Artist: Charles Mingus
     Album: West Coast, 1945-49
     Label: UPTOWN JAZZ
     Year: 1945-49 ; release: 2001
     Format, bitrate: MP3, LAME 320 kbps
     Time: 72:11
     Size: 163 MB

     This anthology collects a number of obscure 78s by Charles Mingus, many of which have not been reissued since they were originally released during the 1940s. Many of the vocal features are fairly traditional ballads, and Mingus was by no means an inventive lyricist, but it is the strong solos by the musicians within these tracks and the often rather progressive arrangements (even if their execution is not always perfect) that generally merit the most attention. One notable exception is Helen Carr's performance on the standard "Say It Isn't So," which opens with a superb bass solo by Mingus. Carr's sultry vocal is also accompanied by her then-husband Donn Trenner on piano; tragically, her only other recordings prior to her premature death were two records for Bethlehem. Among the instrumental tracks, "Shuffle Bass Boogie" is a lively 12-bar blues featuring Mingus at the forefront and fine solos by saxophonists Lucky Thompson and Willie Smith (two of the bigger names among the cast of lesser-known players). Buddy Collette's "Bedspread" is a mid-tempo swinger that is obviously influenced by Duke Ellington, and features some choice solos, especially by tenor saxophonist William "Brother" Woodman and the composer on alto sax. The exotic "Mingus Fingers," originally written by Mingus for Lionel Hampton, showcases Mingus in a boppish solo. Herb Caro, who died at 22, is heard on baritone sax on a big-band version of Mingus' "Story of Love" and on tenor sax in a later remake, which also features Eric Dolphy on alto sax and Russ Freeman on piano. Among the many other musicians heard on this CD are Roy Porter, Art Pepper, Richard Wyands, and Red Callender. Andrew Homzy's thorough liner notes and the many period photographs included provide additional insight into the early career of Charles Mingus. Highly recommended.

     Artist: Kenny Dorham
     Album: Una Más
     Label: Blue note
     Year: 1963
     Format, bitrate: MP3, 224 VBR
     Time: 36.6 mins
     Size: 64.7 MB
     AMG Rating:

Предлагаю вашему вниманию довольно известный альбом "Una Mas". Мне этот альбом напоминает самого Кенни - скромный, выдержанный, удивительно собранный, и очень профессиональный.
Не сковывающий, но зачаровывающий своей серьезностью, намеками и полутонами, разговор пяти интересных музыкантов.

     When one thinks of great talent scouts in jazz, the name of Kenny Dorham is often overlooked. However, many top young players benefited from playing in his groups, and for proof one need look no further than the lineup on this 1963 CD reissue: tenor-saxophonist Joe Henderson, bassist Butch Warren, and (before either player joined Miles Davis) pianist Herbie Hancock and drummer Tony Williams. Together the quintet performs three of the trumpeter's originals ("Una Mas" is the most famous) along with the standard ballad "If Ever I Would Leave You." Even if the playing time (under 37 minutes) is a bit brief, the explorative yet swinging music lives up to its potential.

     Artist: Tony Williams
     Album: Life Time
     Label: Blue Note
     Year: 1964
     Format, Bitrate: MP3 192 kbps :S
     Time: 38.3 min
     Size: 51 Mb
     AMG Rating:

     Drummer Tony Williams' first recording as a leader (made when he was 18 and still billed as Anthony Williams) gave him an opportunity to utilize an advanced group of musicians: tenor saxophonist Sam Rivers, vibraphonist Bobby Hutcherson, pianist Herbie Hancock, and both Richard Davis and Gary Peacock on bass. Williams wrote all four of the pieces and has a different combination of players on each song. The freely improvised "Memory" features Hutcherson, Hancock, and Williams in some colorful and at times spacy interplay; "Barb's Song to the Wizard" is a Hancock-Ron Carter duet; "Tomorrow Afternoon" has Rivers, Peacock and Williams in a trio; and all of the musicians (except Hutcherson) are on the sidelong "2 Pieces of One." The unpredictable music holds one's interest; a very strong debut for the masterful drummer. ~ Scott Yanow, All Music Guide

     Artist: Lou Donaldson Quartet
     Album: Forgotten Man
     Label: Timeless Jazz Legacy /Challenge Records
     Year: 1981
     Release: 2010
     Format, bitrate: mp3, 320kb/s
     Size: 88 MB

