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jasapaal
 Into the Rhythm
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1998: The Bo-keys - Got To Get Back! |
Music » Soul |
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 Artist: The Bo-keys Album: Got To Get Back! Year: 1998; release2011 Label: Electraphonic Recordings Quality: mp3; 320Kbps Total Time: 40:00 Total Size: 93.88 MB AMG rating  Scott Bomar, the bassist/auteur of this large, horn-enhanced, Memphis-based retro-soul band, is nothing if not steeped in authenticity. Along with Brooklyn's Dap-Kings and Nashville's Dynamites, he's referencing the tough soul sound of the '60s and '70s to create contemporary yet retro-inspired roots music clearly indebted to its forebears. Working out of Memphis gives him a leg up on the competition, since he can call in original musicians who are still active to give his project more legitimacy. That's what happens on this 2011 follow-up to the 2004 Bo-Keys debut by utilizing guitarist Charles "Skipp" Pitts (the man who played the distinctive wah-wah on the opening to "The Theme from Shaft"), drummer Howard Grimes (member of the legendary Hi Rhythm Section), and keyboardist Archie "Hubie" Turner (also from the Hi crew) to help create a second dose of sizzling Memphis soul just like they did it in the old days. Unlike the first disc, which was all instrumental, some veteran singers including Otis Clay and William Bell join this one to add their stamp to a handful of tracks. Most of the songs are written by Bomar, although in a few cases, particularly the "Green Onions" rewrite of "Jack and Ginger" where even the organ solo sounds like Booker T., the similarities to other tracks from the music's golden era are so obvious that he should consider sharing credit with the original songwriters. A six-piece horn section brings tight, tough brass to the arrangements, giving the blues of "Sundown on Beale" (a showcase for guitarist Pitts) real heft. Harpist/vocalist Charlie Musselwhite takes control of the midtempo "I'm Going Home," singing with his distinctive weatherbeaten voice and laying his electrified harmonica (which frustratingly fades out during a second solo) over the production. Pitts does his best Wolfman Jack growl, talking through "Work That Sucka" against his unique wah-wah lines and horn charts right out of Shaft. Clay tears it up, sounding like Wilson Pickett in his prime on "Got to Get Back (To My Baby)," the album's standout track and grittiest performance, which is reprised as "Pt. 2," showing what happened in the studio after part one faded out. While unlikely to appeal to those who aren't fans of Memphis music's golden age, the Bo-Keys' uncanny reproduction of all that is memorable about that genre makes this a terrific listen. It might even make listeners dig back and explore the previous work of its veteran guest stars, which would be just fine with Bomar. ~ Hal Horowitz, All Music Guide |
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1998: Various Artists - Duke Ellington: Swings! Music of the Duke |
Hard-bop, Post-bop |
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 Artists: VA Album: Duke Ellington: Swings! Music of the Duke Label: Telarc Year: 1998; release:1999 Format: mp3; VBR Size: 86,74 mb Time: 74:20 Telarc Jazz's contribution to the Ellington centenary was this engaging compilation, all material from the '90s back catalog, with two notable exceptions. As bait for the complete Dave Brubeck collector, they've thrown in a pair of unreleased tracks left over from the Brubeck Quartet's tour of the U.K. in November 1998: a lengthy exploration of "Take The 'A' Train" with a hot solo by tenor Bobby Militello and some polytonal romping by Brubeck and a relaxed solo piano version of Mercer Ellington's "Things Ain't What They Used to Be." Two live tracks with Mel Tormé at his most ingratiating bracket the album ("I'm Gonna Go Fishin'," "It Don't Mean a Thing"), and right in the center is a spiffy Tormé turn at the drums on "Rockin' in Rhythm." The remainder of the tracks are given over to such reliable mainstream stalwarts as Oscar Peterson, the Ray Brown Trio, Jim Hall, Ahmad Jamal, the trio of André Previn, Joe Pass, and Brown and Bobby Short. ~ Richard S. Ginell, All Music Guide |
