Artist: Dizzy Gillespie
     Album: It Happened One Night
     Label: Black Label
     Year: 1947, release - 1995
     Format, bitrate: MP3@320 kbit/s
     Time: 45:52
     Size: 101 mb

     

On the night of Sept. 29, 1947, there were three sets of music at Carnegie Hall: the Dizzy Gillespie Big Band, Ella Fitzgerald backed by the orchestra and the Dizzy Gillespie-Charlie Parker Quintet. The second and third parts of the show are included on this very interesting LP. Fitzgerald sounds fine on tunes such as "Lady Be Good" and "How High the Moon," scatting while being backed by the big band. However the reason to search for this set is to get the five titles from Diz and Bird. This version of "Confirmation" has some miraculous Parker.

     Artist: Dizzy Gillespie
     DVD: Jazz Icons - Dizzy Gillespie: Live In '58 And '70
     Studio: Naxos, release: 2006
     Year:1958, 1970
     Video:
     Codec : MPEG2V
     Bit rate mode : VBR
     Width: 720 pixels
     Height: 480 pixels
     Display Aspect ratio: 4/3
     Frame rate: 25 fps
     Standard : NTSC
     Audio:
     Codec : LPCM
     Channel(s) : 2 channels
     Sampling rate : 48 KHz
     Size: 4,31GB
     Total time: 85 min.

!!!THIS POST IS COPIED FROM ORIGINAL DVD.... SO THE QUALLITY IS GREAT!!!

Features two historic concerts from one of the founding fathers of bebop. Filmed 12 years apart, the 1958 concert features Dizzy working eloquently within the small combo structure of a quintet. The second show features Dizzy fronting the legendary Kenny Clarke-Francy Boland Big Band. With a 16-piece big band to conduct, Dizzy's Latin influences are revealed. ~ jazzheritage.com

   Artist: Duke Ellington
   Album: Private Collection, Vol. 1: Studio Sessions, Chicago 1956
   Label: SAJA
   Year: 1956, release: 1988
   Quality: MP3@320 kbps
   Size: 116 mb
   Total time: 54:10


   The first of ten CDs of previously unreleased material recorded privately by Ellington between engagements, all of which was eventually reissued first on LMR and then Saja/Atlantic. Each of the sets has its interesting moments, offering previously unknown compositions and performances. Volume One, recorded in Chicago during March and December 1956, has plenty of spots for Clark Terry, Ray Nance, Johnny Hodges and Paul Gonsalves among the orchestra's many great soloists.
~ Scott Yanow, All Music Guide

   Duke Ellington, along with his frequent collaborator Billy Strayhorn, was so prolific a composer that whether or not he had an "outlet" for his music an album for a record company he'd record it if only to hear how it sounded! Also, some of these pieces of music were, in part or in entirety, works-in-progress, that would sometimes be "fine-tuned" at a later date. This is a great opportunity to hear Ellington & company playing for themselves relaxed and informal, but by no means sloppy or second-rate. Note the rich, easygoing-but-with-a-swagger "Miss Lucy" or the sly, blusey, understated take on "Satin Doll." Fans or neophytes - this is a keeper!

     Artist: Joe Henderson
     Album: Inner Urge
     Label: Blue Note
     Year: 1964, release: 2003
     Format, bitrate: MP3 192 kbps
     Time: 42 minutes
     Size: 59.39 MB
     AMG Rating

This early recording by Joe Henderson is not only one of the finest of all of his fine recordings, but is also a high point for 1960s jazz. At this point in his career, Henderson was a full-time member of Horace Silver's combo and did not yet have a steady band in his hire. He is joined on Inner Urge by veterans of other combos: McCoy Tyner and Elvin Jones from John Coltrane's unit and Sonny Rollins sideman Bob Cranshaw. The presence of these luminaries aside, Inner Urge is home to two of Henderson's best (and best-loved) compositions: "Inner Urge" and "Isotope." The leader's solo on the title track is a marvelous thing, full of melody as well as anarchic bursts of sound, which is in perfect keeping with the spirit of the song's probing, searching theme. The other musicians support Henderson nicely as well as turning in some strong solos of their own. Tyner especially sounds fantastic on this record. Although not the equal of the leader in terms of the quality of his lines or the overall sense of composition of his solos, his performance is at least the rival of Henderson's in terms of raw kinetic power. The other great song on "Inner Urge," the Monk-ish "Isotope," is another ideal showcase for Henderson's total command of his instrument. The remaining tracks on Inner Urge are also fantastic, especially the wailing cry of "El Barrio" and the Henderson-altered head to "Night and Day," but the first side, even if taken alone, is by itself enough to guarantee this album as perhaps the best Henderson recorded in his long and illustrious career, and stands easily alongside the best records of the era. ~ Daniel Gioffre, All Music Guide

     Artist: Lionel Hampton
     Album: Jazz Ballads
     Label: Membran Music
     Years: 1953-1954; release: 2004
     Format, bitrate: mp3, 320 kbps
     Time: 1h, 02 min, 27 sec + 1h, 02 min, 58 sec
     Size: 150+157 mb.

Традиционные пятничные баллады. В этот раз издатели из Мембраны решили дать слушателям немножко отдохнуть от саксофона и послушать другой, не менее лирический (на мой непрофессиональный взгляд) инструмент - вибрафон. А солировать сегодня будет, пожалуй, первый популяризатор этого инструмента - Лайонел "Хэмп" Хэмптон. Прошу любить и жаловать.

     Artists: Count Basie with the Alan Copeland Singers
     Album: Basie Swingin' Voices Singin'
     Year: 1966
     Label: ABC/Paramount
     Quality: 320kbs (LP-rip)
     Total Time: 00:32:12
     Total Size: 74mb
     AMG Rating



Apparently Basie was impressed by Alan Copeland's work as choral director of the "Red Skelton Show" and approached him to do this album. He was honoured of course and said 'yes'. The collaboration was quite successful as expected. Alan conducted and did all the arrangements. For Basie purists this wasn't seen as one of maestro's high points. But even Basie was a businessman and had to make a buck. On some tracks the rhythm section and voices are aided by some of the Basie sidemen. This album, in fact, contains the first fruits of Roy Eldridge's new association with the Count. His muted horn is a heard on "Until I met You", a number written by Freddie Green, whose guitar is a driving force on every track. There are also solos and obbligati by Lockjaw Davis, Al Grey and Roy on "One For My Baby" and "Call Me".