     On "Forgotten Man" alto saxophonist Lou Donaldson improvises, as he does during his concerts, to four sorts of themes: own compositions as the 32-measures counting "Tracy", jazz-standards like the samba "This is Happiness", "low down blues" such as "Wiskey Drinkin' Woman" and at last Charlie Parker-vehicles like "Confirmation", "Melancholy Baby", "Don't Blame Me" and "Exactly Like You". He expresses himself on this record in a typical post-Parkerian style. Striking is his choice of the material to be improvised in the form of attractive and charming "songs" with a melodic line. In his ballads he evokes something of the purity of a Johnny Hodges. As a creative artist he joins an innate liking for the melody to a special sense for the re-creation of the themes into own flesh and blood. In this way he carries on "Bird" Parker's message with almost the same instrumental virtuosity. His sonority stands for a True revelation. His tone possesses this special vibration which made Parker so touching during his golden ages. It leaves a sophisticated, delicate and muffled impression. Moreover, Donaldson is served by a natural and faultless timing. His swing of performance links up with the mainstream jazz and the postbop. Technically he experiences not one difficulty to cast the ideas that are flowing through his mind into a suitable form Since he does not reflect Parker's torture in any way, he appears more classicistical to us. His chorusses seem to be carried by a profound lyricism, the basis of all good music. On top of this he affirms on this album his personal and wordly approach of the blues, which gains in relief thanks to his vocal contribution and his ironical undertone. In this field, we consider him even as one of the greatest saxophonists of the contemporary jazzscene. Indeed, these interpretations show that Lou is no longer a "forgotten man", but has recovered his own strong identily. Together with the prominent Phil Woods and the enthusiastic Richie Cole, he probably cinstitutes the presentday top of altosaxes in the postbop-idiom.

     Artist: Ted Curson
     Album: Blue Piccolo
     Label: Why Not / Candid
     Year: 1976; Release: 2009
     Format, bitrate: FLAC
     Size: 235 MB


     One of the hippest records ever cut by trumpeter Ted Curson - and that's saying a lot, because all his records are pretty darn hip! Curson's working in a quartet with Jim McNeely on piano, Cecil McBee on bass, and Steve McCall on drums - and the group's a lot tighter than some of Curson's other ones from the late 70s, grooving away with a slight nod to freedom, but also a hard jazz swing that never loses its drive. The vibe is great -- soulful and soaring, but very focused too -- and titles include "Dwacki Mum Fudalick", "Blue Piccolo", "Playhouse March", and "Song Of The Lonely". CD also features bonus tracks not on the original LP! © 1996-2010, Dusty Groove America, Inc.

      Artist: Stan Getz
      Album: Stan Getz Plays
      Label: Verve
      Year: 1952-1954
      Release: 1954
      Format, bitrate: MP3 320 kbps
      Time: 37 min
      Size: 116 mb
      AMG Rating:


      Tenor saxophonist Stan Getz is in excellent form playing with one of his finest groups, a quintet with guitarist Jimmy Raney and pianist Duke Jordan. Although the music does not quite reach the excitement level of the Getz-Raney Storyville session, this music (particularly the ballads) really shows off the tenor's appealing tone. This CD is rounded out by four titles that Getz cut with a quartet in 1954 that co-starred pianist Jimmy Rowles.

     Artist: Eddie Daniels
     Album: Blackwood
     Label: GRP Records
     Year: 1989
     Format, bitrate: flac
     Time: 46:32
     Size: 269mb


     Eddie Daniels is such a monster on the clarinet that all of his GRP recordings are worth acquiring. This one, however, due to the somewhat commercial nature of some of the tunes (and the lightly funky rhythm sections), is of lesser interest compared to the classics such as Breakthrough. Daniels sounds fine but he is far better than much of the material (generally written by either the clarinetist, Rob Mounsey or Dave Grusin). ~ Scott Yanow, All Music Guide

     Artists: Dizzy Gillespie , Stan Getz, Sonny Stitt , John Lewis, Herb Ellis , Ray Brown
     Album: For Musicians Only
     Label : Verve
     Year: 1956, release - 1989
     Quality: MP3@320 kbps
     Size: 98 mb
     Total time: 52:44
     AMG Rating:


     This has plenty of great players and lots of amazing music. Getz, Dizzy Gillespie (tpt), and Sonny Stitt (as) are great, as are John Lewis (p) and Herb Ellis (g). ~ Ron Wynn, AMG

