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jasapaal
 Into the Rhythm
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2000: Chicago Underground Duo - Synesthesia |
Modern Jazz, Acid Jazz, Avantgarde |
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 Artist: Chicago Underground Duo Album: Synesthesia Label: Thrill Jockey Records Year: 1999; release: 2000 Format, bitrate: mp3, 320 Time: 40:38 Size: 89 mb AMG Rating:  "A magnificent example of what happens when open-minded musicians realize the full potential of jazz in the present tense" - Derek John, All About Jazz Though the Chicago Underground Duo is hypnotically minimal in its aesthetic, Rob Mazurek and Chad Taylor still make a lot of noise. On Synesthesia, the duo combines elements of Miles Davis' Bitches Brew-era fusion with a futuristic, technological sensibility that could only come out of Chicago. That's not to say that other cities aren't capable of such magic, but Chicago is home to so many electro-jazz-rock aficionados that, essentially, the Chicago Underground Duo is a product of its own musical environment. In fact, the head man of all of Chicago's jazz-tinged post-rock scene, Tortoise's John McEntire, engineered the record. Synesthesia brings out the brilliance of Taylor and Mazurek's sparse instrumentation as, for the most part, they use only a cornet, a keyboard, and drums to weave their plaintive and complex compositions. Mazurek's trumpeting skill is impeccable and his experimentation with Synesthesia's rhythm structures is mindblowing as he switches from totally free jazz, to hard bop, to acid jazz at the drop of a hat. Certainly, the lack of other instruments in the mix makes for a grand space to showcase both Mazurek's and Taylor's talents. With Synesthesia, the Chicago Underground Duo provides a strong link between experimental avant-garde jazz and jazz-flecked electronic music. A very provocative and beautiful record. ~ Ken Taylor, All Music Guide |
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2000: Joe Lovano Nonet - 52nd Street Themes |
Music » Jazz » BeBop » Post-bop |
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 Artist: Joe Lovano Nonet Album: 52nd Street Themes Label: Blue Note Year: 2000 Format, bitrate: MP3, 320Kbps Time:67:32 Size: 156 mb + 30 mb (Booklet full) AMG rating The latest CD by jazz saxophonist Joe Lovano blends New York attitude with Midwestern warmth in an homage to the Manhattan street where bebop ruled in the '50s and '60s. The music here, like that of such other thematic Lovano albums as Rush Hour (his 1995 celebration of third-stream music) and Celebrating Sinatra, evokes the past without being at all archival. Fronting a four-man sax section, Lovano blasts through such strong Dameronia as "The Scene Is Clean" and "Tadd's Delight," refreshes the indelible lyricism of Dameron's lovely "If You Could See Me Now," and, in an intimate duet with pianist John Hicks, velvetizes Billy Strayhorn's lush "Passion Flower." It also features Miles Davis' early "Sippin' at Bells"; Lovano's homage to Charlie Parker, the complex "Charlie Chan," a three-way saxophone conversation between Lovano and fellow tenormen George Garzone and Ralph Lalama that's punctuated by Lewis Nash's pinpoint drums; "Abstractions on 52nd Street," Lovano's extrapolation and embellishment of a Thelonious Monk line; and George Gershwin's "Embraceable You," plushly orchestrated by Willie "Face" Smith and lovingly performed by Lovano. Others contributing sax are Gary Smulyan (baritone) and Steve Slagle (alto); Tim Hagans and Conrad Herwig play trumpet and trombone, respectively, while Dennis Irwin handles bass. Like many other Lovano records, this hews close to tradition but updates it effectively. Besides the fervor of the playing -- Smith says he would've played saxophone, but these New York players were much better prepared -- the song selection is astute, Lovano's originals are solid, and Smith's sole compositional contribution, "Deal," is tasty indeed. ~ Carlo Wolff, All Music Guide |
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1949-1950: Jimmy Dorsey & His Original Dorseyland Jazz Band |
Music » Jazz » Traditional Jazz |
