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jasapaal
 Into the Rhythm
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2011: David Binney - Barefooted Town |
Music, Jazz, Contemporary Jazz, Modern Jazz |
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 Artist: David Binney Album: Barefooted Town Label: Criss Cross Jazz Year: 2011 Format: FLAC (tracks) Time: 55:28 Size: 326 mb David Binney’s ambitious release on his own label earlier this year, Graylen Epicenter, drew even more praise than usual from critics and fellow musicians. And this new one from Criss Cross is another winner for the much admired but largely unsung alto saxophonist and composer.
The top-flight, mostly younger players Binney has assembled for Barefooted Town—Ambrose Akinmusire on trumpet, Mark Turner on tenor saxophone, David Virelles on piano, Eivind Opsvik on bass and Dan Weiss on drums—seem happy to keep the emphasis on Binney’s complex compositions rather than their own soloing prowess. There is impressive blowing throughout the disc, especially on the high-energy opening pieces “Dignity” and “Seven Sixty.” Akinmusire and the saxes cut loose on “Secret Miracle,” and Weiss maintains a protean brilliance throughout. But the focus stays remarkably centered on ensemble work and Binney’s music. Virelles takes a strong solo on “The Edge of the Seasons” and adds luster to the quieter, more balladic “A Night Every Day,” for example, but dutifully repeats a chord throughout the title cut for hypnotic effect. And Akinmusire has no problem allowing his trumpet to be employed simply for color elsewhere.
Binney’s compositions, meanwhile, are serious without being off-putting. He supplies his own wordless vocals on three of the tracks, weaves melodic patterns with his three horns and supplies them with complicated unison lines, and shifts among tricky meters at will. For all the complexity and experimentation, however, his work maintains both passion and an engaging lyricism. This isn’t casual listening, by any means. But it is a reminder that forward-looking writing can be palatable. ~ Bill Beuttler, JazzTimes |
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2009: Patricia Talem - Patricia Talem |
Music, Jazz, Vocal Jazz, Fusion, Latin |
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 Artist: Patricia Talem Album: Patricia Talem Label: Nu Groove / Points South Year: 2009 Quality: APE (image+.cue) Total Time: 52:20 Total Size: 308 mb Patricia Talem was produced by Marco da Costa (2004 Latin Grammy Winning Producer) and Sandro Albert with Patricia Talem as Executive Producer. For her debut self-title release Patricia she selected tracks that as she stated "portrayed this moment of my current life and the state of my soul." The release displays her love of music as she crosses genres, generations, styles, and languages selecting songs from Brazilian legends such as Chico Buarque, Rita Lee, and Renato Motha, from more current Brazilian writers such as Elder Costa, Sandro Albert, and Keco Brandão, as well as Canadian Ron Sexsmith.
Being introduced to new and exciting music, many times covers a serendipitous route as I heard about Patricia Talem from Jimmy Haslip of the Yellowjackets whom I caught up with at the Blue Note in New York. Jimmy and Russell Ferrante, also of the Yellowjackets, both love Latin music and contributed their talents on the release. So, based off their recommendation I gave Patricia Talem a listen, and then another listen, as Patricia has that type of voice that is enchanting and haunting; she has that ability to capture the body and the mind. Along with Jimmy Haslip and Russell Ferrante of the Yellowjackets, Patricia is accompanied by an all-star cast of Brazilian musicians who lend their creative energy to make this a memorable release and stellar debut.
