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1960-1961: The Latin Jazz Quintet - Latin Soul |
Music » Jazz » Latin |
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 Artist: The Latin Jazz Quintet Album: Latin Soul Label: Prestige/New Jazz Year: 1960-1961; release:2008 Format, bitrate: mp3;VBR Time:0:36:18 Size: 53,4 Mb This record invariably reminds one of those cut by stablemate Mongo Santamaria. The important distinction between the two was that Mongo's prowess pushed his band to excel and his often frightening charisma demanded that they deliver the funk, forcing otherwise restrained jazz musicians to play on the verge of falling apart. There's no such danger here. While the music is certainly enjoyable, one can't help thinking its just a little too polite to deliver on the promise of the title. This group presents the same dilemma facing those who wish to listen to the Modern Jazz Quartet: when one could listen to any record one wants, why would one listen to this? The answer, unfortunately, isn't forthcoming. ~ Rob Ferrier, All Music Guide |
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1999: Peter Breiner - Beatles Go Baroque |
Pop classics, Holiday, Rock music |
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 ÊÀÊÒÓÑÛ ïî ×ÅÒÂÅÐÃÀÌ (âûïóñê âòîðîé)  Composers: John Lennon & Paul McCartney Artist: Peter Breiner & His Chamber Orchestra Album: Beatles Go Baroque Label: Naxos Year: 1999 Genre: pop-classic fusion Format, bitrate: mp3, 320 kbps Time: 57 min, 24 sec Size: 135 mb. Íó âîò, îïÿòü ïîäâ¸ë ìåíÿ â÷åðà ìåãààïëîóä, öâåòî÷íàÿ ëàâêà â÷åðà íèêîãî íè÷åì íå îáðàäîâàëà. Íî ïîñòàðàþñü èñïðàâèòü ñèòóàöèþ áóêåòîì ñâåæèõ êàêòóñîâ (ãîâîðÿò, òåêèëà èç íèõ âêóñíàÿ ïîëó÷àåòñÿ).
Î÷åðåäíàÿ àðàíæèðîâêà ïîï-ìóçûêè â êëàññè÷åñêîì áàðî÷íîì ñòèëå, ïðîøó ëþáèòü è æàëîâàòü!
Íî äëÿ çàòðàâêè ðàññêàæó íåáîëüøóþ èñòîðèþ èç ñîáñòâåííîé æèçíè.
Ñìîòðèì äàëåå... |
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1963: Duke Ellington - Duke Ellington's My People |
Swing, Mainstream, Vocal Jazz |
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 Artist: Duke Ellington Album: Duke Ellington's My People Label: Red Baron Year: 1963, release: 1992 Quality: MP3@320 kbps Size: 92,4 mb Total time: 42:27 One of the more obscure pieces in Duke Ellington's vast catalogue is this full-length 1963 oratorio, recorded and released in 1969. As the purple prose of Stanley Crouch's period-piece liner notes carefully states, Duke Ellington was never a radical, "but he had the right idea." That right idea is masterfully expressed here in this song cycle, which expands on the similarly proud "Black and Tan Fantasy" or "Black Brown and Beige" by adding non-didactic lyrics about the black experience in America sung by Joya Sherrill, Jimmy McPhail, Lil Greenwood, the exceptionally talented Jimmy Grissom and the Irving Bunton Singers. Ellington's music and arrangements are a brilliant synthesis of jazz and classical musics, exemplifying his third-stream work of the era. A fine and unjustly overlooked work. ~ cduniverse.com |
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Mike Stern - Upside Downside |
Music » Jazz » Fusion |
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 Artist: Mike Stern Album: Upside Downside Label: Atlantic Year: 1986 Format, bitrate: aac, 256 kbps Time: 35:35 Size: 72,5 Mb AMG rating  Mike Stern's debut as a leader mostly features the high-powered guitarist heading a sextet also including tenor saxophonist Bob Berg, keyboardist Mitch Forman, bassist Mark Egan, drummer Dave Weckl and percussionist Dr. Gibbs. Altoist David Sanborn makes a guest appearance on "Goodbye Again," while "Mood Swings" features the quartet of Stern, Berg, electric bassist Jaco Pastorius (with whom Stern had worked in the Word of Mouth Orchestra) and drummer Steve Jordan. The guitarist wrote or co-wrote all six selections, which generally have viable chord changes. The playing mostly fits into the genre of funky fusion, with Stern's passionate guitar heard throughout in fine form. ~ Scott Yanow, All Music Guide |
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2005: Illinois Jacquet And His Orchestra (2 Albums on 1 CD) |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Illinois Jacquet Album: Illinois Jacquet And His Orchestra (2 Albums on 1 CD) Label: Lone Hill Jazz Year: 1959, 1962 Release: 2005 Format, bitrate: mp3, 320kb/s Time: 71:00 Size: 149 MB The Illinois Jacquet Project: The Complete 1956-1966 Recordings (Volume #2) Contains The Complete Albums:
Epic’s 1962 LP Illinois Jacquet and His Orchestra
Roulette’s 1959 LP Illinois Jacquet Flies Again
