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jasapaal
 Into the Rhythm
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1946-1947: Johnny Guarnieri 1946 - 1947 |
Stride, Swing |
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 Artist: Johnny Guarnieri Album: Johnny Guarnieri 1946 - 1947 Label: Classics Years: 1946-1947, release: 1999 Quality: MP3@320 kbps Size: 172 mb Total time: 77:46 AMG Rating:  REPOST by request Johnny Guarnieri first attracted attention as a wonderfully facile pianist -- and harpsichordist -- with Artie Shaw's Gramercy Five. He then became the Keynote record label's all-purpose piano man. Classically trained, then strongly influenced at any early age by Fats Waller and James P. Johnson, Guarnieri was a gifted improviser whose bag of tricks was never empty. This disc delivers a deep dose of the pianist's work for the Majestic label. Fresh from many months of active service at Keynote, Johnny sails into "All the Things You Are" almost as if running Jerome Kern through a set of Beethoven variations. The rest of the quartet enters, the song develops into a tidy bounce, and Johnny renders up a majestic unaccompanied finale. "Carioca" is a very cool demonstration of this excellent quartet in ac[center][/center]tion. "Swing for Yourself, John" walks in 4/4, its early modern harmonic runs sounding exactly contemporary for 1946. "My Gal Sal" deliberately references 1890s saloon piano, then chucks it for ultra-modern cool swing, bristling with boppish licks. Eloquently cool, "Temptation" receives an almost film noir treatment, and guitarist Tony Mottola gets most of "Guilty" to himself. Bassist Trigger Alpert is spotlighted on his own invention, "Trigger Fantasy." Accompanied only by his brother Leo and drummer Morey Feld, Johnny demonstrates what Fats Waller might have done with "Flying Home." Waller was undoubtedly on his mind as he launched "Believe It, Beloved" and chased it down with two lovely ballads. Just imagine what kind of four-handed piano records the two men could have made together had Fats lived longer than 39 years. Luckily, Johnny thrived for decades as a living extension of his Harlem stride piano heroes. Sitting in with the Tony Mottola Four, the pianist provided backing for two unnecessarily cutesy vocals by Rosemary Calvin and a bop-flavored feature for the guitar. The rest of this package consists of unaccompanied piano solos. "Nice Work" and "Mean to Me" sound to some extent like the work of Art Tatum. "Exactly Like You" has full-tilt James P. Johnson passages nestled between Tatum-like arpeggios. "Sorry, I Lost My Head" continues this fascinating blend of styles. After a couple of reflective reveries, Johnny bravely sings "Bobo the Bowery Barber" in his thin little voice. He sounds at first a lot like Fats Waller, then mimics Jerry Colonna lampooning Italian opera at the top of his lungs, and finally anticipates the weirdly cornball humor of Lenny Bruce as a homicidal Bobo brandishes his razor! The song ends with a loud, high-pitched scream and maniacal laughter. This side of Guarnieri's personality would surface periodically in the form of strange originals like "Santa Claus Is Smoking Reefers." The rest of the tracks on this album are 110 percent piano. "Plenty of Money" is delightful, "Stardust" and "Smoke Gets in Your Eyes" are ethereal, and "Tiger Rag" clearly references its French quadrille origins, with lovely embellishments similar to what he did with "All the Things You Are" but even more stunning, as this old-time stomp would naturally demand. This, then, is a precious stash of rare recordings by an unjustly neglected master of traditional swing and transitional early modern jazz piano. ~ arwulf arwulf, All Music Guide |
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2000: David Sanchez - Melaza |
Music » Jazz » Latin |
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 Artist: David Sanchez Album: Melaza Label: Columbia Year: 2000, release: 2001 Format, bitrate: mp3@320kb/s Time: 60:09 Size: 136 MB In titling this album Melaza ("molasses" in Spanish), tenor and soprano saxophonist David Sánchez makes reference to the sugarcane fields of his native Puerto Rico. Noting that inhumane labor conditions produced an ironically sweet-tasting product, Sánchez sets a political tone, which he makes more explicit by dedicating the disc to "the African extension, the indigenous peoples of the Americas and the community of Vieques for its years of struggle for peace." In keeping with this serious message, the music on the album, which draws deeply from Puerto Rican rhythms, possesses an extraordinary urgency. Co-produced by Sánchez and Branford Marsalis (who plays tenor on Sánchez's epic "Canción del Cañaveral"), Melaza is powered by Sánchez's working band: Miguel Zenón on alto, Edsel Gomez on piano, Hans Glawischnig on bass, Antonio Sánchez on drums, and Pernell Saturnino on percussion. Adam Cruz plays drums on three tracks; Hector "Tito" Matos and William Cepeda appear as guest percussionists.
