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 Into the Rhythm
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1993: Maceo Parker - Southern Exposure |
Soul-Jazz, Funk-Jazz |
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 Artist: Maceo Parker Album: Southern Exposure Label: Novus Year: 1993 Format, bitrate: mp3, 320 kb/s Time: 55:26 Size: 117MB AMG Rating:   Repost with a new link Maceo Parker, best-known for his R&B recordings with and without James Brown, plays strictly jazz on his Novus CD and he is in peak form. Parker's alto sounds close to Hank Crawford at times but with a phrasing of his own. On this well-rounded and consistently memorable release, Parker sticks mostly to funky blues but is also impressive on a boppish version of "The Way You Look Tonight." He splits his time between fronting an organ combo, leading a reunion with fellow Brown alumni trombonist Fred Wesley and tenor-saxophonist Pee Wee Ellis, and on two songs he is joined by the enthuisastic Rebirth Brass Band. Parker only takes one vocal so the emphasis throughout is on his soulful alto, making this among his most rewarding jazz recordings.~ Scott Yanow, All Music Guide |
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2007: Manuel Rocheman - Cactus Dance |
Music » Jazz » Fusion » Contemporary Jazz |
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 Artist : Manuel Rocheman Album: Cactus Dance Label: Nocturne Records Year: 2007 Format, bitrate: mp3, 192 kb/s Size: 102,1 mb Apart from his quite outstanding technical qualities (ideal articulation, a deep mellow tone owing nothing to the use of pedals) nothing in Rocheman's playing is reminiscent of Solal. Beginning from a perfect synthesis between the lyricism of Bill Evans and Keith Jarrett, the graceful touch of a Chick Corea and the harmonious swing of Herbie Hancock, this pianist who is as unassuming in his human relations as he is flamboyant at the keyboard has imposed his own style of a rare "vocal" quality. There is no doubt Manuel Rocheman could have been a great singer, and few pianists of his generation deserve this supreme compliment.
The secret of this art, which is all about balance and restraint, is the privilege of the humble, of those rare hard-line fanatics for whom jazz remains a culture and a calling, not a career path. ~ manuelrocheman.com |
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2006: Various Artists - Saxophone Ballads |
Music » Jazz |
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 Artist: Various Artists Album: Saxophone Ballads Label: Verve Records, Universal Music Classics & Jazz Year: 2006 Quality: MP3, 320 kbps Size: 153MB Total time: 48:32 REPOST by request
The very best of Saxophone Ballads |
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2009: Eric Alexander Quartet - Lazy Afternoon: Gentle Ballads, Vol. 4 |
Music » Jazz » BeBop » Post-bop |
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 Artist: Eric Alexander Quartet Album: Lazy Afternoon: Gentle Ballads, Vol. 4 Label: Venus Records Year: 2009 Quality: 320kbps / 44,1kHz / Joint-Stereo Size: 165Mb Time: 72 min AMG Rating  Eric Alexander has had many opportunities to record as a leader for several different labels, though producer Tetsuo Hara, owner of the Japanese label Venus, has become a huge fan, recording him almost any time he travels to New York City. This 2008 session finds the tenor saxophonist with several musicians with whom he is very familiar, including pianist Mike LeDonne, bassist John Webber, and drummer Joe Farnsworth (the latter two who play with Alexander in the co-op band One for All). There's no mistaking the influence of John Coltrane in the loping opener, "Feelin' Good," where Alexander projects a huge tone on his instrument and LeDonne works in a few runs and chords suggestive of McCoy Tyner. The dreamy, free introduction to "My Funny Valentine" segues into a lush, sensitive performance. Alexander is at his emotional peak with his powerful interpretation of the ballad "Goodbye." The late-night feeling is prominent in the quartet's bluesy treatment of "Angel Eyes." This is another superb outing by Eric Alexander. ~ Ken Dryden, All Music Guide |
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1950/1957: Sy Oliver & His Orchestra (1950 & 1957 Decca) / Billy May & his Orchestra (1957 Capitol) - Jimmie Lunceford in HI-FI 2LP/1CD |
Music » Jazz » Swing |
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 Artists - Sy Oliver & His Orchestra, Billy May & his Orchestra Album - Jimmie Lunceford in HI-FI Label - Lone Hill Jazz Years - 1950 & 1957, release - 2008 Quality - MP3@320 kbps Size - 169 mb Total time - 77:49 REPOST by request Ýòèì çàìå÷àòåëüíûì àëüáîìîì íàäåþñü ïîðàäîâàòü ëþáèòåëåé SWINGa!
