 |
Friends |
 |
 |
jasapaal
 Into the Rhythm
|
 |
 |
 |
 |
|
 |
 |
1960: Arnett Cobb - Sizzlin' |
Music » Soul » Soul-Jazz |
 |
|
 Artist: Arnett Cobb Album: Sizzlin' Label: Acoustic Sounds Year:1960 Format, bitrate: mp3 320 kbps CBR Time: 38:59 min Size:86.21 Ìb Another of Arnett Cobb's great Prestige sessions, this one from late 1960. Cobb and his tenor sax are joined by Red Garland on piano, J.C. Heard on drums and George Tucker on bass. The quartet cruises through six tunes including two Cobb originals and a couple of old standards in "The Way You Look Tonight" and "Georgia On My Mind."
"...It is now possible to believe that John Coltrane, Bill Evans and Sonny Rollins are in your music room without ingesting psychosomatic substances to enhance your powers of perception...AcousTech definitely got it right!...Do whatever you have to, but make sure that you don't miss these releases...Don't let this fantasy become a missed opportunity." ~ Dennis Davis, Hi-Fi+ |
|
|
1972: Urbie Green - Bein' Green |
Soul-Jazz, Funk-Jazz |
|
|
 Artist: Urbie Green Album: Bein' Green Label: Project3 Year: 1972 Quality: MP3@320 kbps Size: 94,3 mb Total time: 40:59 Urbie Green toured the country during this time period (early 70s) inspiring countless young trombonists playing charts from the 21 Trombone albums with the best and brightest young trombonists in the areas he did concerts and clinics.
Urbie Green will be remembered for his Enoch Light Project 4 (quadraphonic recordings). Two solo albums and the two 21 trombone albums (one available as Umpteen Trombones 1) are classic. |
|
|
1973: Brian Auger's Oblivion Express - Closer To It! |
Music » Jazz » Fusion » Jazz-Rock |
|
|
 Artist: Brian Auger's Oblivion Express Album: Closer To It! Label: Castle Music ltd. Year: 1973 Quality: mp3@320 kb/s Size: 84 mb (with covers) The strongest studio recording by Brian Auger's Oblivion Express, Closer to It! is Auger's classic. Featuring his best-known composition, "Happiness Is Just Around the Bend," this album soars on the strength of Auger's multiple keyboard attack. Auger himself takes the lead vocal slot for the first time here, and though he relies on multi-tracking to fill out his sound, his vocals fit the music better than former (and later to return) vocalist Alex Ligertwood's did. Side two features covers of jazz classic "Compared to What" and Marvin Gaye's "Inner City Blues," both of which add new depth to the original compositions. Lennox Laington's congas give the music a Santana-type of feel, and the whole album percolates from beginning to end. ~ Jim Newsom, All Music Guide |
|
|
2007: Alabama Slim & Little Freddie King - The Mighty Flood |
Music » Blues » Modern electric blues » Modern Electric Chicago Blues |
|
|
 Artists: Alabama Slim & Little Freddie King Album: The Mighty Flood Label: Music Maker Year: 2007 Format, bitrate: Flac Time: 47:11 Size: 221Mb When Hurricane Katrina struck, Milton “Alabama Slim” Frazier and his cousin Little Freddie King made it out of New Orleans with their lives but not much else. The story of their encounter with the storm is related in the two versions of the Mighty Flood that bookend this disc’s dozen selections and give it its name.
Slim, who takes the vocals on all but two tracks, comes by his nickname honestly- he was born and raised in Huntsville, Alabama and stands almost seven feet tall. As harrowing as his account of Katrina is, it gains power from its understated delivery (like John Lee Hooker’s Tupelo, on which it was modeled). Slim also employs the device of updating an old blues theme by transforming "Tin Pan Alley" into "Crack Alley."
The other tracks include a version of Mr. Charlie by the way of Lightnin’ Hopkins, a Going Upstairs that¹s loosely based on Howlin’ Wolf’s "No Place to Go", and "I Got The Blues", which bears a faint resemblance to Buddy Guy’s "Dam Right I’ve Got The Blues." These, and all of Slim’s other performances, owe their primary stylistic debt to Hooker and Hopkins, with King supplying most of the guitar work and Slim adding simple rhythm patterns on some cuts. The occasional assist from varying combinations of harmonica, bass, and drums is unnecessary but unobtrusive, though it helps add drive to King’s gospel piece "Lord, I’m Good For Something."
