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 Into the Rhythm
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1928-1930: Jimmie Noone - Jimmie Noone's Apex Club Orchestra |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist: Jimmie Noone Album: Jimmie Noone's Apex Club Orchestra Label: Ace of Hearts Reacords Years: 1928-1930 Format, bitrate: Mp3, 256 Kbps (LP-rip) Time: 34:35 Size: 66.9MB This LP from the collectors IAJRC label has 16 selections featuring clarinetist Jimmie Noone. The performances are programmed in chronological order and most of the recordings are lesser-known. All but the first two and the last four are from 1929-31 and highlights include the 1929 version of "Apex Blues," "That Rhythm Man," "Three Little Words" and "Shine." All of this music has since been reissued on CD but, taken as a sampler, this is a well-conceived introduction to the work of the fine New Orleans clarinetist. ~ Scott Yanow, All Music Guide |
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1942: Bunk Johnson - Superior Jazz Band From Storyville, New Orleans |
Music » Jazz » Traditional Jazz » New Orleans Jazz |
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 Artist - Bunk Johnson Album - Superior Jazz Band From Storyville, New Orleans Label - OJS/ZYX Year - 1942, release - 2006 Quality - MP3@320 kbps Size - 77,7 mb Total time - 36:35 Repost This CD reissues the first recordings by the legendary Bunk Johnson. Cut in New Orleans on primitive acetates, the trumpeter is teamed with trombonist Jim Robinson and clarinetist George Lewis (both of whom would be in his regular band soon), plus a four-piece rhythm section, for nine numbers. Bunk's playing is primitive, as is Lewis's, but also listenable despite the erratic recording quality. Closing this set are nine minutes of "talking records" that feature Johnson reminiscing about the past. In reality, this release is more important historically than musically; get Bunk's final recordings (on Delmark) first. ~ Scott Yanow, All Music Guide |
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2010: Sonny Rollins - Road Shows Vol.2 |
Music » Jazz » BeBop » Post-bop |
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 Artist: Sonny Rollins Album: Road Shows, Vol. 2 Label: Emarcy Year: 2010; release: 2011 Format: MP3 320 kbps Time: 66:11 Size: 150 MB With a new RS-link Last year the legendary Sonny Rollins turned 80, and decided to celebrate by having a party at New York’s Beacon Theatre. Four of the six tracks on his new Road Shows, Volume 2 were extracted from that night, and one of them made history.
There were a number of artists who played guest slots that night, and Jim Hall was once of them. Among a very few others, Hall virtually defined the role that guitars would play in jazz. He guests on Beacon opener “In A Sentimental Mood.” Hall plays the tune in his inimitable style, and it is the perfect introduction for the evening.
The smooth-swing of Hall’s guitar is one thing, but for the next track the music gets a little wilder. Among those who showed up to play “Sonneymoon” are the great bassist Christian McBride, and John Coltrane’s former drummer Roy Haynes. What truly stunned the crowd, though, was the appearance of Ornette Coleman on alto sax. Although Coleman and Rollins have known each other for well over 50 years now, this marks the first time the two have appeared onstage together. The back and forth between these two men is remarkable. Each has his own singular style, and hearing them trade off this way is simply magic.
It would be hard to top that, and to his credit, Sonny goes back to his regular band to knock out two more classic tunes. Both "I Can’t Get Started” and “Rain Check” were recorded that night at the Beacon with Roy Hargrove (trumpet), Russell Malone (guitar), Bob Crenshaw (bass), Kobie Watkins (drums), and Sammy Figueroa (percussion). Each are a fantastic example of a jazz band working at all levels.
This same outfit, minus Hargrove’s trumpet, recorded the two tracks that frame the Beacon songs on Road Shows, Volume 2. Both “They Say It’s Wonderful” and “St. Thomas” were recorded in Japan, about a month after the Beacon show. “They Say It’s Wonderful” opens the proceedings in an appropriate way, offering Sonny’s working band the chance to shine before the guest stars arrive. In closing, “St. Thomas” is also a perfect choice, as it incorporates that old showbiz cliché’: “Always leave ‘em wanting more.”