"Among Sy Oliver's many recordings for Decca in 1950 were quite a few tunes which he originally arranged for Jimmie Lunceford's band. Eight of them were gathered for a 10" Decca LP, "For Dancers Only" (DL 5296); in 1957, five additional songs were recorded to expand the disc to 12" (DL 8616) and give it a new title, "The Original Arrangements of Jimmie Lunceford in Hi-Fi."
Interestingly, with this latter album Decca aimed to give direct competition to Capitol Records, where producer David Cavanaugh suggested that Billy May, a fan of the old Lunceford two-beat, record a tribute, "Jimmie Lunceford in Hi-Fi," to mark 10 years since Lunceford's death. The Capitol dates were held on June 15 (which happened to be a Saturday), 16 (a Sunday), and 18, 1957; Decca got Oliver in the studio on August 16, 1957.
Not only did Capitol boast that their project was done with the approval of the Lunceford estate, but - apart from a "full-dimensional" stereo which, to my ears, was not yet fully perfected - May's boasted the participation of Lunceford alumni Trummy Young, Willie Smith, Joe Thomas, and Dan Grissom.
However, there was nothing at all wrong with the Sy Oliver performances - his band was great, too, including (with variation between the 1950 and '57 personnel) former Lunceford men Paul Webster, Eddie Wilcox, and Jimmy Crawford, not to mention his own catchy and inimitable vocalizing. Decca's engineers captured a good sound, still evident on this Lone Hill Jazz reissue. I could listen to those records over and over!
Lone Hill Jazz has also done an attractive job replicating the actual cover and including the original liner notes. Were the May Capitol sides not already on CD, this might have been a musically-valid pairing. Due to space limitations, three of the fifteen songs from May's record were left off. But since all fifteen were easily available [ see the June 2007 "Big Band News" ], Lone Hill Jazz should have chosen another path. I suppose they could have collected the original Lunceford recordings and put them together with Oliver's, sort of a "then and now" approach." ~ Christopher Popa - Big Band Library |
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2006: Miles Davis Quintet - Winter In Europe 1967 |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Miles Davis Quintet Album: Winter In Europe 1967 Label: Gambit Year: 1967; release: 2006 Format, bitrate: mp3@320 kbps Time: 75:21 Size: 159 MB Here, over two unique shows from late 1967, we get some of the finest quintet performances from the Miles Davis Quintet during the transition from acoustic to electric. This formation had only been together about a year when these shows were taped (Ron Carter was the last to be added) and the constant evolution of their sound is evident throughout. ~ Fresh Sound Records The group present on these two outstanding concerts (Sweden and Germany, 1967) marked the turning point between acoustic and electric Miles. At the time of this '67 European tour, the formation as a whole had been together for just one year and, although a new trend is evident and some tunes prelude a more advanced phase, they coexist with old standards like 'I Fall In Love Too Easily' and 'Around Midnight' as well as some of Miles' all-time favorites like 'Walkin''. 12 tracks total. ~ Gambit Records |
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2003: Ellery Eskelin/Andrea Parkins/Jim Black - Arcanum Moderne |
Modern Jazz, Avantgarde |
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 Artist: Ellery Eskelin/Andrea Parkins/Jim Black Album: Arcanum Moderne Label: Hatology Year: 2002; release: 2003 Format, bitrate: mp3, 320 Time: 67:35 Size: 151 mb Downbeat Rating:  AMG Rating: "...virtually miraculous discovery of playing new jazz that isn't 1) hopelessly traditional or 2) hopelessly experimental..." - Pitchfork This release furthers the saga of one the more interesting units in modern jazz. Pushing nine years and countless tours, the trio's mark of identity is firmly rooted within improvisation. However, tenor saxophonist Ellery Eskelin's relatively complex compositions provide a forum for individual ingenuity, witnessed