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2010: Coleman Hawkins and His Confreres + The High and Mighty Hawk (2 Lps On 1 Cd) |
Music » Jazz » Mainstream |
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 Artist: Coleman Hawkins Album: Coleman Hawkins and His Confreres / The High and Mighty Hawk (2 Lps On 1 Cd) Label: Fresh Sound Records Year: 1958 Release: 2010 Format, bitrate: mp3, 320kb/s Time: 76 min Size: 163 MB To define the particular sounds you will find here, some people coined the term mainstream—yet some simply call it jazz. The performers on these sessions need only imply to convey what they mean. Everyone involved seems to have known it.
Coleman Hawkins blows with eloquence, guts, self-confidence, and stomping emotionalism. Roy Eldridge is, as usual, excitable and bubbling over with the kind of exuberance that only trumpeters can manage as they manipulate lip and valve. Buck Clayton’s imagination gives a distinct shape to each one of his solos; he executes them with taste and sense of relevance. Hank Jones is flexible and fluent, ever the complete musician, and a nearly perfect complement here to the lyricism and rhythmic strength of Hawk and the two trumpeters.
The rhythm section blends together in fine rapport. This is a healthy example of uncluttered, uncomplexed, and unneurotic jazz blowing by as worthy a company of musicians as could be desired.
Note: You will notice that the "Confreres" original cover features two photographs, one of the Oscar Peterson Trio, and one of Ben Webster, the reason being the following: this album included the tune 'Maria' in addition to tracks #1-4 on this CD. 'Maria' was, in fact, a leftover recording from the October 16, 1957 session featuring Hawkins and Webster known as "Encounters," and thus it has not been included in our release.~ Fresh Sound Records |
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1954-1956: Joe ''Fingers'' Carr - Honky Tonk Hits |
Music » Jazz » Traditional Jazz » Ragtime |
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 Artist: Joe ''Fingers'' Carr Album: Honky Tonk Hits Label: Good Music Record 173922 Year:1954-1956: release: 1997 Format, bitrate: mp3 320 kbps CBR Time:49:22 min Size: 109.79 Мb Louis F. Bush was a serious student of ragtime, writing many pieces of his own and inspiring younger players long before the '70s rediscovery of the genre. There were also several Capitol singles by "Lou Busch and his Orchestra". One of these, "Zambesi", an adaptation of a South African song, was a # 2 hit in the UK in early 1956, though it peaked only at # 75 in the USA. His only other British hit was "Portuguese Washerwoman" (# 20 UK, # 19 US), this time credited to Joe "Fingers" Carr. In the late 1950s, Busch left Capitol for Warner Brothers, where again he worked as both performer and executive, although he grew less and less interested in the former. His most noteworthy accomplishment as an A&R man for Warner Bros were the series of highly successful musical comedy albums he produced with comedian Allan Sherman, including the # 2 hit single, "Hello Muddah, Hello Faddah" (1963). Busch died in an automobile accident in 1979. ~ rockabilly.nl |
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2011: Tiny Grimes - Blues Groove 1958-1959 (3 Lps On 2 Cds) |
Music » Jazz » Mainstream |
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 Artist: Tiny Grimes Album: Blues Groove 1958-1959 (3 Lps On 2 Cds) Label: Fresh Sound Records Year: 1958-1959 Release: 2011 Format, bitrate: mp3, 320kb/s Time: 145 min Size: 163 & 144 MB Legendary guitarist Tiny Grimes made his big comeback to the jazz/blues recording field in 1958 with these three albums he made for the Prestige/Swingville series. Jazzwise, he had stayed away from the studios for a long time, playing rock ‘n’ roll in Midwestern nightclubs.
In these fine sessions, the beat and blues-drenched, dirty sound of Tiny’s guitar is escorted by a group of outstanding jazzmen including pianist Ray Bryant, tenors Coleman Hawkins and Eddie “Lockjaw” Davis, reedman Jerome Richardson, trombonist J.C. Higginbotham, bassist Wendell Marshall, and drummer Osie Johnson. Where most—if not all—guitarists were using six-string models, Tiny continued to use a four-string box. “There’s nothing I can’t do with the four except maybe in playing rhythm. A lot of the cats today are only using four of their six strings anyway.”
