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 Into the Rhythm
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1970: The Paul Butterfield Blues Band - Live |
Modern electric blues, Blues-Rock, Modern Electric Chicago Blues |
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 Artist: The Paul Butterfield Blues Band Album: Live Label: Wounded Bird Records Year:1970, release: 2005 Format, bitrate:mp3; 320 kbps CBR Time: 01:17:42 min Size:172.06 Mb For the Paul Butterfield Blues Band, this two-LP set proved that it all came down to Butterfield himself and his abilities as a leader in the end. For all of the adulation heaped on Mike Bloomfield, Elvin Bishop, et al., the group was ultimately an extension of Butterfield's abilities as a leader and player, and this set proved that Butterfield and the bandmembers he had assembled in 1971 had more than two LPs' worth of live playing in them that was worth releasing and worth buying. And that wasn't the half of it -- talk about ironies -- at the time the Paul Butterfield Blues Band recorded this live album, they were at their peak as a concert act; they were getting all the bookings they wanted at the best clubs in the biggest cities in the country, and a lot of other places as well, in front of enthusiastic audiences who were devouring their blues-jazz-rock-R&B hybrid sound as fast as they could pump it out on-stage. They just weren't selling many records, which was why few people ever got to hear this album. The four-man horn section and the single guitar are a long way from the band that dazzled audiences six years earlier on East-West, or at Monterey in 1967; this is big-band Chicago blues with a jazz base and a killer sound, ranging all over the musical map without peer. In the midst of all of those seemingly louder instruments blowing away, however, one can still find a great showcase for Butterfield's blues harp on numbers like Big Walter Horton's "Everything's Gonne Be Alright." The sound, recorded on then state-of-the-art equipment at the L.A. Troubadour, is excellent and the performances are as tight as anything ever delivered by the band, in many ways fulfilling the promise of the longer numbers represented on their earlier studio albums. The original double LP is still worth finding for vinyl enthusiasts. [In 2004, an expanded edition of the album was released on CD by Rhino Handmade with an additional 70 minutes of music on it.] ~ Bruce Eder, All Music Guide |
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1933 - 1936: Don Redman & His Orchestra 1933 - 1936 |
Music » Jazz » Swing |
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 Artist: Don Redman Album: Don Redman & His Orchestra 1933 - 1936 Label: Classics Years: 1933-1936; release: 1990 Quality: MP3@320 kbps Size: 157 mb Total time: 72:25 AMG Rating:  The great arranger Don Redman made Fletcher Henderson's Orchestra in the mid-1920s the first real swing band, but during the swing era itself, Redman was little known to the general public. His big band (heard here on the second of three "complete" Classics CDs) failed to really catch on, although it stayed together throughout the 1930s. After recording a bunch of sessions in 1933, Redman's orchestra only cut two sides in Jan. 1934 and then none until May 1936. There are vocals on 22 of the 25 selections on this CD; of the three instrumentals, this version of "Christopher Columbus" might not be by Redman. The leader's charming vocals are fine, but the nine by Harlan Lattimore are of lesser interest, and Chick Bullock dominates a six-song session. There are some good solos along the way, particularly by trumpeter Sidney DeParis, trombonists Benny Morton and Claude Jones and the forgotten tenor Robert Carroll, but this CD is primarily for completists. ~ Scott Yanow, All Music Guide |
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1975: Kenny Barron & Ted Dunbar - In Tandem |
Hard-bop, Post-bop |
