Artists: Red
      Album: Songs From A Room
      Label: Rectangle
      Year: 2001
      Format, bitrate: Mp3, 320kbs
      Time: 44:24
      Size: 92.9 Mb

      This is one of those tribute albums in which an artist even appropriates an original album title and expertly re-creates the cover art of the artist and album being so honored. In this case we have a tribute to Leonard Cohen and his album Songs From a Room performed by the Parisian musician known simply as Red, and released through his collaboration with the artistically interesting Rectangle label, also based out of Paris. Do the French take Leonard Cohen more seriously than he is taken in his homeland? Perhaps this collection is an indication that he is taken less seriously. But, in reality, many listeners might prefer the versions of Cohen songs by Red to the originals. In the case of a listener who had so little knowledge of Cohen that the cover art duplication went totally unnoticed, the effect of Red's range of vocal delivery and low-key backup was definitely positive. Fans of the music of artists such as Jandek will also enjoy this recording, as some of the tracks have the same kind of strange ambience. When the backup players get into kind of a mellow jazz groove, the sound is reminiscent of Tim Hardin, a comparison that the singer is capable of either settling into by concentrating on the handsome sound of his voice or smash to bits by growling like someone trying to scare off an exorcist. Most impressive is the fact that most of the backing is created by Red all on his own, utilizing just guitar and electronics. Let's see smarty-pants Cohen try that.

      Artists: John Zorn
      Album: The Satyr's Play - Cerberus
      Label: Tzadik
      Year: 2011
      Format, bitrate: mp3, 320kbs
      Time: 37:03
      Size: 80.6 Mb

      Two dramatic new worlds in sound from our downtown Alchemist who continues to confound and defy expectations well into his fourth decade of recorded activity. Scored for two percussionists, The Satyr's Play is a dramatic work that mysteriously evokes the decadent excesses of Bacchanalia and Saturnalia. Presented in book form accompanied by a esoteric text beautifully illustrated with rare drawings by the great mystical artist Austin Osman Spare, this is a work of subtle nuance and sexuality. In contrast, Cerberus, is a flamboyant and dynamic trio for brass. A demonic piece featuring three undisputed Brass virtuosos, it jumps styles, moods and genres in classic Zorn fashion. Radical, moody and colorful chamber works for the 21st century.~ www.tzadik.com

     Artist: Lavrenchukki
     Album: Practica
     Label: Shum Records
     Year: 2004
     Format, bitrate: mp3, 320 kbps
     Time: 50:32
     Size: 134.09 Mb

      Геннадий Лаврентьев — скрипач Kostarev Group, бывший участник «Рады и Терновника» (обучался игре на табла в Дели в суперизвестной школе с трудновыговариваемым названием), человек с хитрой хулиганской улыбкой, бодро прыгающий по сцене в такт взмахам своего смычка или самоуглубленно стучащий по барабанам, сидя босиком на специальном коврике. Кирилл Паренчук — экс-перкуссионист «Рады и Терновника» же, добродушный весельчак, сосредоточенно и лихо молотящий по тем же табла, а также разного рода экзотическим ящикам из-под чая и котлам для плова (это нам, непосвященным, так кажется). Вместе они — «горячие финские парни» Лавренчукки, поющие свои веселые и грустные песни. Вернее, совсем не поющие и совсем не финские, ибо играют Lavrenchukki инструментальную музыку в традиционном индийском духе. Лаврентьев обильно сдабривает свои скрипичные соло неблизкой европейскому уху микрохроматикой и тщательно избегает привычного для нас «круглого» академического звука. Паренчук весьма удачно вступает кое-где на сопрано-саксофоне. А разные замечательные табла, дарбуки, джембе и прочие «говорящие барабаны» передаются из рук в руки, так что и не уследишь, кто, где и куда стукнул. Теплая медитативная энергия обволакивает и успокаивает, кое-где становясь даже слишком вязкой и усыпляющей. Но на последней вещи — почти 10-минутной кримзоидной «P.S.» — всё это благолепие рассыпается, впиваясь в мозг назойливыми осколками. Такие вот они парни, эти Лавренчукки. Палец им в рот не клади, откусят. ~ salonav.com

     Artist: Makoto Ozone
     Album: Treasure
     Label: Verve
     Year: 2002
     Format, bitrate: mp3, 320 kbps
     Time: 1:12:52
     Size: 163.38 Mb



