Artist: Donna Deussen
     Album: High Wire
     Label: Donna Deussen
     Year: 2003
     Quality:EAC rip | FLAC+CUE+LOG+SCANS
     Size: 280 MB (RAR 5% Rec.)
     Time: 45.10 min


Vocalist DONNA DEUSSEN is an exciting new artist on the jazz scene. A graduate of the prestigious Berklee College of Music, Donna counts Ella Fitzgerald, Nancy Wilson, Chaka Khan, and Joni Mitchell as some of her influences.

Donna has been performing and recording in the Los Angeles area for the last 17 years. She has performed and recorded with the top studio musicians in L.A., including those who have worked/toured with such names as Chick Corea, Sarah Vaughan, Poncho Sanchez, Brian Setzer Orchestra, Tierney Sutton, Jack Jones, Tom Jones, Melissa Manchester, Jean-Luc Ponty, the Righteous Brothers, and many many more.

"High Wire" features jazz, blues, latin and pop standards with some of LA's best musicians: Mark Massey on piano, Aldo Bentivegna on drums, Anders Swanson on bass, and ERIC MARIENTHAL on sax. The CD includes: the title track (a Chick Corea composition); a 'Weather Report'-inspired arrangement of "Nature Boy;" a samba rendition of "Old Devil Moon;" and even a jazz arrangement of Joni Mitchell's "River."

The album was produced, mixed, and mastered by Donna and Alan Kuehne of Serious Fun Studios. The CD has been garnering favorable reviews, and is getting airplay on many jazz radio stations, including KKJZ Long Beach, KCLU Thousand Oaks, KBEM Minneapolis, WAER Syracuse, WICN Worchester MA, SkyJazz Internet Radio, CFRC Radio Ontario Canada, WTJU Charlottesville VA, WPKN Bridgeport CT, and Radio LaGuagua Argentina! ~ cd.universe

     Artist: William Parker Quartet
     Album: Sound Unity
     Label: AUM Fidelity
     Year: 2004; release: 2005
     Format, bitrate: mp3, 320
     Time: 70:29
     Size: 156 mb
     AMG Rating:


     Recorded at two live dates in Canada in July and July of 2004, Sound Unity is the most beautifully wrought of William Parker's ensemble recordings. Certainly it doesn't break as much ground as some, and it acknowledges his debts to composers like Ornette Coleman, Don Cherry, and Eric Dolphy, and that's fine; in Parker's able hands as a leader, this band with saxophonist Rob Brown, drummer Hamid Drake (are he and Parker the best rhythm section in jazz or what?), and trumpeter Lewis Barnes understands that both listening and silence are as important as what notes to play. The interaction between the horn players feels like they've been playing together for a very long time — check out the 18-plus-minute title track. What's also important to note here is the fluidity that the rhythm section engages the horns with, such as on "Wood Flute Song," or the crazy, funky joy on "Hawaii." The bandmembers nearly lift off; they're having so much fun. The music on this set is one of those bridges — across tradition, subgenre, nuance, and harmony. Parker's lyricism is profound, and has never been heard quite like this before. Brown is a more subtle player than some Parker has worked with before, and Barnes is a natural singer on the trumpet. The gap that's provided in the absence of a piano allows for a less strident interaction harmonically and dialogically. The music here flows, reaches, steps back, and reaches further, with Parker's guidance allowing for the horns to push one another as they do on "Groove," not so much for what they know, but for what they bring to a tune emotionally. "Harlem"'s folk song melody and lyric are among the most beautiful Parker has yet written; it's a place where blues and the Middle Eastern musics of Morocco come together. This is a stellar offering from one of the music's greatest lights.

     Artist: Charles Mingus
     Album: Charles Mingus and Friends in Concert (2CD)
     Label: Columbia / Legacy
     Year: 1972; release: 1973
     Format, bitrate: MP3, 320 CBR + Scans
     Time: 72:56 + 57:45
     Size: 100 Mb + 94 Mb (with scans)


Most of Charles Mingus's larger-group recordings, particularly in the later part of his career, tended to be unruly and somewhat undisciplined. This two-CD reissue set (which adds five selections to the original two-LP program), which celebrated Mingus's return to jazz after six years of little activity. Such great jazzmen as baritonist Gerry Mulligan, tenor saxophonist Gene Ammons, altoist Lee Konitz, pianist Randy Weston, James Moody (heard on flute) and a variety of Mingus regulars had a chance to play with the great bassist; even fellow bassist Milt Hinton and Bill Cosby (taking a humorous scat vocal) join in. Most of the music is overly loose but the overcrowded "E's Flat, Ah's Flat Too" and particularly the "Little Royal Suite" are memorable. The "Little Royal Suite," in addition to Ammons, Konitz, Mulligan, Charles McPherson and Bobby Jones, features an 18-year old Jon Faddis (who was sitting in for an ailing Roy Eldridge) stealing the show. ~Scott Yanow, All Music Guide