countless times during the band's lengthy tenure. On this effort, recorded in a New York City studio, the threesome explores grooves such as samba, on the aptly titled "It's A Samba," where the band reformulates tradition into a distinctive group sound. Eskelin's robust mode of attack serves as a vortex of sorts for Andrea Parkins' accordion/piano/sampler activities, and drummer Jim Black's personalized rhythmic exercises. Hence, the listener should come to expect the unexpected. It's partly about Eskelin's blustery lines intermixed with Parkins' swirling accordion maneuvers and Black's odd-metered backbeats. At times, the trio moves forward with the semblances of a rumbling freight train, via driving pulses and moments of compositional deconstruction. Nevertheless, the musicians seem equally comfortable when either engaging in a bit of controlled mayhem or executing trance-like choruses and soul-searching lyricism. This is yet another superb effort by one of the best groups in the business. ~ Glenn Astarita, All Music Guide |
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1998: Roy Campbell Pyramid Trio - Ancestral Homeland |
Music » Jazz » BeBop » Post-bop |
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 Artist: Roy Campbell Album: Ancestral Homeland Label: No More Records Year: 1998 Format, bitrate: mp3 256 kbps / mp3, 320kb/s (w/scans) Time: 73.23 Size: 122.12 MB / 172 MB AMG rating: Repost with a new link from mr. emjey23 The Pyramid Trio, led by Roy Campbell, has been on the NY scene since 1984. This is their first domestic release and it features the original line up of Campbell (tp, fl, perc.), William Parker (b, perc.) and Zen Matsuura (drums). The music of this group is based on the music of the world both composed and improvised. By encompassing African, Native American and jazz structures, the music transcends styles by freely shifting between percussion jams, beautiful melodies and improvised jazz. ~ Jazzloft.com |
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1940-1948: Charlie Parker: A Studio Chronicle 1940-1948 (5CD box set) |
Music » Jazz » BeBop |
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 Artist: Charlie Parker Album: A Studio Chronicle 1940-1948 (5CD box set) Label: JSP Years: 1940-1948, release: 2003 Quality: MP3@320 kbps Size: 800 mb Total time: 77:32+74:19+72:43+76:32+75:17 AMG Rating:   Äåíü ðîæäåíèÿ ýòîãî Ãåíèàëüíîãî Ìóçûêàíòà, 29 àâãóñòà, áûë îòìå÷åí âûåçäíûì çàñåäàíèåì Jazz Blues Club, êîòîðîå ïðîâîäèëîñü â íàøåì ãîðîäå. Ïðèñóòñòâîâàëè - ãëóáîêîóâàæàåìûé ã-í Teds è âàø ïîêîðíûé ñëóãà. Ýòà ýïîõàëüíàÿ, çàìåòüòå, ïîæàëóéñòà, ÐÅÀËÜÍÀß âñòðå÷à, áûëà îòìå÷åíà ïîñèäåëêàìè çà äîìàøíèì ñòîëîì, çàòåì â ðåñòîðàíå, íà áåðåãó æèâîïèñíîãî ãîðíîãî îçåðà. Åñòåñòâåííî, ÷òî áûëà è äîâîëüíî ïîäðîáíàÿ ýêñêóðñèÿ ïî ãîðîäó, ñ çàõîäàìè â ìóçûêàëüíûå ìàãàçèíû. Ãîñïîäèí Òåäñ ïðèîáð¸ë íåêîòîðîå êîëè÷åñòâî ìóçûêàëüíûõ àëüáîìîâ, â òîì ÷èñëå è ýòîò, êîòîðûé ïðåäëàãàåòñÿ âàøåìó âíèìàíèþ. Äîáàâëþ, ÷òî ôèðìà JSP ïðîñëàâèëàñü áåñïîäîáíî êà÷åñòâåííûì ðåìàñòåðèíãîì, êîòîðûé ïîçâîëÿåò ïîëó÷èòü èñòèííîå íàñëàæäåíèå îò ïðîñëóøèâàíèÿ ýòîãî ïðåâîñõîäíåéøåãî èçäàíèÿ! A Studio Chronicle 1940-1948 is a five-disc box set from the British label JSP detailing what producer Ted Kendall considers to be the essential studio recordings of saxophonist Charlie Parker. Included here are not only the innovative bebop sides that made Parker a living legend, but also the early Kansas City swing recordings he appeared on while playing with the Jay McShann Orchestra. The result is a studio history of Parker's development from a struggling farm kid turned musician to the most important figure in jazz history next to Louis Armstrong. Given that these recordings are widely available, the real attraction here is the faithful-to-the-original remastered sound, the historically enlightening liner notes, and the overarching critical aesthetic that these are the Bird cuts to check out. Also, given that the tracks are presented with few repeats on discs in chronological order makes this better listening than Atlantic's Complete Savoy and Dial Studio Recordings 1944-1948. Oddly though, the only place Kendall delineates what labels these tracks were originally released on -- mostly Dial and Savoy -- is in the track listing and there only by label numbers. Despite this confusing omission, Kendall has produced a superb collection that illuminates more than it overlooks. ~ Matt Collar, All Music Guide |
