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 Into the Rhythm
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1943 - 1950: Dinah Shore - When Dinah Shore Ruled The Earth |
Music » Jazz » Vocal Jazz |
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 Artist: Dinah Shore Album: When Dinah Shore Ruled The Earth Label: Vintage Jazz Classic Years: 1943 - 1950, release: 1994 Quality: MP3320 kbps Size: 122 mb Total time: 75:24 Ðåäêèå òðàíñëÿöèîííûå çàïèñè çíàìåíèòîé âîêàëèñòêè. Dinah Shore was probably America's most admired female singer during the Forties and into the early Fifties with many hits to her credit. After a brief movie career, Dinah found television provided a more sustained showcase for her cheery personality and sincere approach to songs via her regular shows that emphasised a wholesome family image which bolstered her reputation as an entertainment icon until her death in 1994. Album contains rare material recorded during World War II radio broadcasts. |
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1967: Dave Brubeck - Bravo! Brubeck! |
Mainstream, Brubeck Dave |
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 Artists - Dave Brubeck, Paul Desmond Album - Bravo! Brubeck! Label: Columbia Year: 1967; release 1997 Tracks: 11 Total time: 50:36 File: 284 MB Format: FLAC (cue, log, scans) Repost with a Flac links from mr. hungaropitecus
Ïðåêðàñíûé àëüáîì âûäàþùåãîñÿ äæàçîâîãî ïèàíèñòà è íå ìåíåå çàìå÷àòåëüíîãî àëüò-ñàêñîôîíèñòà. One of the better Dave Brubeck LPs from the later period of the Quartet with altoist Paul Desmond, this set is unusual in that it only contains one Brubeck original. On such tunes as "Cielito Lindo," the beautiful "La Paloma," "Besame Mucho" and "Estrellita," the Quartet is augmented by guitarist Chamin Correa and percussionist Rabito Agueros. The results are melodic but swinging treatments of a variety of famous themes. ~ Scott Yanow, All Music Guide |
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1975: Enrique "Mono" Villegas & Ara Tokatlian - Inspiracion |
Music » Jazz » Modern Jazz » Avantgarde |
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 rtist: Enrique Villegas & Ara Tokatlian Album: Inspiracion Label: Cabal Year: 1975 Format, bitrate: MP3, 320kbps Time: 37.35 Size: 84.14 MB Beautiful spiritual jazz recording. This came up as the result of a spiritual searching by Ara Tokatlian. Ara himself described this as "discover and express your feelings". This came to him on vacation in Necochea. There's a sand dune desert in which he traveled by night and day. In this solitude he felt as if he could hear the sound of silence. So as the result of this searching we can perceive a recording without predefined limits, the album conveys an atmosphere of freedom which can be noticed on the fine interplay among the musicians. ~ tom cat |
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1997: Ellery Eskelin/Andrea Parkins/Jim Black - One Great Day... |
Modern Jazz, Avantgarde |
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 Artist: Ellery Eskelin/Andrea Parkins/Jim Black Album: One Great Day... Label: Hatology Year: 1997 Format, bitrate: mp3, 320 Size: 152 mb AMG Rating:  "...Eskelin continues to be the most inventive American tenor player in creative music..." - (Down Beat Nov. 1996) In the liner notes saxophonist, composer, and bandleader Ellery Eskelin explains that oftentimes he finds the recording studio the best medium for "this" music. The audience cannot with their chatter or mood disturb the process of making the music. However, Eskelin is a man who seems to be willing to admit that he can be wrong, both about audiences and his music's best performing medium: This is a live date from the end of the band's first European tour. And this is among his most beautiful records. This band with Andrea Parkins, on an accordion that can do and sound like most anything (as well as her sampler!), and percussion giant Jim Black has been together for a while, and here it shows how symbiotic their relationship is when it comes to not only performing Eskelin's own work, but Roland Kirk's classic "The Inflated Tear." Coming from Baltimore, Eskelin's compositions have much in common with fellow Baltimorean John Waters' films. They mine the tradition for its contradictions and use those as a place to build something new that can only be marked with an individual signature. Eskelin's pieces here, such as the title track, move from a post-bop modality through TV music and melodies respectfully cribbed from Frank Zappa. The syncopation Eskelin employs between his harmonic structures and melodies keeps the listener off his or her feet throughout the work, where surprise is constant, but welcoming. On "Vertical Hold," you hear Eskelin's improvisational voice entering in the guise of his bandmates. Black uses his kit but he also peruses his gig bag for hand-held objects of use as Parkins moves from one sinewy chord voicing to another on the accordion before the entire band snaps out of it and moves into Neal Hefti-esque TV music mode. The chords and repetition create the familiar space for another shift — this one gradual, to the band moving into free improvisation territory without seeming to have moved from where they were. Unless close attention is paid, you never hear it coming; it's truly