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 Into the Rhythm
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1999: FOOD - Organic and GM |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: FOOD Album: Organic and GM Label: Feral Music Release: 1999 Format: MP3 320 kbps Size: 129 MB HOT OFF THE PRESS THIS GREAT NEW ALBUM ORGANIC AND GM FOOD FOLLOWS IAIN'S WELL DESERVED AWARD FOR INNOVATION AT THE 2001 BBC RADIO 3 JAZZ AWARDS. Fabulous boxed CD designed by artist Dave McKean - a collector's item in its own right.
"I have always craved melody, rich harmony in music. Now I've found the right people to play very free and improvised music with, adding these elements - it's exciting and powerful". ~ Iain Ballamy, April 2000."The Norwegian musicians I have met all have their own identity and aspirations musically. Most of it feels timeless, folky and very natural." ~ Iain Ballamy. |
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2003: Jimmy Scott - All Of Me - Live in Tokyo |
Music » Jazz » Vocal Jazz |
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 Artist: Jimmy ScottAlbum: All Of Me - Live in TokyoYear: 2003, release: 2004 Label: Venus Records Quality: wav (image +.cue) | mp3 Bitrate: lossless | 320 kbps Total Time: 62 min 08 sec Total Size: 392.5 mb | 142.4 mb
Known as a “Singer' Singer”, Jimmy Scott has influenced many singers and actors, especially male & female vocalists, Nancy Wilson cites Jimmy as her sole influence and claims “there would be no Nancy Wilson if it weren't for Little Jimmy Scott”, who's phrasing and natural style she studied since a child. Jimmy's thanks her and is appreciative. He says if he's helped anyone in anyway he's happy for their success, as he is happy for Nancy 's success, he's glad they were able to make it in this tough business. |
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1965: Jaki Byard Quartet with Joe Farrell - The Last from Lennie's |
Music » Jazz » Mainstream |
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 Artist: Jaki Byard Album: The Last from Lennie's Label: Prestige Records Year: 1965; release: 2003 Format, bitrate: mp3@256kb/s Time: 62:29 Size: 118,25 MB AMG rating  There's a good and bad side of releasing old material that's been buried in a record label's vault or someone's attic. If the material's solid, say a live date from an artist's prime, then it's a Godsend. If the material is weak, or repeats earlier releases in a weaker form, it does a disservice to the artist. Luckily for fans of pianist Jaki Byard, the quartet recordings on Last From Lennie's are bursting with creative energy. Taped on April 14, 1965, Byard is joined by saxophonist Joe Farrell, bassist George Tucker, and drummer Alan Dawson for an adventurous live set. With a couple exceptions -- "After You've Gone/Strolling Along," and the obscure "King David" -- everything here clocks in at over nine minutes, leaving plenty of space for the band to explore the far edges of each piece. There are eight- and nine-minute versions of "Dolphy," a kinetic, off-kilter ode that recalls, though never imitates, Charles Mingus, with whom both Byard and Dolphy had played. Farrell's solo work takes some uncharted turns here, with the rest of the band pushing him on as Byard shouts out directions. Finally, one wouldn't want to miss the nine-minute medley of "Tea for Two," "Lover," "Strolling Along," "Cherokee," and "Shiny Stockings," all played at a marvelously mad pace. The interplay between all partners also brings forth great things from Tucker and Dawson, topping off an intense, fiery set. Like all good vault releases, Last From Lennie's reminds listeners of just how good Byard and his bandmates were. ~ Ronnie D. Lankford, Jr., All Music Guide |
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1960: Gerry Mulligan and the Concert Jazz Band at the Village Vanguard |
Cool, West Coast Jazz |
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 Artist: Gerry Mulligan. Album: Gerry Mulligan and the Concert Jazz Band at the Village Vanguard Release Date: May 7, 2002 Year: 1960 Label: Verve Quality: FLAC (cue, log, scans) Size: 321 MB Time: 40:48 AMG Rating  REPOST with new links from Mr.hungaropitecus Of all the recordings made by Gerry Mulligan's Concert Jazz Band in the 1960s, this is the definitive one. There are many high points, including "Body and Soul" (which has fine solos from the baritone/leader and valve trombonist Bob Brookmeyer), "Come Rain or Come Shine," and the swinging "Let My People Be," but "Blueport" takes honors. On the latter, after hot solos by Mulligan, trombonist Willie Dennis, and Jim Reider on tenor, Mulligan and trumpeter Clark Terry have a lengthy trade-off that is quite hilarious with a countless number of quotes from different songs; at one point they trade off cities. This music is essential. ~ Scott Yanow, All Music Guide |
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1957: Dizzy Gillespie - Duets |
Music » Jazz » BeBop » Hard-bop |
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 Artists: Dizzy Gillespie, Sonny Stitt, Sonny Rollins. Album: Duets Label: Verve Year : rec. 1957/ release - 1988 Quality: MP3@320kb/s Size : 129 mb Time: 60:05 AMG Rating REPOST by request
"Duets" è Sonny Side Up" ýòî ñåññèè - áëèçíåöû, êàê ïî ñîñòàâó ìóçûêàíòîâ, òàê è ïî õàðàêòåðó èñïîëíÿåìîé ìóçûêè. Îíè ïðàâó ñ÷èòàþòñÿ ëó÷øèìè çàïèñÿìè Äèççè Ãèëëåñïè, ñäåëàííûìè èì ñ ìàëûìè ñîñòàâàìè.
