 |
Calendar |
 |
 |
| « February 2012 » | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | | 6 | 7 | 8 | 9 | 10 | 11 | 12 | | 13 | 14 | 15 | 16 | 17 | 18 | 19 | | 20 | 21 | 22 | 23 | 24 | 25 | 26 | | 27 | 28 | 29 | |
|
 |
 |
 |
 |
|
Friends |
|
|
jasapaal
 Into the Rhythm
|
|
|
|
|
|
 |
 |
Stanley Jordan – Magic Touch |
Music » Jazz » Fusion |
 |
|
 Artist: Stanley Jordan Album: Magic Touch Label: Blue Note Year: 1985 Time: 53:59 Format: FLAC Size: (95.78 x 2)+89.1MB (+ covers) This debut record from Stanley Jordan features the guitarist's extraordinarily idiosyncratic tapping technique on a variety of material. Jordan's revolutionary approach to the instrument, consisting of striking the fretboard with both hands to sound notes, allows him access to musical possibilities that are simply out of the reach of other guitar players. It is in his hands that the guitar attains a level of self-accompaniment formerly held only by the piano.
Fortunately, Jordan puts his prodigious chops to good use making good music. One area in particular in which he is terrifically talented is in the reinterpretation of modern pop material. His version of the Beatles' "Eleanor Rigby," accompanied only by the subtle percussion of Sammy Figueroa, dismisses the British melancholy of the original for a light-as-air interpretation that brings out the playfulness in the melody. Also impressive is Jordan's cover of Michael Jackson's "The Lady in My Life," which the guitarist gives a smooth, sultry reading. On the flip side, Jordan also proves that he is not out of touch with the history of jazz, with delightful versions of "Freddie Freeloader," "'Round Midnight," and "A Child Is Born." The guitarist's sidemen, who include drummers Omar Hakim and Peter Erskine, are all seasoned professionals, and they play well, but no matter how good the group performances on Magic Touch are, they are no match for the shocking polyphony of Jordan's solo material. It is there that the record really comes alive. Jordan's later albums were not to capitalize on the promise shown on his debut, but in Magic Touch the guitarist had something truly special.
An instant classic, and one of the definitive moments of modern jazz guitar. Candyrat.comREPOST with additional RS links from xiangyuyu |
|
|
1997: Romano, Sclavis, Texier, Le Querrec – Suite Africaine: Carnet de Routes |
Music » Jazz » Fusion |
|
|
 Artist: Romano, Sclavis, Texier, Le Querrec Album: Suite Africaine: Carnet de Routes Label: Label Bleu Year: 1997, release: 2000 Time: 58:35 Format: FLAC Size: 85MB x 4 + 75MB Total time: 58:35 "Jazz is the perfect encounter between written Western music and the oral African tradition. Being jazz musicians, we have always had a feeling for African music, even though we'd never heard it on the spot. Hearing those drums from close by, made a big difference. But we were not looking for our musical roots. We were just travelling, like we do quite often, to perform. Artistically and musically, nothing changed. We've been making music that challenges the boundaries of American jazz for a long time." ~ As claimed by Henri Texier. |
|
|
2006: Medeski, Scofield, Martin & Wood – Out Louder (Bonus CD) |
Music » Jazz » Fusion |
|
|
 Artist: Medeski, Scofield, Martin & Wood Album: Out Louder (Bonus CD) Label: Universal Distribution Year: 2006, release: 2007 Genre: Jam Bands, Fusion, Jazz-Funk Time: 1:47:47 Format: FLAC Size: 80MB x 8 + 56MB Out Louder reunites keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood with guitar great John Scofield, who employed the trio on his 1997 A Go Go album. That record opened the creativity gates for both the trio and Scofield, who fed off and goaded each other into territories neither party had previously gone separately. Out Louder isn't so much a rematch as an upgrade. Both Scofield and MMW have continued to explore in the near-decade since A Go Go, and they come to this project with a greater understanding of their collective abilities as well as a willingness to explore the possibilities further. Not unexpectedly, the four musicians work hard here, but they also have a ton of fun. The opening track, "Little Walter Rides Again," serves notice that this isn't going to be an exercise