This is blues guitar with a fine, rousing sound and the kind of beat that colored the early rock ‘n’ roll bands, assembled, for the first time ever on CD, as the complete 1958-1959 Tiny Grimes sessions. Enjoy.~ Fresh Sound Records |
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1996: Richard Galliano - New York Tango |
Music » Jazz » BeBop » Post-bop |
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 Artist: Richard Galliano Album: New York Tango Label: Dreyfus Year: 1996 Format, bitrate: mp3 320 kbps CBR Time: 52:09 min Size:116.04 Мb A fascinating amalgam of personalities and styles, this 1996 release from Franco-Italian accordion virtuoso Richard Galliano achieves a wholly original musical synthesis. Bracketed by an opening track from tango ace Astor Piazzolla and a concluding piece from Jaco Pastorius, the session finds the common ground in such seemingly disparate choices. With nine Galliano originals in between, the result is a cohesive, uncompromising set of performances and an essential work in the leader's discography. The players with Galliano are a combination of Europeans and Americans equally at home in jazz and European folk music. Erstwhile Django Reinhardt prodigy Bireli Lagrene is a key contributor. Having emerged from his mentor's shadow in the late '80s, Lagrene reveals the range of his spectacular talents as a simpatico accompanist, a precise and articulate ensemble player, and a spellbinding soloist. Underscoring his evolution from his gypsy roots, Lagrene, on Galliano's "To Django," actually plays in a Wes Montgomery style or, more accurately, in the style of two or three Wes Montgomerys or Montgomery via Lenny Breau. Czech bassist George Mraz blends with and complements Lagrene so that the pair operates as an actual string section, not merely as bass and guitar. This stellar roster of talent is rounded out by modern drum legend Al Foster, who brings power, subtlety, and a jazz pulse to swing the whole affair. Throughout, the leader is a source -- as a writer, player, and soloist -- of romantic melodies, bright and melancholy, as well as sheer exuberance and technical dazzle, as he taps into the full polyphonic power of his accordion. Listeners who have yet to venture into jazz accordion will find a compelling introduction to the instrument with this set. ~ Jim Todd, All Music Guide |
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1962: The Buddy Collette Quintet - With Guest Vocalist Irene Kral |
Music » Jazz » BeBop » Cool |
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 Artist: The Buddy Collette Quintet with Irene Kral Album: With Guest Vocalist Irene Kral Label: Studio West Year: 1962; release: 1990 Quality: MP3@320 kbps Size: 59,1 mb Total time: 29:13 The fourth of four CDs released by Studio West, a subsidiary of V.S.O.P. Records, that is taken from previously unissued transcriptions made for the radio show "The Navy Swings" features the Buddy Collette Quintet, which in 1962 was comprised of the leader on flute, clarinet, tenor and alto, guitarist Al Viola, pianist Jack Wilson, bassist Jimmy Bond and drummer Bill Goodwin. As good as Collette (who contributed four melodic originals) plays on these very concise performances (all clocking in around three minutes or less), it is the six often-touching vocals of Irene Kral that particularly make this a recommended disc. Kral's versions of "The Meaning of the Blues," "Nobody Else but Me" and especially "Spring Can Really Hang You Up the Most" are quite definitive and memorable. ~ Scott Yanow, All Music Guide |
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1999: Down To The Bone - The Urban Grooves: Album II |
Soul-Jazz, Funk-Jazz |
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 Artist: Down To The Bone Album: The Urban Grooves: Album II Label: Narada Jazz 094636857527 Year: 1999 Format, bitrate:mp3 320 kbps CBR Time: 01:07:53 min Size: 159.62 Mb AMG Rating:  The cover and inside booklet of Down to the Bone's second album shows a variety of rare-groove record stores (both inside and out), displaying racks of records by Weather Report, Lonnie Liston Smith and Donald Byrd. The music itself is a delicious update of those same sounds -- yes, the grooves are tighter and have a bit of hip-hop bounce, but the soloing is far and away superior to most acid-jazz releases. Programmers and group frontmen Stuart Wade and Chris Morgans have the irresistible knack of translating their influences into an instantly familiar yet radically different style of music, and the results are uniformly excellent. Original Blue Note recording artist Reuben Wilson guests on Hammond organ for "Vinyl Junkie." ~ John Bush, All Music Guide |
