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1947-1952: Dizzy Gillespie - School Days [Bonus Tracks] |
Music » Jazz » BeBop |
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![1947-1952: Dizzy Gillespie - School Days [Bonus Tracks]](http://jazzbluesclub.com/uploads/posts/thumbs/1326904832_cover.jpg) Artist: Dizzy Gillespie Album: School Days [Bonus Tracks] Label: Savoy SVY 17256 [Regent MG 6043] Years: 1947, 1951, 1952; Release: 2003 Format, bitrate: mp3@320kbps Time: 45:26 Size: 106 MB (including scans) AMG Rating: ![1947-1952: Dizzy Gillespie - School Days [Bonus Tracks]](http://jazzbluesclub.com/uploads/posts/1207302846_45.gif) An old recording from 1951, this album has been re-released on Columbia from the old Savoy/Regent recordings. The blowing is insane in spots -- in "Pop's Confessin," Dizzy tries to hit the loudest, highest, longest note possible (à la Roy Eldridge). Joe Carroll provides some humor in his vocal work (often performing in duet with Dizzy). Milt Jackson actually goes without his vibes here, singing and playing piano. According to the original liner notes, other performers on the album are "probably" Bill Graham on baritone sax, Wynton Kelly on piano, Percy Heath on bass, and Al Jones, Kansas Fields, or Joe Hanes on drums. The interplay among trumpet, piano, and Joe Carroll's vocals is some of the best you'll hear from this time period (it gets even better in a couple years, but this is still outstanding). "Lady Be Good" is a tour de force for Carroll, and "School Days" starts to sound a lot like the blues-shouting R&B of the day. For any fan of Dizzy, and the bop of the day, this is a worthwhile investment in listening pleasure. The trumpet is good, the vocals are good, the humor is good. You can barely miss with this one. [The 2003 reissue on Savoy Jazz adds four bonus tracks: an alternate version of "Caravan" recorded at the same session as "No One Knows" and three live tracks taken from a 1947 performance at Carnegie Hall that teamed Diz with Charlie Parker. The sound is good, the performances solid and even though the tracks have absolutely nothing to do with the original album, they are a worthwhile addition for the Gillespie collector.] ~Adam Greenberg, All Music Guide |
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1970: Buddy Guy - Buddy and the Juniors |
Music » Blues » Acoustic blues |
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 Artists: Buddy Guy, Junior Wells, Junior Mance Album: Buddy and the Juniors Label: Verve Year: 1970 Quality: flac Size: 268 mb (with covers) The historical details surrounding the recording session that became Buddy & the Juniors are almost as entertaining -- and oddly satisfying -- as the music itself. Released on Blue Thumb in 1970 on multi-colored wax, this session, were it not for a very real economic necessity due to Buddy Guy's feud with Vanguard Records, would never have happened. According to producer Michael Cuscuna's liner notes on the CD reissue, Vanguard wouldn't pick up the tab for Guy to fly to New York to mix an album he'd cut with Junior Mance and Gary Bartz -- also produced by Cuscuna. Being an ever-enterprising genius, Cuscuna pitched the idea for a recording between Guy, Mance, and Junior Wells to Blue Thumb label boss Bob Krasnow; he jumped. The all-acoustic Buddy & the Juniors was recorded on December 18 of 1969, and on December 19 they mixed this album and the Vanguard date! While an acoustic pairing between Guy and Wells is a natural one, adding jazz pianist Mance -- a Chicago native whose early influences were the boogie-woogie recordings of Meade "Lux" Lewis and Albert Ammons -- to the mix was risky in terms of interpersonal dynamics, but in retrospect, proved a brilliant idea. The proceedings are informal and raw with plenty of fireworks. The first two tracks -- "Talkin' 'Bout Women Obviously" and "Riffin' [aka A Motif Is Just a Riff]" -- were the last two recorded. They're blazing, hairy, on-the-spot improvisational duets between Wells and Guy: the former offers lyrics in a back-and-forth extemporaneous style; the latter develops in intensity as it goes on. The playing by Guy and Wells is inspirational. "Buddy's Blues," the first interplay of the trio, has Mance digging deeply into the Otis Spann