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jasapaal
 Into the Rhythm
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2001: Dominic Duval Quintet - Cries and Whispers |
Freejazz, Avantgarde |
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 Artist: Dominic Duval Quintet Album: Cries and Whispers Label: Candance Jazz Records Year: 1999; release: 2001 Format, bitrate: mp3, 320 Size: 146 mb AMG Rating:  This high-fidelity live concert recording captures bassist Dominic Duval's quintet at the height of its powers. Each of the fully improvised tracks is simply entitled "Cries & Whispers," and numbered chronologically. To be sure, three strings and two reeds are unusual instrumentation, and in lesser hands the results might have been less focused. What is so exciting about this album is the stellar beauty of the chamber-like soft sections (whispers?) and the occasional ecstatic shouts of the saxes (cries?), but the kind of nuanced blowing found throughout encompasses a multitude of emotions with innumerable permutations. The highly compatible members of the group fit like a glove, with Joe McPhee's mournful trumpet and glorious sax a key though not necessarily dominant part. The other horn player, Mark Whitecage, is a superb foil for McPhee, applying a hard bop intensity that meshes with the birdlike chirps of the strings. Longtime companions Jason Hwang, Tomas Ulrich, and Duval seem to enjoy stirring up the pot with devilish, inebriated gusts of energy. Even when the sounds swirl with mesmerizing cacophony there is a surprising quietude, a cosmological orderliness that reminds the listener of John Coltrane's late spiritual works. With its consummate musicianship, range of emotion, and melodiousness, this is one of the finest examples of free jazz at the turn of the century as you are likely to find, performed by five respected practitioners of the genre.~ Steve Loewy, All Music Guide |
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1989: Mose Allison - My Backyard |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Mose Allison Album: My Backyard Label: Blue Note Year: 1989 Quality: mp3@320 kb/s Size: 97 mb (with covers) Mose Allison's career in his golden and quite fruitful years has yielded many surprises and challenges, not the least of which is this delightful offering. He continues to write attractive, bouncy, and fun tunes carried by his signature roiling piano style and sly lyrics. For this effort, producer and Allison disciple Ben Sidran hooked him up with musicians from the modern New Orleans jazz scene, including Astral Project members -- the extraordinary drummer John Vidacovich, tenor saxophonist Tony Dagradi, and guitarist Steve Masakowski. Veteran bassist Bill Huntington rounds out this very talented ensemble that happily works with Allison step by step to produce some of the singer/songwriter/instrumentalist's most enjoyable music, a tall order but easily recognizable once the listening commences. John D. Loudermilk's "You Call It Joggin'," with the retort "but I call it runnin' around," is one of the all-time classic skeptical lyric lines, as applicable to contemporary lifestyles as anything in the urban lexicon. His revisit of "That's Your Red Wagon" is another timeless tale of emotional baggage; Percy Mayfield's "Stranger In My Own Hometown" is purely autobiographical; while "Sleepy Lagoon" is an easygoing, romantic fantasy theme. Of the eight Allison originals, "The Getting Paid Waltz" depicts every musician's nightmare playing in a nightclub, impatiently waiting for the cheapskate owner eventually to pay up. "Was" is a light waltz for has-beens; "Sentimental Fool" talks about the paradox that he "messed around and got humanized"; and the New Orleans shuffle "Big Brother" -- including smart tradeoffs with Dagradi -- is a post-technology cautionary tale, even more relevant in modern times with the advent of Skype, Twitter, and Facebook. A statement on the music industry and jazz in particular, the slinky "Long Song" delineates in four minutes what need and not need be present in popular commercial or creative progressive music, and is a perfect companion to his song "My Top 40 Hit Record." Allison is always a delight to hear, a consistently marvelous piano player, and in very good company with this expert band that suits his style and personality perfectly. My Backyard is one of the best records of his career. ~ Michael G. Nastos, All Music Guide |