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 Artist - Jimmy Dorsey Album - Original Dorseyland Jazz Band Label - Disconforme Years - 1949-1950, release - 2001 Quality - MP3@320kbps Size - 118mb Total time - 56:28 REPOST by request Óâåðåí, ÷òî ëþáèòåëè íàñòîÿùåãî äæàçà ïîëó÷àò èñòèííîå óäîâîëüñòâèå îò ýòîé âå÷íî æèâîé ìóçûêè! In 1949, with the fortunes of the big bands in decline, Jimmy Dorsey carved out a seven-piece unit from his orchestra, consisting of himself on clarinet and alto saxophone, Charlie Teagarden on trumpet and vocals, Cutty Cutshall on trombone, Frank Mayne on tenor saxophone, Dick Carey on piano, Carl Kress on guitar, Bill Lolatte on bass, and Ray Bauduc on drums, with Claire Hogan contributing occasional vocals, and played old-time Dixieland music with what he called "Jimmy Dorsey & His Original 'Dorseyland' Jazz Band." The group held sessions for Columbia Records on three successive days in November, the first fruits of which were a single combining the 1917 song "Johnson Rag" with the 1924 Eddie Cantor signature tune "Charley, My Boy." The single gave Dorsey his first chart entry in two years and was quickly followed by the album Dixie by Dorsey, also a chart hit. "Dorseyland" Dance Parade was that album's follow-up, another eight-song collection featuring both sides of the hit single and its charting successor, Dorsey's cover of the major novelty hit "Rag Mop." That contemporary song was really the odd man out in a collection of vintage material like "That's a Plenty," rendered in traditional Dixieland fashion with wailing horns and hot solos all around. Dorsey, who had played in this style all the way back in the 1920s with the California Ramblers, was clearly in his element, and so were his cohorts. The new Dixieland fad proved to be a passing one, and Dorsey was soon struggling again, but these are exciting performances in much better fidelity than was available 30 years earlier. ~ William Ruhlmann, All Music Guide |
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1982: The Woody Herman Big Band - Word Class |
Swing, Mainstream |
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 Artist: The Woody Herman Big Band Album: Word Class Label: Concord Jazz Year: 1982, release: 1992 Quality: MP3@320 kbps Size: 101 mb Total time: 44:33 As with most of the Woody Herman Orchestra's recordings for Concord, this set (taken from concerts in Japan) welcomes guests from Herman's past. In this case tenors Al Cohn, Med Flory, Sal Nistico and Flip Phillips get to star on half of the eight selections including a remake of "Four Brothers" and Phillips's "The Claw." Phillips has an opportunity to reprise his famous Jazz at the Philharmonic solo on "Perdido." The regular Herman sidemen do not sound as distinctive in comparison, but they play quite well on these attractive arrangements, four of them by pianist John Oddo. ~ Scott Yanow, All Music Guide |
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2009: Richard Galliano - Bach |
Music |
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 ÔÈÀËÊÈ ïî ÑÐÅÄÀÌ (âûïóñê 73)  Artist: Richard Galliano Album: Bach Label: Universal Year: 2009, release:2010 Format, bitrate: mp3, 320 kbps Time: 1h, 54 sec Size: 147 mb. Íó âîò, î÷åðåäíàÿ ñðåäà íà êàëåíäàðå, è ìîÿ ëàâêà ãîñòåïðèèìíî ðàñïàõíóëà äâåðè ïåðåä áëàãîäàðíûìè ñëóøàòåëÿìè. Ñåãîäíÿ áóäåì ñëóøàòü Áàõà. Íî íå êàêîé-òî áàíàëüíûé îðãàí èëè êëàâåñèí, à ïåðåëîæåíèå äëÿ àêêîðäåîíà è ñòðóííîãî êâèíòåòà. À ñîëèðîâàòü â ýòîì ñîñòàâå áóäåò çàìå÷àòåëüíûé àêêîðäåîíèñò, èçâåñòíûé äæàçîâûé ìóçûêàíò - Ðèøàð Ãàëüÿíî.
Èòàê, äàâàéòå ñëóøàòü...« The Accordion and the Bandoneón – both of them wind- and (stereo) keyboard-instruments with vibrant reeds, and both of them revealing themselves to be genuinely expressive, portable organs – are today almost alone, from a purely instrumental point of view, in proposing new light and "blood" for the works of Johann Sebastian Bach.
For this recording I chose a repertoire originally destined for a multitude of instruments (Violin, Cello, Keyboard, Organ, Oboe...) and on each occasion, the Accordion, Bandoneón or Accordina (a sort of button-Harmonica) takes possession of the original score, and demonstrates the universality of the music of J.S. Bach, in its capacity for performance, in an equally artistic and expressive manner, on instruments invented only some two centuries after the death of the composer.
The marriage between Strings and Reeds provides a different colour, a different taste for this music; and the somewhat hackneyed, rather facile handicap of popularity – due to the frequent, over-exposed presence of the Accordion and Bandoneón in traditional music – is today reversed, becoming an advantage.