     Artist: Esther Phillips
     Album: Confessin' the Blues
     Label: Atlantic
     Years:1966-1970, release:1991
     Genre: Jazz Blues
     Format, bitrate:mp3@320kb/s
     Time: 44:53
     Size:103 MB
     AMG rating

Confessin' the Blues has translated to CD beautifully. The first seven numbers show off Esther Phillips doing sophisticated, big-band blues, backed by a small orchestra led by Onzy Matthews, giving direct and pointed yet elegant performances of "Confessin' the Blues," "I'm Gettin' 'Long Alright," and "C. C. Rider." The last four numbers, which comprise nearly 24 minutes, have Phillips doing a jazzier set to start with, backed by a leaner band (most notably Jack Wilson on piano), in a set produced for record by King Curtis -- the final medley of "Bow Top Blues"/"Jelly Roll Blues"/"Long John Blues" is the highlight of the set, showing Phillips in a bluesy setting. The quality of the recording from both years is excellent and comes out well here. Phillips and her principal accompanists, Herb Ellis (guitar) and Lou Blackburn (trombone), are in excellent form on this 1966 set. ~ Bruce Eder, All Music Guide

     Artist: Lonnie Liston Smith
     Album: Astral Traveling
     Label: Flying Dutchman
     Year: 1973
     Format, bitrate: mp3; 224kb
     Time: 60 mins
     Size: 100 mb
     AMG Rating

Lonnie Liston Smith was 32 when, in 1973, he finally got around to recording his first album as a leader, Astral Traveling. By that time, the pianist/keyboardist had a great deal of sideman experience under his belt, and this superb debut made it clear that former employers like Pharoah Sanders, Rahsaan Roland Kirk, Gato Barbieri, and Betty Carter had taught him well. One hears a lot of Sanders, John Coltrane, and McCoy Tyner influence on Astral Traveling; Smith obviously shares their passion for all things spiritual. Nonetheless, this LP leaves no doubt that the improviser is very much his own man and has a wealth of brilliant ideas of his own; thankfully, he has a cohesive band to help him carry them out. On Astral Traveling, Smith's 1973 edition of the Cosmic Echoes includes George Barron on soprano and tenor sax, Joe Beck on guitar, Cecil McBee on bass, David Lee Jr. on drums, James Mtume and Sonny Morgan on percussion, Badal Roy on Indian tabla drums, and Geeta Vashi on the Indian tamboura.>>>

     Artist: Ravi Coltrane
     Album: Blending Times
     Label: Freeworld
     Year: Aug 14, 2006-Sep 17, 2007
     Release: Jan 13, 2009
     Format, bitrate: mp3, 320kb/s
     Size: 119MB
     AMG rating:

Ravi Coltrane's second CD as a leader for the Savoy label (his fifth overall) is balanced between improvisation based on spontaneous themes and compositions that have a certain direction, both concepts blessed with a purpose and vision. Blending Times, as its title implies, signifies his coming of age, his dedication to finding his own voice on the tenor saxophone, and his use of a free-form approach much like his famous parents, John Coltrane and Alice Coltrane, in their later years. Armed with a skilled band of pianist Luis Perdomo, bassist Drew Gress, and drummer E.J. Strickland, Ravi Coltrane is quite able to utilize his dual stylistic persona in ways that work in terms of accessibility and freshness, blending the roots of his heritage and bloodlines into his own hard-fought and compelling mannerisms. Perdomo, who has worked with the saxophonist for a number of years, is particularly brilliant and close to amazing, wending his way in and out of stated short phrases or motifs on the improvisations and contributing the opener, "Shine," a saintly spiritual tune gliding -- although free of a time signature -- beyond beauty. Ralph Alessi's "One Wheeler Will" is the singular piece cemented in distinguishable phrases -- albeit in a choppy and kinetic 13/8 ostinato -- rooted in the N.Y.C. neo-bop that defined contemporary jazz in the 1980s. The nine-minute "For Turiya" was written many years ago by Charlie Haden for Alice Coltrane, and here it is revised, with Brandee Younger on harp, Haden on his ever stoic and soulful bass, and Ravi Coltrane's somber and remorseful tenor sax echoing an ultimate elegy epilogue prayer. The band stretches Thelonious Monk's "Epistrophy" via a quick, cleverly executed waltz in a 4/4 framework with a lopped-off beat at the end of each completed phrase, further emphasized by Perdomo's picture-perfect swaths and swipes. Five of the free-form pieces are credited as improvisations conceived and directed by Ravi Coltrane, and all have a similar but non-threatening quality of patience, virtue, and sharing, merging from various duo settings to the full band eventually joining in. "First Circuit" is a free bop jam, while "A Still Life" has a two-note bass call from the ever present Gress merging into currents and torrents а la John Coltrane's sheets of sound concept. "Amalgams" is another floating/spiritual combine, "Narcined" is an unforced funky butt dance, and "Before with After" is a somber prelude to "For Turiya." Where Ravi Coltrane's sound may not be immediately identifiable, he has for sure made his craft a viable and attractive sound in a marketplace where there are many players who closely imitate his legendary father. This is a very fine effort, understated overall, and one that can easily be recommended to all modern jazz lovers who find room for unconventional music not branded by academia, the so-called tradition, or overt commercial considerations.