I have a fairly extensive selection of Brazilian music and what I like the most about all the different genres and styles that I have is the feel of the music. On Patricia's release, I could feel each song as she has that ability to convey and project meaning through her timing and how she accents certain words and phrases, as well as through her tone and pace. ~ EzineArticles.com |
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2012: Esperanza Spalding - Radio Music Society |
Jazz-Pop, Contemporary Jazz |
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 Artist: Esperanza Spalding Album: Radio Music Society Label: Concord Jazz Year: 2012 Format: Flac Size: 202,00 MB + 171,82 MB Hailed as a prodigy on the acoustic double bass within months of first touching the instrument as a 15-year-old, Esperanza Spalding has emerged as a fine jazz bassist, but has also distinguished herself playing blues, funk, hip-hop, pop fusion, and Brazilian and Afro-Cuban styles as well. Born in Portland, OR in 1984, Spalding was not well served by the public school system and soon dropped out of classes to be home-schooled. Returning to the public school system at 15, she encountered her first acoustic bass (she had already been playing violin for several years) and immediately took to the instrument. Dropping out of school again, Spalding enrolled in classes at Portland State University as a 16-year-old, and earned her B.A. in just three years and was immediately hired as an instructor in … » Read more~ Steve Leggett, All Music Guide |
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1967: Gabor Szabo - The Sorcerer |
Music » Jazz » Fusion » Crossover Jazz |
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 Artist: Gabor Szabo Album: The Sorcerer Label: GRP/Impulse! Year: 1967; release: 1997 Format, bitrate: Mp3, 320 Kbps Time: 38:30 Size: 103,79 Mb AMG Rating:  Gabor Szabo's quintet featuring Jimmy Stewart was one of the guitarist's very best units. Live performances like this, recorded at Boston's Jazz Workshop, document some of the excitement the group stirred in 1967-1968. Included in the 1997 CD reissue are three excellent tracks ("Los Matadoros," "People," and "Corcovado") recorded at the same concert, which originally appeared on More Sorcery. The playing seems inspired, and the interplay within the group is something to behold -- even when performing lightweight tunes like "The Beat Goes On." ~ Douglas Payne, All Music Guide |
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2001: Gare Du Nord - In Search Of Excellounge |
Music » Jazz » Fusion » Jazz-Pop |
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 Artist: Gare Du Nord Album: In Search Of Excellounge Label: Play It Again Sam Year: Jul 2001 Format: FLAC Time: 42:28 min Size: 243 MB Tthe legendary debut featuring the classic hits Pablo’s Blues and Boogie All Night Long. Streetdate May 14, 2001. Special editions in Russia, Australia and Canada. Certified gold. ~ garedunord.eu I don't know how many of you like records with a guideline and small differences from track to track, but if you do this will be an excellent cd of your collection. It goes from jazzy sounds to bluesy feelings and a couple of dance beats here and there. It is also a good mood maker and I suggest you to listen to it without any prejudice, because the main fault you could find in the record is that it is a little bit "already heard before". ~ Amazon.com |
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2011: Philip Catherine - Plays Cole Porter |
Post-bop, Smooth & Lounge |
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 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. ~ jazzmessengers.com |
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1975: Larry Coryell - The Restful Mind |
Post-bop, Fusion |
