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jasapaal
 Into the Rhythm
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1977-1978: Buddy Rich - Wham! Live |
Music » Jazz » Big Band » Modern Big Band |
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 Artist: Buddy Rich Album: Wham! Live Label: Label M Years: 1977-1978; release: 2001 Quality: MP3@320 kbps Size: 167 mb Total time: 76:20 The Buddy Rich Big Band. A lot's been said and written about Rich. A stormy person who was all extremes, he would laugh at your joke one moment, and tell you he'd kill you another. He was loved by some, disliked by many, and even hated by a few. But no matter what kind of person he was, there are two incontrovertible facts about Buddy Rich: He held some kind of a band together for nearly 50 years -- usually a big band. The second one was, he was truly one of the most bad-assed drummers jazz ever produced. Only Kenny Clarke, J.C. Heard, Elvin Jones, Roy Haynes, and Max Roach were in the same league -- or he in theirs depending on your point of view. This curious album was assembled from tapes made by saxophonist Alan Gauvin while with the Rich band from 1977 to 1978. Most of the tracks were recorded in Detroit, a couple in Long Island, and one in, of all places, Dexter, Michigan. If Joel Dorn (who runs the Label M operation) and Alan Gauvin were looking to showcase a band at its strengths, then that's what they did here. While it is true that the quality of these recordings is not exactly state of the art, they are far from bad. They give a certain authenticity to these certainly edited proceedings, by presenting the actual music exactly as it was recorded -- and that music is steamin'. Rich was never one for subtlety, and there is nothing subtle about the arrangements on these tracks, even the slower ones such as Miles Davis' "So What." But that's just the way the man ran a band. There are a few personnel differences in these bands because Rich had a revolving-door band, but two of the constants are Bob Mintzer -- who composed the wonderful "Tales of Rhoda Rat" here -- and co-producer Alan Gauvin. The charts were written by everybody from Mintzer to Bill Holman to Don Menza and Tom Boras. But really, none of the documentation here means a damned thing: The music itself -- from Horace Silver's "Cape Verdean Blues" to Bill Reddie's "Channel One Suite" -- is played one way: without a flaw, full of piss and vinegar, and physical -- in your face. This is big-band music that will remain contemporary no matter when it is heard because Rich was timeless in his approach to music and life. This set, even with its sonic limitations, is as good as any Rich recording on the market, and better than any of the live ones. ~ Thom Jurek, All Music Guide |
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1917-1997: RCA Victor 80th Anniversary (9CD) |
Music » Jazz |
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 Artists: V.A. Album: RCA Victor 80th Anniversary (8 CDs + Bonus Disc) Label: RCA Victor Years: 1917 - 1997; release: 1997 Format, bitrate: MP3 @320 Size: 38,81 MB, 156,91 MB, 140,15 MB, 138,08 MB, 143,94 MB, 147,94 MB, 212,38 MB, 204,53 MB, 204,41 MB. AMG Rating:  This is an attractive eight-CD set, whose discs are also available as eight separate releases, that could have been a great reissue but settled for being merely quite good. To celebrate the 80th anniversary of the first jazz recording, RCA released a disc apiece covering each of the past eight decades. In listening to the music straight through, one becomes aware of RCA's strengths and weaknesses as a jazz label. Victor was one of the most important jazz labels during the 1920s, '30s and '40s, catching on to bebop a little late (1946) but still documenting many classic recordings. By the 1950s, the label's attention was wandering elsewhere; it missed free jazz almost completely in the '60s, and in the last three decades has only had a few significant artists, mostly Young Lions whose output sounds conservative compared to the earlier masters. This reissue is particularly strong during the first three discs, and then for some reason (starting with disc four) commits a major error in departing from programming the music in strict chronological order (although each disc does stay within the ten-year period). Also, the selection of the performances is much better in the earlier decades (especially the 1917-29 set) than during the past two decades. There are many highlights throughout the large undertaking, with such artists as the Original Dixieland Jazz Band, Jelly Roll Morton, Fletcher Henderson, Duke Ellington, King Oliver, Louis Armstrong, Cab Calloway, Benny Goodman, Glenn Miller, Coleman Hawkins, Dizzy Gillespie, Benny Carter, Art Tatum, Charles Mingus, Red Allen, Bud Powell, Sonny Rollins, Buddy Rich, Gil Evans, the Brecker Brothers, Roy Hargrove, Marcus Roberts, Steve Coleman and Dominique Eade among the many represented. In addition, a "bonus" disc has two numbers by the ODJB (including for the second time "Livery Stable Blues") and a previously unreleased Mingus dramatic piece "A Colloquial Dream." If only some better planning had gone into the later discs. ~ Scott Yanow, All Music Guide |
