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jasapaal
 Into the Rhythm
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1964: The Great New Gene Krupa Quartet featuring Charlie Ventura |
Music » Jazz » Swing |
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 Artist: Gene Krupa Album: The Great New Gene Krupa Quartet featuring Charlie Ventura Label: Verve Year: 1964 Format, bitrate: FLAC, 764 kbps Time: 36:43 Size: 211,89 MB Drummer Gene Krupa's final recording as a leader reunited him with the bombastic tenor saxophonist Charlie Ventura in a quartet with pianist John Bunch and bassist Nabil Totah. The group mostly performs brief versions of standards including &"Come Back to Sorrento," &"Take the 'A' Train," &"Flying Home," and even &"Hello Dolly." Ventura's extroverted playing (on tenor, alto and baritone) is not for everyone's taste but he is in generally good form, and even an aging Krupa still retains his youthful excitement and enthusiasm. This LP will be a difficult one to find. ~ Scott Yanow, All Music Guide |
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1952-1967: VA - Ultra-Lounge, Vol. 1: Mondo Exotica |
Crossover Jazz, Smooth & Lounge |
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 Artists: VA Album: Ultra-Lounge Vol. 1: Mondo Exotic Label: Capitol Records - 32563 Years: 1952-1967; release: 1996 Format, bitrate: mp3 320 kbps CBR Time: 53:12 min Size: 116,74 Mb An 18-song exhumation of the Capitol exotica back catalog, placing old standbys like Martin Denny, Les Baxter, and Yma Sumac alongside lesser-knowns like Webley Edwards, Bas Sheva, and the wonderfully-named 80 Drums Around the World. This favors easy listening-friendly exotica, rather than the style at its most outrageous. It may be too naroticizing for some, but connoisseurs will appreciate the inclusion of the rarer material; a couple of the cuts were even previously unreleased. ~ Richie Unterberger, All Music Guide |
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2011: Jason Stein Quartet - The Story This Time |
Post-bop, Avantgarde |
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 Artist: Jason Stein Quartet Album: The Story This Time Label: Delmark Records Year: 2011 Format, bitrate: mp3, 320 Time: 66:20 Size: 139 mb Chicago Tribune "Best of 2011" Brilliant work from Jason Stein – a Chicago player who's been making some mighty waves on the avant scene of late, and who really comes into his own with this album! Stein's part of the new generation of avant Chicagoans – players who have a strong knowledge of free jazz, but also opt for a bit more structure and swing too – the kind of modernism that emerged best at the cusp of the 60s, in the generation of Mingus, Dolphy, and Ornette! Stein plays bass clarinet here, and there's definitely a Dolphy vibe to the music – great long solo lines, stretched out and searching, but also still swinging too – thanks to these nicely-blocked rhythms from Josh Abrams on bass and Frank Rosaly on drums. Keefe Jackson also plays some mean tenor – and titles include "Laced Case", "Background Music", "Little Big Horse", "Hatoolie", "Gallop's Gallop", "Work", "Lennie Bird", and "Badlands". Another great one from the new generation of Delmark! © 1996-2012, Dusty Groove America, Inc. Bass clarinetist Jason Stein moved to Chicago about six years ago, and he wasted no time in taking advantage of the city’s range of musical opportunities, despite—or maybe because of—his comparatively unorthodox choice of instrument. He’s worked in saxophonist Ken Vandermark’s Bridge 61 and with oboist Kyle Bruckmann’s rock-meets-chamber-music Wrack ensemble. Stein’s debut as a jazz group leader is filled with the energy and resourcefulness that he’s picked up from these different experiences. His interwoven lines with saxophonist/contrabass clarinetist Keefe Jackson on “Laced Case” (a Stein original) and on Lee Konitz’s “Palo Alto” convey an inventive trajectory, taken at quick tempos. Stein’s rich and limber tone becomes the focus. Meanwhile, the rhythm section of bassist Joshua Abrams and drummer Frank Rosaly provides consistent surprises that can turn quickly from silence to complete shifts in direction. Along with Stein’s own songs, the group tackles a few Thelonious Monk compositions, along with their affinity for the Lennie Tristano-Konitz-Warne Marsh songbooks. Those early free-meets-cool pieces were once acknowledged as heady, sometimes abstract stuff, but in this quartet’s hands, they become a source of fun.~ Aaron Cohen, Downbeat |
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2003: Ry Cooder & Manuel Galban - Mambo Sinuendo |
Music » Jazz » Latin |