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1928-1937: Miff Mole 1928-1937 |
Dixieland, Classic Jazz |
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 Artist: Miff Mole Album: Miff Mole 1928-1937 Label: Classics Years: 1928-1937; release: 2003 Quality: MP3@320 kbps Size: 142 mb Total time: 67:16 AMG Rating:  Early recordings by one of the first masters of jazz trombone. Less jaunty than Kid Ory and not as funky as Charlie Irvis, Miff Mole's trombone had a sound all its own. His calm, assertive presence transformed any ensemble, and the bands he led were usually dependable and solid. If you're not yet a devoted follower, this excellent package might grab you for keeps. The opening session features an inspired Frank Teschemacher, who really shines on "Shim-Me-Sha-Wabble." The rest of the material from 1928 is delightful, sounding a lot like fully arranged small band swing from the mid-'30s. The piano lineup is marvelous throughout: Joe Sullivan, Arthur Schutt, and Frank Signorelli, composer of "I'll Never Be The Same" and "A Blues Serenade." Tuba legend Joe Tarto anchors three different ensembles and sounds particularly comfortable behind the trombone solos. Because they wisely chose not to feature any vocalists on the 1928-1929 sides, the magical interaction between instrumentalists proceeds without interruption. We get a good taste of Jimmy Dorsey's clarinet while Matt Malneck saws away on a hot violin. Dick McDonough's guitar solo on "Playing the Blues" is dazzling. Eddie Lang, however, plays hardly audible straight rhythm guitar on the April 19, 1929, session, restraining himself while the horns bubble and smoke out front. "That's a Plenty" is a prime example of how hot these guys could blow, and Dorsey is joined by tenor man Babe Russin for a wild version of "After You've Gone."
Those 14 hot sides are followed by a session from 1930. It's amazing how ensembles began to congeal and sweeten once the new decade (and the Great Depression) was on. Mole does some stuffy work with a mute and Scrappy Lambert's vocals are a bit fluffy, but the exciting presence of Adrian Rollini's bass saxophone is consoling, much as it was on the Venuti/Lang recordings from this same period. Luckily, we are given the option of skipping the vocal selections and choosing instrumental alternates, which were originally issued on Odeon instead of Okeh. These are as worthy as any of the other instrumental numbers included here.
The material from 1937 is thicker and more heavily arranged, with vocals by Midge Williams, who could be charming, and Chick Bullock, who wasn't. This is an entirely different world from the earlier sides. The presence of Glenn Miller constitutes a manifestation of mainstream big band music ready at that point to seize the market. Mole sounds great once Bullock runs out of lyrics, and even six marginally appealing vocal episodes cannot detract from the simple majesty of this chronologically stacked retrospective. Mole deserves to be remembered and Classics is to be commended for having the gumption to issue his music in this manner. ~ arwulf arwulf, All Music Guide |
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1959-1961: Slide Hampton Octet - Slide! |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Slide Hampton Octet Album: Slide! Label: Fresh Sound Records Year: 1959-1961 Format, bitrate: Mp3@320 Kbps: Time: 01:12:10 Size: 174 mb In 1959, trombonist Slide Hampton was known mainly for the excellent arrangements he did for the Maynard Ferguson Band, so it was no surprise that he formed his octet band and began making a serious bid for recognition as a top jazz artist and arranger, recording his first album for the small label Strand. His impact was immediate and in 1960 Slide signed for Atlantic resulting in two studio albums, “Sister Salvation” and “Somethin’ Sanctified,” which were the octet’s first for the label.
Both of them are in this set and, as a bonus included here, a previously unreleased gem in a series of broadcast octet performances recorded live at Birdland in 1961. Soloists like Freddie Hubbard, George Coleman, Jay Cameron and the leader were featured, but it’s also worth noting that the octet’s personnel on the live dates differs at times from the studio recordings, including, among others, tenor saxophonist Walter Benton and trumpet player Willie Thomas.