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1977: Charles Earland - Smokin' |
Music » Soul » Soul-Jazz |
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 Artist: Charles Earland Album: Smokin' Label: Muse Records (Catalog#: MR 5126) Year: 1977 Format: FLAC (LP-Rip) Time: 32:42 Size: 176.9MB Fine mid-'70s sextet set featuring Earland's customary soul-jazz, blues, and funk, with uptempo and ballad originals. Tenor saxophonists David Schnitter and George Coleman excel, as does guitarist Jimmy Ponder. ~ Ron Wynn, All Music guide This album is a continuation of the great Hammond B-3 master, Charles Earland joined with some fantastic tenor work from George Coleman, especially on “Soon It's Gonna Rain”, not to overlook Dave Schnitter’s contribution. Earland comes with one composition the rest are a well chosen variety of jazz standards both familiar and less well-known. In all instances the players excel giving the tunes some new life with some exhilarating interpretation and interplay. Jimmy Ponder puts in some great solos, noted is his energy shown on the Miles Davis work “Milestones #2”. Walter Perkins’ drumming offsets Earland’s organ licks perfectly. Overall the listener is given an opportunity to hear some dynamic Soul Jazz. |
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2007: Darren Johnston/Fred Frith/Larry Ochs/Devin Hoff/Ches Smith - Reasons for Moving |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Darren Johnston/Fred Frith/Larry Ochs/Devin Hoff/Ches Smith Album: Reasons for Moving Label: Not Two Records Year: 2007 Format, bitrate: Mp3, 290 / 320 Kbps Size: 109 MB / 156 MB Repost with new link from emjey23 "Dawn & The Flat Irons" begins as a conversation between trumpet (Darren Johnston) and bass (Devin Hoff). When drummer Ches Smith comes in, the tune branches off, allowing Smith, Fred Frith (electric guitar) and Larry Ochs (tenor and sopranino saxophones) to play more sparsely.
The softer tracks on the CD are more effective. In "Deep North," Smith and Ochs create an intense quiet that lends depth and gravitas to the entire album and forces the listener to contemplate each laborious note and the silence nestled between them. In raucous songs like "Speed Trap," however, clashing instruments stifle the musicians' intentions. The quintet layers on notes that don't complement each other and Frith's distorted guitar riffs seem out of place. He does seem more comfortable though in "Biocarbon Man," where his distortions find solace in Smith's arduous drumbeats and Ochs' spacious sax.
The title track shows off the quintet's wonderful dynamic. Here, the relationship between Frith, Ochs and Smith is very similar to the one in "Biocarbon Man": Johnston's languorous trumpet harmonizes with Ochs' probing sax beautifully and Hoff's bass complements Frith's guitar flawlessly. ~ IVANA NG, allaboutjazz,com Throughout Reasons for Moving, it is evident that the members of the quintet are very aware of each participants' thought processes yet also manage to challenge and even surprise one another. |
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2009: Various Artists - Ultra-Lounge, Vol. 30: Hey Bartender! |
Jazz, Smooth & Lounge, Compilation |
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 Artist: Various Artists Album: Ultra-Lounge, Vol. 30: Hey Bartender! Label: Capitol Records-39595 Year: 2009 Format, bitrate: Mp3, 320 kbps CBR Time: 00:39:43 min Size: 87.47 Мb Music for Pleasure. Enjoy!!! |
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1954-1955: Buddy De Franco - Complete Verve Recordings with Sonny Clarke [4cd] |
Music » Jazz » BeBop » Hard-bop |
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![1954-1955: Buddy De Franco - Complete Verve Recordings with Sonny Clarke [4cd]](http://jazzbluesclub.com/uploads/posts/thumbs/1326169754_hhh.jpg) Artist: Buddy DeFranco Album: The Complete Verve Recordings of Buddy De Franco with Sonny Clark Label: Mosaic Year: 1954-1955 Release: 1986 Format: Flac Size: 1,08 Gb with covers AMG Rating: ![1954-1955: Buddy De Franco - Complete Verve Recordings with Sonny Clarke [4cd]](http://jazzbluesclub.com/uploads/posts/1221426787_5.gif) Clarinetist Buddy DeFranco recorded extensively for Norgran and Verve during 1953-1958. For a little over a year, Sonny Clark was his regular pianist and all of their small-group recordings have been reissued on this limited-edition five-LP set. With bassist Eugene Wright (a couple years before he joined the Dave Brubeck Quartet) and drummer Bobby White completing the quartet, and guitarist Tal Farlow making the group a quintet on its final 11 numbers, DeFranco had one of his strongest bands. The majority of the 39 selections on the typically attractive Mosaic box are standards or based on a familiar tune's chord changes. Buddy DeFranco had no real competitors (other than Benny Goodman) during the era, while Sonny Clark was one of the most talented of the Bud Powell-influenced pianists; they made for a mutually inspiring team.~ Scott Yanow, All Music Guide |