The second CD of our collection contains the complete master takes from the Illinois Jacquet And His Orchestra sessions, recorded between February and May 1962, featuring Roy Eldridge, Leo Parker, Sir Charles Thompson, Kenny Burrell, George Duvivier, Jo Jones and with arrangements by Jimmy Mundy & Ernie Wilkins. This edition also includes all of the master takes from the August 11, 1959, Illinois Jacquet Flies Again album featuring Russell Jacquet, Budd Johnson, Haywood Henry, Jimmy Jones, Barry Galbraith, Al Lucas and Oliver Jackson.~ Lone Hill Jazz |
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2009: Harris Eisenstadt - Canada Day |
Post-bop, Modern Jazz |
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 Artist: Harris Eisenstadt Album: Canada Day Label: Clean Feed Records Year: 2009 Format, bitrate: mp3, 320 Size: 124 mb AMG Rating:  "Blending a mid-'60s Blue Note vibe with elastic post-rock grooves and subtle West African influences, Eisenstadt successfully unites his assorted interests into a cohesive ensemble sound" - Troy Collins, All About Jazz The second recording released in 2009 by Harris Eisenstadt contrasts greatly with his previous effort, Guewel, which consisted of progressive, horn-oriented treatments of African popular music. Canada Day is a celebration of his native country, and as the Canadian goose signifies on the cover, the music is symbolic of freedom, flight, and artistry. Much more in the modern jazz arena, the music reflects both neo-bop and creative improvised styles with a very talented quintet of young and experienced players. Tenor saxophonist Matt Bauder, trumpeter Nate Wooley, and bassist Eivind Opsvik have all led their own dates, while promising vibraphonist Chris Dingman is a new and welcome name on the scene. A composer of great depth and diversity, Eisenstadt proves a fine trap drummer for this recording, and a formidable bandleader who deserves more recognition in both areas. Pieces like "Don't Gild the Lilly" and "Keep Casing Rods" both display a love for post-modern mainstream jazz, the former in a mysterious N.Y.C. neo-bop with clockwork rhythms and new inventions from Dingman, the latter a singsong swinger with nice horn unity in hushed, fluid tones, and a tacked-on duet between the saxophonist and drummer. Bauder is a player who is growing by leaps and bounds after time spent with Anthony Braxton, showing no discernible influences, finding his own voice. His solemn, understated tone during "Halifax" sets a definite tone, while with Wooley during "After an Outdoor Bath," his funky, angular tones like sideways rain is akin to the best Ornette Coleman/Don Cherry harmelodic mood. The group coasts on "And When to Come Back" like nonchalant homing pigeons who have done this reverse pilgrimage many times before, and the modified waltz "Ups & Downs," is ever changing in dynamics, indicative of the title, includes a fine solo from the opulent Opsvik, and is one of Eisenstadt's better composed works. "Kategeeper" is clearly a paean to a flighty member of the female sex, a harder-edged, mixed-message funk with spiky, emotion-saturated lines. The cohesion of the ensemble, glued by the steady, steaming, streaming rhythms of Eisenstadt, keeps the listener focused and compelled to hear more. Canada Day is not just for North Americans, but an impressive studio date that should also be heard live in performance. As it is, this is a strong candidate for Top Ten status in the category of best jazz CDs of 2009, with Guewel equally viable in the world music category.~ Michael G. Nastos, All Music Guide |
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1978:Rodney Jones - Articulation |
Post-bop, Fusion |
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 Artist: Rodney Jones Album: Articulation Label: Timeless Year: 1978 Format, bitrate: mp3 320kbps Time: 48.33 Rodney Jones was only 22 when, in 1978, he recorded Articulation, his first album as a leader. At the time, the guitarist was in Dizzy Gillespie's employ, and he was capable of playing both fusion and straight-ahead jazz. Jones favors acoustic-oriented post-bop on this self-produced effort, which Timeless reissued on CD in 1991. Although it falls short of exceptional, Articulation is definitely solid. The tunes (all of which are by either Jones or bassist Bruce Johnson) are worthwhile, and no one would accuse any of the musicians of not having chops (even if some of them still had some growing and developing to do in the late '70s). The participants range from alto sax great Arthur Blythe to up-and-coming players such as tenor saxophonist Bob Mintzer, acoustic pianist Kenny Kirkland, and trumpeter Wallace Roney. In 1978, Mintzer, Kirkland, and the Miles Davis-minded Roney had yet to become major names in the jazz world; but in the 1980s and 1990s, all of them were quite visible. Blythe's passionate solos are a definite asset -- in 1978, he was the session's best-known player. Nonetheless, Jones is the man in the driver's seat, and one hears his potential on tracks that range from the hard-swinging "Blues for Wes" (which acknowledges fellow guitarist Wes Montgomery) and the driving "1978" to the mysterious "Nereda." The latter employs wordless background vocals by singer Bemshi Jones, who remains in the background. Articulation is very much an instrumental album, and it paints a likable picture of Jones at 22. ~ Alex Henderson, All Music Guide |