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1973: Paul Butterfield's Better Days - It All Comes Back |
Blues-Rock, Modern Electric Chicago Blues |
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 Artist: Paul Butterfield's Better Days Album: It All Comes Back Label: Bearsville / WEA - BR 2170 Year: 1973 Format, bitrate: mp3 320; kbps CBR Time: 39:03 min Size: 87.04 Mb This blues album from The Band collaborator Paul Butterfield and his group Better Days, with Geoff Muldaur, Ronnie Barron, Christopher Parker, Billy Rich, Amos Garrett, and Howard Johnson, has a cover of the Rick Danko/Bobby Charles composition "Small Town Talk". The song was originally written for the album Bobby Charles, and Rick Danko also used it on his 1978 solo debut Rick Danko. ~ theband.hiof.no |
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1966: Dave Brubeck Quartet - Live in London 1966 |
Music » Jazz » BeBop » Cool |
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 Artist: Dave Brubeck Quartet Album: Live in London November 1966 Label: Bootleg Year: 1966 Format, bitrate: MP3 @320 Time: 68:18 Size: 162.81 MB (With artwork & notes) Very good FM broadcast!! With new links Jazz pianist Dave Brubeck is best associated with Take Five, the classic track from the 1959 album, Time Out, though the song was composed by Brubeck's partner and saxophonist Paul Desmond. Listening to this November 1966 set, one walks away with the feeling that Brubeck is a generous person. Very often it is Desmond who is in the spotlight, maybe because he gets the melodic lines, but Brubeck does not shoulder his way in while bassist Eugene Wright gets to shine with drummer Joe Morello ably covering the bases.
Melodic and gently swinging are probably the terms that come to mind when describing Brubeck's music and, by 1966, the quartet is a well-oiled machine with the performance coming across as effortless. The quartet might have had their biggest hit in 1959 but here, with a new album in the racks - 1966's Time In - the group is still raring to go. Apart from their hit "single" and classics such as Take The A-Train, the set list included Forty Days and Softly, William, Softly, both featured on the Time In album.
Thanks to ricola for sharing this very good FM recording on the Dime site!
In response, this is what brimouse wrote: "I work with Dave Brubeck and the Brubeck Institute, and Dave wanted me to tell you all that he is perfectly fine with everybody trading his shows, but he wants me to download everything that goes up so he can hear it. You should have seen the look on his face when I played some of the stuff I have grabbed off of here. He is 87, but he still has the spirit and drive of a young man. Anyways, the purpose of this message is really to say 'thanks', and keep up the Brubeck, especially if you want Dave to hear it." - from ~ Bigozine2 |
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1970: Count Basie - Good Time Blues |
Music » Jazz » Big Band |
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 Artist: Count Basie Album: Good Time Blues Label: Pablo Year: 1970; release: 2004 Quality: MP3@320 kbps Size: Total time: 49:05 The 2004 release GOOD TIME BLUES is a previously unissued recording from 1970 made while Count Basie & His Orchestra were playing a concert in Budapest, Hungary. Basie's 16-piece band navigates dynamics wonderfully, moving between understated subtlety and massive, horn-driven swing. There are some fine solos, too, from notable musicians like singer Mary Stallings, trumpeter Harry "Sweets" Edison, guitarist Freddie Green, and saxophonist Eddie "Lockjaw" Davis. Basie's minimal, but ever-meticulous, piano work comes to the fore at times as well.