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 Artist: Larry Coryell Album: The Restful Mind Label: Vanguard Year: 1975 Format: FLAC Time: 36:26 Size: 209 MB + full artwork AMG rating:  Repost with new links Guitarist Larry Coryell recorded several sessions for the Vanguard label during the '70s with varying results. He did manage two classics, Spaces, and this one, The Restful Mind. It is no small coincidence that the better the personnel he surrounded himself with, the better he played. On Spaces, the presence of John McLaughlin and Chick Corea raised his playing to another level. Here, with the backing of the group Oregon (with the exception of Paul McCandless), who were also signed to Vanguard at this time), bring out a more reflective and relaxed Coryell. His tendency to fall back on his chops was always a weak spot in his playing, but it is thankfully absent here. Both of the "Improvisation" pieces are highlights in Coryell's career, which along with the other beaufitul selections, make this one of his best, and certainly most overlooked, recordings.~ Robert Taylor, All Music Guide |
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2009: Yukiko Matsuyama - Creme Brulee |
Music » Jazz » Fusion » Jazz-Pop |
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 Artist: Yukiko Matsuyama Album: Creme Brulee Label: Yukiko Matsuyama (YM5014) Year: 2009; Release: 2009 Genre: World Fusion, Smooth Jazz, Koto Instrumental Format, bitrate: MP3 CBR 320 kbps (LAME 3.93) Time: 42:42 Size: 183 MB Yukiko Matsuyama’s latest release, Crème Brulée, is a joyful blend of Smooth Jazz and World Music that will excite & delight! It's a delicious feast which blends the Japanese flavors of the Koto with westerm instruments and rhythms from around the world. The Koto Yuki Band beautifully executes 10 original compositions by Matsuyama. Greg Vail’s soulful sax blends joyously with Yukiko’s Koto. A 13-string zither or harp, the Koto is Japan's national instrument. She delivers the sounds of the ancient 7th century instrument with authority and grace while managing to infuse elements of jazz, pop, new age, and world music into her mesmerizing compositions. |
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1971: Eugene McDaniels – Headless Heroes Of The Apocalypse |
Jazz-Rock, Soul, Funk-Jazz |
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 Artist: Eugene McDaniels Album: Headless Heroes Of The Apocalypse Label: Atlantic Year: 1971 Format, bitrate: MP3@320Kbps Time: 37 min Size: 84.8 MB AMG rating:  ~ John Duffy, All Music Guide |
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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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1974: Santana - Borboletta |
Fusion, Jazz-Rock |
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 Artist: Santana Album: Borboletta Label: CBS Year: 1974 Format, bitrate: mp3, 320.0 kbit/s Time: 49:52 Size: 121Mb Borboletta was the first new Santana band studio album in 11 months and the group's sixth overall. Once again, individual credits were listed for each song. The main problem was that the band seemed to be coasting; Carlos turned in the usual complement of high-pitched lead guitar work, and the percussionists pounded away, but the Santana sound had long since taken over from any individual composition, and the records were starting to sound alike. That, in turn, started to make them inessential; Borboletta spent less time on the charts than any previous Santana album. ~ William Ruhlmann, All Music Guide |
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1972: Frank Zappa - Waka/Jawaka |
Jazz, Fusion, Jazz-Rock |
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 Artist: Frank Zappa Album: Waka/Jawaka Label: Rykodisc Year: 1972, CD 1995 Format: mp3@320 / flac Size: 88MB / 249MB w/scans Time: 36:08 AMG Rating:  REPOST with new links When Frank Zappa found himself stuck in a wheelchair for most of the year 1972 (after a "fan" pushed him off the stage on December 10 of the previous year), he relieved his then-current band (including singers Flo & Eddie) of its duties and turned to studio work. One of the first things he tried was to write jazz fusion music scored for wider instrumentation than an average rock band. Waka/Jawaka was conceived in parallel to The Grand Wazoo, but with fewer