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1981:Jaco Pastorius - Word of mouth |
Post-bop, Progressive Jazz, Fusion |
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 Artist: Jaco Pastorius Album: Word of mouth Label: Warner Bros. Year: 1981 Format: VBR Time: 44:02 Size: 64 MB AMG rating: Bassist Jaco Pastorius' Word of Mouth orchestra was an unfulfilled dream, a worthy concept that did not last long enough to live up to its potential. Its debut album was released without a listing of the personnel, so here it is: Wayne Shorter, Michael Brecker, and Tom Scott on reeds, trumpeter Chuck Findley, the easily recognizable Toots Thielemans on harmonica, Howard Johnson on tuba, drummers Jack DeJohnette and Peter Erskine, and percussionist Don Alias. The music ranges from the Beatles' "Blackbird" and some Bach to Jaco originals that cover straight-ahead jazz, Coltrane-ish vamps, and fusion. Next to the bassist/leader, Thielemans emerges as the main voice.
~ Scott Yanow, All Music Guide |
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1996:Dexter Gordon - Blue Dex: Dexter Gordon Palys the Blues |
Music, Jazz, Hard-bop |
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 Artist: Dexter Gordon Album: Blue Dex: Dexter Gordon Plays the Blues Label: Prestige Year: 1996 Format: FLAC (cue, log, scans) Time: 71:05 AMG Rating:  This single-CD anthology is chock-full of the mighty Dexter Gordon (tenor sax) as leader or as primary participant in seven selections showcasing his surprisingly wide array of interpretive skills within the blues. While the majority of the contents have been culled from Gordon's late-'60s and early-'70s Prestige output, the update of Jay McShann's "The Jumpin' Blues," as well as Gordon's own "Sticky Wicket," are both alternate takes that weren't available prior to the all-inclusive 11-disc Complete Prestige Recordings (2004) box set. The latter opens the compilation as the double-sax assault of Gordon and James Moody (tenor sax) is supported by Barry Harris (piano), Buster Williams (bass), and Albert "Tootie" Heath (drums). The midtempo and minor chord changes have a menacing effect as the two tenors bounce ideas off one another. "The Panther" swings with a sinuous syncopated flow thanks to Larry Ridley (bass) and especially Alan Dawson (drums). Tommy Flanagan (piano) is also along for the ride and lays down a few classy lines of his own, which are punctuated by a brief solo from Williams. Gordon joins forces with Junior Mace (piano) at the 1970 Montreux Jazz Festival for a live cover of Thelonious Monk's "Blue Monk." Martin Rivera (bass) and Oliver Jackson (drums) are a solid, yet transparent rhythm section well-suited to frame Gordon's soulful and expressive sonic tug of war with Mance's refined ivories. The hot and driving "Lonesome Lover Blues" finds Gordon, Gene Ammons (tenor sax), Jodie Christian (piano), Rufus Reid (bass), and Wilbur Campbell (drums) blowing away the blues of guest vocalist Vi Redd -- daughter of drummer Alton Redd -- who was not only an alto saxophonist in her own right, but as evidenced by the contributions heard here, she was a dynamic soul shouter as well. The previously alluded to "alternate" of "The Jumpin' Blues" is from an upscale confab featuring Wynton Kelly (piano), Sam Jones (bass), and Roy Brooks. "Oh! Karen O" is definitely a keeper. Thad Jones (trumpet/flugelhorn) goes head to head with Gordon as Stanley Clarke (bass), Hank Jones (piano), and Louis Hayes (drums) give them plenty of space for their winding and expressive ventures. Clarke's interchanges are interesting as they weave and entwine harmonically with Gordon. Jimmy Heath's "Gingerbread Boy" returns listeners to the stage of the Montreux Jazz Festival. It is three years later and the personnel of Hampton Hawes (keyboards), Bob Cranshaw (bass), and Kenny Clarke (drums) provide a cool, laid-back groove as Gordon's sax underscores his keen and sensitive abilities as a wordless narrator who can create sonic portraits with the hues and shades of his empathetic tenor. For that reason alone Blue Dex: Dexter Gordon Plays the Blues is a worthy investment.