The product of a day's worth of recording at Nola Studios in 1957, this album is essentially the same as a much older release of the same on Verve, but the master tapes had been found and remastered into stereo along with the addition of a couple of tracks previously left off the album. Presumably, these are the same sessions that spawned the Sonny Side Up album. Here, Dizzy works separately with each of the Sonnys for a couple of tracks. "Wheatleigh Hall" is something of a tour de force for both Rollins and Gillespie, and the "Con Alma" tracks are certainly worthwhile listens for a glimpse of Stitt's prowess. Finally, the album ends with "Haute Mon'," a themeless blues in G minor. Before that, however, is the addition of a newly discovered yet unlabeled track from the same sessions, which was belatedly titled "Anythin', Ha Ha" by Gillespie prior to the release of this album. Overall, the highlights are many, and one would probably be better off with this album than the original release (in mono, no less). On a related note, however, one would probably be better off with the Sonny Side Up album instead of this one (given only one choice), due to the simultaneous collaboration with both sax players (and for no other reason than the sheer beauty of "Eternal Triangle"). ~ Adam Greenberg, All Music Guide |
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1976: Buddy Rich And His Big Band Machine - Speak No Evil |
Music, Jazz, Progressive Jazz, Fusion |
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 Artist: Buddy Rich And His Big Band Machine Album: Speak No Evil Label: Wounded Bird Records Year: 1976 Format, bitrate: Mp3, 320 Kbps Time: 40:57 Size: 81,8 MB Released in 1976, Buddy Rich's Speak No Evil is one of the most unusual dates in his long career. For starters, it was produced and arranged by the legendary Richard Evans, house producer and arranger at Chess Records' Cadet imprint. Amazingly enough, this set comes off beautifully as a funky, soulful jazz date. And for a change, it seems, Rich allowed his producer to do his job without inserting himself at every turn. Some jazz fans may write off the date simply because the great drummer is decked out in kung fu garb and is sporting a pair of nunchucks on the back cover. That's too bad for them, because this one is a killer. As usual, Rich surrounded himself with some of the great soloists and session players available for the date -- saxophonists Joe Farrell, Steve Marcus, Dave Tofani, and Turk Mauro; trumpeters Lew Soloff and Jon Faddis; bassist Bob Cranshaw; guitarist Ross Traut (who co-produced the session with Evans); and Kenny Barron on electric piano -- amidst the other brass and percussion and trio of female backing vocalists including Vivian Cherry, Lani Groves, and Rhetta Hughes. The program walks a free-flowing line between funky and progressive big-band jazz, sophisticated pop, and soulful instrumental tunes that border on disco (especially the Natalie Cole-Chuck Jackson tune "Sophisticated Lady [She's a Different Lady]"), but for the most part stays on the funk side of the street. The program features some of the bigger tunes of the day, including a burning, break-laden rendition of the Isley Brothers' "Fight the Power," Gino Vanelli's "Storm at Sunup," the Spinners' "Games People Play," and the Pointer Sisters' "How Long (Betcha Got a Chick)." The charts are simply infectious. Evans, scoring for the popping bass and guitar-driven rhythm section, is always at the core. Add Barron's smoking choppy Fender Rhodes lines and you have a bottom the drummer (who is amazingly restrained here) can play off of. Evans gives plenty of solo space to the principals while keeping things taut and grooving -- check out the Brecker Brothers' "Sneakin' Up Behind You," with killer breaks by Rich and a rubbery bassline by Cranshaw. The counterpoint in the horn chart between trombones and trumpets is virally infectious. Rich may not have scored commercially with this set at the time, but it has become a favorite of beat hunters since the dawn of sampling. Speak No Evil was released -- finally -- on CD by Wounded Bird in 2008. ~ Thom Jurek, All Music Guide |
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1991: Charles Gayle/William Parker/Rashied Ali - Touchin' on Trane |
Freejazz, Avantgarde |
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 Artist: Charles Gayle/William Parker/Rashied Ali Album: Touchin' on Trane Label: Jazzwerkstatt Year: 1991 Format, bitrate: mp3, 320 Time: 66:46 Size: 146 mb AMG Rating:  This is Charles Gayle's most accessible work. Gayle's mastery of free jazz is blended with a more traditional compositional style of jazz on this disc. Touchin' on Trane is composed of five original songs, and even includes ex-Coltrane drummer Rashied Ali. As the title insists, Coltrane is the influence for the music on this disc. The influence ranges from the upbeat tempo of "Giant Steps" in "Part A," while "Part D" is reminiscent of Coltrane's "Live in Japan" performances. Gayle, bassist William Parker, and Ali don't copy Coltrane, but rather expand on his accomplishments. Without covering any songs, Touchin' on Trane is the greatest John Coltrane tribute album.~ Brian Fola, All Music Guide Gayle apprenticed the really hard way, playing fierce, Ayler-ish tenor sax on street corners and in subways for the sparest of spare change. He was nearly 50 before he got a shot in a studio, but three years later he lucked into this dream date. This is no tribute: the hour-plus piece is credited jointly, and is remarkably fresh and evenly balanced, with all three players astonishing. Especially Ali, who cut his teeth drumming on Coltrane's hoariest records, but who here channels his master perfectly. ~ Tom Hull, www.tomhull.com |
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