      It's an amazing album. with lyrics sang by Jon Hendricks. with strong duets between mr. Ozone and mr. Corea. with impossible duels among mr. Ozone and mr. Burton. with reeds attacked by mr. Brecker. with an perfect accompany of mr. Genus and mr. Penn. with extraordinary originals. It's really an amazing album. And i really don't understand why nobody talks about it... ~ By Ali Haluk, www.amazon.com

     Artist: Kazumi Watanabe
     Album: One for All
     Label: Polygram
     Year: 1999
     Format, bitrate: mp3, 320 kbps
     Time: 1:09:03
     Size: 155.33 Mb


      Kazumi is a great player, and this release shows his musicality more than his fusion recordings do. These songs, unlike those of his fusion releases, are full of compositional depth and beauty. The improvizations are highly creative as well as being tasty. His guitar work here, is much more substantial, than on the Spice Of Life albums. The whole band is top notch! This music can be enjoyed repeatedly, since it is not dated by the 80's synth patches and repetitive funk licks.

     Artist: Cecil Taylor
     Album: Air Above Mountains (Buildings Within)
     Label: Enja Records
     Year: 1976
     Format, bitrate: mp3, 320 kbps
     Time: 1:16:20
     Size: 172.7 Mb
     AMG rating:



     This Cecil Taylor solo concert features the radical pianist at a performance in Austria playing continuously for 51 minutes. Except for some brief moments, his music is quite intense, percussive, crowded and overflowing with passion. Taylor's longtime fans will find much to marvel at while newcomers to his music are advised instead to check out his earlier (and less dissonant) sessions from the 1950s first.

     Artists: Charlie Parker , Chet Baker
     Album: "Live" At The Trade Winds
     Label: Fresh Sounds
     Year: 1952
     Format, bitrate: mp3, 320kbs
     Time: 49:59
     Size: 77 MB



     Charlie Parker made a trip to the west coast of the United States in 1952 and though he was inconsistent at time during his final years due to health problems caused by his addiction to drugs and alcohol, he is definitely on during this jam session, recorded at the Trade Winds in a Los Angeles suburb. Traveling alone and working with local players, the alto saxophonist was auditioning for a trumpet player and hired the young, still little-known Chet Baker for the gig. The rest of the band included pianist Russ Freeman (who would later work extensively with Baker after the end of the Mulligan-Baker Quartet), bassist Harry Babison (who arranged the on-site recording), drummer Larance Marable, and alto saxophonist Sonny Criss. Criss manages to acquit himself quite well in the presence of the giant of his instrument, while Baker proves to be very impressive at this stage in his career. Unlike many of the informal live recordings made of Charlie Parker, the audio is quite surprising for a portable tape recorder, while opportunities for extended solos please both the musicians and the audience. Parker is in fine form throughout the evening, so this should be considered an essential CD for his fans.

     Artist: John Zorn
     Movie: Masada Live At Tonic
     Director: Antonio Ferrera
     Label: Tzadik
     Year: 1999, Release: 2004
     Total Time: 1:16:32
     Total Size: 694 Mb
     Codec: XviD
     Width: 512 pixels
     Height: 384 pixels
     Audio: mp3, 320 kb/s

Finally a chance to see one of the great working bands up close and personal. Filmed with an intimate three camera shoot by Antonio Ferrera, a close friend of Zorn and a long time cameraman for the documentary masters the Maysles Brothers, this beautiful DVD captures the band performing a passionate set of music at their home base in the Lower East Side, Tonic, back in the summer of 1999. This is Masada as no one except maybe the band itself has ever experienced it. Filmmaking at its most exciting, bringing you right into the heart of the action. A must for every Masada fan. ~ www.tzadik.com

     Artist: Cesaria Evora
     Album: Sao Vicente
     Label: Windham Hill
     Year: 2001
     Format, bitrate: mp3, 320 kbps
     Time: 1:03:32
     Size: 142.9 Mb
     AMG rating :