players. The album, released in July 1972, is comprised of two extended instrumental pieces and two shorter songs. "Big Swifty," a theme-and-solos showcase, would become a live favorite, but the highlight came in the form of the orgiastic title track, recorded with ex-Mothers of Invention keyboardist Don Preston, trumpeter Sal Marquez, trombonists Bill Byers and Ken Shroyer, saxophonist Mike Altschul, bassist Erroneous, and drummer Aynsley Dunbar. The songs, never performed live, feel like filler material. Waka/Jawaka was Zappa's second solo album and is occasionally referred to as "Hot Rats II" (the handles of the faucets on the cover artwork show the words "hot" and "rats" instead of "hot" and "cold"). His writing and recording technique had matured a lot in very little time. The dirty blues jamming of the 1969 LP was replaced by clean, crisp jazz improvisations -- no need to say this was also an abrupt change in style from the Mothers' 1969-1971 incarnation. But this album was only transitional: Zappa's big-band stylings would really flourish in The Grand Wazoo a few months later.~ François Couture, All Music Guide |
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2002 — 2003: Daniel Kramer - Jazz Games (2CD) |
Music » Jazz » Fusion » Contemporary Jazz |
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 Artist: Daniel Kramer/ Äàíèèë Êðàìåð Album: Jazz Games (2CD) Label: Promo Edition Years: 2002 — 2003 Quality: MP3@320 kbps Size: 129 mb; 117 mb Total time: 58:45; 53:28 Leading figure on the Russian jazz scene, with an established international reputation,
Kramer gives a virtuoso solo performance of jazz standards and improvisations. Õîòÿ ïèàíèñòà Äàíèèëà Êðàìåðà è ïðèíÿòî ïðè÷èñëÿòü ê äæàçìåíàì, îí – ìóçûêàíò èç òîé ðåäêîé êàòåãîðèè, êòî îäèíàêîâî ñâîáîäíî ÷óâñòâóþò ñåáÿ êàê â äæàçîâîì, òàê è â àêàäåìè÷åñêîì ìèðå. Àëüáîì «Jazz Games», çàïèñàííûé øåñòü ëåò íàçàä è íàêîíåö âûøåäøèé â øèðîêîì ôîðìàòå, – ëó÷øåå òîìó äîêàçàòåëüñòâî. Åñëè îáðàùåíèå êëàññèêè â äæàç – äåëî ïðèâû÷íîå (òàê óæ óñòðîåíû äæàçìåíû, ÷òî ïåðåèãðûâàþò íà ñâîé ëàä âñå, ÷òî ñëûøàò), òî îáðàòíàÿ äîðîãà êóäà áîëåå òðóäíà è èçâèëèñòà. Äàíèèë Êðàìåð íå ñòîëüêî ïåðåèíà÷èâàåò äæàç íà àêàäåìè÷åñêèé ìàíåð, ñêîëüêî ñìåøèâàåò è îòîæäåñòâëÿåò ýòè ïîíÿòèÿ. Åãî ñîáñòâåííûå ñî÷èíåíèÿ ñîñåäñòâóþò çäåñü ñ êîìïîçèöèÿìè Äþêà Ýëëèíãòîíà (Duke Ellington), Êèòà Äæàððåòà (Keith Jarret) è Áåííè Ãîëñîíà (Benny Golson). À ôîðòåïèàíî êàê åäèíñòâåííûé èíñòðóìåíò, çâó÷àùèé íà ïðîòÿæåíèè âñåé ïëàñòèíêè (èñêëþ÷åíèå ñîñòàâëÿåò ëèøü äóýò ñî ñêðèïà÷îì Äèäüå Ëîêâóäîì (Didier Lockwood), ïüåñà «All the Things You Are»), òîëüêî ïîä÷åðêèâàåò ÷èñòîòó ýêñïåðèìåíòà, èçûñêàííîñòü ýòîé èãðû ðàçóìà. ~ Style Records |
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2004: Paul Brody's Sadawi - Beyond Babylon |
Fusion, Modern Jazz, Avantgarde |
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 Artist: Paul Brody's Sadawi Album: Beyond Babylon Label: Tzadik Records Year: 2004 Format, bitrate: mp3, 320 Time: 54:34 Size: 123 mb AMG Rating: On his second album fronting his band Sadawi, trumpeter and composer Paul Brody continues his work in the avant-klezmer trenches, helping to drag that hundred-year-old music kicking and screaming into the 21st century. On Beyond Babylon he shows his unwillingness to be constrained by any ghetto boundaries, opening the album with an extended deconstruction of the Shaker hymn "Simple Gifts" (which features a hair-raisingly skronky banjo solo by Brandon Seabrook), and making use of elements of both dub (on the contemplative and lovely "Timepeace"), and rock (note the guitar parts on "Fragment of Kafka's Friend") as well as lots and lots of modern jazz. Most of the album is thrilling; Brody's take on the David Krakauer composition "Klezmer à la Bechet" is a joyful romp in five/four meter, "Glass Dance" is a masterful chamber jazz excursion featuring guest Alan Bern on melodica; Brody's own "An Eye for a You" struts out like a brazen shtetl girl daring someone to dance with her. Only the scattershot and static "Masks and Faces" fails to impress. Highly recommended overall.