wondrous. And Eskelin can compose and play a ballad with the best of them. "Fallen Angel," with Black's playing on the wood of his tom toms is a moving ballad, touched by film noir and Parkins' informing it with Italian tarantella. The soft swing in the front of the tune gives way to a harmonic body where Parkins' microtonality actually creates over tonal ambience and texture that opens up an enormous space on the inside of the tune. Eskelin keeps his playing in the blues as Black and Parkins move through the dark cinema together. It's gorgeous. If you're still reading and wondering about Kirk's piece? You'll have to hear it for yourself to really know how fine an interpretation it is. Eskelin has been on a roll for years now, and shows no signs of slowing down. This is one of America's truly great offerings to the music of the world. Just buy this. ~ Thom Jurek, All Music Guide |
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1955: Chet Baker - Complete Studio Sessions with Dick Twardzik |
Cool, West Coast Jazz |
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 Artist: Chet Baker Album: Complete Studio Sessions with Dick Twardzik Label: Lone Hill Jazz Year: 1955, release: 2005 Time: 59:40 Format: mp3 @320 Size: 147 mb (with complete scans) This exceptional release contains the earliest single issue of the two dates recorded in Paris by the Great Chet Baker Quartet with pianist Richard Twardzik, bassist Jimmy Bond and drummer Peter Littman in October 1955. In addition to the nine original issue in LP our edition includes four bonus tracks from a concert given in Stuttgart the same month and year, with the same group plus local guest musicians: the baritone sax player Lars Gullin and the singer Caterina Valente.
Author Jack Chambers wrote about these recordings in his definitive book The Incomplete Works of Richard Twardzik (2004): “These recordings may represent the apogee of Baker’s talents as a pure musician.” ~ from liner notes |
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1985: Freddie Hubbard And Woody Shaw - Double Take |
Jazz, BeBop, Hard-bop |
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 Artist: Freddie Hubbard And Woody Shaw Album: Double Take Label: Capitol Year: 1985 Format: mp3@vbr Size: 76MB Time: 44:08 AMG Rating  Other than their joint appearance as sidemen on Benny Golson's Time Speaks in 1983, Freddie Hubbard and Woody Shaw had never recorded together before Double Take. At this point in their evolution, Hubbard still gets the edge (his range is wider and he cannot be surpassed technically). Although Shaw tended to play more harmonically sophisticated lines and is remarkably inventive, they are both trumpet masters. Their meeting on Double Take was more of a collaboration than a trumpet battle; in fact, the brass giants only trade off briefly on "Lotus Blossom."~ Scott Yanow, All Music Guide |
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2010: Stanton Moore - Groove Alchemy |
Music » Soul » Funk-Jazz |
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 Artist: Stanton Moore Album: Groove Alchemy Label: Telarc Records Year: 2010 Time: 54:07 Format: MP3 320 kbps Size: 122 ÌÁ Those expecting anything revolutionary or particularly new from Stanton Moore's trio with guitarist Will Bernard and Robert Walter on B-3 on Groove Alchemy will either be wonderfully relieved or woefully disappointed -- there isn’t. The CD is aural evidence of the trio doing what it does best: being funky and playing in a relaxed, open style that keeps the grooves tight and the musicianship at a maximum. And it's enough.Check out the guitar and organ solos in “Squash Bottom,” the first of these dozen tracks. The popping vamps create the vibe and give way naturally -- thanks to Moore’s deadly breaks -- to Bernard’s multi-string chord solo and the percussive organ flow Walter is so famous for. Things get downright Meters-esque on “Pie-Eyed Manic,” with stuttering breaks and two sets of riffs answering one another after four bars apiece. And on it goes, though “Pot Licker” is the funkiest Walter has ever sounded on the B-3. Bernard pushes his chords and leads right through the melody to let the left-hand organ bassline stick out front. Moore just rolls through and develops his grooves as he plays. There is a cover of James Booker's “Keep on Gwine” on which Walter plays piano. Though he does so beautifully, it’s more about Moore’s ability to let his Crescent City, second-line swing develop and carry the tune. There’s a longish cover of “Neeps and Tatties” that becomes an outright rhythm brawl between Walter and Moore, as Bernard just eases into the flow and lets the knottier side of his guitar style get into the fray -- all without letting the groove lilt. The real curve ball on this set is in its final track, a cover of the George Jones’ country vehicle “He Stopped Loving Her Today.” Bernard leads the way with his guitar on the melody, and Moore plays doubles on the front side rather than the backbeat. It’s still a ballad, but one that carries a distinctly New Orleans feel as it swells toward the end. Groove Alchemy is simply a good-time funky record, full of great beats, killer guitar, and nasty organ by a trio that knows how not to mess up a good thing. ~ Thom Jurek, All Music Guide |
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