tradition, just rolling inside it, accenting lines, punching chords, and offering beautiful tags to Wells' harmonica lines. Wells' vocal on "(I'm Your) Hoochie Coochie Man" meets Guy's six-string head-on, with Mance comping and popping a melodic fill underneath each sung phrase. He introduces "Five Long Years" as a piano blues that gets countered in exponential grit by Guy's vocal and Wells' punchy harp; he shuffles, fills, trills, and blows straight at the the keyboard, creating a forceful gale of dialogue. On the slippery boogie-woogie set closer, Wells' "Ain't No Need," the listener grasps the deep communication of this trio. Given how earthy, informal, and joyful this acoustic session is, it conveys everything right about Chicago blues. ~ Thom Jurek, All Music Guide |
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1977: Keith Tippett/Julie Tippett/Trevor Watts/Colin McKenzie - Warm Spirits - Cool Spirits |
Freejazz, Avantgarde |
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 Artists: Keith Tippett/ JulieTippett / Trevor Watts/ Colin McKenzie Album: Warm Spirits - Cool Spirits Label: Vinyl Records Year: 1977 Format, bitrate: FLAC Time: 46,57 Size: 189,18 mb LP recorded on 15th December 1976 as a selection of free jazz improvisations. |
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1957-1958: Ethel Ennis - Change Of Scenery/ Have You Forgotten |
Music » Jazz » Vocal Jazz |
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 Artist: Ethel Ennis Album: Change Of Scenery/ Have You Forgotten (1CD / 2LP) Label: EMI Records Ltd. Years: 1957-1958; release: December, 14, 1999 Format, bitrate: mp3 320 kbps CBR Time: 01:08:44 min Size: 150.9 Mb Ethel Ennis 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. I saw her sing many times at the King of France Tavern in Annapolis in the 1970s and 1980s. To me she really represents some of the very best of classic, female vocalist Jazz; and without the feeling you've heard her a thousand times already. This is the main reason you should buy this record. ~ J.Thompson, Amazon.com |
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2002: Paul Brody's Sadawi - Kabbalah Dream |
Fusion, Modern Jazz, Avantgarde |
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 Artist: Paul Brody's Sadawi Album: Kabbalah Dream Label: Tzadik Records Year: 2002 Format, bitrate: mp3, 320 Time: 49:30 Size: 118 mb The title track and opening song "Kabalah Dreams" opens with a harsh funk, that periodically devolves into a frantic klezmer-derived progression, then opens out into a Miles Davis-style space before returning to its klezmer roots. The piece nicely showcases trumpeter Paul Brody's latest ensemble as a delightful, hard-edged fusion of klezmer and jazz. Later, on the composer's reworking of the traditional "Sadawi" the band shows an entirely different side to intensity, but never losing its tightness or edge or drive.
The inventiveness and scope of the opening number foreshadow the fun yet to come. This is a very exciting jazz album that incorporates a wide variety of Ashkenazic Jewish elements. As I wrote elsewhere, recently, this is a rare Tzadik album that actually seems to have something to propose in terms of fusing Jewish and Jazz and coming up with something new, something approaching the edges of what we know musically. It's also impossible not to enjoy an album with song titles as delightful as "Holy Man's Hum" or "Buber's Big Boat." The latter especially seems to embody the spaciousness and even I-Thou connectedness of such a name. Other lighter moments include "Sleeping on a Rock" which gives room for everyone in the band short solos before Brody's own lyric trumpet returns to tie things together.
This is also the sort of album that breaks a bit away from the Tzadik sound. There is the usual clarity, but the music feels far more original than most. If it resemble's anyone's work it is that of the other band that doesn't fit Tzadik's categories well, Naftule's Dream. That may come as much as having Eric Rosenthal, that band's long-time drummer, along with Boston regular (and I believe, new Naftule's Dream member) Brandon Seabrook on banjo, guitar, and electronics. The relaxed energy and nice integration with the rest of Berlin-based Brody's ensemble is wonderful.