How can one produce new versions of the concerti for Violin, the Cello suites and the pieces for Keyboard or the Organ... after the marvellous recordings made by such Great Performers as Glenn Gould, Pablo Casals or Isaac Stern...?
With the Accordion and the Bandoneón there remains much to be done, and with this recording, a new Pathway opens up to them... of which I am both happy and proud to be the "pioneer". »~ Richard Galliano (Paris, December 8th 2009) |
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1951-1952: Stan Getz - Jazz & Blues |
Cool, West Coast Jazz |
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 Artist: Stan Getz Album: Jazz & Blues Label: Barna Record Lab Years: 1951-1952, release: 1995 Time: 54:27 Format: FLAC Size: 100MB x 2 + 91MB (with covers) This album features athe studio performances between saxophonist Stan Getz and guitarist Jimmy Raney recorded between 1951 and 1952. The sheer number of labels the pair recorded for is staggering, from Sittin' in With to Roost, Savoy, Sesco, Clef, Prestige, and others. And while Getz, particularly on the early sides, is still deeply entrenched in his worship of Charlie Parker, the cool elegance of Raney's own playing is already asserting itself on the early sides, so that by 1951, Getz has moved toward the center from strictly bebop. Some of the other players on these sessions include Duke Jordan, Horace Silver, Roy Haynes, Frank Isola, and many others. There are 18 performances in all, giving a striking portrait of the era, and of Getz's development as a soloist and bandleader in particular. Raney arrived fully developed and just got better. The sound quality is solid here and the remastering job on these tracks is warm and full despite their many original sources. ~ Scott Yanow, All Music Guide |
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2009: Dave Holland Octet - Pathways |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Dave Holland Octet Album: Pathways Label: Dare2 Records #DR2-004 Year: 2009, release: 2010 Format: FLAC tracks + cue + log + scans Time: Time: 75:26 Size: 460 MB AMG rating With five A-list horn players -- Chris Potter on tenor and soprano saxophones, Antonio Hart on alto sax and flute, Gary Smulyan on baritone sax, Alex Sipiagin on trumpet and flügelhorn, and Robin Eubanks on trombone -- on board, and anchoring supplied by Dave Holland's bass, Nate Smith's drums, and Steve Nelson's marimba and vibes, there's a lot of swing residing within these grooves. There is also empathy to spare. Pathways, recorded live at New York's Birdland and the first release by the Holland Octet, is tightly woven, devoid of bloat, and constantly in motion. Holland, in his multi-decade career, has worked within every conceivable format, and he smartly positions the octet precisely where it should be by definition, midway between the standard small-group configuration and the all-bases-covered grandness of a big band. The arrangements often seem larger than life while simultaneously feeling succinct, and every solo -- not the least of which are Holland's own masterful excursions -- is carefully considered and masterfully executed. The album's seven tracks are all written by bandmembers -- five by Holland, one each by Sipiagin and Potter -- and two of Holland's, "Shadow Dance" and "How's Never?" (both of which he's recorded before), are the longest of the show, allowing for multiple shifts in mood, tempo, and color. Holland uses those pieces, in particular, as launching pads for dynamic solo exhibits and inspired duets, but in the end it's not the dexterity of the individuals that impresses most, but rather the groupthink of the ensemble. ~ Jeff Tamarkin, All Music Guide |
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1937-1938 : Lionel Hampton 1937-1938 Chronological Classics |
Music » Jazz » Swing |
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 Artist: Lionel Hampton Album: Lionel Hampton 1937-1938 Label: Classics Years: 1937-1938, release: 1996 Format:MP3 @ 320 Kb/s Time: 71:53 Size: 95 Mb + 80 Mb. AMG rating In 1937, vibraphonist Lionel Hampton began leading a series of all-star swing recording dates. Although he would still be a member of Benny Goodman's organization for another three years, Hampton was a natural-born leader and his record dates featured top sidemen from a variety of major jazz bands. This CD begins the chronological reissue of all of this music (except alternate takes). Hampton is teamed with players from the Benny Goodman and Duke Ellington orchestras plus a large assortment of guests. Among the many highlights are "Hampton Stomp" (featuring Hampton playing rapid lines on the piano with two fingers), "Stompology," Johnny Hodges on "On the Sunny Side of the Street," and some good spots for Jonah Jones' trumpet. ~ Scott Yanow, All Music Guide |
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