in showing off but rather four envelope-pushing musicians picking each other's brains and seeing what they find. An easygoing blues vamp with a funky, Memphis-style beat, the track keeps the quartet reined in while simultaneously allowing each musician to dance around a bit within its structure. That idea of holding back doesn't last long, however, as that leadoff gives way to "Miles Behind," a nod to electric Miles Davis minus the trumpet. Although the players, particularly Medeski and Scofield, take several opportunities to reach for the outside fringes, Out Louder never becomes inaccessible, even during its freer-jazz moments. "Tequila and Chocolate," for example, takes up with a simple bossa nova rhythm that eventually goes wildly astray without losing touch with its form, and the John Lennon tune "Julia" (which, honestly, borrows only minimally from the original melody) is a soft, sweet, and sensual ballad that never strays even close to the edge yet still manages to feel edgy. That's not to say that those looking for the heavy jams will be disappointed. "What Now" finds Medeski and Scofield challenging each other as if they were Keith Emerson and Jimi Hendrix having it out at some late-night club, and "Down the Tube," though essentially a simple funky blues, flirts with psychedelia, Scofield turning in some of his most startling playing of the set. The session ends with a virtually unrecognizable improv on Peter Tosh's reggae anthem "Legalize It" that spotlights Martin and Wood in lockstep groove. If ever MMW and Scofield decided to make something more permanent of their meet-ups, one can only guess where else they might go. ~ Jeff Tamarkin, All Music Guide |
|
|
1951-1952: Stan Getz - Jazz & Blues |
Cool, West Coast Jazz |
|
|
 Artist: Stan Getz Album: Jazz & Blues Label: Barna Record Lab Years: 1951-1952, release: 1995 Time: 54:27 Format: FLAC Size: 100MB x 2 + 91MB (with covers) This album features athe studio performances between saxophonist Stan Getz and guitarist Jimmy Raney recorded between 1951 and 1952. The sheer number of labels the pair recorded for is staggering, from Sittin' in With to Roost, Savoy, Sesco, Clef, Prestige, and others. And while Getz, particularly on the early sides, is still deeply entrenched in his worship of Charlie Parker, the cool elegance of Raney's own playing is already asserting itself on the early sides, so that by 1951, Getz has moved toward the center from strictly bebop. Some of the other players on these sessions include Duke Jordan, Horace Silver, Roy Haynes, Frank Isola, and many others. There are 18 performances in all, giving a striking portrait of the era, and of Getz's development as a soloist and bandleader in particular. Raney arrived fully developed and just got better. The sound quality is solid here and the remastering job on these tracks is warm and full despite their many original sources. ~ Scott Yanow, All Music Guide |
|
|
1954-1958: Tal Farlow - Verve Jazz Masters 41 |
Music » Jazz » BeBop » Cool |
|
|
 Artist: Tal Farlow Album: Verve Jazz Masters 41 Label: Verve Years: 1954,55,56,58; release: 1995 Time: 72:16 Format: FLAC Size: (90MB x 4)+ 40MB (incl. covers) I've listened to alot of Tal's recordings, and I consider this CD to an outstanding representation of his best work. If I had to own only one CD of his, this would be it. It has tunes from his earlier '50s recordings, such as "The Tal Farlow Album", when his blistering single note runs were at their crispest. "Cherokee" is as fast as you can possibly get on a guitar -- I calculated 22 notes per second bursts based on the tempo of more than 300 quarter notes per minute. Smoo...kin! It also contains some ballads to give the listener a chance to wipe the sweat off his brow. Don't miss out on this one! ~ Customer review from amazon.com |
|
|
1969: Tal Farlow-The Return Or Tal Farlow/1969 |
Music » Jazz » Mainstream |
|
|