His other lead, on "I Don’t Know What To Do", is a moody number cut from much the same cloth as his cousin’s efforts. This is one of those rare albums where the listener enjoys the sensation of sitting in on a private gathering of friends playing and singing with and for one another. ~ Jim Dekoster, Living Blues |
|
|
1946-1949: Cootie Williams 1946-1949 |
Music » Jazz » Swing |
|
|
 Artist: Cootie Williams Album: Cootie Williams 1946-1949 Label: Classics Years: 1946-1949; release: 2000 Quality: MP3@320 kbps Size: 139 mb Total time: 64:54 Classics picks up the story of former Ellington trumpeter Cootie Williams as the leader of his own orchestra from 1946 through 1949 on sides he recorded for Capitol, Majestic, and Mercury. Vocalists Bob Merrill, Billy Matthews, and Eddie Mack are heavily featured on these 22 cuts. The R&B jump music of Louis Jordan and Wynonie Harris were big draws in the nightclubs and jukeboxes of the time and much of this material lends itself to that style. "Inflation Blues" is a takeoff of the "Let the Good Times Roll" theme, while "Save the Bones for Henry Jones," "I Should O' Been Thinking Instead of Drinkin," "Gator Tail" (parts one and two), and "Doin' the Gator Tail" are enjoyable mixtures of novelty lyrics and stompin' R&B instrumentals. While Williams favored this commercial recipe during these years, he did manage to wax a few ballads, such as "I Can't Get Started" and "I Want to Be Loved," and orchestra numbers like "Rhapsody in Bass"; "Sound Track" leans toward the Ellingtonesque style he was an earlier participant in. ~ Al Campbell, All Music Guide |
|
|
1977: Hermeto Pascoal - Slaves Mass |
Music » Jazz » Fusion |
|
|
 Artist: Hermeto Pascoal Album: Slaves Mass Year: 1977; release: 2008 Label: Collectables Genre: Fusion, Brazilian Jazz Time: ~43min Format/Bitrate: mp3@320 kbps Size: 91MB AMG rating  REPOST with a new link from Mr.c i b Õåðìåòî Ïàñêóàëü - áðóõî (áðàçèëüñêèé êîëäóí). Ñïåöèàëèçèðóåòñÿ íà äæàçå, íîâîé ìóçûêå è àâàíãàðäå. Îí ñàìîó÷êà è èãðàåò âèðòóîçíî íà àêêîðäåîíàõ, ñàêñîôîíàõ, ôëåéòàõ, ãèòàðàõ, óäàðíûõ è êëàâèøíûõ. Äæàç èãðàåò â ïåðâóþ î÷åðåäü. Not strictly a jazz album in the strict sense (it was originally issued as part of the Masters of MPB on LP in 1977), Slaves Mass has strong compositional themes among its seven tracks. The maestro Hermeto Pascoal plays everything from flutes, soprano saxophone, guitar, Fender Rhodes, acoustic piano and clavinet on this set, and enlists help from Ron Carter, Airto, Flora Purim, Raul DeSouza, David Maro and others. "Mixing Pot," is the opener and an anomaly in that it is a vanguard fusion tune where Pascoal really digs in and improvises. It also features the only appearance on this set of Alphonso Johnson on electric bass. In "Missa Dos Escravos," the title track, Pascoal's emblematic pig gives his first growls in a song dominated by Brazilian Indian references. Wonderfully and intricately composed, it centers around folk tropes. "Chorinho Para Ele" is a beautiful and modern choro with a somewhat challenging glissando bridge that really proposed new directions for the traditional genre. "Aquela Valsa" is a beautiful six/eight theme that turns into a samba with a beautiful trombone solo by DeSouza. "Cannon" is an utterly improvisational piece that meanders and winds around Pascoal's flute solo. Atonalism dominates the piano solo in "Escuta Meu Piano," which also presents bits and pieces of different styles (like baião) and folk songs. Hot samba improvisation is found in "Geléia de Cereja," that slips and slides through a variety of schema and dynamic changes without much internal focus, but it is a compelling bit of creative anarchy nonetheless in that it displays Pascoal's full range of restless musical and textural impulses -- as well as a beautiful soprano solo. Slaves Mass was finally issued on CD by Collectables in the United States in 2005. ~ Alvaro Neder & Thom Jurek, All Music Guide |