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 Artists: Ry Cooder & Manuel Galban Album: Mambo Sinuendo Year: 2003 Label: Nonesuch Quality: Lossless (FLAC, cue, log) Size: 320 MB (with scans) REPOST with new lossless links from Mr.hungaropitecus Ýòîò äèñê – ïîïûòêà ïåðåäàòü ñòàðûé ñòèëü, ïîïóëÿðèçîâàííûé Ìàíóýëåì Ãàëáàíîì â Êóáå è ê êîòîðîìó ïî÷åìó-òî íèêòî ïîñëå íåãî íå îáðàùàëñÿ. Ýòî ãèòàðíàÿ ìóçûêà, áëèçêàÿ ê ïîï/êðîññîâåð äæàçó 50-60-õ, çàìåøàííàÿ íà õàðàêòåðíîé "ïëûâóùåé" èãðå ñëàéä-ãèòàðèñòà Êóäåðà è êóáèíñêèõ ðèòìàõ Ãàëáàíà. Mambo Sinuendo is a collaboration between Ry Cooder and Buena Vista alum (and formerly of many other groups as well) Manuel Galbán. The album attempts to catch an old style popularized in Cuba by Galbán, and was, surprisingly, never followed up on by anybody after Galbán. It's a guitar-based romp closely based in the pop/jazz crossovers of the 1950s-1960s (Henry Mancini, Nelson Riddle, etc). There's a touch of exoticism here and there, and a larger touch of a relatively Hawaiian feel throughout the whole via the guitar techniques employed by the pair. It's all somewhere in a form between lounge, mambo, and Esquivel's old space-age-bachelor-pad music. In rare instances, there's even a little bit of a house drum loop added in by the percussionists. Aside from the stray spacey chorus in the title track, it's an entirely instrumental affair, which suits the musicians quite well, giving them a chance to show off their full virtuosity along the way. The musicality these guitarists hold, and the interplay between them, is really the treat of the album. For a nice look at the musical genre that never was, but probably should have been, this makes a good show. Newcomers to Cooder should perhaps dig into some older releases to get a feel before coming to this album, but all others should embrace it quickly. ~ Adam Greenberg, All Music Guide |
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1939-1941: Charlie Christian - Electric |
Music » Jazz » Swing |
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 Artist: Charlie Christian Album: Electric Label: Uptown Jazz Years: 1939-1941; Release: 2011 Format, bitrate: MP3 320 kbps CBR Time: 56:30 min Size: 125 MB Charlie Christian's career was all too brief, lasting a mere five years. After catching the attention of John Hammond, who recommended him to Benny Goodman, he appeared on fewer than 100 sessions between 1939 and 1941, mostly broadcasts, plus a few privately recorded sessions issued on various labels over the years, in addition to his well-known studio recordings and with Goodman. While the music in this compilation has been previously available, this collection has to much recommend it. First of all, new digital transfers have been made from original acetates from the Jerry Newhouse collection, rather than relying on later generation sources. Frank Driggs' detailed liner notes provide a wealth of historical background and there are also lots of photographs. But the most important factor is the music itself. The four performances by Christian with tenor saxophonist Jerry Jerome (who was working in Goodman's orchestra while Christian was playing in the clarinetist's sextet) are informal jam sessions made between concerts with Goodman, with two regional players, pianist Frankie Hines and a teenaged Oscar Pettiford, the latter still a few years away from achieving fame for his virtuoso playing. Following Jerome's opening solo in "Tea for Two," Christian dazzles with his confident playing and solid rhythmic support, while Hines also takes a chorus and Pettiford is barely audible. Christian's spacious, inventive solo is the highlight of "Stardust," while Christian's dominates the two takes of "I Got Rhythm." In the Goodman sextet broadcasts, much of the solo space goes to the leader and vibraphonist Lionel Hampton in these relatively brief performances (most of which run right around three minutes), though Christian makes himself known when he solos and with his presence in the rhythm section. Among Christian's features are a bluesy solo in a version of "Flying Home" and some tasty breaks in his "Shivers" (co-composed with Hampton), while he steals the show from the veterans with his playing in "Seven Come Eleven." It is tragic that Charlie Christian died far too young from tuberculosis, but this rewarding collection is an excellent investment. ~ Ken Dryden, All Music Guide |
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1963: Oscar Peterson Trio - Paris Jazz Concert Vol.2 |
Music » Jazz » Mainstream |
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 Artist: Oscar Peterson Album: Paris Jazz Concert Vol.2 Label: Laserlight Years: 1963-1964, release - 2002 Quality: MP3@320 kbps Size: 166 mb Total time: 62:08 REPOST with a new link from Mr.jhanck These recordings of the Oscar Peterson Trio in Paris — with special guest Roy Elridge on four of the selections from the 1963 date — are standard Peterson. The touch is light yet meaty, and the swing of the rhythm section, Ray Brown and Ed Thigpen, is flighty yet in the pocket. The music is enough to carry the listener in a dream state of awe and wonder. Opening the earlier set with "Six and Four" and sliding into "But Not for Me," with Eldridge accompanying and soloing before a total change happens on "Mainstem," is standard Peterson brilliance, and Eldridge is clearly moved to play his level best, lyrical, angular, and full of verve and speed. On the later gig from 1964, Peterson's trio