     Often in the early days of the modern jazz movement, players would come up with the most dazzling tempos, complex chord changes, intricate melodies and tricky rhythmic breaks imaginable, as much to challenge themselves as to keep the squares from trying to get on the bandstand and jam. FOR MUSICIANS ONLY is just that, and then some. Gillespie, the great virtuoso trumpeter is joined on the front line by Stan Getz and Sonny Stitt for a blowing session of phenomenal proportions.
     [Gillespie's demanding tune "Bebop," and Denzil Best's "Wee (Allen's Alley)" (based on "I Got Rhythm") are given a brisk, wailing treatment. Both tunes highlight Stitt's scampering alto, Getz's dancing mentholated tenor (very much in his Lester Young mode), and Gillespie's coiled, tempestuous trumpet. The tough, swinging rhythm section really distinguishes itself on the standards "Dark Eyes" and "Lover Come Back To Me" (particularly bassist Ray Brown). They always manage to keep a hint of the basic tune in the foreground, no matter how free the soloists get. Gillespie is inspired throughout, and FOR MUSICIANS ONLY contains some of his spunkiest, most pugnacious solos. ~ cduniverse.com

     Artist: Richie Beirach
     Album: Impressions of Tokyo: Ancient City Of The Future
     Label: Outnote Records
     Year: 2011
     Format, bitrate: MP3, CBR 320 Kbps
     Time: 57:14
     Size: 132 Mb

     Solo expression will reveal someone’s true character mercilessly. The fainthearted should abstain! Richie Beirach, New Yorker residing in Leipzig (Germany), most certainly doesn’t lack personality. His has been strengthened by forty years of practice in which he combines the discipline of a classical training with the vertigo of improvisation.
Richie has a deep knowledge of Japan – no less than 26 visits since the Seventies with numerous concerts and recordings – and doesn’t hide his admiration for its impressive culture and respect for art and music in all its forms. Under his fingers, Tokyo reveals itself in its duality, at the crossroads of tradition and modernity. His « impressions » follow like a series of snapshots presented in the form of haikus, the purest of poetic forms (3 verses of invariably 5, 7 and 5 syllables). Make no mistake; this freely chosen constraint enables Richie Beirach to go straight to the heart of the matter. Whether evoking the Japan of times immemorial – Kabuki theatre, stone gardens surrounding monasteries, flowering cherries, or even earthquakes …, or the Japan of today - the Shinkansen (Bullet train), Kurosawa’s movies, Takemitsu’s music… he appears alternatively sober, almost ascetic, or dense, searching the entrails of the piano. In other words: how can one translate, without betrayal, the Tokyoite soul and the daily life of millions of city dwellers? With this journey to Tokyo, Richie Beirach reaches this form of Zen serenity which is simply the prerogative of the greatest.

      Artist: Ray Brown & Laurindo Almeida
      Album: Moonlight Serenade
      Label: Jeton
      Year: 1981
      Format: Flac (eac-flac, cue, log)
      Time: Jeton
      Size: 252 MB (artwork)
      AMG rating:


     Великолепного басиста Рея Брауна представлять, надеюсь, не нужно. Да и с прекрасным бразильским гитаристом, композитором и аранжировщиком Лауриндо Альмейда внимательные посетители Клуба тоже знакомы по этой публикации.
     Но то, что они вытворяют дуэтом - просто невероятный по красоте сплав классической музыки, би-бопа и латиноамериканских мелодий.
     Рекомендуется слушать часа в три-четыре ночи, на максимальной громкости, отрешившись от всех мирских забот...

     Artist: Blue Mitchell
     Album: Blues on My Mind
     Label: Original Jazz Classics
     Years: 1958-59 , release 2007
     Genre: Hard Bop, Blues
     Format, bitrate: mp3, 320 kbps
     Time: 52:20
     Size: 71 MB



     An all-star lineup of mainstream/bop greats. Mitchell holds his own against sax greats Jimmy Heath, Benny Golson, and Johnny Griffin. - Ron Wynn, AMG

     Artist: Charles McPherson
     Album: What Is Love
     Label: Arabesque Recordings
     Year: 2011
     Quality: MP3@320 kbps
     Size: 130 mb
     Total time: 57:14


     McPherson remains a strong, viable force on the jazz scene today. He is at the height of his powers. His playing combines passionate feeling with intricate patterns of improvisation. Throughout his four decades of being an integral performer of the music, Charles has not merely remained true to his BOP origins, but has expanded on them. Stanley Crouch says in his New York Times article on Charles. “He is a singular voice who has never sacrificed the fluidity of his melody making, and is held in high esteem by musicians both long seasoned and young.” ~ All About Jazz