~ Lindsay Planer, AMG |
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1976: Septembar (September) - Zadnja avantura |
Music » Jazz » Fusion » Jazz-Rock |
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 Artist: Septembar Album: Zadnja avantura Label: PGP RTB LP 55-5275 Year: 1976 Format: MP3; 192 kb/s (LP-rip) Time: 31:54 Size: 61 MB SEPTEMBER was formed in Ljubljana, Slovenia in 1975 by two veteran mambers of the super-group called JUGOSLAVENSKA POP SELEKCIJA, organist Tihomir Pop Asanovic and vocalist/guitar player Janez Boncina. They gathered excellent instrumentalists of the then Yugoslavian jazz and rock scene, Petar Ugrin-trumpet/violin, Ratko Divjak-drums, Karel Charlie Novak-bass and Braco Doblekar-saxophone/percussion, for the first album "Zadnja avantura". In the late 1977 the line-up changed when Ugrin, Novak and Divjak left to be replaced by Marjan Malikovic-guitar, Jadran Ogrin-bass and Nelfi Depanger-drums, who took part in the recording of the second album during their American visit in early 1978. In this period they enjoyed certain popularity due to a radio-friendly hit-singl with the title track of the second album "Domovina moja" (Eng. "My Homeland"). They broke-up in late 1979 and the final members, along with Asanovic, Boncina and Doblekar, included Ante Mazuran-guitar, Dani Ganchev-bass and Tone Dimnik-drums. Both Asanovic and Boncina led parallel solo careers.
The style of SEPTEMBER can be desribed as a mellow form of jazz-rock with accessible and relatively short songs, characterized by distinguished vocals of Boncina and excellent instrumental skills of the band. The first album is recommended to fusion fans, while the second was influenced by American AOR sound of the mid-1970s and is more mainstream oriented. |
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1986: World Saxophone Quartet - Plays Duke Ellington |
Music » Jazz » BeBop » Post-bop |
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 Artist: World Saxophone Quartet Album: Plays Duke Ellington Label: Elektra/Nonesuch Year:1986, release: 1992 Format, bitrate:MP3 320 kbps Time: 69:16 Size: 92 MB AMG Rating:   On their first six recordings, the World Saxophone Quartet (comprised of altoists Oliver Lake and Julius Hemphill, tenor saxophonist David Murray, and baritonist Hamiet Bluiett) stuck exclusively to group originals. This 1986 release was a major departure, for the innovative group performed fresh and generally unpredictable versions of five songs by Duke Ellington and two (including two renditions of "Take the 'A' Train") by Billy Strayhorn. Although the tunes (which include "Lush Life," "Sophisticated Lady," and "In a Sentimental Mood") are familiar, the interpretations are certainly unusual, showing respect for the original melodies and then coming up with new directions. This is thought-provoking music that serves as the perfect introduction to the unique World Saxophone Quartet ~ Scott Yanow , All Music Guide |
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1973: Jan Ptaszyn Wroblewski and Wojciech Karolak - Mainstream |
Music » Jazz |
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 Artist: Jan Ptaszyn Wróblewski & Wojciech Karolak Album: Mainstream Format: FLAC (cue, log, scans) Size: 295 MB Label: Polskie Nagrania (24bit digitally remastered, 2007) Total time: 40:29 Repost with a new link October 1973 in Polish Radio, Warsaw // Performed by: Jan 'Ptaszyn' Wroblewski - tenor saxophone; Wojciech Karolak - Hammond organ; Marek Blizinski - guitar; Czeslaw 'Maly' Bartkowski - drums // about : WOJCIECH (WOJTEK) KAROLAK (born on 28 May 1939 in Warsaw, Poland, where he still lives today) is a notable Hammond B-3 organ player who refers to himself as "an American jazz and rhythm and blues musician, born by mistake in Middle Europe". He has also played saxophone and piano professionally. In 1958, he started working with the band the 'Jazz Believers' playing alto saxophone. The Jazz Believers consisted of the future top Polish jazz players, among them Andrzej Trzaskowski, Trafica Giant, Krzysztof Komeda (famed for writing music for Roman Polanski s landmark film Rosemary's Baby), and Jan Ptaszyn Wroblewski. It goes without saying that it took a particular level of dedication to play jazz under the Soviet system of the 1950s. Next, Wojciech Karolak played tenor saxophone in Andrzej Trzaskowski s 'The Wreckers'. In 1961, Karolak switched from saxophone back to piano. In 1962, formed his own trio and started recording his own music. This trio become the premier jazz band in Poland and backed most Western/American artist visiting Poland. Among them Annie Ross, Ray Charles, and Don Ellis with whom he recorded. In 1963, he started playing with Ptaszyn Wroblewski s Polish Jazz Quartet. In 1964 