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jasapaal
 Into the Rhythm
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2003: Perico Sambeat - Friendship |
Music » Jazz » Fusion » Contemporary Jazz |
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 Artist: Perico Sambea Album: Friendship Label: ACT Year: 2003 Quality: mp3;192 kb/s Size: 66mb Time: 1:02:02 The CD "Friendship" consists of nine Sambeat originals and one evergreen. Sambeat interprets the ballad
"Crazy She Calls Me", definitively associated with swing legend Billie Holiday (in her case of course it took the
title "Crazy He Calls Me") with exquisite calmness, nestling in harmonies that dramatically extend the
boundaries of the chorus. |
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2010: The Wynton Marsalis Quintet & Richard Galliano - From Billie Holiday to Edith Piaf: Live in Marciac |
Music » Jazz |
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 Artist: The Wynton Marsalis Quintet & Richard Galliano Album: From Billie Holiday to Edith Piaf: Live in Marciac Label: Rampart Street Music Year: Aug 13, 2008 Release: 2010 Format, bitrate: mp3, 320kb/s Time: 69:51 Size: 148MB In the summer of 2008 multiple Grammy award winning jazz artist Wynton Marsalis and his quintet teamed-up with French accordionist Richard Galliano at the annual Jazz in Marciac festival in Southern France to pay tribute to the late jazz legends Billie Holiday and Edith Piaf. The result is a live recording, CD/DVD deluxe combination that captures this magical performance by two modern legends. The album, entitled The Wynton Marsalis Quintet & Richard Galliano - From Billie Holiday to Edith Piaf: Live in Marciac, captures the magical 9-song set list translating classic jazz vocal compositions into artful instrumental versions that are striking in their rhythmic variety. |
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2009: Darcy James Argue's Secret Society-Infernal Machines |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Darcy James Argue's Secret Society Album: Infernal Machines Label: New Amsterdam Year: 2009 Genre: Avant-Garde, Modern Big Band Format, bitrate: MP3 256 kbps Time: 67.02 Size: 112.73 MB AMG rating  Darcy James Argue is a fledgling modern jazz composer and conductor whose debut effort with his Secret Society is as impressive as any of his influences and predecessors. If you enjoy the efforts of Gil Evans, Bob Brookmeyer, Carla Bley, Maria Schneider, Guillermo Klein, NOJO, or Jason Lindner's big band in modern times, you'll surely enjoy this finely crafted effort from Argue, supported by a combination of New York veterans and newcomers. The combined layering of sounds, vibrant color palate, and marvelous inventive writing makes for some startling and satisfying original music played by some very impressive musicians. This is cryptic music as the titles suggest, with some religious overtones and expansive notions, but within the underground nature of the music springs forth new ideas and a commanding perspective. "Phobos" is a good example of ancient and futuristic ideals, as a percussion intro to mysterious horns in 7/8 to 4/4 funk is lined by the snarly electric guitar of Sebastian Noelle, leading to up and down dynamics. A well-constructed horn chart on "Zeno," building from mezzo piano to forte, is accented by flutes and chattery bass or piano chords suggesting oceanic Mediterranean elements. The outstanding "Transit," with trumpet soloist Ingrid Jensen, is altogether reverent, progressive, boppish, interactive, and full of delightful layers. Where "Redeye" is similarly spiritual and peaceful, it's a calm before the storm, and "Jacobin Club" is thin and hymnal, more cautious than mellow or laid-back. The labyrinth, dark underground sound of "Habeas Corpus" continues the hushed, under-the-surface concept, while a slight 9/8 dance motif during "Obsidian Flow," enhanced by the alto sax of Erica VonKleist, implies real images of true beauty that cannot be chemically accented or treated. Jazz mavens will recognize a few names like trumpeters Jensen, Seneca Black, and Laurie Frink, pianist Mike Holober, who leads his own progressive big band, bassist Matt Clohesy, and drummer Jon Wikan. Exploring liquid and stellar regions, Argue's music is a stunning display in diversity within drawn out, developed themes, requiring a keen ear. It's an exceptional example of new jazz music that deserves a broad forum for listening and appreciating, but don't keep this secret to yourself. ~ Michael G. Nastos, All Music Guide |
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1940-1949: Louis Armstrong - The Complete Decca Studio Master Takes |
Traditional Jazz, New Orleans Jazz |