 Artist: Tal Farlow Album: The Return of Tal Farlow/1969 Label: Prestige Year: 1969 Time: 41:25 Format: FLAC Size: (90MB x 2) + 42:43MB (Covers 300ppp) After recording a series of rewarding albums in the '50s, guitarist Tal Farlow largely dropped out of the jazz scene, being quite content to be a sign painter in New England. This Prestige set (reissued on CD) was his first in a decade and would be followed by another seven years of silence. Fortunately, Farlow had continued playing on a low-profile basis in the interim, and he was still very much in top form. Joined by pianist John Scully, bassist Jack Six and drummer Alan Dawson, Farlow performs swinging versions of seven standards, including "Straight, No Chaser," "I'll Remember April" and "Crazy, She Calls Me." Recommended.~ Scott Yanow, All Music Guide |
|
|
1984: Art Ensemble Of Chicago - The Third Decade |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Art Ensemble Of Chicago Album: The Third Decade Label: ECM Year: 1984, release: 1994 Time: 41:49 Format: FLAC Size: (90MB x 2) + 79.14MB (with covers) AMG Rating  For the Art Ensemble of Chicago, Third Decade marked both the end of their relationship with the ECM label and the beginning of a more streamlined stretch of music making. The band would cut back on their once predominant, free-form explorations to make room for more bebop and crossover material, like "Funky AECO" and the Caribbean-tinged bop tune "Zero," straightforward genre pieces the band still undermine with playful "found sounds" (bike horns, sirens, chimes, etc.). Along these more traditional lines, the lovely, '20s-style jazz ballad "Walking in the Moonlight" is also included. The group stretches out on more open-ended pieces like Joseph Jarmen's dirge-like opener "Prayer for Jimbo Kwesi" and Mitchell's magisterial number "The Bell Piece," but even here the group's traditionally frenetic playing is kept in check. This is not necessarily bad, considering the Art Ensemble's consistently top-notch and provocative solo work, straight-ahead or otherwise. The band does end the album, though, with the decidedly frenetic and free "Third Decade," as if to say they are equally adept at a variety of styles and so should not be restricted to only one. The point is well taken with this varied yet cogent set. ~ Stephen Cook, All Music Guide |
|
|
1960: Eric Dolphy Quintet – Outward Bound |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Eric Dolphy Quintet Album: Outward Bound (Remastered) Label: New Jazz Prestige Year: 1960 Time: 38:17 Format: FLAC Size: (90MB x 2) + 76.46MB (with covers) AMG Rating This very likable set, Eric Dolphy's first as a leader, has been reissued as a single CD and (along with some alternate takes) on Dolphy's huge The Complete Prestige Recordings box set. Teamed up with the young trumpeter Freddie Hubbard, pianist Jaki Byard, bassist George Tucker, and drummer Roy Haynes, Dolphy introduces his tribute to Gerald Wilson, "G.W.," and rips into "On Green Dolphin Street," stretches out on flute on "Glad to Be Unhappy," and takes a memorable bass clarinet solo on the delightful "Miss Toni." Hubbard and Byard are also both in good form. A perfect introduction to Eric Dolphy's versatile talents, this boppish set is more accessible than many of Dolphy's more innovative recordings. Recommended. ~ Scott Yanow, All Music Guide |
|
|
1990: Pat Metheny, Jack DeJohnette, Herbie Hancock David Holland - Parallel Realities Live |
Music » Jazz » Fusion » Contemporary Jazz |
|
|
 Artists: Pat Metheny , Jack DeJohnette, Herbie Hancock, David Holland Album: Parallel Realities Live 2 CD’s Label: Kang & Music Year: 1990 Time: 98:32 Format: FLAC Size: 86MB x 7 (with covers)
Jack DeJohnette - Drums, Herbie Hancock - Keyboards, Dave Holland - Bass, Pat Metheney - Guitars. For the first time, these four masterful musicians come together to form a jazz group most people would never expect to see happen. Taking their collaborations around the world, they toured Canada, Europe, Japan, and the United States, performing concerts and festivals to sold out audiences and rave reviews. On June 23, 1990, this extraordinary group performed two concerts at the Mellon Jazz Festival at the Philadelphia Academy of music. Both shows were filmed and have been carefully edited to create a technically flawless video of a truly "once in a lifetime" event. All of the songs were selected with great care, as might be expected from a band of this caliber. Including "Shadow Dance", a Dave Holland original; "Solar", a popular Miles Davis original; "Blue" is an original piece by Jack DeJohnette, and "Cantaloupe Island", the closing number of the program, is a Herbie Hancock original from the 60's. ~ from liner note |