~ Rick Anderson, All Music Guide Paul Brody's Beyond Babylon (Tzadik), the follow-up to 2002's Kabbalah Dream, features the same sparse and effective lineup known as Sadawi: the leader on trumpet, Jan Hermerschmidt on clarinets, Brandon Seabrook on banjo and guitar, Martin Lillich on bass and Eric Rosenthal on drums. Based in Berlin, Brody has an alt-klezmer worldview not unlike Frank London's or David Krakauer's, so it's not surprising to find smart adaptations of London's "Golem Khosidl" and Krakauer's "Klezmer a la Bechet" on this album. Ben Goldberg's "Masks and Faces," done in a snaky 5/4, features Alan Bern on accordion. "A Fragment of Kafka's Friend," loosely based on a piece by Naftule's Dream, showcases the group at its most abstract. The remaining originals are animated by a Krakauer-esque melding of shtetl music, hard rock and electro-tweaking. Some of the writing is too kitschy, but the banjo is a fun and unusual touch.~ David R. Adler, Jazztimes |
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2006: Ëåîíèä ×èæèê / Leonid Chizhik - Sakura |
Music » Jazz » Fusion » Contemporary Jazz |
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 Artist: Ëåîíèä ×èæèê / Leonid Chizhik Album: Sakura Label: LASER CRAFT Year: 2006; Release: 2011 Format, bitrate: MP3, CBR 320 Time: 59:39 Size: 138 Mb This album is live recording in Munich compositions on world music themes: japanese, russian, turkish and others. Ýòîò êîìïàêò-äèñê áûë çàïèñàí äâà ãîäà òîìó íàçàä â Ìþíõåíå íà ôåñòèâàëå "Ôîðòåïèàííîå ëåòî". Ýòî îäèí èç ñàìûõ êðóïíûõ ôåñòèâàëåé â Ãåðìàíèè, ãäå çâó÷èò íå òîëüêî äæàç, íî è êëàññè÷åñêàÿ ìóçûêà.  åãî ðàìêàõ ìíå ïðåäëîæèëè ñûãðàòü ïðîãðàììó world music, ãäå ðå÷ü èä¸ò î ôîëüêëîðå.
 äèñê âîøëè øåñòü êîìïîçèöèé, ÿ äîâîëåí ýòîé çàïèñüþ. Îíà íå ñòóäèéíàÿ, ýòî çàïèñü Live. Ìíå íðàâèòñÿ, ÷òî çäåñü ìàëî âíåøíèõ ýôôåêòîâ. Îí ìåäèàòèâåí... Ìíå êàæåòñÿ, ýòîò àëüáîì áóäåò íðàâèòüñÿ â Ðîññèè. Ïîòîìó ÷òî çäåñü íåò ëóêàâñòâà, åñòü ýíåðãèÿ, íàñòðîåíèå, è åñòü Ìóçûêà ~ Ëåîíèä ×èæèê |
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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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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: Chuck Mangione - Feel So Good |
Music » Jazz » Fusion » Crossover Jazz |
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 Artist: Chuck Mangione Album: Feel So Good Label: A&M (SP-4658) Year: 1977 Format, bitrate: Mp3, 320 Kbps (Lp-rip) Time: 45:48 Size: 108,66 Mb AMG rating: Due to the title cut, this was a huge seller when it originally came out. Reissued on CD, this set from flügelhornist Chuck Mangione (which helped give guitarist Grant Geissman some fame) is actually stronger from the jazz standpoint than Mangione's subsequent dates. The leader has some good solos, as does Geissman and saxophonist Chris Vadala, and the quintet's ensembles are generally both sparse and attractive. Pity that in ways this was Chuck Mangione's last worthwhile release to date; success did stunt his artistic growth.~ Scott Yanow, All Music Guide |
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1986: Don Burrows & Chris Hinze - Flute Salad |
Music » Jazz » Fusion |
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 Artists: Don Burrows & Chris Hinze Album: Flute Salad Label: Pickwick Year: 1986 Format: flac & mp3 (V0) Time: 41:57 Size: 220MB & 81.2MB Occasionally one is gifted with a recording from a musician, or a close friend of the musician. This particular project, though still available, is not all that easy to come by.
The music is sweet, melodious, lively, entertaining, and holds your attention for a full forty minutes with two very accomplished flute players of very differing styles fusing together with an interesting mix of musicians.
Read the included liner notes for a glimpse of what to expect.
This recording session is a valuable prize to add to ones 'often listened to' library of music. |
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English
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