Five of the eight tracks are Sánchez originals; these include the hard-hitting opener "Puerto San Juan," the majestic "Canto a Loíza," the manic "Centinela," and the sly, swinging "Against Our Will." Sánchez's tenor solos have never sounded more intense, and his band, sharpened by months of live performances, is one of the best. Bassist Glawischnig contributes the lively and labyrinthine "Orbitando," which features Sánchez on soprano and a monster percussion solo by Saturnino. Zenón's "El Ogro" is another fiery track, and Milton Nascimento's "Veja Esta Cançáo" closes the album on a romantic note, with Sánchez and Gomez reaching lyrical heights. ~ David R. Adler, All Music Guide |
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2003: Gerry Hemingway Quartet - Devil's Paradise |
Post-bop, Modern Jazz, Avantgarde |
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 Artist: Gerry Hemingway Quartet Album: Devil's Paradise Label: Clean Feed Records Year: 1999; release: 2003 Format, bitrate: mp3, 320 Size: 131 mb AMG Rating:  "Adventurous and listenable" - Omnitone With many groups, this album might have simply marked a pausing point, a time of retrospection, an opportunity to review some old tunes. After all, Hemingway has recorded all but two of the compositions on it before. That, though, would be missing the point: This rare (at least for Hemingway) studio recording burns from the get-go, with nobody looking back. Similar in personnel to the almost as effective Johnny's Corner Song, except for the substitution of trombonist Ray Anderson for Robin Eubanks, Devils Paradise is about as good as it gets, with inventive compositions, fabulous solos, and very tight interplay. The horns are in superb form, and Ray Anderson, without sacrificing his highly distinctive sound, is better than ever, his tone clear, his articulation precise, and his improvisations more focused. His solo on "Gentle Ben" is one of his best on disc. While Anderson's presence is worth the price of the CD, there are also consistently compelling contributions from Ellery Eskelin, who continues to dazzle with his original approach. None of which is intended to minimize the importance of the dynamo rhythmic duo of Hemingway and bassist Mark Dresser, who, as alumni of some of Anthony Braxton's best small groups, electrically charge the horns. This quartet toured the United States in 1998 and 1999, and by the time they were ready to record, they were prepared. This ranks with some of Hemingway's best, which considering his recorded output, says something. ~ Steven Loewy, All Music Guide |
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1955: Wild Bill Davison/The Eddie Condon All Stars: Live! 1955 Miami Beach |
Music » Jazz » Traditional Jazz |
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 Artist: Wild Bill Davison Album: Wild Bill Davison/The Eddie Condon All Stars: Live! 1955 Miami Beach Label: Storyville Year: 1955, release: 2004 Quality : MP3@320 kbps Size: 91,7 mb Total time: 41:23 REPOST by request Cornetist Wild Bill Davison is heard as the lead voice in the 1955 version of Eddie Condon's All-Stars on this collector's LP. With clarinetist Pee Wee Russell getting in some typically unusual solos and fine work from trombonist Lou McGarity, pianist Gene Schroeder, bassist Walter Page and drummer George Wetting, the Condon Gang runs through seven Dixieland... More warhorses plus a ballad medley that peaks with Davison's chorus on "Rockin' Chair"; other highlights include "Beale St. Blues," "Singin' the Blues" and "I Want to Be Happy." ~ Scott Yanow, All Music Guide |
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1923-1929: Jazz from Atlanta 1923-1929 |
Dixieland, Classic Jazz |