|
|
1998: Dave Holland Quintet - Prime Directive |
Music » Jazz » BeBop » Post-bop |
|
|
 Artist: Dave Holland Quintet Album: Prime Directive Label: ECM Year: 1998 Time: 1:16:40 Format: FLAC Size: 88MB x 5 (Covers 300ppp) AMG Rating:  You may have to wait a while between Dave Holland-led releases, but it's always worth it. Tremendous taste prevents Holland from making unsatisfying music. He is a great leader in the truest senses of the word -- he gives his team space, trusts their abilities and judgment, yet all the while remains firmly in command and infuses the results with his own style and personality. Prime Directive is a wonderful jazz album. These 77 minutes and nine tracks do not cheat or disappoint. The straight-ahead tunes -- composed by double-bassist Holland and his talented band mates (one each) -- all bear Holland's distinctive rhythmic patterns and harmonics. A fine example is the title track, on which Robin Eubanks on trombone and Chris Potter on saxophones hold a stimulating musical conversation over the rhythm section's driving groove. For listeners who prefer a more deliberate pace, there's the searching, contemplative "Make Believe," with Steve Nelson's lovely vibraphone work appointing the mood. On the hopeful, "A Seeking Spirit," fans will be tapping along to the rhythmic feast offered up by the leader and his pace-setting partner Billy Kilson on drums. The melancholy "Candlelight Vigil" presents Holland at his bowed best. Finally, "Wonders Never Cease" finds the entire band at the height of their collective, improvisational prowess. Prime Directive is recommended; a great leader is, indeed, hard to find.~ Brian Bartolini, All Music Guide |
|
|
2000: Dave Holland Quintet – Not For Nothin’ |
Music » Jazz » BeBop » Post-bop |
|
|
 Artist: Dave Holland Quintet Album: Not For Nothin’ Label: ECM Year: 2000, release: 2001 Format: FLAC Time: 1:12:57 Size: 82MB x 5 AMG Rating Almost two years after the issue of the fine Prime Directive, Dave Holland brings his quintet back intact for another go at his particular brand of elegant jazz-making. One of the finest characteristics of Holland as a leader is his insistence on putting his bandmates out front. Thus, along with the five Holland compositions, there is one each by trombonist Robin Eubanks, saxophonist Chris Potter, vibist Steve Nelson, and drummer Billy Kilson. Eubanks' "Global Citizen" opens the proceedings and Holland soon shifts the first solo to Nelson, who traipses the edges of the rhythm. As the horn players re-enter, the bluesy flavor of bop enters with them and Nelson has to move outside into a Latin vein to keep the tune from making him disappear. Elsewhere, on Holland's "Shifting Sands," he uses three harmonic figures to create an Eastern-tinged mood akin to the folk music of North Africa. The bassist takes the first solo, weaving a subtle cross section of microphonics and open notes in the lower register, before Nelson colors his staccatos with subtle blues and grays as the band kicks in to signal Eubanks and Potter to engage in a tightly wrought but easy-feeling musical conversation. Not for Nothin' is all about compelling music; there isn't a spare or slack moment on the set, but as the band takes it out with the progressive post-boppism of Holland's "Cosmosis," it's clear to see how finely wrought this ensemble is: they anticipate each other even in the studio while playing the chart. There are moments of dovetailing here between Eubanks and Potter where the overlap is so slight yet so profound it could never have been left to chance, only to close listening. And there are spaces within the solos where Kilson signals Holland and then Nelson for a little double timing and opening of the mood to allow for Potter to blow through the changes in the tune before Nelson makes them disappear completely. Whoa! The only regret this reviewer has about Not for Nothin' is that it isn't a double CD. This is postmodern poetic singing at its finest. Who said jazz is a dead art form? Let he or she who has the ears to hear, hear; the Dave Holland Quintet is carrying the banner of creative music in the jazz tradition in the 21st century. ~ Thom Jurek, All Music Guide |