      Artist: Teo Macero With The Prestige Jazz Quartet
      Album: Teo
      Label: Prestige (PRLP 7104)
      Year: 1957
      Format, bitrate: Mp3, 320 Kbps
      Time: 37 min
      Size: 34 MB
      AMG Rating:

      This CD reissue features tenor saxophonist Teo Macero (who would later become much better known as a record producer) in as straight-ahead a setting as he ever appeared. With stimulating support from pianist Mal Waldron, vibraphonist Teddy Charles, bassist Addison Farmer, and drummer Jerry Segal, Macero performs a variety of then-recent ballads, of which only "Star Eyes" (arranged by Hall Overton) did not come from Teo or his associates. The music is advanced but from the jazz tradition, and overall this set is more noteworthy for Macero's interesting playing than for the tunes themselves

     Artist: Slide Hampton Quintet
     Album: Roots
     Label: Criss Cross Jazz
     Year: 1985; Release: 1991
     Format: FLAC
     Time: 70 : 39
     Size: 426 MB
     AMG Rating:

     A tremendous 1985 quintet session with trombonist Slide Hampton heading a distinguished group and nicely teaming with tenor saxophonist Clifford Jordan in a first-rate hard bop front line. The rhythm section's quality isn't far behind, especially pianist Cedar Walton and drummer Billy Higgins.

     Artist:Jan Garbarek Group
     Album: Twelve Moons
     Label: ECM
     Year:1992
     Format, bitrate: mp3; 320 kb/s
     Size: 176 Mb
     AMG rating

     This 1992 recording by the Garbarek Group has their customary blend of Norwegian folk themes and original compositions, with the leader's big-toned soprano and tenor saxophones at the heart of a music that combines cool lyricism and intense, if restrained, passion. It's the emotion that Garbarek can concentrate in a single note that distinguishes his work. His soprano is a keening wail in the unaccompanied introduction to "Brother Wind March," his high-register tenor an impassioned cry on "The Tall Tear Trees." Rainer Brüninghaus's piano provides a reflectively lyrical contrast, while the shifting rhythms of percussionists Manu Katché and Marilyn Mazur add variety to the reiterated themes. The CD is filled with distinctively Norwegian touches. Grieg's "Arietta" is a wistful vehicle for Garbarek's soprano, while the traditional "Gautes-Margjit" is the briefest of melodies. The haunting "Psalm" is sung by Agnes Buen Garnås with whom Garbarek recorded Rosenfole, while Mari Boine, singer and Laplander activist, performs her "Darvanam" with just Garbarek's tenor as accompaniment, invoking another world of musical possibilities. The CD concludes with a serenely beautiful version of Jim Pepper's "Witchi-Tai-To," first recorded by Garbarek almost two decades before, and touching on Pepper's Native American roots. ~ Stuart Broomer, Amazon.com

     Artist: Howard McGhee
     Album: Maggie's Back In Town!!
     Label: OJC/Contemporary
     Year: 1961; release: 1992
     Quality: MP3@320 kbps
     Size: 97 mb
     Total time: 42:25
     AMG Rating:

     Trumpeter Howard McGhee, after spending much of the 1950s only partly active in music (due to drug problems), made a full-fledged comeback in the early '60s only to find his bop-oriented music out of fashion. This Contemporary set (reissued on CD in the OJC series) was McGhee's finest recording of the period, a quartet outing with brilliant pianist Phineas Newborn, bassist Leroy Vinnegar, and drummer Shelly Manne. Although tenor saxophonist Teddy Edwards is not on the date, two of his compositions (his famous "Sunset Eyes" and a tribute to the trumpeter, "Maggie's Back in Town") are fully explored by the quartet. Other titles include three standards plus McGhee's original blues "Demon Chase." This CD is a perfect starting point for listeners not familiar with the underrated (and often overlooked) Howard McGhee. ~ Scott Yanow, All Music Guide

      Artist: Philip Catherine
      Album: Plays Cole Porter
      Label: Challenge
      Year: 2011
      Format: Flac
      Time: 56:35
      Size: 301 MB + 130 MB


      Philip Catherine, Belgium’s most renowned guitarist has put together a beautiful collection of Cole Porter compositions. Hein Van der Geyn’s arrangements are interpreted with freedom and simplicity allowing Philip Catherine to convey his highly emotional lyricism of expression. This release makes for a wonderful addition to any Cole Porter fan’s library.