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 Artists: Kenny Barron & Ted Dunbar Album: In Tandem Label: Muse Records (Catalog#: MR 5140) Year: 1975; release: 1980 Format: FLAC (LP-Rip) Size: 113.91MB Time:48:58 This duo concert by pianist Kenny Barron and guitarist Ted Dunbar is excerpted from a 1975 concert at Rutgers University, where both of them were teaching at the time. Barron and Dunbar (who made a number of recordings, but very few as a leader or co-leader) mesh very well together, though the liner notes don't make clear whether they had worked together previously. The duo tracks are long but never run out of gas. In the two musicians' exploration of "Summertime," Barron provides a modal-type backing line (sounding a bit like McCoy Tyner at times) as Dunbar's blistering solo takes the initial spotlight; the pianist seems strangely buried in the mix during his solo, even though it matches his partner's intensity. They jointly composed "Aruba," a piece that successfully blends elements of the Caribbean with adventurous post-bop, during which they are unable to resist the temptation to quote fellow jazzman Sonny Rollins' calypso hit, "St. Thomas." There are also solo features for each man. Barron's interpretation of "Here's That Rainy Day" has Tatum-like rapid-fire flourishes, running through a variety of piano styles in an impressive performance. Dunbar's surprising choice of "On the Trail" as his solo feature finds him making great use of space during his tour de force rendition. Out of print since the end of the LP era, this 1980 record deserves to be reissued. ~ Ken Dryden, All Music Guide |
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2007: Nels Cline/Andrea Parkins/Tom Rainey - Downpour |
Freejazz, Avantgarde |
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 Artist: Nels Cline/Andrea Parkins/Tom Rainey Album: Downpour Label: Victo Year: 2006; release: 2007 Format, bitrate: mp3, 320 Size: 134 mb Almost four years after recording their volume of the Out Trios series (Ash and Tabula: Out Trios, Vol. 3), Nels Cline, Andrea Parkins, and Tom Rainey reconvened at the annual Victoriaville festival for another set in 2006. As expected with these players (and the festival), this live set is not merely a rehashing of the album; it's another improvised journey whose long form allows for more ebb and flow than the previous album. Things start slowly, building up from some looped drones, but the track starts to gain momentum about four minutes in, with Cline adopting a nice ray-gun tone for a while and Parkins offering a bit of accordion. Later, Cline switches to bass (or is that some effect?) while Parkins moves to piano before the track winds down and devolves into a slow jackhammer effect. Rainey is amazingly supportive, knowing when to push and when to lay back, and you can hear how each player moves the music into new directions while the trio acts as a cooperative unit. The second track begins with Cline beginning in a jazzier mode before it kicks into high gear about five minutes in, with Rainey in a surprisingly rock mood and Cline switching to a great snarling guitar tone. The set ends with on a more playful note with the relatively brief "Moss, Bed." Much like the festival itself, the Victo label has a reputation for exciting free improvisation, and Downpour doesn't disappoint.~ Sean Westergaard, All Music Guide Some years after their first album "Ash And Tabula", this avant-garde trio consisting of Nels Cline (guitar), Andrea Parkins (electronics, accordion, piano) and Tom Rainey (drums) brings a new exploration of hard sonic universes. The record requires some effort at first, but the more you've listened to it, the more astonishing it sounds. Andrea Parkins is responsible for the major part of the sonic explorations, with Nels Cline reacting to it and Tom Rainey accentuating and chasing the whole thing forward. This music is impossible to classify. This is no jazz, no rock, no free improv, but a new style which integrates the three genres. You may be able to find sound samples of this album on the internet, but 30 second pieces cannot possibly give an inkling of how this music evolves over these two long and one short track. The music pulls you into a place you've never been before, where sometimes, but very rarely, you can hear sounds that are familiar (some guitar strumming, drums, even a few undistorted piano notes, ...) but more often you will be surprised by sonic openings into a new spacial environment, with new tonal combinations, intense, electrifying, scary, gloomy, dark, menacing. The three musicians are incredibly strong, creating this musical universe as free improv with an incredible coherence and variation. Tom Rainey is without a doubt one of the best modern jazz drummers of the moment, and every album he contributed to in the last few years is excellent (Torn, Malaby, Berne, Helias, Shepik, O'Leary, Feldman), and that is no coincidence, because his drumming is so determining for the whole sound. And although Andrea Parkins is not so prominent on the foreground here, her sonic explorations are extremely functional and set the mood for the whole record. Nels Cline is again a master in harsh creativity, developing new sounds, sometimes guitar-like, yet more often totally unfamiliar sounds, and his playing is creative and subtle throughout both the calmer and the harder moments. He is someone like Robert Fripp who can create new music just due to his unbelievable mastery of his instrument. This record is a real adventure, full of power, energy and subtlety. Don't miss it. ( 4 stars out of 5) ~ Stef Gijssels, Free Jazz Blog |