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2009: Esperanza Spalding - Chamber Music Society |
Music » Jazz » BeBop » Post-bop |
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 Artist: Esperanza Spalding Album: Chamber Music Society Label: Heads Up Year: 2009, release: 2010 Quality: mp3, 320 Kbps Total Size: 129 MB AMG rating As evidenced by her self-titled 2008 debut, Esperanza Spalding is a quadruple threat as composer, bassist, singer, and producer. That album spent an astonishing 70 weeks on Billboard's contemporary jazz chart, and was the best-selling album by a new artist internationally for that calendar year. Given its critical and commercial success, a follow-up can exert so much pressure internally and externally, that an artist loses her/his focus and the end result is less than stellar. Not so with Chamber Music Society. Spalding has assembled an intriguing collection of tunes, is accompanied by stellar backing musicians -- drummer Terri Lynne Carrington, pianist Leonardo Genovese, and percussionist Quintino Cinalli with a pair of string players -- and guests that reveal her exquisite taste in both compositions and arrangements (the latter with intermittent help from Gil Goldstein). The album opens with a Spalding composition to illustrate William Blake's poem "Little Fly"; her vocal is understated yet fully articulate. She is backed only by her bass and a graceful, small, unintrusive string section. "Winter Sun" is a standout with its fingerpopping breaks and a melodic nu-soul vocal that touches on scat with astute syncopation, and features taut, imaginative bass and piano solos. It walks the line between modern jazz and adult contemporary R&B . On Esperanza, she covered Milton Nascimento's "Ponta de Areia." Here, she ups the ante by duetting with the Brazilian artist on her own "Apple Blossom," backed by strings and Richard Vogt's nylon-string guitar. Nascimento's trademark baritone is allowed considerable improvisational freedom that features his otherworldly falsetto. Her reading of Antonio Carlos Jobim's "Inutil Paisagem" almost forgoes samba entirely in favor of a more classically disciplined duet vocal arrangement, as Spalding's voice and bass are accompanied only by Gretchen Parlato's divine vocal. Parlato also appears with wordless singing on "Knowledge of Good and Evil," in a breezy yet complex chart that underscores a deft harmonic interaction with the band. Spalding's arrangement of Dimitri Tiomkin's and Ned Washington's classic "Wild Is the Wind" features David Eggar guesting on cello and Genovese playing melodica, and combines jazz, tango, and classic pop. "What a Friend" combines contemporary and Rhodes-driven soulful electric jazz. Chamber Music Society is a more sophisticated offering than Esperanza. That said, with its musical diversity, stylistic panache, humor, and soul, it's also a more enjoyable listen. ~ Thom Jurek, All Music Guide |
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1970: Eartha Kitt - Sentimental Eartha |
Music » Jazz » Vocal Jazz |
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 Artist: Eartha Kitt Album: Sentimental Eartha Label: See for Miles UK Year: 1970 ; release: 1995 Format, MP3 @ 320 kbps Time: 24.22 Size: 38.42Mb Eartha Kitt's Sentimental Eartha is a ten-track album of psychedelic-tinged love ballads. Standout tracks include three recorded earlier by Donovan: "Catch the Wind" (his debut single!), "Hurdy Gurdy Man," and "Wear Your Love Like Heaven," in which Kitt's smokey, sultry voice is used to optimum effect. The tracks on Sentimental Eartha also include another favorite from the 1960s, in this case "My Sentimental Friend" by Herman's Hermits. The rest of the disc includes lesser known inspirational and sentimental songs, all of which combine to make a well arranged and cohesive collection. Creative song selection makes this disc a true find. ~ JT Griffith, All Music Guide |