     Artist: Duane Tatro
     Album: Duane Tatro's Jazz For Moderns
     Label: OJC/Contemporary (Limited Edition)
     Years: 1954-1955; release: 1996
     Quality: MP3@320 kbps
     Size: 81 mb
     Total time: 33:44
     This remarkable album has been presented in our Club by dear Mr. paolomagnifichi. Only yesterday I managed to hear to it and I at all am not sorry about it. The album has given to me enormous pleasure. Unfortunately, it is known about the magnificent composer and the head of orchestra Duane Tatro a little, therefore I have dared to process radically this post, to add the interesting information and rare photos and again to bring this album to your attention.~ lex
     And what music! Listening to this album nearly 50 years later, I’m impressed by how well it holds up. (The mono recording is exemplary – as was typical of Contemporary’s albums of that era – despite the album’s short running time of 34:21.) Tatro’s own notes for the album (reprinted along with those of label owner Lester Koenig) are succinct and to the point: ”With the exception of ‘Dollar Day’ which is 52 bars, all the pieces use the standard 32-bar chorus.” He means the popular song form. ”The departures from conventional writing are melodic and harmonic. For example, only ‘Multiplicity’ has a key signature. The development of each piece is derived from the material introduced in the first chorus.” Individual pieces use a ”melody set in a Phrygian mode,” ”a theme built on a 12-tone row,” ”a simple melody written over a polychordal structure,” or ”intervals of a fourth with interplay of unison lines and ensemble,” to quote a few examples.

     What Tatro did was to take not only the ”Birth of the Cool” advances of the late ’40s but Gerry Mulligan’s subsequent explorations (with piano-less groups) and he used and built on these to create a fully-formed and mature music which at once epitomizes ”West Coast jazz” and also goes beyond it into territory occasionally explored by Teddy Charles, Jimmy Giuffre and Bill Russo. It remains much closer to melodicism and jazz than the music of Robert Graettinger, but shares Graettinger’s sophisticated use of modern, 20th century compositional devices.

     As such, the album, now available as part of the ”Limited Edition Series” by Fantasy’s Original Jazz Classics on CD, is highly recommended. The CD was released in 1996 and will not remain in print too much longer. ~ Dr.Progresso, holeintheweb.com

     Artist: Charles Mingus
     Album: Mingus at Monterey
     Label: Jazz Workshop
     Year: 1964; release: 2010
     Quality: MP3@320 kbps
     Size: 128 mb
     Total time: 60:30
     AMG Rating:

     One of the highpoints of Charles Mingus's career was his appearance at the 1964 Monterey Jazz Festival. This long out-of-print double LP contains the entire set: a lengthy Duke Ellington medley, "Orange Was the Color of Her Dress" and a stunning version of "Meditations on Integration" as performed by a 12-piece group featuring such players as altoist Charles McPherson, John Handy (on tenor), trumpeter Lonnie Hillyer and pianist Jaki Byard. This music is well deserving of eventual reissue on CD for it showcases the bassist/composer/bandleader at the peak of his powers.

     A landmark recording from Mingus – and one of his best of the mid 60s! The album was recorded live at the Montery Jazz fest – and it features great work by Jaki Byard, Charles McPherson, John Handy, and Lou Blackburn. Mingus explores his increasing fascination with the work of Ellington on the extended Ellington Medley, which takes up most of the first record – and then he moves into two long fantastic originals, "Orange Was The Color Of Her Dress, Then Blue Silk" and "Meditations On Integrations. Both works represent some of his most sophisticated compositions – and the performances here are legendary.

     Artist: Howard McGhee
     Album: Howard McGhee: 1946-1948
     Label: Chronological Classic 1089
     Year: 1946-1948
     Release: 1999
     Format, bitrate: MP3@320 kbit/s
     Time: 56:37
     Size: 129 MB

     This two-year examination of McGhee's recorded work finds the trumpeter performing dates from the West Coast to New York and Chicago. The playing is stellar, and the bands feature notables like Dodo Marmarosa, James Moody, Hank Jones, Ray Brown, J.C. Heard, Milt Jackson, and Percy Heath. Highlights include "Midnight at Minton's," "Up in Dodo's Room," "Night Mist," "Messin' With Fire," and "Bass C Jam." A nice chunk of McGhee's best work.