Cesaria Evora, who at times has been referred to as a new Edith Piaf, turns in another masterful album with her first release of the new millennium, Sao Vicente. This album features several first-rate guest appearances, including Pedro Guerra, Caetano Veloso, Chucho Valdes, and North American blues superstar Bonnie Raitt (who, as always, delivers a remarkable performance) but none takes the stage from Cesaria. This is an album which, even when sunny and jubilant, still has an underlying theme of boundless sorrow, but in the end, the music is pure joy to the ear and the spirit. Highlights of the album include the elegant, nostalgic and sweeping opener, "Sao Vicente Di Longe" (which is the title of the European version of the album). "Dor Di Amor" best illustrates how such joyful music, with jubilant beats and horns, can be so sad, with Cesaria's mournful laments decorating the uplifting song. The album includes more Latin-tinged songs, including "Tiempo Y Silencio" where she sings in Spanish, and nostalgic torch songs, such as "Linda Mimosa" and "Negue," which finds Cesaria accompanied solely by a piano, resulting in one of the most beautiful and touching performances on the album. As is always the case with this singer, the album is strong from start to finish. One can rejoice in Cesaria's musical journey, which proves that true art and emotion can find a route to success in an era of overwhelmingly manufactured artifice.

     Artist: Al Di Meola
     Album: Vocal Rendezvous
     Label: SPV
     Year: 2006
     Format, bitrate: mp3, 320 kbps
     Time: 50:29
     Size: 81.32 Mb



The famed jazz guitarist recorded this predominant collection of collaborations with various singers over a 6 year period. The first that started it all was a session with the Russian vocalist Leonid Agutin. Always on the lookout for new challenges, Di Meola expanded on the concept for this very special and exceptional album. The featured material includes artists like Xavier Naidoo, Angie Stone, Macy Gray, MC Solaar and Swedish pop singer Bosson. A thoroughly distinctive release in Di Meola’s longstanding career and certainly one that marks him as an accomplished wanderer between different stylistic worlds.

     Artist: Al Di Meola
     Album: Consequence Of Chaos
     Label: Telarc Distribution
     Year: 2006
     Format, bitrate: mp3, 320 kbps
     Time: 1:03:53
     Size: 103.27 Mb

The sticker on the disc's cover states that this is "a return to his solid-body electric guitar," and while that may be true in parts, Consequence of Chaos is still pretty far from the tense, nonstop electric sizzle of di Meola's first three albums, which are landmarks in the jazz fusion genre. And while there is plenty of electric guitar here -- and a musical reconnection with Chick Corea, Steve Gadd, and Barry Miles, all of whom have previously worked with di Meola -- this is still dominated by the world music and more subtle framework that have characterized the guitarist's playing for the last few decades. The performances are uniformly excellent, and even though the approach shifts from prog to acoustic to electric and world, di Meola's distinctive style and classy approach congeal the music with authority. "Tao" alone takes more turns than a craggy mountain road, but never gets predictable or pretentious. Di Meola knows when to hold back and when to unleash his precise, percussive, fret-shredding Latin lines, and it's that sense of restraint that makes this disc, and much of his recent work, so successful. These instrumental pieces lay down a groove upon which di Meola solos with different combinations of musicians. Melodies are difficult to pinpoint, but the sublime playing keeps the listener's interest despite a tendency to wander. Four brief, low-key interludes feature an unaccompanied di Meola playing all the instruments, and provide a more relaxed counterpoint to the busier band tracks. Percussionists Ernie Adams and Gumbi Ortiz's standout work, especially on the subtle "Hypnose," add hot, bubbling flavor to the project. Chick Corea only appears on two tracks, but both are highlights. The lovely acoustic duet on "Cry for You" brings out the best in both musicians as their interplay reaches new heights. Di Meola calls the nine-minute "Tempest" his most complex piece -- which is saying a lot -- as it twists through different moods and tones utilizing varying rhythms in an impressive display of the guitarist's dazzling skills. It's a summation of this album that shows di Meola, after 30 years as a solo artist, to be on the top of his game.

     Artist: Al Di Meola
     Album: The Grande Passion: World Sinfonia
     Label: Telarc Distribution
     Year: 2000
     Format, bitrate: mp3, 320 kbps
     Time: 59:24
     Size: 96.41 Mb
     AMG rating:

A rich, moody tapestry with flashes of fire, this CD incorporates elements of jazz, fusion, classical, Latin, tango, and Middle Eastern music. Sounding like the romantic soundtrack to an excellent foreign film, it's full of splendid moments, like the wash of colors on "Double Concerto," a sinuous composition by Al di Meola's "musical father and friend," Astor Piazzolla. Di Meola interprets two more beauties from the late Argentine tango legend -- the tender "Soledad" and the churning, incendiary "Libertango," where he uses MIDI technology to approximate the classic bandoleon sound -- and offers six of his own. One of them, the title track, could be the most gorgeous, soulful melody of 2000, stated in ways alternately delicate and powerful; when it finally crescendos it's like the ocean lifting, with the sun sparkling on it. His "Opus in Green," written with fine Argentine pianist Mario Parmisano, is very Return to Forever-like. Di Meola has phenomenal technique and a gift for unhackneyed writing; his famous blistering runs are in here, but only when they further the music -- not gratuitously added for their own sake. The arrangements by di Meola and Parmisano make optimal use of the Toronto Symphony Orchestra and soloists, creating an organically textured whole rather than the stringy soup that too often drowns such collections.

     Artist: Al Di Meola
     Album: The Infinite Desire
     Label: Telarc Distribution
     Year: 1998
     Format, bitrate: mp3, 320 kbps
     Time: 1:03:18
     Size: 102.33 Mb
     AMG rating

With the help of new generations of guitar synthesizers and samplers, The Infinite Desire finds a mature, lyrical, more expressive Al di Meola casting his lot with Telarc, which until the late '90s had concentrated its attentions upon aging acoustic jazzers. Indeed, he makes marvelously musical use of the new devices, creating sensuous, exotic layers of sound that lie easily upon the ear, without much of the usual harshness of digital instruments generated by those who haven't bothered to master them. "Shaking the Spirits" in particular is a fascinating piece, loaded with dazzling Middle Eastern and African colorations, and the sampled trumpet sound he gets on "Valentina" is astoundingly lifelike. Also, di Meola's playing became more unabashedly fluid in the '90s; on the closest thing to a straight-ahead track, "Invention of the Monsters," di Meola's electric guitar curls intricately and swingingly around the bass of Tom Kennedy, Ernie Adams' drums, and some synthesized brass. Di Meola's co-conspirators change from track to track, although two who figure a lot in the sound and package are keyboardist Rachel Z (a former di Meola sidewoman) and bassist John Patitucci. Also check out Herbie Hancock on acoustic grand and Peter Erskine's drums on "Istanbul," and di Meola's fairly good-natured duel with rock guitarist Steve Vai on "Race with Devil on Turkish Highway."

Artist: Al Di Meola
     Album: Electric Rendezvous
     Label: Columbia
     Year: 1982
     Format, bitrate: mp3, 320 kbps
     Time: 30:34
     Size: 54.97 Mb



Al di Meola's fifth of seven fusion albums as a leader for Columbia is a typically fiery effort, with di Meola joined by keyboardist Jan Hammer, electric bassist Anthony Jackson, drummer Steve Gadd, percussionist Mingo Lewis, and guest spots for flamenco guitarist Paco de Lucía ("Passion, Grace & Fire") and keyboardist Philippe Saisse. This lesser-known effort is easily recommended to fans of rock-ish jazz guitar. ~ Scott Yanow, All Music Guide

    
      Artist: Al Di Meola
     Album: Scenario
     Label: Columbia
     Year: 1983
     Format, bitrate: mp3, 320 kbps
     Time: 32:41
     Size: 89.7 Mb




With this recording, Al di Meola thankfully left behind the pop-fusion sound that he had perfected with Jan Hammer. This was his first venture using the Roland guitar synthesizer and a drum machine. The technology used on this recording sounds dated, but the intent seems genuine. Jan Hammer's Miami Vice sound can be heard throughout, especially on "Sequencer"; di Meola places more emphasis on composition and production than on his famous technique. This turns out to be a refreshing change, but it would have been nice to hear him jam with Phil Collins on "Island Dreamer" rather than lying back on what turns out to be a disappointing collaboration. "Calliope" finds di Meola aligned with Bill Bruford and Tony Levin, although this too turns out to be a disappointment. Certainly a turning point in di Meola's career, but hardly at the level of his later output.

