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jasapaal
 Into the Rhythm
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1967: The Dave Brubeck Quartet - Their Last Time Out (2CD) |
Music » Jazz » BeBop » Cool |
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 Artist: The Dave Brubeck Quartet Album: Their Last Time Out (2CD) Label: Columbia/Legacy Year: 1967; release: 2011 Quality: MP3@320 kbps Size: 101; 106 mb Total time: 47:34; 51:04 In 1967, Dave Brubeck decided to disband his long-running quartet with Paul Desmond, Eugene Wright, and Joe Morello at the end of the year. Crowds turned out to catch the group for a final time, though this is only the fourth issued live recording from the tour, possibly recorded from the front of the concert hall, since the audience seems more prominent than usual, and the sound is in mono and not quite as well-recorded as the earlier releases, though the performances are of high caliber. The source of these recordings were long forgotten tape reels found in Brubeck's home by his long time manager Russell Gloyd.
Brubeck kicks things off by launching into one of his perennial favorites to open concerts, "St. Louis Blues," played in a breezy manner similar to their earlier recorded versions. Brubeck's "Three to Get Ready (And Four to Go)" was already a favorite of his fans, while Desmond whimsically inserts a bit of "The Twelve Days of Christmas" into his solo (for this concert taped on December 26), while Brubeck can be heard softly singing along with his solo. The quartet learned the Mexican folk song "La Paloma Azul (The Blue Dove)" prior to their tour of Mexico earlier in the year and it became a staple in Brubeck's repertoire afterward. The pianist is at his most lyrical in this touching ballad, with Desmond's spacious, melancholy alto adding a nice touch, along with Wright's solid groove and Morello's soft brushes. The band sizzles in their treatment of "Take the 'A' Train" and sounds jubilant with their rousing rendition of "Someday My Prince Will Come" to end the first set, both pieces which were part of Brubeck's performance repertoire over four decades later.
To open the second set, the quartet launches a pulsating "Swanee River" in which the leader humorously works the standard "Lullaby of the Leaves" into his solo. Desmond's role is minimal in Brubeck's breezy "I'm in a Dancing Mood," with the focus being on the pianist and Morello. The standard "You Go to My Head" was long a feature for Desmond, who plays an inventive solo with Wright's swinging bass backing his as Brubeck stays mostly in the background. The drummer also has an extended feature to open "For Drummer's Only" to showcase his widely admired technique. It is inevitable that the evening had to close with a rousing performance of the quartet's signature tune "Take Five," which they manage to keep from going stale in spite of having to play it nearly every night after it became a best-selling single. Desmond's humor is in full force in his solo, while Brubeck's feature takes an exotic twist with a Middle Eastern flavor. Fans of Dave Brubeck will welcome the addition of this historic concert to his vast discography. ~ Ken Dryden, All Music Guide |
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1995: Bob Brozman - Blues 'Round the Bend |
Music » Blues » Slide guitar |
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 Artist: Bob Brozman Album: Blues 'Round the Bend Label: Sky Ranch Year: 1995; release: 2000 Format, bitrate: mp3, ~220 kbps (VBR) Time: 54:23 min Size: 85.4 Mb "Today, my concert repertoire consists of 30% blues, 20% of pre-war jazz, 30% of Caribbean music, a bit of African music and completely new compositions. With my guitar, we mix such rate Malagasy Hawaiian technique and harmonies not listed. on my last album, Blues' round the bend, there are two pieces, Devil Got My Woman and East, where I asked the drummer to play a rhythmic hip-hop. I have always found the monotone rap, but hip-hop rhythm has a real swing. of course, all instruments are acoustic. for the occasion, I play a guitar Weissenborn whose handle is hollow and whose the back is made of one piece of wood. It has a very deep grave. It is this guitar used by Ben Harper. But do not accuse me of plagiarism. I had to buy this instrument year of birth (laughs) ... the result is almost psychedelic. Some believe the effects of electronics, but everything is done by hand. at the end of East, the blues became Arabist. musicologists have long thought that the blues came from West Africa but at the time when the U.S. began to import slaves, providers would be providing to the east. I have heard of ethnic music from 78s 'East Africa, the range and melodies used are the same as in Mississippi. and just change a note or two to be found in the Arab world. Soon, I also mean to devote myself to music movies and try something very experimental. I realize that I spent a lot of time to serve the ghosts of my teachers. It is time for me to create new music. But I could not play hip-hop psychedelic if I do not quite mastered the roots of blues and Hawaiian music. "~ Bob Brozman, "Les inrockuptibles, november 1995" |
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1958: Ethel Ennis - Have You Forgotten |
Music » Jazz » Vocal Jazz |
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 Artist: Ethel Ennis Album: Have You Forgotten Label: Capitol Year: 1958 Format, bitrate: mp3? 320kb/s Size: 74 mb Ethel Ennis has been underated in her career. Beginning her vocal career while a pianist in a high school jazz group, she quickly went on to sing with everyone from Louis Armstrong to Duke Ellington to Count Basie. She is one of the great Jazz singers that stayed regional, preferring to stay near her family and home town scene in Baltimore instead of going really big time. She toured Europe with Benny Goodman, but finding the grind of the road too intense, she returned home to Baltimore.
For sure she represents some of the very best of classic, female vocalist Jazz. Her voice is beautifl and marvellous, her manner is cool, ligth, and pleasant.