Hampton summed up his overall approach simply. “I tried to get an instrumentation which would be between all the other sizes and yet get a little of each of these sounds.” These recordings show how well he succeeded and how exciting the band was, particularly heard live. ~ Fresh Sound Record |
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1955-1960: Ken Colyer’s Jazzmen - Serenading Auntie |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist: Ken Colyer's Jazzmen Album: Serenading Auntie Label: Upbeat (import - UK) Year: 1955-1960 Release: 2002 Format, bitrate: Mp3, 192 kbps CBR Time: 01:06:43 min Size: 86,84 Mb This album features Ken Colyer at the BBC Previously unreleased BBC archive material taken from programmes 1955 - 1960 Trumpeter Ken Colyer's influential New Orleans-style bands of the 1950s are featured on this British CD. The 21 performances are taken from five live performances taped for the BBC. While the first six numbers (from 1960) match Colyer with trombonist Graham Stewart and clarinetist Sammy Rimington, the other numbers feature trombonist Mac Duncan and clarinetist Ian Wheeler in Colyer's sextet/septet. The recording quality varies from date to date, as do the musicians' intonations (they are usually in tune). The repertoire is highlighted by jazz versions of some ragtime tunes (including "Thriller Rag," "Hilarity Rag" and "Heliotrope Bouquet"), as well as obscurities from the 1920s and a few standards. Trad fans will enjoy this formerly rare music.~ Scott Yanow, All Music Guide |
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2009: Dick de Graaf - Cry Baby! |
Post-bop, Progressive Jazz |
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 Artist: Dick de Graaf Album: Cry Baby! Label: Soundroots records Year: 2009 Format, bitrate: mp3, 320 kbps Time: 55 min Size: 125MB (with autographed covers) Repost with a new link! Dick de Graaf has been one of Holland’s most prominent saxophonists for decades. In recent years he has initiated special projects: ‘The Burning Of The Midnight Lamp’, which was dedicated to the music of Jimi Hendrix, a collaboration with Les Sofas de Bamako, ‘Schubert Impressions’, ‘Istanbul Connection’ and, recently, the ‘small big band’ Clazz Ensemble, a crossover between jazz and contemporary composed music. His new project ‘Cry Baby!’ combines blues and rock with the jazz of today. The project offers a prominent role to young guitar talent Jerome Hol, whose sound is influenced by Hendrix and heavy metal, as well as Pat Metheny and John Scofield. ‘Tenor saxophonist De Graaf has created a nice power jazz album with a star role for young rocking guitarist Jerome Hol’ |
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2006: Dick de Graaf Quartet - Moving Target |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Dick de Graaf Quartet Album: Moving Target Label: Soundroots Year: 2006 Format, bitrate: MP3@320 kbps Time: 0.56:54 Size: 140.71 MB + covers with autograph AMG rating: Repost with new link! On 15-02-2008, i went to a concert of this great saxplayer. During the concert i bought this cd... I am sure you will all like this album! Tenor-and soprano-saxophonist Dick de Graaf debuted 1986 with his LP ‘Hot, hazy and humid’ (Limetree Records). Before he had already wun the Dutch Jazz Competition and he had played an important role as a soloist in a.o. the Amstel Octet and in big bands led by Frank Grasso and John Clayton.
During the last 15 years he has performed at many national and international jazzstages. He played with a.o. Chet Baker, Misha Mengelberg, John Engels, Jasper van ’t Hof, Kenny Weeler, Tom Harrell and Benny Golson and toured festivals and clubs in Europe, South and West Africa, Japan, New Zealand and Canada. Dick de Graaf's Moving Target is well named, as the tenor saxophonist doesn't stick to one style during these 2006 sessions. Leading a quartet with pianist Jeroen van Vliet and bassist Guus Bakker (both of whom double on electric instruments) plus drummer Pascal Vermeer, the leader starts off very much in a post-bop setting with his potent "Cascade." Several of the leader's pieces were inspired by 20th century composer Béla Bartók, including the haunting "Stolen Dream" and the quirky swinger "Why Birds Always Sing" (the latter with de Graaf switching to soprano sax). Van Vliet's hand-muting of the piano strings in the opening to "Handiclap" gives the piece the feeling of a kalimba (African thumb piano), while this percolating composition never loses steam. The switch to electric instruments is a bit uneven, as the lively "Démasqué" works well but "Climate Change" sounds like warmed-over Weather Report from the 1970s. Still, this is a commendable outing by the veteran musician.~ Ken Dryden, All Music Guide |
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