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1958-1959: Dicky Wells - The Stanley Dance Sessions |
Swing, Mainstream |
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 Artist: Dicky Wells Album: The Stanley Dance Sessions 2LP/1CD Label: Lone Hill Jazz Years: 1958-1959; Release: 2005 Format, bitrate: MP3 @320 Time: 73:44 Size: 146.24mb Trombonist Dicky Wells participated in three slip horn-centered sessions in February and April of 1958. All of this material has been compiled onto one disc by the Lone Hill Jazz label. The dominant trait throughout is the late-'50s swing groove formula associated with Count Basie. Collectively, Wells is joined in the front line by fellow trombonists Vic Dickenson, Benny Morton, and George Matthews, trumpeter Buck Clayton, and reedmen Rudy Rutherford and Buddy Tate. The rhythm sections include bassist Major Holley, drummer Jo Jones, and guitarists Everett Barksdale and Kenny Burrell. Skip Hall plays piano and organ on all tracks. The music accurately reflects what Kansas City swing sounded like after it mingled with mainstream jazz towards the end of the '50s. ~ arwulf arwulf, All Music Guide |
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1973: Jimmy Heath - Love and Understanding |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heath Album: Love and Understanding Label: Muse Year: 1973 Quality: mp3@320 kb/s Size: 89 mb (with covers) This is one of Jimmy Heath's more unusual and versatile records, and fortunately it has been reissued on CD. Heath switches between tenor, soprano and flute on a diverse program (five originals plus Duke Ellington's "In a Sentimental Mood") that ranges from hard bop to light funk and R&Bish jazz. Heath's sidemen (trombonist Curtis Fuller, cellist Bernard Fennell, keyboardist Stanley Cowell, electric bassist Bob Cranshaw and drummer Billy Higgins) sound quite inspired by the material and Heath plays at his most inventive throughout the underrated set. ~ Scott Yanow, All Music Guide |
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2010: Mose Allison - The Way Of The World |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Mose Allison Album: The Way Of The World Label: Anti Year: 2010 Quality: mp3@320 Size: 77 mb Mose Allison basically retired from studio recording after 1998’s dynamite Gimcracks and Gewgaws. Retired, that is, until producer Joe Henry met him in 2008 and dogged him until he graciously caved in. He coaxed Allison into his basement studio and cut the seven originals and five covers that became The Way of the World with a host of players from his own stable in five days. At 82, Allison is as smart, cagey, and inventive as ever. All but one of these cuts feature his weathered but still wiry dry baritone voice that exudes a trademark jazz singer cum beat poet’s phrasing. For anyone who’s seen him in the last decade -- or heard his jaw-dropping Live in London recordings -- his keyboard skills are sharp as an Argentine stiletto: give a listen to the lone instrumental, “Crush.” Allison's elastic harmonic sense is as beautifully unruly as Monk's, yet his improvisational ideas are carried by a nimble-fingered force worthy of Bud Powell. The opener, “My Brain,” is a smoking rewrite of Willie Dixon's “My Babe.” Allison reflects on the ever-changing intellectual capabilities of his gray matter while punching up the piano's middle register. The blues have been at the heart of Allison’s piano attack (Back Country Suite, 1957), though he’s always wedded them to swing, rag, and bop. Henry underscores that with subtle touches: the strummed Gypsy swing mandola on the ironic betrayal anthem “I Know You Didn’t Mean It” that engages with a knotty bluesed-out piano break and a warm tenor solo -- à la Ben Webster -- and “Everybody Thinks You’re an Angel,” a waltz with a Weissenborn guitar, follows a similar principle to delightfully different