1996 Format, bitrate: mp3, 320 Time: 52:07 Size: 114 mb AMG Rating:  "Finding a middle ground between freedom and R&B(...)Accessible, but uncompromised" - Down Beat Eskelin gives the tough tenor tradition a downtown twist, playing a set of tunes by the likes of Harold Ousley, Gene Ammons, and Harold Vick, aided by a pair of punk jazz subversives: guitarist Marc Ribot and drummer Kenny Wollesen. It's a frequently successful jaunt, although the music sometimes sounds like the engineer forgot to take the mute button off the bass channel during mixdown. Actually, as one glance at the personnel listings tells you, there is no bass player; the ultra-resourceful Ribot fills in the spaces where he can, but anyone familiar with the soul/funk/organ trio genre (meaning just about anyone who might consider buying this album) is bound to miss that low end. That said, Eskelin plays wonderfully; he's got a big, grainy sound and arrogant way of articulating that does justice to the extroverted tenorists to which he's paying tribute. On top of the traditional elements, Eskelin adds free jazz harmonies, David Murray-esque intervallic leaps, assymetrical phrasing, and every other kind of post-Coleman/Ayler/Coltrane saxophonic device to good ends. The music swings hard, thanks in large part to Wollison, whose uninhibited style gives the music an extra dose of nihilism. As for Ribot, if he didn't write the book on jazz nihilism, he was surely there when it was being proofread. With all due respect to Eskelin — who must've had a reason for it — there seems to be no good purpose in not having a bassist on the date. As good as the record is, this reviewer's ear just craves that missing element; with a good bass player, the record might have been perfect. As it is, it's merely excellent. ~ Chris Kelsey, All Music Guide |
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1995-1996: Makanda Ken McIntyre - In the Wind: The Woodwind Quartets |
Music » Jazz » BeBop » Post-bop |
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 Artist: Makanda Ken McIntyre Abum: In the Wind: The Woodwind Quartets Label: Passin' Through Records Years: 1995-1996; release: 2004 Format, bitrate: mp3 320 kbps Time: 74 min Size: 152,45 MB AMG rating This unusual set by the late Makanda Ken McIntyre is subtitled "The Woodwind Quartets." The catch is that McIntyre plays all of the instruments through overdubbing. Three songs apiece feature McIntyre on either two flutes, alto flute and bass flute or two clarinets, alto clarinet and bass clarinet or two oboes, English horn and bassoon. The remaining two numbers have him on soprano, alto, tenor and baritone saxophones. Ten of McIntyre's eleven originals had been recorded previously in a more conventional setting with a rhythm section. These quartets were an experiment of sorts, but a largely successful one. The music ranges from calypsos (including "Peas 'N' Rice") and a soulful blues ("Chitlins & Cavyah") played by the eerie sounding double reeds quartet to moments where the music sounds like classical chamber music. Quite often McIntyre solos with one instrument while the others repeat a pattern or achieve the effect of an accompanying organ. The structures and themes are not that radical although sometimes the solo voice plays a bit outside. The intriguing tone colors and Makanda Ken McIntyre's consistent creativity make this a project well worth exploring. ~ Scott Yanow, All Music Guide |
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1976: Tal Farlow - A Sign Of The Times |
Music » Jazz » BeBop » Cool |
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 Artist: Tal Farlow Album: A Sign Of The Times Lable: Concord Jazz Year: 1976, release: 1992 Quality: FLAC Size: 210mb (with complete artwork scans) Total time: 38:54 Guitarist Tal Farlow's debut for the Concord label was only his second album as a leader since 1959. Farlow, who had given up the hectic lifestyle of a full-time jazz musician to become a sign painter who played guitar on the side, had not lost any of his power or creative swing through the years. Teamed up in a drumless trio with pianist Hank Jones and bassist Ray Brown, Farlow is in typically brilliant form on such numbers as a rapid "Fascinating Rhythm," a slower-than-usual "Stompin' at the Savoy," Dave Brubeck's "In Your Own Sweet Way" and even "Put on a Happy Face." This CD is a fine example of Tal Farlow's talents. ~ Scott Yanow, All Music Guide |
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