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1946-1957: VA - Ultra-Lounge, Vol. 3: Space Capades |
Music » Jazz » Fusion » Jazz-Pop |
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 Artists: Various Artists Album: Ultra-Lounge Vol. 3: Space Capades Label: Capitol Records – 724383517626 Years: 1946-1957; release: 1996 Format, bitrate:mp3 320 kbps CBR Time:43:52 min Size: 96.10 Ìb In the late 1950s and early 1960s, this was the easy listening music that tried to anticipate the space age. Utilizing theremin or spooky organ figures helped, as did then-novel tricks like stereo separation and then-exotic instruments and hi-fi effects. It wasn't just novelty artists that got in on the act; bandleaders Les Baxter and David Rose, who perform some of the 18 tracks assembled here, also tried their hands. This compilation still falls closer to novelty than either innovation or period kitsch (although there's plenty of the latter). Some will complain that I'm not getting into the spirit of the thing, but there's more banality than entertainment here. As amusing as some of these gimmicky records sound upon first or second hearing, it lends itself even less to repeated plays than most of the space age bachelor pad reissues. ~ Richie Unterberger, All Music Guide |
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1995-1996: Gonzalo Rubalcaba Cuban Quartet – Antiguo |
Music » Jazz » Latin » Afro-Cuban Jazz |
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 Artist: Gonzalo Rubalcaba Album: Antiguo Label: Blue Note Years: 1995-1996; release: 1997 Genre: Latin, Fusion Format, bitrate: mp3@320kbps Time: 73:29min Size: 191 mb Antiguo is different than most Gonzalo Rubalcaba records. The pianist spends a lot of time exploring synthesizers. Some of the music (particularly “Eshun Agwe”) is memorable but at other times the results are merely haunting mood music. Rubalcaba and his longtime quartet (trumpeter Reynaldo Melian, bassist Felipe Cabrera, and drummer Julio Barreto) are joined in spots by the voices of Maridalia Hernandez and Lazaro Ros, percussionist Giovanni Hidalgo, and violinist Dagoberto Gonzalez. The influence of Chick Corea is strong in some of the selections as it is in the sound of Rubalcaba’s synthesizers. Not essential but worth a few listens.~ Scott Yanow, All Music Guide |
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2002: Various Artists - Mojo Club Presents Dancefloor Jazz, Vol.11: Right Now |
Music » Compilation |
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 Artists: Various Artists Album: Mojo Club Presents Dancefloor Jazz, Vol.11: Right Now Label: Universal Records Year: 1997 Format, bitrate: Mp3, 256 Kbps Time: 01:05:40 Size: 123 Mb with covers One of the most tasteful clubs in hamburg is the "Mojo Club". It opened up in 1991 and had several side activities like a shop, a lounging club and a record series.
The starting point was the music, from the beginning they called it "Dancefloor Jazz". It is jazz music from the 60's and 70's, that is very danceable. When they started to play that kind of music, it was new in the club and dance scene, because in the 60's that style of music hardly found its way over the ocean from america and in the 70's it were mostly intellectuals who listened concentrated to the virtuosly playing musicians instead of dancing. So they had to build their audience up by organising a lot of parties in different locations until they felt the time was right to open a club of their own.
They found a room on the famous "Reeperbahn", which is the main street of Hamburgs red-light- and also the amusement- and partydistrict. Before it was a musical instrument shop, so they had to improvise a club. They rent a sound-system and installed some slide projectors with images of 60's jazz musicians to produce the right mood. First they only opend on saturdays but soon found some like minded dj's to do the friday that concentrated on a more modern aspect of jazz: electric jazz.