Karolak (under the name of the Kurylewicz Quintet) recorded an album titled Go Right - this was the first Polish jazz LP ever released. In 1966, he left Poland for Sweden where he played rock and blues in music clubs in order to, in his own words, "make enough money to buy an apartment and a Hammond B-3" which he eventually bought in 1973. From then on, Karolak spent more time composing and arranging though he did continue to collaborate and perform with others. He cooperated with famed violinist and future Miles Davis alum Michal Urbaniak in Europe and the U.S. While in Western Europe he also played with Red Mitchell, Putte Wickman, Leroy Lowe and others. He then returned to Poland and co-led the group Mainstream and worked as a composer-arranger for the Polish Radio Studio Jazz Orchestra. In the 1980s established, with Tomasz Szukalski and Czeslaw Bartkowski, a "superformation"; 'The Killers'. The resulting recording was voted the best Polish jazz record of the decade. Since the 1990s Karolak has played with the guitarist Jaroslaw Smietana (who counts among his fans Pat Metheny), and recorded three records with him. With Piotr Baron and Zbigniew Lewandowski, Karolak has started "The High Bred Jazz Trio". He has played in numerous concerts with Leszek Cicho ski s 'Guitar Workshop' and continues to write, arrange, and perform in Poland and abroad. Polish President Aleksander Kwasniewski awarded him the Knight's Cross of the Order of Polonia Restituta, Poland's second highest civilian honor after the Order of the White Eagle.~ Product info |
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2007: William Parker - Double Sunrise Over Neptune |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: William Parker Album: Double Sunrise Over Neptune Label: AUM Fidelity Year: 2007, release: 2008 Format, bitrate: mp3, 320 Size: 144 mb AMG Rating: Repost with a new link (320 kb/s) An orchestral work featuring immensely gifted individual and collective voices from around the world, meshing as one to manifest a pair of deep double-drummer-and-bass driven mantras; this is serious (other) World teleportation music that achieves psychedelic proportions of sonic interplay. William Parker continues to churn out CDs on a pace that might rival Steve Lacy, Satoko Fujii, or David Murray's epic proportions. While each project reaches ever higher levels, this recording from the twelfth annual Vision Festival in New York City might be close to his zenith. Three long compositions allow his some 16-piece band of horns, woodwinds, and strings to not only cut loose with potent solos as you would expect, but exist as a single crystalline entity with multiple and equal facets of ethnic, improvisational, and modern compositional forms. The music is as stunning as any Parker has devised in his career, but there are some caveats. For one, Parker plays no acoustic upright bass, leaving that to Shayne Dulberger. The oud of Brahim Frigbane and electric guitar of Joe Morris adds a lean and sparse element. But the music is generally broad ranging, expansive, and layered, thanks to the immense talents of accomplished modernists like trumpeter Lewis Barnes, alto saxophonist Rob Brown, tenor saxophonist and clarinetist Sabir Mateen, violinist Jason Kao Hwang, Jessica Pavone on the viola, and twin drummers Gerald Cleaver and Hamid Drake. Of the three long pieces, "Lights of Lake George" is a true magnum opus. A 7/8 modal bassline joins the dancing baritone of David Sewelson and Frigbane's oud, then the wordless East Indian vocals of Sangeeta Bandyopadhyay make way for string solos from the brilliant Hwang and Pavone, the burnished trumpet of Barnes, the shenai or musette of Cole and Parker, and clarinet of Mateen. The piece is not so much about improvisation as the consistent symmetry and balance from the entire band throughout weaving intricate colors. The double reeds open on the 4/4 "Neptune's Mirror," as the distinct and jangly guitar of Morris takes over, Sewelson leads horn punctuations with a cello aside by Shiau-She Yu, then cello and oud. The piece has an eerie yet earthy feel as all strings chime in, and Bandyopadhyay recites a poem of enlightenment, while reminding us of either loved or allegedly hated humans who have passed that "we can not bring them back to life." The opener "Morning Mantra" is a modal ostinato bass and drums riff with a quick guitar from Morris under long tones from the ensemble dominated by the high-pitched double reeds in a universal tonality, with Bandyopadhyay again poetically waxing on the wind, light, and life over a multilayered framework of dense tones, themes and world-wide excursions. One who listens closely, and more than once, will reap great rewards from this, another excellent document in the growing and substantive discography of the consistently forward thinking Parker. ~ Michael G. Nastos, All Music Guide |