remains the same, but there are no guests and the program is significantly different as the set centers in the key of blues. The band opens with Milt Jackson's "Reunion Blues," with quotes from Benny Golson's "Blues March" and from Billy Strayhorn's Fakebook, before a quick segue into Peterson's own "Wheatland" and "Nightingale," played at a different tempo and featuring a number of rhythmic and tonal shifts by Thigpen, who doesn't stroll so much as punch in his pizzicato. The gig winds up a few tracks later with Peterson's "Blues for Big Scotia," where he pulls out all the arpeggio stops and moves the right hand into overdrive, comping and vamping with a left hand teasing gorgeous augmented ninths and even 11ths out of the interval and playing nearly barrelhouse boogie with the left. This is Peterson at his level best, which is saying plenty. ~ Thom Jurek, All Music Guide |
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1991: Doc Severinsen & The Tonight Show Band - Once More... With Feeling! |
Music » Jazz » Big Band |
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 Artist: Doc Severinsen & The Tonight Show Band Album: Once More... With Feeling! Label: Amherst Records Year: 1991 Quality: MP3@320 kbps Size: 132 mb Total time: 60:22 AMG rating   By request Of the Tonight Show Band's three Amherst CDs, this is the most highly recommended one. The repertoire is fresher than the songs featured on the two earlier releases and, in addition to the usual swing-era standards, such tunes as Tommy Newsom's "Three Shades of Blue" and Stevie Wonder's "Isn't She Lovely" are included. Guest appearances by trumpeter Wynton Marsalis ("Avalon") and singer Tony Bennett ("I Can't Get Started") add some variety, the arrangements (mostly by the innovative Bill Holman and Tommy Newsom) are generally colorful, and the band (featuring such soloists as trumpeters Doc Severinsen, Snooky Young, and Conte Candoli; tenor saxophonist Pete Christlieb; and pianist Ross Tompkins) sounds in prime form. Recommended. ~ Scott Yanow, All Music Guide |
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2000: Various Artists - Mojo Club Presents Dancefloor Jazz, Vol.10:Love Power [2cd] |
Music » Compilation |
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![2000: Various Artists - Mojo Club Presents Dancefloor Jazz, Vol.10:Love Power [2cd]](http://jazzbluesclub.com/uploads/posts/1325904534_fuws7.jpg) Artists: Various Artists Album: Mojo Club Presents Dancefloor Jazz, Vol.10: Love Power Label: Universal Records Year: 2000 Format, bitrate: Mp3, 256 Kbps Size: 231 Mb with covers A fantastic bunch of grooves -- and one of the best installments in our favorite compilation series ever! The genius DJs at Hamburg's Mojo Club have always had a great ear for a song -- and that ear gets better and better with each new compilation. This package is a brilliant assortment of tunes that runs from heavy funk to sweet soul to funky jazz and groovy 60s tunes. There's loads on here that you've probably forgotten about -- or just plain never heard -- and the pacing of the compilation means that the tracks maintain a very cool vibe throughout, making the set always a fresh listen for the discerning ear! |
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2005: Jeffrey Magee - The Uncrowned King of Swing:Fletcher Henderson and Big Band Jazz |
Books |
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 Author: Jeffrey Magee Title: The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz Publisher: Oxford University Press Year: 2005 Format: PDF Pages: 354 Size: 9.56MB If Benny Goodman was the “King of Swing”, then Fletcher Henderson might be considered the power behind the throne. Not only did Henderson arrange the music that fueled Goodman's success, he also helped to launch the careers of several other key figures in jazz history, including Louis Armstrong and Coleman Hawkins, and their work, in turn, shaped Henderson's. Drawing on a wide range of primary sources, including sound recordings, stock arrangements, and score manuscripts available only since Goodman's death, this book traces Henderson's life and work from his youth in the deep South, to his early work as a New York bandleader, to his pivotal role in building the Kingdom of Swing. Henderson, standing at the forefront of the New York jazz scene in the 1920s and 1930s, assembled many of the era's best musicians, forging a distinctive jazz style within the stylistic framework of popular song and dance music. Henderson's style grew out of collaboration with many key players. It also grew out of a deft combination of written and improvised music, of commercial and artistic impulses, and of racial cooperation and competition, and thus stands as an exemplar of musical activity in the Harlem Renaissance. As Henderson's career stalled in the midst of the Depression, record producer John Hammond brought together Henderson and Goodman in a fortuitous collaboration that shaped the history of American music. ~ oxfordscholarship.com |
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