They called the club "Mojo-Club". Mojo is somekind of positive magic in the carribean voodoo-cult. The term was familiar because it appeared in the jazz-music, so they took it as the name for the club. A friend of them, Marion Schnelle, did a logo, and for the flyers they had some rudimentary rules like "never use serif-fonts" as a first step of visual identity.
In 92 the Mojo-crew opend a shop where they sold old and rare records and also clothes, club couture mostly from england that you couldn't get somewhere else in Hamburg. Their style was mod-orientaded and also reached to old-school Adidas stuff. Even a hair-cutter was included in the shop, so you could get everything you need for a satisfied clubbers lifestyle!
That year they also released the first Mojo Club - dancefloor jazz sampler. It contained unknown songs from the 60's to early 70's by artists like Jimmy Smith, Roy Ayers, James Brown, Kool And The Gang and Nina Simone. The record was a big success, so it became a series, The club became very famous, people started waiting in a queue and the dj's made a tour through Germany. |
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2009: The Best of Johnny Griffin |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Johnny Griffin Album: The Best of Johnny Griffin Label: Riverside Records Year: 1958 - 1978 Release: 2009 Format, bitrate: mp3, 320kb/s Size: 138 MB Nick Phillips compiled this chronologically arranged nine-track overview of the career of "The Little Giant," Johnny Griffin, as a leader and as a sideman for the Riverside, Jazzland, Prestige, and Galaxy catalogs. The recording dates mainly range from 1958-1962, though the final track, a lovely version of "Autumn Leaves," comes from a 1978 session. There is only one original on the set, the wonderful "63rd Street Theme" from the album The Little Giant, in 1959. Other albums represented here are Way Out!, The Little Giant, Johnny Griffin Sextet, Tough Tenors, and The Tenor Scene with Eddie "Lockjaw" Davis, Thelonious Monk's Thelonious in Action, the great Big Soul Band session from 1960, Wes Montgomery's Full House, and Return of the Griffin from 1978. The highlights of the set include the big band's version of "Wade in the Water," the blazing version of "Cherokee," and the reading of Lester Young's "Tickle Toe." Other highlights -- though non-musical ones -- are the insightful and engaging -- as well as authoritative -- liner notes by author and critic Ashley Khan. ~ Thom Jurek, All Music Guide |
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1975: Eddie Henderson - Sunburst |
Music » Jazz » Fusion |
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 Artist: Eddie Henderson Album: Sunburst Label: Blue Note Year:1975; Release:2002 Format, bitrate: mp3 @320 kbps Time: 37:28 Size: 83 mb AMG rating  Switching over to Blue Note, which was then reaping a fortune with Donald Byrd's R&B outfit, Eddie Henderson pursued a harder, earthier, more structured, funk-driven sound on his first album, while maintaining some of his marvelously spacier instincts for spice. Henderson continued to keep several components of the Herbie Hancock Septet together, for drummer Billy Hart, bassist Buster Williams, reedman Bennie Maupin, and now trombonist Julian Priester are back. But this time, Hancock is replaced by George Duke, and fusionaire bassist Alphonso Johnson and drummer Harvey Mason (late of the Headhunters) are added -- and these switches make much of the difference. Duke is as much of an techie as Herbie was; he delights in flaunting his Echoplex and burbling, shooting, twinkling synthesizer effects. Henderson himself is more into electronic echo and wah-wah effects than before, definitely pursuing the current Miles Davis line but in a brighter, more tonally brilliant manner, and Maupin has many impassioned and creepy (on bass clarinet) moments. The title track, a ruminative Henderson tune with a leaping funk beat, and Mason's archetypical funk workout "Hop Scotch" are the best cuts. ~ Richard S. Ginell, All Music Guide |
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