|
|
1966: Archie Shepp - Three For A Quartet, One For A Dime |
Music » Jazz » Modern Jazz » Freejazz |
|
|
 Artist: Archie Shepp Album: Three For A Quartet, One For A Dime Label: Impulse Year: 1966 Format, bitrate: Mp3@320 kbs (LP-rip) Time: 32,53 Size: 47,55 Mb AMG Rating:  This is an LP long overdue to be reissued on CD. Archie Shepp's main contributions to jazz were an adventurous spirit and the introduction of a forceful, raspy sound that, even with its debt to Ben Webster, was quite original -- unlike many of his contemporaries in the avant-garde, he owed nothing to John Coltrane. Shepp and his regular quintet of 1966, which also includes trombonist Roswell Rudd, drummer Beaver Harris, and bassists Donald Garrett and Lewis Worrell, really stretch out on this live blowout, playing continuously for nearly 33 minutes. There is some solo space for his sidemen, but Shepp dominates the performance, and his emotional style and endurance are in peak form. Intense and rewarding music. ~ Scott Yanow, All Music Guide |
|
|
1970: Urbie Green - Green Power |
Soul-Jazz, Funk-Jazz |
|
|
 Artist: Urbie Green Album: Green Power Label: Project 3/Barclay Year: 1971 Quality: mp3, VBR (LP-rip) Size: 46 mb Urbie plays "The Green Monster" – a super-cool electric trombone from Vox! Titles include "Green Power", "Spirit In The Dark", "Secret Love", "Isn't It Odd", "Lumps", and "Sidewinder". Dick Hyman plays some sweet keyboards too! © 1996-2012, Dusty Groove America, Inc. |
|
|
2011: Phil Woods and Bill Mays - Woods & Mays |
Music » Jazz » Mainstream |
|
|
 Artist: Phil Woods and Bill Mays Album: Woods & Mays Label: Palmetto Records Year: 2011 Format, bitrate: mp3, 320kb/s Time: 56 min Size: 121 MB AMG Rating:  Long one of the dominate alto saxophonists in jazz, Phil Woods meets his regular pianist Bill Mays for this intimate duo session recorded in September 2010. Both musicians have a vast repertoire and a gift for inventive improvising. They explore several songs by top-notch songwriters, including a loping, lyrical treatment of Jimmy Van Heusen's "All This and Heaven Too," a breezy, playful setting of Irving Berlin's "The Thing for You Would Be Me," and an overlooked Richard Rodgers gem, "Do I Love You?," which was featured in a Cinderella television special in the late '50s, featuring a bubbly Woods solo that is well complemented by Mays' elegant piano. Woods unveils two new originals for musicians who had passed away prior to the record date: "Blues for Lopes," a spunky bop vehicle that honors Joe Lopes, an old friend and mentor, along with "Hank Jones," a gorgeous ballad that salutes the brilliant pianist whose career spanned seven decades. This enjoyable duo date adds another important chapter to the already vast discography of Phil Woods.~ Ken Dryden, All Music Guide |
|
|
1934-1935: Fats Waller - Breakin' The Ice, Early Years Part I |
Music » Jazz » Traditional Jazz |
|
|