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 Artists: VA Album: Jazz from Atlanta 1923-1929 Label: Timeless Historical Years: 1923-1929; release: 1997 Format, bitrate: FLAC Time: 69:27 Size: 260 Mb Charles Fulcher came from Augusta, Georgia but used Atlanta as his base. Like the Warner's Seven Aces he recorded with his band on that day in June 1923 when Okeh decided to make some field recordings in Atlanta. Fulcher was a multi-instrumentalist and he can he heard on his records playing clarinet, trombone and violin. He also played piano and was always greatly concerned that a piano was properly tuned. Significantly, he became a piano tuner later in life. The story goes that Fulcher was a difficult man and trumpeter Jack Cathcart remembers playing a gig with Fulcher and not enjoying it. Little more is known about Fulcher. He will probably he best remembered for his composition My Pretty Girl which his band recorded but became famous through the Jean Goldkette Orchestra version, recorded for Victor. During the 1920's Fulcher led a great band though with a distinct 'southern territory' sound. His records are reissued on this CD for the first time although we left out three titles of no jazz interest. >>> |
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2001: Ray Charles - The Definitive Ray Charles |
Music » Blues » Rhythm-n-Blues |
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 Artist: Ray Charles Album: The Definitive Ray Charles 2CD Label: Warner Year: 2001 Quality: m4a @ 256 kbps Size: 316 MB His earlier work undoubtedly deserves the "Genius" tag...however, from Modern Sounds in Country and Western Music ownwards the halo slips as Charles seemed intent on imitating his early hero Nat King Cole, and as a result ended up making music that will forever be the staple of elevators and supermarkets i.e. MOR pap. Unfortunately, this makes most of the second disc in this collection pretty much redundant to anybody who likes their music with a degree of energy, vibrancy and soul. This is highlighted to dreadful effect by the last track, a dreadful interpretation of John Lennon's Imagine...you don't know whether to laugh or cry when it finishes, it really is that bad. Which is a great shame, as having said all of that the first disc is essential, as and lest we forget, Ray Charles effectively did invent soul music... ”
The two CD collection DEFINITIVE RAY CHARLES features 46 favorites from the incomparable pianist/vocalist.
Digitally remastered spectacular double disc collection of the man whose picture ought to appear in the dictionary under 'Soul Music', as his recordings and performances are the very essence of the genre. 46 great tracks with all the hits from the last 40+ years! ~ cduniverse |
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1984: Mengelberg/Lacy/Lewis/Gorter/Bennink - Change of Season: The Music of Herbie Nichols |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artists: Mengelberg/ Lacy / Lews/ Gorter/ Bennink Album: Change of Season: The Music of Herbie Nichols Year: 1984, release: 1993 Label: Soul Note (Italy) Quality: mp3/320kbps Size: 88,3 MB Time: 37:59 AMG Rating:   After recording an album (Regeneration) split between Herbie Nichols and Thelonious Monk compositions, pianist Misha Mengelberg decided to devote a full project to the unjustly neglected Nichols. As with the earlier set, this date also includes soprano saxophonist Steve Lacy and drummer Han Bennink, but this time with trombonist George Lewis and bassist Arjen Gorter. For the first time, seven of Nichols' songs (including "House Party Starting," "Hangover Triangle," and "Change of Season") were performed by a medium-size group, rather than just Nichols' trio, and one can appreciate the formerly unheard colors in the pianist's nearly lost music. It is also a particular pleasure hearing Lewis and Lacy improvising on these challenging, yet fairly straight-ahead pieces. A gem. ~ Scott Yanow, All Music Guide |
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1947-1954: Charlie Parker - The Complete Norman Granz Master Takes |
Music » Jazz » BeBop |
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 Artist: Charlie Parker Album: The Complete Norman Granz Master Takes (4 CD Set) Label: Definitive Records Years: 1947-1954; release: 2005 Format, bitrate: Flac Time: 01:19:00 / 01:19:00 / 01:18:00 / 01:19:00 Size: 2,01GB Charlie Parker's studio recordings have been issued, reissued (and de-issued, so to speak) in so many confusing combinations that anyone seeking a better understanding of his original discography might need a lodestone to hang onto. In addition to his excellent Savoy and Dial recordings, jazz lovers ought to have access to Definitive's wonderful survey of every master take that Bird ever recorded for producer