ends. On “Modest Proposal” Allison humorously asserts the compassionate idea that perhaps God is so weary he deserves a vacation. It’s a strutting piano-and-vocal number, where Allison's saloon-singer irony might scandalize a preacher but makes the congregation laugh. The elegant parlor ballad “Once in a While” and the shuffling, not brokenhearted blues of “I’m Alright” also stand out. The latter’s addition of electric guitar, mandola, and saxophone might seem like frills for an Allison session, but sound perfectly balanced and natural. On the final track, Buddy Johnson's WWII-era pop tune “This New Situation,” Allison duets with daughter Amy; the two swing beautifully together. The Way of the World is not a comeback album; Henry had a nagging suspicion that Allison might have something new to say and Allison obliged. In the process they created a gem of an album that proves the pianist and songwriter still has many tricks up his elegantly tailored, eternally hip sleeve. ~ Thom Jurek, All Music Guide |
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2010: £elena Àna Milcetic (Íålån Ìårrill) - The Brazilian Side Of Íålån Ìårrill |
Music » Jazz » Vocal Jazz |
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 Artist: £elena Àna Milcetic (Íålån Ìårrill) Album: The Brazilian Side Of Íålån Ìårrill Year: 2010 Format, bitrate: Mp3, 320 kbps CBR Time: 00:51:00 min Size: 111.08 Ìb Helen Merrill (born Jelena Ana Milcetic on July 21, 1930 in New York City) is an internationally known jazz vocalist.
Merrill's recording career has spanned six decades and she is popular with fans of jazz in Japan and Italy (where she lived for many years) as well as in her native United States. She has recorded and performed with some of the most notable figures in the American jazz scene ~ wikipedia.org |
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1977: Houston Person - The Nearness Of You |
Music » Soul » Soul-Jazz |
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 Artist: Houston Person Album: The Nearness Of You Label: Muse Records (Catalog#: MR 5178) Format, Bitrate: FLAC (LP-Rip) Year: 1978 Size: 152MB Time: 33:44 This is Houston Person's third album for Muse. Known as one of the most consistently employed musicians; is joined here with some stellar performers in addition to Etta Jones on one cut. Houston's comfortable manner with a wide variety of material contributes to his success. He moves here from a dance tune, through various shades of blues, to vintage standards. Throughout, he plays with a big warm tone, considerable technique, and lots of swing. His style derives largely from the Illinois Jacquet-willis Jackson-Gene Ammons tradition, with a generous dose of the sophistication of Sonny Stitt. Houston Person produced this fine album himself. Clearly he is a versatile musician, committed to the dissemination of good jazz, and deserving of the wider recognition he will no doubt receive. ~ Walter Palmer, Liner Notes. The soulful and always-swinging tenor Houston Person is in typically fine form on this enjoyable LP (not yet reissued on CD). Joined by trumpeter Virgil Jones, guitarist Melvin Sparks, organist Charles Earland, Sonny Phillips on electric piano, bassist Mervyn Bronson, drummer Grady Tate and percussionist Lawrence Killian, Person explores such numbers as "Freddie the Freeloader" and "Mean to Me." Singer Etta Jones pops by for one song, the blues "Please Mr. Person" (based on "Please Mr. Johnson" by the Buddy Johnson band of the 1940s). A fun date. ~ Scott Yanow, All Music Guide |
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1974: Jimmy Heath - The Time And The Place |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heath Album: The Time And The Place Label: Landmark Year: 1974; release: 1994 Quality: mp3@320 Size: 120 mb (with covers) Although this 1994 CD looks like a reissue, the music was actually released for the first time 20 years after it was recorded. Jimmy Heath, who is heard here on tenor, alto, soprano and flute, played at his prime throughout the 1970's although he tended to be somewhat overlooked in popularity polls. Heath was stretching himself during the era as can be heard on these obscure pieces; five of his originals plus Kenny Dorham's "No End." Although essentially bop-based, Heath was open to the influences of the avant-garde and fusion and, with a flexible group also including trombonist Curtis Fuller, guitarist Pat Martino, pianist Stanley Cowell, bassist Sam Jones, drummer Billy Higgins and percussionist Mtume, Jimmy Heath consistently takes adventurous yet logical solos. Worth checking out. ~ Scott Yanow, All Music Guide |