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2008:Joe Krown, Walter "Wolfman" Washington, Russell Batiste, Jr. - Live At The Maple Leaf |
Music, Blues |
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 Artist: Joe Krown,Walter "Wolfman" Washington,Russell Batiste, Jr. Album: Live At The Maple Leaf Label: Independent Year: 2008 Format, bitrate: mp3@320kb/sec Time: 60:07 Size: 138.4MB Every Jazz Fest seems to bring another stack of one-off, local supergroup, live jam albums. What’s different about this one? For one thing, it wasn’t made during the Fest, but one early summer night at the Maple Leaf. For another, there isn’t a Meters cover or New Orleans standard in the batch. Then again, it’s not the kind of jam album that tried to knock you out with a million hot licks. Instead, it’s more about the grooves than the solos, restrained cool being the order of the day.
That’s pretty much what you’d expect from Joe Krown, who’s always coaxed solid grooves out of his B3. But the other two players are in less familiar territory; guitarist Washington usually works with larger and louder bands, so here he gets in some tasty rhythm work and elegant leads. And Batiste’s drumming is less flashy than it might be with the funky Meters or PBS. He’s lively and propulsive, but with fewer of the left curves that usually define his style.
Surprisingly, it’s the two really obvious choices that come off best. The stripped-down setting brings fresh nuance out of Marvin Gaye’s ”What’s Going On,” which here goes for the uplift in contrast to the anger and clutter of Dirty Dozen’s recent version. Bill Withers’ ”Use Me” has been covered by everyone from Aaron Neville to Widespread Panic; but nearly everyone keeps the heavy funk of the original. Instead, this trio slows it down, alters the riff and gives it more of a steamy film noir treatment, which is perfectly in keeping with Withers’ lyric.
Also here are a couple of R&B nuggets that show off Washington’s voice, and a pair of instrumentals that sound improvised on the spot but are none the worse for it. By the time of the festive ”Saturday Night Crawfish,” some crowd noise comes into the mix and you can tell how crowded and sweaty the place must have been.~Brett Milano, OffBeat Magazine |
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1947 - 1954: Charlie Parker - The Complete Verve Master Takes 3CD box |
Music » Jazz » BeBop |
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 Artist: Charlie Parker Album: The Complete Verve Master Takes 3CD Label: Verve Years: 1947-1954, release: 2003 Quality: MP3 @320 & FLAC Size: MP3: 475.93MB / FLAC: 694.67MB Total Time: CD1: 77:08, CD2: 78:50, CD3: 77:42 While it is a great thing to have all of the Charlie Parker master takes of his Verve period on one disc, including a complete duplication of Complete Verve Masters with Strings, which was issued a year earlier, it seems more than excessive and more and more like Universal's stock motive: to get the loyal listener to buy the same product over and over again. While those who oversee these projects can claim "historical accuracy" as a motive, it will stink of false rhetoric. First, the argument that the "with strings" sessions should have been given an entire disc apart from everything else is in a way bogus, as they were part of a seminal continuum that charted Parker's development and decline. They should never have been separated out in the first place. But completists no doubt bought them, and now are expected to buy them again just to get a "true" historical package. This is simply cynical marketing by Universal. Not considering the 24 "with strings" performances, there are 50 other master takes here produced by Norman Granz, ranging from a 1947 Carnegie Hall date to Parker's last in 1954. Many of the cuts here come from 1950-1952. Half of the 1949 sessions are string dates; the rest come from sessions with Kenny Dorham, Tommy Turk, Al Haig, Tommy Potter, and Carlos Vidal. The most rewarding performances here are a reunion of sorts with Dizzy Gillespie and