I have to say, as I did on the first album, how much I enjoy what Brody is doing, and how inventive I feel his music is. From that opening funk klezmer, to the closer bells of "(Born) Smaller than a Banana," this album is worth listening to, and a pleasure to listen to. Brody has fused a variety of Jewish musics with jazz in a way that is both approachable (albeit, not excessively so) and yet retains edginess and progressive elements. It's a pleasure.~ Ari Davidow, Klezmer Shack |
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1986: Benny Golson Jazztet - Real Time |
Music » Jazz » BeBop » Hard-bop |
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 Artists: Art Farmer & Benny Golson Benny Golson Jazztet Album: Real Time Label: Contemporary Records Year: 1986; release: 1988 Quality: Flac Size: 279mb (with covers) AMG Rating: This CD features the reunited Jazztet with fine playing from flugelhornist Art Farmer, tenor saxophonist Benny Golson and trombonist Curtis Fuller (who was actually only on the very first Jazztet record); all three veterans are heard in prime form. With the assistance of a supportive rhythm section (pianist Mickey Tucker, bassist Ray Drummond and drummer Marvin "Smitty" Smith), the group performs "Autumn Leaves" and four Golson compositions, including "Whisper Not" and "Along Came Benny." This highly recommended disc is a near-classic that was recorded at the same sessions that resulted in Back to the City. ~ Scott Yanow, All Music Guide |
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1979: Keith Tippett - The Unlonely Raindancer |
Freejazz, Avantgarde |
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 Artist: Keith Tippett Album: The Unlonely Raindancer Label: Universe Productions 2 LS 48 Year: 1979 Format: FLAC (LP-rip) Time: 80:16 Size: 175 + 167 MB Superb early double disc live solo improv (best selections from a Scandinavian tour) never on CD. This is a professionally assembled CDR package sent to me as a gift. I was utterly gobsmacked when it arrived as the album is such a rare title. Possibly the rarest of all official Tippett releases. Contains in “Tortworth Oak” the roots of what would become Tapestry’s “First Weaving”… 20 years later! |
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2008: The Drift - Memory Drawings |
Progressive Jazz, Avantgarde |
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 Artist: The Drift Album: Memory Drawings Label: Temporary Resident Year: 2008 Format, bitrate: Mp3, 192 kbps Time: 55:32 min. Size: 78.83 mb In the nearly three-year gap between their debut album, Noumena, and this follow-up, The Drift have toured extensively throughout North America and Japan. All that tripping did wonders for their songwriting process, inspiring an efficiency with their structures while maintaining the intoxicating song lengths they are known for. Though the music on Memory Drawings is familiar, there is a depth to both the performance and production that feels new all over again. Recorded directly to analog tape with longtime producer Jay Pellicci at Tiny Telephone in San Francisco, the mix is used as another instrument to help shape each song, channeling the mythos of late 60s jazz and late 70s dub classics. As The Drift have narrowed their focus, they have expanded their influences. Nowhere is this more obvious than "Uncanny Valley," with its shades of Afro-beat and disco-soul; or the dramatic, deserted ballad "Lands End." With Memory Drawings, they have truly found their groove - and the deeper they dig, the more curious we become. ~ temporaryresidence.com |
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2010: Jef Neve Trio - Imaginary Road |
Music » Jazz » Modern Jazz |
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 Artist: Jef Neve Trio Album: Imaginary Road Label: Emarcy Year: 2010 Format, bitrate: mp3, 320kb/s / Flac Time: 58 min. Size: 122 MB / 304 mb with all covers, autographs, self taken concertpictures Repost with Flac links from peer57 Young pianist/composer Jef Neve has become a prominent figure in his homeland Belgium and his reputation is rapidly spreading to the rest of the world.