 Artist: Fats Waller Album: Breakin' The Ice, Early Years Part I Label: RCA records Years: 1934-1935 Format, bitrate: MP3@ 128 kbit/s Time: 2.10:22 Size: 123,41 MB AMG Rating: Repost with new link from lt.blueberry Âàøåìó âíèìàíèþ ïðåäëàãàåòñÿ ñáîðíèê ðàííèõ çàïèñåé çàìå÷àòåëüíîãî ïèàíèñòà, âîêàëèñòà è êîìïîçèòîðà Ôýòñà Óîëëåðà... This two-CD set has the first 42 recordings of Fats Waller with his Rhythm. The brilliant stride pianist/vocalist/ composer/personality became very popular due to these 1934-35 recordings which feature either Herman Autrey or Bill Coleman on trumpet, Gene Sedric, Ben Whitted, Mezz Mezzrow or Rudy Powell on reeds, guitarist Al Casey and a rhythm section. All of Waller's Victor recordings have been reissued on CD and this two-fer (which includes such memorable numbers as "A Porter's Love Song to a Chambermaid," "Serenade for a Wealthy Widow," "How Can You Face Me," "Honeysuckle Rose," "Believe It, Beloved," "I Ain't Got Nobody," "Oh Suzannah Dust Off That Old Pianna" and "You've Been Taking Lessons in Love") is a perfect place to start. ~ Scott Yanow, All Music Guide |
|
|
1997: Various Artists - Mojo Club Presents Dancefloor Jazz, Vol. 7: Give Me Your Love |
Music » Compilation |
|
|
 Artist: Various Artists Album: Mojo Club Presents Dancefloor Jazz, Vol. 7: Give me your love Label: Universal Records Year: 1997 Format, bitrate: Mp3, 256 Kbps Size: 104 Mb with covers A killer set in the fantastic Mojo club series – a stellar mix of soul, jazz, fusion, and Brazilian tracks – all wrapped into a groovy tracklist that makes each of the rare tunes sound even more wonderful together! As with other volumes, there's a boundary-less nature to the work here – as the music is not just from a few different decades, but also spans both sides of the Atlantic, and the equator – making for nearly a globe's worth of wonderful tunes! Cuts include "Give Me Your Love" by The Sisters Love, "Wouri" by Manu Dibango, "Maracaibo" by Michel Legrand, "Take Us Down To The River" by Michael Naura, "Sambao" by Walter Wanderley, "Roots" by Willie Bobo, "Soul Soul Soul" by Wild Magnolias, "Mundo Deserto" by Elis Regina, "Calypso Blues" by Marvin Gaye, "In Memory Of" by Randy Weston, and the great "El Soul Condor" by Certain Lions & Tigers. © 1996-2012, Dusty Groove America, Inc. |
|
|
1997: Various Artists - Mojo Club Presents Dancefloor Jazz, Vol. 6: Summer In The City |
Music » Compilation |
|
|
 Artist: Various Artists Album: Mojo Club Presents Dancefloor Jazz, Vol. 6: Summer In The City Label: Universal Records Year: 1997 Format, bitrate: Mp3, 320 Kbps Size: 168 Mb with covers AMG Rating: Germany’s Mojo club has defined dancefloor jazz in excellent fashion on their long-running series of compilations, culled from the tracks dancers have heard at one of the best places to experience groove music since the heyday of Northern soul. An extension of the Gilles Peterson aesthetic, dancefloor jazz finds equal space for all manner of groove-based artists — Mark Murphy, Jimmy Smith, Chakachas, James Brown, Brian Auger, and Marcos Valle. And volume number six (long title: Mojo Club Presents Dancefloor Jazz, Vol. 6: Summer in the City) is one of the best introductions to the form, jam-packed as it is with frenetically paced (and played) Brazilian pop, loose and easy soundtrack funk, amped-up jazz fusion, a few excellent covers of familiar material, and myriad experiments in sound — all with the necessary groove to them. Some of the better-anthologized include the unknown disco monster that is Peter Herbolzheimer’s "Feedback Brother," the lone foray into pop music by musique concrete pioneer Pierre Henry (the gratingly delicious "Psyche Rock," familiar to Futurama fans as the source of that show’s theme), an ace cover of Sly Stone’s "Thank You (Falettinme Be Mice Elf Agin)" by Hearts of Stone, and Baden Powell’s closing "Blues a Volente," nine minutes of the master’s Carnaval-guitar flair set to a high-stepping samba beat. ~ John Bush, All Music Guide |
|
|
English
Ðóññêèé
Set Home Page
Add to Favorite
Rss 2.0 news