Norman Granz. For years this exceptionally fine material was usually presented categorically, depending on thematic content ("South of the Border"), personae ("Bird and Diz") or instrumentation ("Bird with Strings"). Considered as a whole, this four-CD set is a stunning tribute to a master improviser. Neatly spanning a time period from December 1947 to December 1954, it includes Bird's very first Granz recording (made in Carnegie Hall without an audience); Bird's own big-band sessions; Bird's collaborations with Neal Hefti, Machito, Coleman Hawkins and trumpeters Dizzy Gillespie, Kenny Dorham, Miles Davis, Red Rodney and Benny Harris; three different sessions involving a chamber ensemble with strings; Bird's final quartet and quintet recordings, and a truly awe-inspiring All-Star Norman Granz Jam Session with a frontline consisting of Charlie Parker with Johnny Hodges, Benny Carter, Ben Webster, Flip Phillips and Charlie Shavers. The With Strings sessions sound better than ever when heard in context with the rest of the Parker/Granz collaborations. Here, then, is the Charlie Parker compilation to have, along with the Savoy and Dial master takes. This edition is supremely well-presented, and thoughtfully annotated with a written eulogy by Leonard Feather and a priceless set of transcribed reminiscences by legendary Kansas City bassist Gene Ramey. ~ arwulf arwulf, All Music Guide |
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1992: Philip Glass & Foday Musa Suso - Music from The Screens |
Country & Folk, Classical music |
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 Artists: Philip Glass & Foday Musa Suso Album: Music from 'The Screens' Format: FLAC (cue, scans): 317 MB Year: 1992 Label: Point Music Total time: 49:25 AMG rating  This collaboration between world composers Philip Glass and Foday Musa Suso presents a unique body of work grounded in musical virtuosity in both Western and North African musical cultures. The opening strains of "The Mad Cadi's Court" burst with an aggressive violin double-stop punctuated by an Algerian lute playing North African rhythms and tonalities. Strikingly different from what listeners have heard from Philip Glass from this era. These Algerian folk traditions permeate the entire disc, with many pieces energetic and others more esoteric and soundtracky. Composed as music for a production of Jean Genet's play The Screens, set in Algeria, the music both highlights and compliments the play's drama with sounds native to the setting of the play. Very welcome and refreshing. ~ Mark W. B. Allender, All Music Guide |
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1945-1946: Bud Freeman 1946 |
Music » Jazz » Swing |
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 Artist: Bud Freeman Album: Bud Freeman 1946 Label: Classics Years: 1945-1946, release, 1997 Quality: MP3@ 320kb/s Size: 119mb Total time: 73:29 REPOST by request Áàä Ôðèìåí - îäèí èç ëó÷øèõ ñàêñîôîíèñòîâ Çîëîòîé Ýðû ñâèíãà! How pleasant to know Bud Freeman. Here are all of the sides he recorded for the Keynote label in 1945, presented chronologically, as if the listener is sitting in the studio watching the sessions unfold. For this stuff to make it onto compact disc is a cause for celebration. "Town Hall Blues" refers to Eddie Condon's famous Town Hall Jazz Concerts, where all of these musicians appeared in every sort of instrumental combination, as Condon loved to constantly rearrange the lineups of his jam session groups. This served to maintain an almost Brechtlike "work in progress" atmosphere. The common root language of those public performances was always a blues played in the style of a traditional jazz ensemble. What's presented here on the first selection is standard issue, collectively improvised blues, exactly the way they did it at Town Hall. All that's missing is Eddie Condon's narration, which sounded a lot like Jimmy Cagney. "Tea For Two" features Bud at his friendliest. Nicely limbered up, he expresses himself effortlessly. Peanuts Hucko radiates positive energy during "Honeysuckle Rose". Bud and Joe Sullivan illuminate "Room With A View" most graciously. "You Took Advantage Of Me" gets the hot treatmentthis was one of Bud's favorite jam tunes. There are a couple of