Thelonious Monk, along with Curly Russell and Buddy Rich, from April 1950. These tracks are nearly seminal versions of "Mohawk," "Leapfrog," and "Relaxin' with Lee," along with fine reads of "Bloomdido," "An Oscar for Treadwell," and "My Melancholy Baby." Four other cuts come from a brief reunion with Miles Davis and Max Roach in January of 1951 with Teddy Kotick and Walter Bishop, Jr. rounding out the band and include smokingly hot versions of "Au Privave," "She Rote," and "K.C Blues." Other musicians who appear here are Oscar Peterson, Red Rodney, Kenny Clarke, John Lewis, and Billy Bauer, among dozens of others. The package is beautiful in a decorated, painted silver metal box that the CDs fold out of, but the booklet — like Universal's Joni Mitchell set — falls apart because of bogus stitching. In all, this would have worked a lot better as a double set to respect those who were righteous enough to buy the strings disc. But since when do record companies respect consumers?~Thom Jurek, All Music Guide |
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1980: Toninho Horta |
Music » Jazz » Latin » Brazilian Jazz |
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 Artist: Toninho Horta Album: Toninho Horta Label: Emi Year: 1980, release: 2002 Quality: MP3@320 kbps Size: 101 mb Total time: 44:32 Highly regarded in Brazilian circles, Toninho Horta has also attracted some attention in the U.S. over the years (mostly in the jazz world). This self-titled date, reissued on CD in 1990, makes it clear that Horta (an expressive pop singer who is also a moving jazz guitarist) knows how to get his points across quite well without being aggressive. Horta's warm vocals on such caressing, samba-influenced pop as "Sagun," "Minha Casa" and "Bons Amigos" show just how effective subtlety can be. As gentle and restrained as Horta is, he never comes across as wimpy or lightweight. Horta the instrumentalist is well represented by "The Vulture's Rights" and "Prato Feito," which boasts Pat Metheny on electric guitar. When Metheny and Horta play side by side, it's easy to hear how they've influenced one another. Consistently strong, this CD demonstrates that Metheny has good reason to hold Horta in such high regard.~ Alex Henderson, All Music Guide |
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1967: Willie Bobo - Juicy |
Music » Soul » Soul-Jazz |
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 Artist: Willie Bobo Album: Juicy Format: FLAC (cue, log, scans) Size: 320 MB Label: Verve (1998) Total time: 37:03 Willie Bobo's music is triangulated between Latin jazz (Mongo Santamaria's division; the percussionist first gained notice in Santamaria's band), what by the mid-'60s had come to be called soul-jazz, and good old-fashioned lounge-act kitsch. None of the three influences overwhelms the others on 1967's Juicy, although from the lubricious title and cover photo on down, there's a certain "swingin' at Hef's pad" vibe to the proceedings that makes this album of particular interest to latter-day hipsters. Most of the song selection consists of soul-jazz covers of popular hits of the day, from a funky take on Eddie Floyd's "Knock on Wood" to a bossa nova-fied version of Bob Crewe's "Music to Watch Girls By," but the real standouts are the small handful of band originals, particularly the fiery groove of the title track, on which Bobo's timbales get their hardest workout. The 1998 CD reissue includes a full half-dozen extras, mostly less-than-revelatory alternate takes and leftovers, but the restored full-length version of the swell "La Descarga del Bobo" is a nice touch. ~ Stewart Mason, All Music Guide |
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1996: Clarence 'Gatemouth' Brown - San Antonio Ballbuster [Mestres Do Blues N. 17] |
Music » Blues |