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1969: Jo-Ann Kelly - Jo-Ann Kelly |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Jo-Ann Kelly Album: Jo-Ann Kelly Year: 1969, release: 1998 Label: Beat Goes On Quality: mp3/320 kbps Size: 127 MB Time: 32:53  AMG Rating: На диске переиздан дебютный альбом британской блюзовой певицы и гитаристки Джо-Энн Келли, выпущенный CBS в 1969 г. В него вошел акустический материал, записанный в конце 60-х гг. в британских пабах и фолк-клубах продюсером Nick Perls. Основатель лейблов Yazoo и Blue Goose Records, в 1964 г. открывший широкой публике Son House, Перлз разглядел в молодой британской девушке с внешностью школьной учительницы уникальный талант исполнения аутентичного блюза. Действительно, до появления на сцене Джо-Энн Келли общепринятым мнением было то, что белые исполнители не способны играть музыку Дельты, а если кто и мог технически исполнить ее на гитаре, то уж петь как черные исполнители точно был не в состоянии. Но после выступления Джо-Энн в 1968 г. на Мемфисском фолк-блюзовом фестивале это мнение было опровергнуто. Причем она получила поддержку и признание не только и не столько от критиков, а от действительно уважаемых людей, таких как выступавшие там Bukka White и столетний патриарх Nathan Beauregard. После этого она привлекла к себе внимание крупных звукозаписывающих компаний. Перлз предложил издать сделанные им записи фирме CBS, которая в конце 60-х гг. активно входила в соул/блюзовый сегмент рынка, ранее игнорировавшийся ею. В рамках этого направления уже были подписаны контракты с Taj Mahal и Johnny Winter, так что Джо-Энн Келли пришлась как раз вовремя.
Изданный диск включает в себя одиннадцать композиций, большая часть которых является классикой довоенного блюза и включает в себя материал таких мастеров, как Чарли Пэттон, Сон Хаус, Роберт Джонсон, Чарли МакКой, Томми МакКленнан. Два авторских трека Келли – "Look Here Partner" и "Sit Down On My Knee" – следуют блюзу Дельты и практически неотличимы от традиционных вещей. На записи Джо-Энн аккомпанирует себе на слайд-гитаре без участия других музыкантов. В соответствии с практикой исполнения фолк-блюза, гитара является здесь не доминирующим инструментом, как в блюз-роке, а "вторым голосом" исполнителя, обеспечивая тесную взаимосвязь и взаимозависимость между вокалом и музыкой. Критики называли ее наследницей великой Бесси Смит, британским ответом Дженис Джоплин, но сама Джо-Энн не стремилась делать деньги и активно участвовать в шоу-бизнесе. Она успешно прошла прослушивание с группой Джонни Уинтера и должна была сопровождать их в американском туре. До этого у нее были сольные трехдневные гастроли по Штатам. Морально и психически вымотавшись уже за две недели выступлений, она бросила все и вылетела в Англию. На выступлениях с Уинтером и дальнейшем контракте с CBS был поставлен крест. Тем не менее, контакты с Перлзом не прервались, впоследствии он издавал ее на собственном лейбле Blue Goose, но уже с аккомпанирующей группой. ~ Сергей Исправников, Blues.ru For blues connoisseurs and fans Jo Ann Kelly was a real blue blood. She was unanimously heralded as the British "Queen of Blues", and could have worn this title with pride. But the friendly Englishwoman with her unpretentious manner never showed a trace of self importance. Big-time promotion campaigns for her own cause were not her style, either. Her modesty is probably one of the reasons why she never achieved stardom but rather earned primarily the respect of insiders. Her almost thirty-year career is only sporadically documented on records - which fails to do justice to a "queen" of her talent. When Jo Ann Kelly died on October 21, 1990 at the age of forty-six after a tragic illness the press praised her lifetime achievements and artistry in numerous obituaries, posthumous acknowledgement which should have been hers much earlier. ~ tradition-moderne.com |
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