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 Artist: Louis Armstrong Album: The Complete Decca Studio Master Takes 1940-1949 2CD Label: Definitive Records Years: 1940-1949; release: February 13, 2001 Format, bitrate: Flac Time: 1:03:12/1:08:23 Size: 519 MB AMG Rating  The 43 tracks that make up the first part of the The Complete Decca Studio Master Takes 1940-1949 of Louis Armstrong are remarkable not only for the outstanding performances they reflect, but for the many settings Armstrong recorded in during the era. While none of this material will come as a surprise to collectors, those who are starting to check out Armstrong's post-New Orleans period would do themselves a favor in scoping this collection because the Decca years, even more so than his long tenure with Verve, showcase Armstrong at the pinnacle of American popular music, and that that music happens to be jazz is even more revelatory. Here are Satchmo sides with the Mills Brothers, Ella Fitzgerald, Billie Holiday, Sy Oliver, George Jenkins, and many others, as well as with the many bands he led during the period, with collaborators such as John Higinbotham, Cozy Cole, George Washington, Shelton Hemphill, Luis Russell, Joe Garland, and dozens of others. The sound on these transfers is 24-bit and the price is right. ~ Thom Jurek, All Music Guide |
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1972: Sounds of Liberation - Sounds of Liberation |
Avantgarde, Soul-Jazz, Funk-Jazz |
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 Artist: Sounds of Liberation Album: Sounds of Liberation Label: Porter Records Year: 1972; release: 2010 Format, bitrate: mp3, 320 Time: 51:29 Size: 97 mb AMG Rating: "How often can you play an album at a party and keep the jazz snobs and dancing fools equally happy?!? Not very often indeedy." - Bruce Lee Gallanter, Downtown Music Gallery Sounds of Liberation were a Philadelphia-based vanguard jazz septet founded by vibraphonist Khan Jamal. The group also included alto saxophonist Byard Lancaster, guitarist Monnette Sudler, drummer Dwight James, percussionist Omar Hill, bassist Billy Mills, and conguero Rashid Salim. The collective also credited George Gilmore as its spiritual advisor. Sounds of Liberation released one self-titled record in 1972. It reflected the African American spirit of self-determination in an era that also birthed independent labels like Detroit’s Tribe Records, Oakland’s Black Jazz, and Charlies Tolliver's and Stanley Cowell's Strata East. SOL was long sought on the collector’s market and thought an all but lost grail until Jamal and Lancaster approached Porter Records' Luke Mosling; he agreed to release it unheard. SOL's reputation as a classic of vanguard spiritual jazz is well-founded. Its six selections reveal a remarkable interplay between rhythmic instruments, and the incredible technical facility of Lancaster in particular. Jamal is a master bandleader; his vibes bridge musical traditionss — African trance music, free jazz, and funk — as well as electric and acoustic instruments, creating a unified whole from the parts. One listen to the nearly 20-minute opening cut, ”Happy Tuesday,” is evidence enough. The interplay between James’ drums, congas, and hand percussion is astonishing. Lancaster solos over the top with a remarkablee depth of emotional and technical facility, while Sudler’s guitar and Jamal’s vibes create two textures: the former, a dense fiery Wall of Sound, and the latter, a fluid melodicism way inside the music. ”New Horizons II” finds Jamal’s reverbed vibes leading the pack as Lancaster fills the the top layer with uplifting and rousing solo breaks, but it is the Latin rhythms percolating ito a volcanic eruption that push it over the top. ”Billie One” is also a Latin-inspired funk-rock groover with a terrific solo by Jamal, but it is Mills' startling electric bass playing that startles. ”New Horizons I” picks up where its predecessor left off with Cuban, Panamanian, and even Afro-Brazilian polyrhythms juxtaposed against crying spiritual saxophone by Lancaster, and a stinging lead guitar break by Sudler, who also plays grooved-out funk vamps with Mills. The unearthed Sounds of Liberation is a treasure of '70s jazz certainly, but it is also a spiritual jazz classic. ~ Thom Jurek, All Music Guide |
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1958: Budd Johnson Septet and Quintet - Blues A La Mode |
Music » Jazz » Mainstream |
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 Artist: Budd Johnson Septet and Quintet Album: Blues A La Mode Label: Limelight Year: 1958, release: 1990 Quality: MP3@320 kbps Size: 86 mb Total time: 39:16 AMG Rating Ïðåâîñõîäíûé àëüáîì çíàìåíèòîãî ñàêñîôîíèñòà! Originally released on the Felsted label and reissued by Master Jazz, this LP features underrated tenor and arranger Budd Johnson with two overlapping groups. Three selections feature Budd with the great trumpeter Charlie Shavers, trombonist Vic Dickenson, Al Sears on baritone, Bert Keyes doubling on piano and organ, bassist Joe Benjamin, and drummer Jo Jones, while three other pieces have Johnson, Shavers, Benjamin, Jones and pianist Ray Bryant. The leader contributed all six numbers and stars in prime form throughout; Shavers and Bryant also fare quite well. This album awaits reissue on CD and is an excellent example of 1950s mainstream jazz. ~ Scott Yanow, All Music Guide |
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