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2004: Bobby Rush - Folk Funk |
Music » Blues » Modern electric blues |
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 Artist: Bobby Rush Album: Folk Funk Year: 2004 Label: RUF Quality: MP3;320 kb/s Size: 110,64 mb This is great Modern Electric Blues. But with a southern funk twist... That's why it's nice name: Folk Funk! "Folk funk" is what Bobby Rush has been calling his brand of Southern-fried blues and soul for several years, and now it's the title for the second release on his own Deep Rush label, and guess what, folks, it is quite likely the best album he's ever done. Joined by Alvin Youngblood Hart on guitar and Charlie Jenkins on drums, with Rush handling nigh everything else, the sound for Folkfunk is stripped down to a basic rhythmic force, and freed from the synthesized keyboards that often marred his earlier releases, it makes a sparse and powerful statement, a bit like John Lee Hooker working with a solid funk trio. Rumour has it that the whole album was recorded in one five-hour session, which may account for its unified tone. Among the high points are a thumping "Uncle Esau," a wonderful version of Percy Mayfield's "River's Invitation," and a revisit to Rush's classic "Chicken Heads," here called "Chicken Heads -Refried." On "Saints Gotta Move" Rush grafts "When the Saints Go Marching In" to "You Gotta Move" in a rousing synthesis. By stripping away any excess instrumentation, Folkfunk allows Rush's truly excessive (and frequently bawdy) persona to shine through in all its glory, making this easily one of his best outings. ~ Steve Leggett, All Music Guide |
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1946-1947: Fats Navarro - Goin to Minton's |
Music » Jazz » BeBop |
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 Artist: Fats Navarro Album: Goin to Minton's Label: Savoy Jazz Years: 1946-1947, release: 2002 Quality: MP3@320 kbps Size: 149 mb Total time: 72:08 AMG Rating  There are many tragic figures in bebop history, but Fats Navarro's story is even sadder than most. Considered by some to be a better trumpeter than Dizzy Gillespie (Lennie Tristano is reported to have said of Gillespie, "He's a nice trumpet player, but he's no Fats"), Navarro was killed by his heroin addiction at age 26. This disc includes material from five sessions recorded between September of 1946 and December of 1947, when bop was at the height of its popularity and its most important and influential practitioners were still alive. Some of them, in addition to Navarro, are present on these sessions: Bud Powell plays piano on "Boppin' a Riff," "Fat Boy," "Everything's Cool," and his own "Webb City," tracks which also feature Sonny Stitt on alto and Kenny Clarke on drums. Other sessions feature Eddie "Lockjaw" Davis on tenor, frequent Charlie Parker sideman Curley Russell on bass, Charlie Rouse on tenor, and Art Blakey on drums. While the sound quality isn't always great, the performances themselves rarely fall short of greatness, and Navarro's sweet tone and effortlessly beautiful phrasing are a constant pleasure throughout. ~ Rick Anderson, All Music Guide |
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1999: Malachi Thompson - Talking Horns |
Post-bop, Avantgarde |
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 Artist: Malachi Thompson Album: Talking Horns Label: Delmark Records Year: 1999; release: 2001 Format, bitrate: mp3, 320 Size: 143 mb AMG Rating: "Talking Horns captures the essence of jazz that the best albums do: heavy, fat groovin’ that sways the body combined with incisive, intelligent improvisation that excites the mind." - Asim Memon, All About Jazz Malachi Thompson has little patience with dogmatists who claim that a jazz musician has to live in New York to be legitimate. The veteran trumpeter has been around the Chicago jazz scene all his life, and he knows darn well that there are many accomplished Midwestern improvisers who don't have a Manhattan address. In the liner notes that he wrote for Talking Horns, Thompson spends a lot of time discussing the Chicago/St. Louis connection in jazz — a connection that Delmark founder Bob Koester is well aware of because he started the label in St. Louis before moving it to Chicago. Both are Midwestern cities that have made important contributions to jazz, and this 1999 session finds Thompson acknowledging the cities by leading a sextet that consists of four Chicagoans (Thompson, pianist Willie Pickens, bassist Harrison Bankhead, and drummer Reggie Nicholson) and two St. Louis natives (alto saxman Oliver Lake and baritone saxman Hamiet Bluiett). Together, the