In that regard, the entire set works extremely well. It never ceases to amaze me how long a man with the talent of a Sonny Rollins can remain active in music. His sax playing is as colossus (to borrow an old LP title) as ever, and his band is on fire. Here’s looking forward to his 90th bash. ~ blogcritics.org |
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1973: Ethel Ennis - 10 Sides Of Ethel Ennis |
Music » Jazz » Vocal Jazz |
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 Artist: Ethel Ennis Album: 10 Sides Of Ethel Ennis Label: BASF BB-25121S Year: 1973 Format, bitrate: mp3 320 kbps CBR (LP-rip) Time: 30:15 min Size: 68.36 Ìb Titles include "Clown Town", "Sing Me A Tune", "Call Me Young", "I Can't Talk To A Wall", "The Show's On Me Tonight", "Over The Phone I Got The Message", and "I Wonder Who My Daddy Is". © 1996-2012, Dusty Groove America, Inc. Ennis began performing as a pianist in high school, her LP debut was 1955's Lullabies for Losers, released on Jubilee Records. The follow-up, Change of Scenery, was released in 1957 on Capitol Records. After touring Europe for a time with Benny Goodman, Ennis returned to Baltimore, her hometown, and played outside that area only a few times in the next several decades. In 1969, Ethel sang the title song for the feature film Mad Monster Party. She soon took a six-year hiatus from recording, then released three LPs through RCA Records, then another eight-year hiatus, before releasing 10 Sides of Ethel Ennis in 1973. Later that year, she sang at the re-inauguration of Richard Nixon. In 1980, she released a live album, then didn't record again until If Women Ruled the World in 1998. ~ soundunwound.com |
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1997: Paula West - Temptation |
Music » Jazz » Vocal Jazz |
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 Artist: Paula West Album: Temptation Label: Original Cast Year: 1997 Format: FLAC 'separate files) Time: 1:16:07 Size: 400 Mb (with artworks) Debut album from vocalist features standards from the great American songbook, made into her own unique style - she resembles the sound of Ella Fitzgerald, Sarah Vaughn & Peggy LeeVillage Voice (1/16/95, p.58) - "...Of the new wingers who turned up, the one I most anticipate hearing next year is Paula West...TEMPTATION takes risks with repertoire..." ~ cduniverse.com |
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2011: ßêîâ Îêóíü / Yakov Okun - New York Encounter |
Music » Jazz » Fusion » Contemporary Jazz |
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 Artist: ßêîâ Îêóíü / Yakov Okun Album: New York Encounter Label: Criss Cross Jazz Year: 2011 Genre: Contemporary Jazz, Piano Jazz, Mainstream Format, bitrate: MP3, CBR 320 Time: 57:05 Size: 133 Mb (with scans) A major force in Russian Jazz since the mid ‘90s, pianist Yakov Okun, finally places himself on the international stage with his Criss Cross debut, a trio date with world-class bass-drum team Ben Street and Billy Drummond, on which he mixes challenging original material with strong arrangements and less traveled Songbook repertoire and tunes by Sonny Rollins and Fats Waller.