     Artist: Al Di Meola
     Album: Tour De Force - "Live"
     Label: Columbia
     Year: 1982
     Format, bitrate: mp3, 320 kbps
     Time: 39:07
     Size: 85.8 Mb




     Recorded shortly before Al di Meola decided to de-emphasize his electric guitar in favor of his acoustic counterpart, this live set does a fine job of summing up his first six years of recordings. Four of the six numbers (all but "Nena" and "Advantage") were previously recorded by the pacesetting fusion guitarist. With strong and stimulating contributions made by keyboardist Jan Hammer, electric bassist Anthony Jackson, drummer Steve Gadd, percussionist Mingo Lewis, and second keyboardist Victor Godsey (some additional keyboards and percussion were overdubbed later in the studio), di Meola is typically stunning on such originals as "Elegant Gypsy Suite" and "Race with Devil on Spanish Highway." ~ Scott Yanow, All Music Guide

     Artist: Orna
     Album: The Very Thought Of You
     Label: A440 Music
     Year: 2003
     Format, bitrate: mp3, 320 kbps
     Time: 44:12
     Size: 98.9 Mb
     AMG rating


The South African-born vocalist Orna, carrying a distinctive lightness in her highly accurate vocal delivery, sits down with Brian Bromberg and a stellar ensemble for a session that revels in its simplicity. Favoring a light samba lilt and surrounded, in part, by synth strings, the persuasive singer gives pause to one of those rainy days we’ve been dreaming of. Her debut stands apart as an album just made for kicking back and takin’ the afternoon off. The title track brings a smile to one’s face, as the realization sinks in that good jazz ballad singers are once again pulling in high ratings. Straight-ahead jazz and smooth jazz have another champion. When Orna’s trio takes turns soloing and trading fours with the drummer, they’re simply reminding today’s generations that great music is timeless. ~ Jim Santella, www.allaboutjazz.com

Artist: Ivan Smirnov (Иван Смирнов)
Album: At The Other End Of The World
Label: Smirnov Records
Year: 1999
Format, bitrate: mp3, 320 kbps
Time: 54:47
Size: 105 Mb




No listener could deny that Ivan Smirnoff’s music is full mysterious Russian soul and Russian ways. And that is the base for different and sometimes distant modern guitar styles to collide, melt, fuse and go side by side. Smirnoff’s musicianship is marked with internal freedom. It is beyond time. But it does come from Russian heart. ~ from the booklet

Artists: Charlie Parker
Album: Evening at Home with the Bird
Label: Savoy
Recording: 1950
Release: 1959
Format, bitrate: mp3, 192kbs
Time: 29:59
Size: 41 Mb

Originally issued on Savoy five years after Parker's death as Volume One in their "Jazz Immortal Series," the LP has now been digitally remastered and reissued on CD. The four tunes on AN EVENING AT HOME were, in fact, taped at Parker's apartment in New York at a party/jam session held by the saxophonist. Subsequently, as the liner notes claim, "Savoy had the good fortune of receiving the tapes of this session directly from Charlie Parker, himself." Parker never got around to providing any information about the personnel on his party's bandstand, so such details remain a mystery.
Festivities notwithstanding, the soloists come through loud and clear, and it's a pleasure to hear Bird stretch out on "There's a Small Hotel" without having to operate within the three-minute confines of the recording studio. He's joined by a standard rhythm section of piano, bass and drums, a saxophonist suspected to be Wardell Gray, and a particularly fluent electric guitarist. сduniverse.com

   Artists: Anatoly Babiy
   Album: Sometime In The Past / Когда-то В Прошлом
   Release: 2001
   Format, bitrate: mp3, 320kbs
   Time: 1:01:07
   Size: 135 Mb


    После многолетнего перерыва сольная дискография Анатолия Бабия, мастера редкого в джазе (да и вообще редкого) пикколо-баса, продолжилась этим альбомом - и вновь в прежнем, знакомом еще со второй половины 80-х ключе: пикколо-бас солирует, а все остальное играет секвенсер. Электронику Бабий программирует сам, поэтому у него она не очень противоречит живому характеру соло: механическое, наполненное, сколько возможно, мелкими длительностями постукивание-позвякивание секвенсера играет роль своеобразного противовеса легкому, томительно плывущему и тянущему звуку пикколо-баса, на долю которого остается весь свинг, все перемены времени и смены характера. Трудно сказать, насколько сознательно Бабий использует такие механические, примитивно-одномерные тембры синтезатора: возможно, это потому, что таков имеющийся у него синтезатор (звучит это, как какой-нибудь детский Casio). Но кажется, что будь синтезатор у Бабия подороже - впечатление было бы испорчено: более дорогие (но все равно "неживые") звуки стерли бы ощущение, будто это где-то за печкой или под полом домовые или гномы наяривают джаз на подручных кастрюльках.