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1994: Various Artists - The Aladdin Records Story |
Music » Blues » Rhythm-n-Blues |
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 Artist: Various Artists Album: The Aladdin Records Story Label: Capitol Year: 1994 Format, bitrate: Mp3, 160 Kbps Time: 140:19 Size: 155 MB Size: AMG Rating:  The 53 rhythm and blues classics contained on this two-disc compendium practically covers the entire lifespan of the Aladdin Records label. The imprint began as Philco in the mid-'40s by brothers Edward and Leo Mesner. After raising eyebrows from the manufacturers of Philco radios, they changed the moniker to Aladdin. The label's initial offerings were jazz-flavored R&B sides such as its first release "Flying Home" by Illinois Jacquet and his All Stars. The Mesners also began attracting top-shelf acts such as big band vocalist Helen Humes, who performs her own compositions "Be Baba Leba" and "He May Be Your Man" with Bill Doggett's Octet. Aladdin quickly became a haven for a plethora of A-list artists producing equally as impressive material. Among the roster to be included on the Aladdin Records Story (1994) are Mr. Blues himself, Wynonie Harris ("(I Don't Stand A) Ghost of a Chance"), Clarence "Gatemouth" Brown ("Guitar in My Hand"), Lightnin' Hopkins ("Shotgun Blues"), and the Five Keys ("Too Late," "Glory of Love," "Too Late," and "I'm High"). For a very short time, even the legendary Billie Holiday recorded there, backed by the equally revered Tiny Grimes ("Blue Turning Grey Over You"). As the R&B of the late '40s and early '50s began to shift into the seminal rock & roll era, so too did Aladdin. Classics such as Shirley & Lee's "Let the Good Times Roll" and "Rockin' With the Clock," as well as Lee Allen's "Rockin' at Cosmo's" and Thurston Harris' "Little Bitty Pretty One" all but defined the incremental stylistic progression from blues to rock. While the platters mentioned above only skim the surface, the entire two-plus hours reveal a true cross-section of the artists who created a musical glow in Aladdin's lamp. The double-CD set is packaged in a unique album style, similar to those that bound 78 rpm volumes. The accompanying 20-page booklet has photos and track annotations from Steve Kolanijan. The audio quality is nothing short of superior, impressing audiophiles and casual consumers alike. Sadly, the package has not been reissued and used copies have been known to trade hands for a princely sum. That said, the overwhelming value of adding these to any collection far outweighs most reasonable asking prices. ~ Lindsay Planer, All Music Guide |
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1963: Jimmy Heath - Swamp Seed |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Jimmy Heat Album: Swamp Seed Label: Riverside/OJC Year: 1963 Format, bitrate: Mp3@320Kbps Time: 37:18 Size: 88 Mb with covers This is a delightful if underrated set that was reissued on CD in 1997. The multi-talented Jimmy Heath has many consistently rewarding and distinctive tenor saxophone solos; he also contributed three of the seven pieces and arranged all of them for a group also including trumpeter Donald Byrd, two French horns, Don Butterfield's tuba and a rhythm section that has bassist Percy Heath and (on three numbers) drummer Albert "Tootie" Heath. The music is straight-ahead but contains some unpredictable moments. Highlights include Heath's versions of Thelonious Monk's "Nutty" and "More Than You Know." ~ Scott Yanow, All Music Guide |
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1961: Mose Allison - V-8 Ford Blues |
Cool, Hard-bop, Allison Mose |
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 Artist: Mose Allison Album: V-8 Ford Blues Label: Sony Year: recorded in 1961, reissued in 2004 Format, bitrate: mp3@320Kbps Time: 00:38:42 Size: 88,63 MB AMG rating:  Repost on Rapidshare! Besides cool playing and his uniquely smoky singing, Mose has great taste in material. "Hey Good Lookin'" fits right in with revisited versions of "I Love the Life I Live," "I Ain't Got Nobody" and "Baby Please Don't Go," complete with what the singer himself calls his distinctive "involuntary groan" during the piano solo. Teo Macero's intimate production makes it feel like you're right there in the studio. This album was released with two others in a delightful 1994 collection called High Jinks. ~ Mark Allan, All Music Guide |
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