improvisers favor an inside/outside approach and divide their time between hard swinging post-bop and more abstract, AACM-minded avant-garde jazz. "Circles in the Air" and the African-influenced title track are among the CDs more left-of-center offerings, while "Brass and Oak," "Way Back When We Didn't Understand," and the McCoy Tyner-ish "Lucky Seven" are hard swinging post-bop items that are more inside than outside. Thompson, true to form, insists on keeping his options open — the trumpeter sees no reason why he cannot be influenced by Freddie Hubbard one minute and Lester Bowie the next. As a result, Talking Horns is unpredictable — you never know from one track to the next if the sextet will go in a straight-ahead post-bop direction or an AACM-influenced avant-garde direction. But whatever direction the sextet chooses, this album is consistently strong and serves as a fine example of Midwestern acoustic jazz. ~ Alex Henderson, All Music Guide |
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1997: Jeff Berlin – Taking Notes |
Jazz, Fusion |
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 Artist: Jeff BerlinAlbum: Taking NotesLabel: Denon Year: 1997 Genre: Jazz, Fusion Format, rate: mp3, 320kbs Size: 137MB Time: 56:42 AMG Rating:  Jeff Berlin is a superb electric bassist, and the music on this CD, although it has its rock and funk moments, is quite jazz-oriented. On some selections, Berlin is joined by four or five horns playing big-band-style riffs. While the bassist is in the spotlight much of the time (including a duet with keyboardist Clare Fischer on "Imagine" and an unaccompanied "Clinton Country," which is a medley of familiar patriotic songs), he was generous in allocating solo space; there are occasional spots for Rob Lockart (on tenor and alto) and trumpeter Howie Shear. Attention was paid to varying moods and styles, with the result being a satisfying release. And any musician witty enough to name an original "Hello Dali" deserves attention. ~ Scott Yanow, All Music Guide |
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1956/59: Armando Trovajoli - Trio & Quartet |
Music » Jazz » Mainstream |
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 Artist: Armando Trovajoli Album: Trio & Quartet Label: Jazz From The Boot/RCA Years: 1956/59 ; release: 1992 Format, bitrate: mp3 320kbps Size: 125 mb Time: 60.00 Armando TrovajoliBorn September 2, 1917, Rome (Italy). Trovaioli wrote more than 200 movie scores for the Italian cinema.
When he was a kid he learned to play violin, showing a remarkable musical talent. Subsequently he graduated in piano and composing at S. Cecilia academy of music of Rome. In 1937 he was engaged in the orchestra of Rocco Grasso, who will have wanted as piano player in his band during next year. In 1939 he played with Sesto Carlini's orchestra, one of the most renowned Italian jazz bands of that time. After the war he's got back to alternate between jazz playing and light music playing and, at the same time, he has improved his music studies graduating at Conservatorio Santa Cecilia of Rome (1948). In 1949 he was picked out to represent Italy at Festival du Jazz de Paris, where he played with Gorni Kramer at double bass and Gilberto Cuppini at drums. On the year after he started a long set of recordings (published with the title "Musica per i vostri sogni"). With same title, and another time with the title Eclipse, he carried out, in collaboration with Piero Morgan (Piero Piccioni), a series of radio shows, one of the first Italian experiments to present jazz piano performances with a string orchestra. At the same time Trovajoli has made his debut, with Vatro pen name, as songs author (È l'alba, Dimmi un po' Sinatra, ecc.). In 1952, invited by Alberto Lattuada writing music for "Anna"'s soundtrack, he accomplished his first worldwide best seller "El Negro Zumbon". On the same year Trovajoli performed as a concert artist playing Gershwin musics under direction of A. Rodzinsky at San Carlo theatre in Naples and of Willy Ferrero at Basilica di Massenzio in Rome. In 1953, in addition to write music for the movie "Due notti con Cleopatra", he attended as orchestra director at Festival della canzone di Sanremo (he was present in 1957, too), where with his famous "Eclipse Orchestra", he joined Cinici Angelini, in the first edition when there was scheduled a double performance of songs. He gained another international success with the song "Che m'è mparato a ffà" brought out and recorded by Sophia Loren (1958). In 1962 Trovajoli, who had previously collaborated for some variety shows, composed for the musical comedy «Rugantino» by Garinei & Giovannini, written together with Pasquale Festa Campanile and Massimo Franciosa, catching experts' eye for the research made about Roman popular themes of the nineteenth century, ably echoed back in his compositions. He has gained the same results with "Ciao Rudy" and "Aggiungi un posto a tavola" always by Garinei & Giovannini. The most striking and catchy song from "Rugantino", "Roma, nun fa' la stupida stasera", became his third worldwide best seller. To remember in his soundtracks repertoire is the collaboration with directors as Vittorio De Sica, Marco Vicario, Dino Risi, Luigi Magni and Ettore Scola, whose he has created music in practice for all his filmography. In 2007 he carried off the "Premio Speciale David di Donatello" for his career. ~ discogs.com |