At 38, Okun is an individualistic voice, an important player, able in his improvisations to refract an entire timeline of jazz vocabulary in a cogent, compositional manner. ~ Criss Cross Jazz |
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2007: Paul Brody's Sadawi - For the Moment |
Fusion, Modern Jazz, Avantgarde |
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 Artist: Paul Brody's Sadawi Album: For the Moment Label: Tzadik Records Year: 2007 Format, bitrate: mp3, 320 Size: 117 mb AMG Rating:   Composer and ace trumpeter Paul Brody and his fine group Sadawi have established their wonderfully eclectic trademark sound with two previous outings on Tzadik -- 2002's Kabbalah Dream and 2004's Beyond Babylon. In the interim he's released a pair of wild avant klezmer platters (South Klezmer Suite and Klezmer Stories) on Laika and one (Sadawi, Minsker, Kapelye) on Ferment. The last three were all issued in 2006! This new set is even more adventurous than anything the band has issued previously. While using klezmer as a base, Brody is strident in his aims to create a new place for klezmer in the pantheon of music, both popular and otherwise. Previously employing everything from digital and analog dub to Appalachian mountain music in his approaches to reestablish the music's integral harmonic, lyric, and improvisational palette, Brody digs deeper into jazz, classical, and rock this time out. Beginning with the mournful intro to "Warsaw," which passes for a Yiddish folk tune, he and guitarist Brandon Seabrook waste no time getting to the call-and-response notions of klezmer. Here, Yiddish party music and heavy metal guitar are arranged inside a Sephardic theme, with breakbeats by Eric Rosenthal, who adds a slightly funky edge to his pulse. The solo by Brody is strictly on the composition's theme, but Seabrook goes off into Slayer territory. Meanwhile, bassist Martin Lillich and clarinetist Christian Dawid blend the stew -- in the latter case in the twinned front-line melody with Brody, and in the former holding the drummer and guitarist in check. The bassline keeps a reggae touch throughout "Too Low," but there are skittering double breaks by Rosenthal -- and the gorgeous contrapuntal harmonic theme is straight from the tradition, as the three front-line players assert themselves immediately. There are some dubby sound effects as Seabrook engages Lillich, but they never hold sway over the composition's unique, mournful call-and-response playing between brass and woodwind -- even when the feedback and electronic sounds threaten to overcome the mix. Killer!
"Bartoki" begins as -- you guessed it -- an exercise in counterpoint between brass and woodwind, gradually swung out from the drum kit to charge full-on into a jazzed-out reading of a couple of familiar Bartók themes dressed in power chords and riffs from Seabrook, distorted basslines, and Brody getting near the edge of free jazz in the chorus (and even some Don Ellis in the bridge). This is how it goes throughout: back and forth, integrating klezmer (itself over 100 years old) with popular musics -- and not so popular ones -- past and present, firmly planted in the future while extending the tradition and not only keeping it lively, but alive and growing. "Serendipity" begins with a gorgeous clarinet solo but eventually becomes, as the band enters (with Seabrook on banjo), the root thematic ground for the dubbed-up sound shards and electric guitar-striated rockist jam "Sit Down." Here, jazz from the early '30s, klez, and modal swing are interpolated and communicated back and forth. The lines Brody writes are gorgeous. His sense of harmony and time and the tight dimensions he employs actually result in pushing his compositions out into the world so they can be appreciated by virtually anyone. There are some guest appearances on this set: label boss John Zorn and his alto make the scene on the title cut, as does new klezmer kingpin Frank London. It's a boiler and a finger-popper, done to a double-timed drumbeat and breaking out into a wild celebration of klez that Dave Tarras and his teacher Naftule Brandwein would celebrate -- especially those rhythms, which are jaunty, tough, and in your face. Zorn solos to the outside eventually, but never entirely leaves the melodic framework of the tune. The force and harmonic ferocity of this music rein him in. This cut is the orgiastic celebration on the album -- though all of it is fun while being wonderfully complex music compositionally. Ultimately, as an album, For the Moment takes you for a wild and adventurous ride, always bringing you back to the root of the historical origin while enveloping you in its trans-modern integration not only of styles, but of sounds, nuances, colors, and textures.~ Thom Jurek, All Music Guide |
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1997: Chucho Valdes - Invitacion |
Music » Jazz » Latin » Afro-Cuban Jazz |
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 Artist: Chucho Valdés Album: Invitacion Label: Egrem Year: 1997 Format : Flac Time: 35:00 Size: 155 MB Ïðîäîëæåíèå òâîð÷åñòâà ×ó÷î. 2 ïåñíè íåõàðàêòåðíû äëÿ ýòîãî ïèàíèñòà, íå÷òî ñîâñåì äðóãîå. Íó ìîæíî òîëüêî ïîðàäîâàòüñÿ, ×ó÷î íå áîèòñÿ ÷åãî-òî "èíîãî". Íó ëó÷øå ñëóøàéòå. Ýòî âñå ×ó÷î.
2000 was a busy year for the venerable Cuban piano legend Chucho Valdes. 'Invitacion' is one of 5 releases issued by the leader of Irakere.
Features the epic title track.
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