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![1996: Clarence 'Gatemouth' Brown - San Antonio Ballbuster [Mestres Do Blues N. 17]](http://jazzbluesclub.com/uploads/posts/1283163374_coversf.jpg) Artist: Clarence 'Gatemouth' Brown Album: San Antonio Ballbuster Label: Altaya [#BB017] Year: 1996 Format: lossless (flac tracks+cue+log) Time: 29:51 Size: 167 Mb Gate's guitar sound is different -- not so brash and trebly but smoother, with more of a jazz and occasional country kick. There are two takes of Little Jimmy Dickens's C&W novelty hit "May the Bird of Paradise," both of 'em swinging easy. Gate was in a Sonny Boy Williamson mood that day, reviving three of the harpist's oldies along with a few of his own and the ominous blues "Long Way Home," which threatens mayhem most charmingly. |
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1954-1955: Woody Herman – Road Band! |
Music » Jazz » Swing |
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 Artist: Woody Herman Album: Road Band! Label: Capitol Years: 1954-1955 Quality: MP3@320 kbps (LP-rip) Size: 77,9 mb Total time: 36:41 REPOST by request This out-of-print LP finds Herman's Third Herd in its prime. Rather than just revisiting his celebrated past, he and his orchestra primarily perform then-recent material, much of it arranged by Ralph Burns. Highlights include a big-band version of Horace Silver's "Opus De Funk," Burns's "Cool Cat on a Hot Tin Roof," "I Remember Duke" and Bill Holman's reworking of "Where or When." With tenors Richie Kamuca and Dick Hafer, trumpeter Dick Collins and bass trumpeter Cy Touff as the main soloists, The Third Herd had developed into a particularly strong unit by the mid-'50s. ~ Scott Yanow, All Music Guide |
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1965: Warsaw Stompers - New Orleans Stompers |
Music » Jazz » Traditional Jazz » Dixieland |
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 Artist: Warsaw Stompers Album: New Orleans Stompers Format: FLAC (cue, log, scans) Size: 353 MB Year: 1964 (1959-64) Label: Polskie Nagrania (2008) Runtime: 49:27 For traditional jazz lovers, to listen to New Orleans Stompers is a true regale... The group of "Stompers" have reached their culmination the standard the aimed at, their individual style... Everything they played was frawless, as regards both the style and the precision in performing. We never met before in traditional jazz with such easiness, expression, technique an perfect tunning. ~ Jazz Monthly, Poland (July 1960) |
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2010:The Robert Cray Band - Cookin' In Mobile (Live) [CD] |
Music, Blues, Rhythm-n-Blues |
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![2010:The Robert Cray Band - Cookin' In Mobile (Live) [CD]](http://jazzbluesclub.com/uploads/posts/thumbs/1283147653_blues.jpeg) Artist: The Robert Cray Band Album: Cookin' In Mobile Label: Vanguard Records Year: 2010 Format: lossless (flac tracks+cue+log) / mp3, 320kb/s Time: 1:15:00 Size: 453 Mb / 204 Mb Repost with mp3 link from veronica Thirty years into his recording career, the biggest question surrounding Robert Cray is no longer whether he's an honest-to-goodness bluesman or a slick interloper but whether he's got anything new to offer. Cookin' in Mobile, a CD/DVD package recorded earlier this year at that city's Saenger Theatre, is Cray's third live album since 2006 (one of them taken from a 1987 show), a sequence broken only by one studio release that made little impact.
If he has fresh material to share, Cray's in no hurry to unveil it. Live, however, he can remind us that he's a formidable guitarist and convincing frontman. From the evidence gathered here, he hasn't changed much since his '80s heyday — two of the best tracks are reprised from the '86 career high Strong Persuader — but there's no reason to think he needs to. His is an amiable brand of blues, palatable enough for mass consumption but still meaty enough to satisfy a more demanding segment of the blues audience.
His cover of the relic "Sitting on Top of the World" doesn't come close to approaching the raunch level of Howlin' Wolf's or the psychedelic intensity of Cream's, but he does the song justice in his own way. And the opening "Our Last Time" and the three tracks adapted from that last studio set straddle the line between good-natured, innuendo-injected party music and the authenticity craved by purists
~ Jeff Tamarkin |
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