So enjoy this perfect album! |
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2002: Roscoe Mitchell & The Note Factory - Song for My Sister |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Roscoe Mitchell & The Note Factory Album: Song for My Sister Label: Pi Recordings Year: 2002 Format, bitrate: mp3, 320 Size: 141 mb AMG Rating:  The Wire (9/02, p.56) - "...Mitchell is an original and compelling composer...Superbly recorded, on SONG FOR MY SISTER Roscoe Mitchell transcends the exclusive club of jazz composers..." Surprise! Song for My Sister opens with the very Blue Note-ish head of the title track, definitely an unexpected move by a saxophonist noted for experimentalism. And while Corey Wilkes' trumpet solo and Vijay Iyer's piano solo take things into a little more of the abstract, it never really loses that straight-head thread, which is really a band feature, a platform for individual solos and a tenor tone from Roscoe Mitchell far more mellifluous than his acerbic norm.
"Sagitta" returns to more typical Mitchell terrain: piano swirls, tart-tone soprano flurries, and cymbal crashes. The nine-man Note Factory includes double piano, bass, and drums, but they know how to stay out of each other's way and a radically compressed sound is actually an advantage here, helping to create the collective improv swirl background to Mitchell's circular breathing soprano lines on "The Inside of a Star." Ultimately, the material seems geared as much toward creating different settings as full-blown compositions per se. "When the Whistle Blows" features ruminative guitar fills and piano while the leader's soprano flurries builds in intensity; "The Megaplexian" is pure abstraction built on piano clusters and the metallic tones of a percussion instrument Mitchell invented for a gamelan-related composition. "Wind Change" is based on cards and addresses common problems of the inexperienced improviser -- it's a very chamber-ish exercise in melodic textures with four extra musicians in the ensemble and full of unexpected shifts and variations. Marimbas and percussion give an African tinge to open "This" before a muted trumpet and piano rhythm/melody that recalls Iyer's work as a composer leads into an exercise in atmosphere and texture with Mitchell on flute. It's even more intriguing for foreshadowing "Step One, Two, Three," which strongly suggests that Mitchell had spent time listening to '70s Ethiopian pop music. The piano riff and martial drums grind the piece in a lurching, shifting foundation while Mitchell and Wilkes intertwine their lines and roam freely. It's very easy to visualize as a track from the Ethiopiques series filtered through the Mitchell muse. "Count-Off" closes with a bit more of that lurching groove and it's nice to have a more physical element as a counterbalance to Mitchell's sometimes austere texture and atmosphere forays. Song for My Sister is a strong album that takes in a wide variety of musical settings -- short pieces, long pieces, excursions into tradition, textures, and abstraction -- without losing cohesiveness. It's an always interesting journey.~ Don Snowden, All Music Guide |
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1993: Big Time Sarah And The BTS Express - Lay It On 'Em Girls |
Music » Blues » Modern electric blues |
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 Artist: Big Time Sarah And The BTS Express Album: Lay It On 'Em Girls Label: Delmark Records Year: 1993 Format: Flac Time: 51:11 Size: 321.08 MB (Full arts) AMG Rating:  "Big Time" Sarah Streeter has the power, struttin' tone, and booming voice ideal for stomping, sassy numbers. This CD spotlights the band Streeter formed in 1989, the BTS Express. Her songs explore the familiar battle between the sexes, with Streeter sometimes angry, sometimes confused, and often confrontational in the "classic" blues style. She covers three numbers by Willie Dixon, as well as material from Bill Withers, George Gershwin, and Leonard Feather, and displays both a vibrant style and more versatility than might be expected.~ Ron Wynn, All Music Guide |
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1991: Stanley Cowell - Games |
Hard-bop, Post-bop |
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 Artist: Stanley Cowell Album: Games Label: Steeplechase Year: 1991; Release: 1994 Format, bitrate: Mp3, VBR HQ Time: 66:34 Size: 120 Mb An excellent modern, mainstream pianist who is adaptable to many acoustic jazz settings, Stanley Cowell has long been underrated except among knowing musicians. He studied the piano from the time he was four, and Art Tatum made an early impact. After attending Oberlin College Conservatory and the University of Michigan, Cowell (who had played with Rahsaan Roland Kirk while at Oberlin) moved to New York in 1966. He played regularly with Marion Brown (1966-1967), Max Roach (1967-1970), and the Bobby Hutcherson-Harold Land quintet (1968-1971). In the early '70s, Cowell worked in Music Inc. with Charles Tolliver, and they co-founded the label Strata East. He played regularly with the Heath Brothers during 1974-1983, and since 1981 has been a busy jazz educator. Cowell has recorded as a leader for Arista-Freedom (1969), ECM (1972), Strata East, Galaxy, Unisson, DIW, Concord, and SteepleChase.~ Scott Yanow, All Music Guide |
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1976: Benkó Dixieland Band - Flying On Sledge |
Music » Jazz » Traditional Jazz » Dixieland |
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 Artist: Benkó Dixieland Band Album: Flying On Sledge Label: Stkft Year: 1976 Release: 1999 Format, bitrate: Mp3, 256 Kbps CBR Time: 01:09:52 min Size: 126.97 Ìb The next album of Benkó Dixieland Band.
Enjoy!!! |
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