     Artists: Jimmy Thackery & The Drivers
     Album: Big Long Buick [Live in Detroit]
     Year Of Release:2010
     Label:Phantom
     Quality:mp3, 320kbps
     Total Time:01:13:13
     Total Size:161 Mb

Jimmy Thackery Born in Pittsburgh, Pennsylvania in 1953, Jimmy was raised in Washington, D.C. In high school he played in a band with Bonnie Raitt's brother David, who turned him on to Buddy Guy. A pivotal moment for the 17 year old Thackery was seeing Buddy perform at a small D.C. church, but the "moment that changed my life," as Thackery recalls it, occurred quite by accident one night when he wandered into a Jimi Hendrix show in D.C. and heard Hendrix let loose in his first gig after getting kicked off the Monkees tour.
Thackery became widely known as the innovative guitarist with the Nighthawks, one of the hardest-working and most popular blues bands of the '70's and '80's. Starting in 1974, the group recorded over twenty albums and constantly toured the U.S., Europe, Canada and Japan. Jimmy was the heart, soul, and adrenaline of the Nighthawks sound during his fourteen year tenure with the Washington, D.C.-based band, creating a distinctively raw, powerful guitar style and establishing a reputation as a spectacular soloist.

     Artists: Tommy Dorsey & Jimmy Dorsey
     Movie: The Fabulous Dorseys
     Label: United Artists, 1947, B/W
     Director: Alfred E. Green
     Runtime: 1h 28min
     Size: 700 mb
     Genre: Biography, Musical and Romance



Based on the lives of big-band stars Tommy and Jimmy Dorsey, this biographical chronicle begins with their childhood in an industrial Pennsylvania town. Encouraged in their musical talents by their father, the Dorsey brothers' sibling rivalry proves to be a stumbling block until the their father's death gives them the momentum they need to rise to fame, and they are eventually considered to be among the best bandleaders of the swing era. Appearances by Charlie Barnet, Art Tatum, and Bob Eberly jazz up the musical numbers, featuring such songs as "Green Eyes," "Everybody's Doin' It", "Marie," and "I'll Never Say Never Again." ~ Iotis Erlewine, All Movie Guide

Artist: Oscar Peterson
Album: Jazz Ballads
Label: Membran Music
Year: 1945-1953; release: 2004
Format, bitrate: mp3, 320 kbps
Time: 1h, 3 min, 31 sec + 1 h, 4 min, 7 sec
Size: 153+161 mb.

Итак, в преддверии уик-енда давайте снова послушаем джазовые баллады от Мембраны. На этот раз - Оскар Питерсон. Правда, эта подборка уже была однажды представлена в клубе, но там ссылки уже мертвы. Окончательное решение, конечно, остается за администрацией (либо вывести репост той новости, либо оставить мою), но на всякий случай сделаю полную новость в своём стиле.
Итак...

     Artist: Marty Paich
     Album: The Broadway Bit 2LP/1CD
     Label: Lone Hill Jazz
     Year: 1959, release: 2005
     Quality: MP3@320 kbps
     Size: 156 mb
     Total time: 71:46



Modern Touch is a CD reissue that compiles the complete contents of two LPs led by arranger-pianist Marty Paich: The Broadway Bit and I Get a Boot out of You. Since the groups are similar (being 12 or 13 pieces depending on whether they have two or three trumpets), both of the albums were recorded in 1959, and the mixture of show tunes with jazz standards is logical; this is a very unified set. Paich's arrangements always swing, altoist Art Pepper is well showcased, and among the other key players are Jimmy Giuffre (clarinet and baritone), vibraphonist Victor Feldman, trumpeters Stu Williamson and Jack Sheldon, and either Paich or Russ Freeman on piano. This is fun if slightly conservative music that fits the modern mainstream of the era.

     Artist: Dexter Gordon Quartet
     Album: Biting the Apple
     Label: SteepleChase
     Year: 1976, release: 1994
     Quality: MP3@320 kbps
     Size: 132 mb
     Total time: 56:15
     AMG Rating



Many of Dexter Gordon's finest recordings were cut in Europe just prior to his triumphant return to the United States. This album was recorded just weeks before and it is one of the veteran tenor's best. With strong assistance from pianist Barry Harris, bassist Sam Jones and drummer Al Foster, Dexter plays exciting solos on "I'll Remember April," a warm version of "Skylark" and his two originals, "Apple Jump" and "A La Modal." It is highly recommended, as are all of Dexter Gordon's SteepleChase recordings from this period. ~ Scott Yanow, All Music Guide