The set list draws from both newer and older material (the concert wraps up with rousing renditions of the Basie classics "One O'Clock Jump" and "Jumpin' at the Woodside"). Other jazz standbys, such as Gerswhin's "Summertime" and Dizzy Gillespie's "A Night in Tunisia"--both of which are arranged interestingly by Orchestra saxophonist and flautist Eric Dixon--are also included. The enthusiastic audience seems to spur the band on, and there's plenty of blues-based groove and wild, old-school swing on offer. GOOD TIME BLUES proves that Basie and his ensemble were still playing with great vitality at a time when the heroes of swing were being unjustly overlooked. ~ cduniverse.com |
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1960: Nat Adderley - That's Right!: Nat Adderley & The Big Sax Section |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Nat Adderley Album: That's Right!: Nat Adderley & The Big Sax Section Label: Riverside/OJC Year: 1960 Format: Flac Size: 217 MB AMG Rating: Nat Adderley has seldom played with more fire, verve, and distinction as he does on That's Right! It places him in the company of an expanded sax section that includes his brother Cannonball on alto, Yusef Lateef on tenor, flute, and oboe, Jimmy Heath and Charlie Rouse on tenor, and baritone saxophonist Tate Houston. Solos crackle, the backing is tasty and stimulating, and the eight songs range from brisk standards to delightful originals. This CD reissue, despite lacking any new or alternate material, is most welcome due to the full, striking sound that the big reed section provides.~ Ron Wynn, All Music Guide |
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1951: Gerry Mulligan - Mulligan Plays Mulligan |
Music » Jazz » BeBop » West Coast Jazz |
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 Artist: Gerry Mulligan Album: Mulligan Plays Mulligan Label: Presige/OJC Year: 1951 Quality: mp3@320 Size: 79 mb (with covers) Playing Time: 38:13 Repost on Rapidshare! Gerry Mulligan's first session as a leader and one of the first to showcase his baritone was recorded in New York shortly before he relocated to Los Angeles and formed his famous pianoless quartet with Chet Baker. There is a piano on this set (George Wallington) but Mulligan's writing (all seven selections are his) for a two-baritone nonet that also features trumpeter Nick Travis and tenor-saxophonist Allan Eager is already in his influential "cool style"; best-known among the originals is "Bweebida Bwobbida." Two numbers on the CD reissue feature a smaller unit out of the group with "Mulligan's Too" being an extended workout for the leader and Eager. ~ Scott Yanow, All Music Guide |
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2003: Benjamin Herman - Plays Jaki Byard (ft. Pierre Christophe) |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Benjamin Herman (ft. Pierre Christophe) Album: Plays Jaki Byard Label: Challenge Year: 2003 Format, bitrate: Mp3@320 kbps Size: 115.54 MB AMG rating:  Repost with link on Rapidshare Although the late Jaki Byard recorded extensively as a leader and soloist, as well as composing a fair body of original music, he is remembered most for his work as a sideman with the likes of Charles Mingus and Eric Dolphy. Alto saxophonist Benjamin Herman sought to correct this oversight by dedicating most of a CD to Byard's songs, accompanied by pianist Pierre Christophe (who studied with Byard for four years in New York), bassist Jos Machtel, and drummer Joost van Schalk. "Tribute to Jimmy Slide" makes for an impressive opener. Byard's tribute to the well-known tap dancer was first conceived as a piano solo, but Christophe adapted it for the quartet, with the pianist incorporating some of Byard's keyboard techniques without sounding like a clone. "D.D.L.J." was written for Byard's two daughters and wife (he is the "J"); Herman's alto sax easily negotiates the demanding changes in this uptempo piece. "Aluminum Baby" is a jaunty but easygoing ballad, complete with an amusing reference to "Satin Doll," while "Two-Five-One" is a hard bop masterpiece devoured whole by the quartet. Herman soars in the deceptively funky blues "Out Front," while Christophe detours into a hilarious Erroll Garner-tinged solo for a time. Byard, who was occasionally known to pick up and play an alto sax during a recording session or concert, would have been pleased with Herman's interpretation. "Sagapo" is the least eclectic of the Byard compositions heard on this disc, though that hardly means it is easy to play. The relaxed groove within "Strolling Along" (aka "Just Rollin' Along") is the perfect choice for wrapping the date, with outstanding solos by both Herman and Christophe. Christophe composed the lovely, relaxed ballad "Never Again," though all he admitted to the leader of the date was that he had a major hangover when he wrote it! The sound on this hybrid Super Audio CD is amazing, but better still is that it features musicians who not only had the foresight to explore the music of the late Jaki Byard, but are also able to meet it head on. ~ Ken Dryden, All Music Guide |
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