very pleasant love songs, then a fine visit to the Blue Room with clarinetist Edmond Hall. Now the mood changes along with the personnel. In addition to Hall we get formidable percussionist Davey Tough and a very spunky Charlie Shavers, who glides easily through the relatively modern chord progressions of "Inside At The Southside". "I've Found A New Baby" leads a charge back into fundamentally traditional modes. Edmond Hall lunges with his clarinet, and the band wails up a storm. "Royal Garden Blues" really rocks. "Midnite At Eddie Condon's" is a very surly piece of walking blues. The drummer pushes it forward step by step. "Time On My Hands" swings warmly, comfortably. There is a decisive switch in styles as the chronology brings up more modernity in the form of Freeman's own "Blop Boose" and Edgar Sampson's "Blue Lou". The rarity of the material on this disc is breathtaking. Where would we ever find these sides were it not for the Classics label? "Blues For Peanuts" is almost like something from Lester Young. "Taking A Chance On Love" really bubbles up as Bud's tenor is snugly backed by Bill Dohler's alto sax. "You Took Advantage" returns sounding better than ever with two horns eagerly nudging each other. "Ribald Rhythm" sounds like a continuation of the previous melody, as if they couldn't help but devise further variations. There are very few extant recordings of pianist Tut Soper. His appearance on "The Man I Love" makes this album even more precious than it already was.
At the bottom of this mixed bag are two rather overbearing vocals by Marilyn Ross, most interesting as Bud plays clarinet behind her, and a silly song (urging us not to put bananas in the refrigerator) sung by the Five De Marco Sisters (very close imitators of the Andrews Sisters). The real jazz on this disc is so excellent that only a spoilsport would object to the inclusion of these bizarre rarities. ~ arwulf arwulf, All Music Guide |
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1958-1959: Gil Evans - The Complete Pacific Jazz Sessions |
Big Band, Progressive Jazz |
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 Artist: Gil Evans Album: The Complete Pacific Jazz Sessions Label: Blue Note Years: 1958-1959; release: 2006 Format, bitrate: MP3 | CBR 320kbps | 44100Hz | stereo Time: 76:13 Size: 180,46 MB ( with cover+artwork) AMG Rating Gil Evans released two records on World Pacific in 1958 and 1959. They were among his earliest dates as a leader. Gil Evans & Ten was issued by Prestige in 1957, but these dates stand out more. New Bottle, Old Wine was the first of the pair and the band included four trumpets, a trio of trombones, French horn (played by Julius Watkins), a pair of tubas, Cannonball Adderley as the lone saxophonist, and a rhythm section that included either Philly Joe Jones or Art Blakey on drums, Paul Chambers on bass, and Chuck Wayne on guitar. The reading of "King Porter Stomp" is the stunner here, with Adderley's solo being a prized moment. There isn't a weak cut in the whole mess though. Other standouts include Fats Waller's "Willow Tree," "Lester Leaps In," with great solos by Wayne and Adderley, the burning finale of Dizzy Gillespie's "Manteca," and Charlie Parker's "Bird Feathers" closing it out.
The second of these albums, Great Jazz Standards, featured a similar band with some notable differences. For one, the inclusion of soprano saxophonist Steve Lacy as a soloist and rhythm sections that included either Dennis Charles or Elvin Jones on drums, Curtis Fuller on trombone, and Budd Johnson on tenor for about half the set. The finer moments here include "Ballad of the Sad Young Men," (a newish tune at the time with a fine piano solo by Evans) John Lewis' "Django," with a truly brilliant and understated solo by Lacy, who also does a commendable job on "Straight No Chaser." Johnson wails on Gil Evans' "La Nevada (Theme)." Evans arrangement of Clifford Brown's "Joy Spring" is also a killer, with his and guitarist Ray Crawford's solos. The Complete Pacific Jazz Recordings is a fine collection issued by Blue Note, which, as part of the Connoisseur Series, is limited and will be out of print again soon. Don't wait. ~ Thom Jurek, All Music Guide |
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