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1994:Bill Dixon - Vade Mecum |
Freejazz, Avantgarde |
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 Artist: Bill Dixon Album: Vade Mecum Label: Soul Note Year: 1994 Format: FLAC/ mp3 Time: 77:39 Size: 359 MB/174 mb AMG rating: Maybe it's the relatively unusual instrumentation of this quartet (trumpet/fluegelhorn, two acoustic basses and drums), and more likely the talents of the individuals involved, but among many other delights, the sense of air-filled space, of the listener being among the musicians, is astonishing. Bill Dixon's horns flit and hover in the air above, describing arabesques as intuitive as they are mathematical, as natural and arcane as bird cries. The dual basses of Barry Guy and William Parker, with approaches so different in manner that they often sound as though issuing from unrelated instrument, prod and cajole from the sides, sometimes echoing Dixon, other times steering the direction of the improvisation as they see fit, and always rambunctiously inventive. Tony Oxley's percussion, as unobtrusive and essential as a floor, pervades the atmosphere, providing sonic surfaces for the others to glance off or to mirror. Graham Lock's fine liner notes assure readers that Dixon provided a compositional framework for the group (who hadn't worked together as a quartet before this session), but it's a testimony to his conception that the entire recording has the aura of a superb, intimate, and powerful improvisation. Paradoxically, if one concentrates on each individual's playing, there is a kind of sparseness, even hermeticism in the sound, but in the group context it becomes a lush, breathing, blooming creation. In some ways, Vade Mecum II is an extension and descendent of Cecil Taylor's '60s classic Unit Structures, on which Dixon also played. It is, in any case, one of the very finest jazz albums of the '90s and one that cannot be recommended too highly. ~ Brian Olewnick, All Music Guide REPOST with additional mp3 link from emjey23! |
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2066: World Saxophone Quartet - Political Blues |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: World Saxophone Quartet Album: Political Blues Label:Justin Time Year: Jun 20, 2006 Format, bitrate: 320kbps Size: 142 MB AMG rating  World Saxophone Quartet has built a large, impressive and diverse catalog that ranges from the extreme to the relatively accessible. Political Blues falls into the relatively accessible category, but for WSQ's 2006 lineup (Oliver Lake on alto and soprano sax, Bruce Williams on alto and soprano sax, Hamiet Bluiett on baritone sax and David Murray on tenor sax and bass clarinet), relatively accessible doesn't mean unchallenging. In fact, the songs that have lyrics pack a strong sociopolitical punch. The title track (which features Murray on lead vocals) expresses the group's disdain for the administration of President George W. Bush, and "Spy on Me Blues" (with Lake on vocals) is a biting yet humorous commentary on Bush's embarrassing performance during the Hurricane Katrina disaster in New Orleans in 2005. But Political Blues isn't strictly an album of protest lyrics; many of the tracks are instrumentals, including Lake's funky "Let's Have Some Fun," Murray's somewhat Ellingtonian "Hal's Blues" and Craig Harris' dusky "Harlem." While some WSQ recordings have favored a saxophone-only policy — no bass, no drums, no guitar, no brass instruments — this January 2006 session features several non-sax playing guests. Among them: trombonist Harris, electric bassist Jamaaladeen Tacuma, drummer Lee Pearson, trumpeter Jeremy Pelt and guitarist James Blood Ulmer (who is featured as a singer on a spirited performance of Muddy Waters' "Mannish Boy"). Political Blues' mixture of jazz, blues and funk is mildly avant-garde, but it isn't radically avant-garde — and those who have admired WSQ's spirit of adventure will be happy to know that the saxophonists are still taking chances even at their most accessible. ~ Alex Henderson, All Music Guide |
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