The new album of the Jef Neve Trio «Imaginary Road » has been released in September 2010 on Universal Music and international releases the following months. Together with his long time companion Teun Verbruggen on drums, and a new fabulous bassplayer, Ruben Samama, from Dutch origin but currently living in New York. ~ www.jefneve.be |
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2004-2007: The Drift - Ceiling Sky |
Fusion, Jazz-Rock |
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 Artist: The Drift Album: Ceiling Sky Label: Temporary residence Years: 2004-2007; Release:2007 Format, bitrate: mp3; VBR Time: 60:00 min. Size : 52:19 mb This repurposed compilation of vinyl-only tracks and remixes by leftfield San Francisco instrumentalists The Drift is either an excellent appetizer or chaser to their singular effort Noumena [having to do with cognition]. The band is also all about the mind, and their stark but jazzed atmospheres can send yours into a wonderland of chilled introspection. From the light strums of "Nozomi" to the arrhythmic bump of "Streets," it feels like Coltrane and Tortoise got together, got high, and got busy on the groove. Four Tet's kinetic remix of Noumena's "Gardening, Not Architecture" jacks up the pulse and, along with Sybarite's space-funk slice-and-diced "Invisible Cities," positions The Drift as one of the most fertile sonic gardens around. ~ Scott Thill, TEMPORARY RESIDENCE RECORDS |
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1977: Harry Miller´s Isipingo - Family Affair |
Freejazz, Avantgarde |
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 Artist: Harry Miller' Isipingo Album: Family Affair Label: Ogun OG 310 Year: 1977 Format, bitrate: MP3, 192 Kbps Time: 42:28 Size: 60,13 MB Continuous performance composed by the leader with all elements in perfect harmony with terrific solos and tremdous interplay with a dynamic propelled by the *great* Louis Moholo at the kit - the organic feel of the band during numerous climaxes are so striking in large part due to Moholo's ability to lift the band with his combination of his snarling snare drum and his legendary cymbol playing.
And with Mike Osbourne playing the alto saxophone like no one who ever touched the instrument - not to say better - but his fire is lit at a very high heat - in combination with Keith Tippetts' accompaniment, this recording reaches a level of power and beaty that surpasses most anything from the time from other bands with this sort of instrumentation.
Keith Tippett is simply a marvel - when he is playing like this, there isn't a more exciting and scintillating pianist in jazz. Some of you are in agreement with me here - and there are many tremendous pianists in jazz (obviously) but Tippett is simply the wildest and most colorfull in this type of setting - which now is pretty rare for him. Probably the recording that mirrors his playing most closely here (from what I have heard) is his playing on Dennis Gonzalez's Catechism. And as many of you know, Louis Moholo is also on that great record. Well Moholo is even better here than on the Dennis Gonzalez recording - as hard as it is to believe as we know that many here have now heard the great recording - maybe it is how he is recorded - as the *sound* of his drums are just so crisp.
And the tunes - my my lordy lordy - for tunes - each one more striking than the previous one - or it seems so - seriously the opening title track and the third track - "Jumping" are both what would be well known classic jazz compositions in a sane musical world.
5 stars - crown - just a flat-out masterwork of the highest order ~ Steve Reynolds, Jazzcorner.com |
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1964: Mose Allison - The Word From Mose Allison |
Cool, Hard-bop, Allison Mose |
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 Artist: Mose Allison Album: The Word From Mose Allison Label: Atlantic Year: 1964 Format, bitrate: Mp3@320 + FLAC Size: 75 Mb + 178 Mb + all covers Repost by request! This iconoclastic performer has sometimes been described as a country blues player, perhaps leading to images of a blind man standing on a corner playing a guitar with a bottleneck slide. In reality, Mose Allison is from a much more cosmopolitan tradition, and the country blues adage comes from attempts to describe the sound he gets playing light, swinging jazz with... More a distinctly rural, Southern influence. This album, from one of many he recorded for Atlantic, actually contains examples of him taking material from the real country blues heritage and reworking it into his own style, to brilliant effect. His "New Parchman Farm" is a fantastic piece, as he changes what was once a stark, depressing prison blues into something else again. Perhaps this version would be more suited to white-collar criminals such as the Watergate mob, basking in upper-class prisons complete with tennis courts. At any rate, this is a performance that only the most hardened individual would be able to listen to without a smile cracking their face. Like most of Allison's releases, this one suffers from a handful of tracks that although not quite throwaway, surely lack the substance of the best songs here. ~ Eugene Chadbourne, All Music Guide |
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