|
|
1960: Charles Mingus – Better Git It In Your Soul |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Charles Mingus Album: Better Git It In Your Soul Label: Classic Jazz Year: 1960 Released: 1992 Time: 35:36 Format: FLAC Size: 100MB x 2 + 15MB(Covers 300ppp) Three 1959 Mingus albums begin with the same Pentecostal pandemonium. February's "Wednesday Night Prayer Meeting" (Blues & Roots) becomes, in turn, May's "Better Git It In Your Soul" (Mingus Ah Um) and November's "Slop" (Mingus Dynasty), each in fast 6/8 meter with tension-and-release stop-time choruses and verbal exhortations from Mingus enacting the Holy Roller role. Of the three iterations, "Better Git It," with a phenomenal solo by tenorman Ervin, is the most exciting. It's possible that Rev. Charles's religiosity stemmed more from commercial calculation than bedrock conviction—his true bedrock conviction might've been that Holy Rolling helped to sell his records. Whatever, this is bedrock Mingus, not to be missed.~ www.jazz.com |
|
|
1961-1978: Herbie Hancock – Colección Jazz Time |
Music » Jazz » BeBop » Post-bop |
|
|
 Artist: Herbie Hancock Album: Jazz Time Label: Nuevos Medios Year: 1961-1978 Time: 1:03:56 Format: FLAC Size: 100MB x 3 + 76MB The remaining tracks come from two dates with the H.H.Trio (Tony Williams and Ron Carter), four of them from July13, 1977 – probably outtakes from 1977 ”The H.H.Trio” while the last two are also from a New York date, but in July 29, 1978. As evident it’s a very different and much more mature H.H., his playing rich with precious harmonies and rhythmic refinements which coupled with Carter’s elegance (and at times such power it rivals an electric bass (!) and T.W. virtuosity produce an amazingly huge sound, as on ”Dolphin’s Dance”; Two Carter numbers follow, ”Third Plane” in a Latin vein and the trio sliding both delicate and dazzlingly on the ballad mood of ”Quiet Times”; the standard test ”Stella by Starlight” is surpassed with brilliant virtuosity and unlimited inspiration;
”Muffin” from the last date, is very traditional and not particularly exciting but is highlighted by an inspired long passage with Carter in absolute solo, while ”New Song” is amazing, complex, tortuous with stops and go, tempo and mood changes, from crawling to light speeding and subtle to aggressive! ~ rateyourmusic.com |
|
|
1945-1952: Charlie Parker |
Music » Jazz » BeBop |
|
|
 Artist: Charlie Parker Album: Jazz & Blues Label: Barna Record Lab Years: 1945-1952, release: 1995 Time: 1:01:18 Format: FLAC Size: 100MB x 3 + 58MB
Among its many exceptional offerings, this assessment documents many of Parker's greatest performances, each featuring a network of melodic formulas that have been combined to create solos. His solos are often related to the original themes in unexpected and sometime ingenious ways.
|
|
|
1953: Chet Baker - Jazz & Blues |
Music » Jazz » BeBop » Cool |
|
|
 Artist: Chet Baker Album: Jazz & Blues Label: Barna Record Lab Year: 1953, released: 1995 Format: FLAC Size: 100MB x 2 + 91MB Time: 54:27 Chet Baker Quartet Featuring Russ Freeman is a perfect studio companion to the Mosaic Records set Complete Pacific Jazz Live Recordings of Chet Baker With Russ Freeman (1988). As was the custom for jazz platters of the time, both Baker and Freeman are joined by a different combo on each date. The luminaries include Bobby Whitlock (bass), Joe Mondragon (bass), Bobby White (bass), Larry Bunker (drums) and Shelly Manne (drums) from sessions held circa July and October of 1953. These tunes would seed Baker's back catalog of material, becoming staples during his 30-plus-year repertoire. One facet to Chet Baker Quartet Featuring Russ Freeman that will be of considerable interest to collectors and hardcore enthusiasts are both the 10" EP and the 12" LP takes of "Long Ago and Far Away," "No Ties," "The Thrill Is Gone," "Moon Love" and the 78 rpm and long-player version(s) of "Winter Wonderland."While these renderings have been previously issued, this CD marks the first time that they are presented on a single volume. ~ Lindsay Planer, All Music Guide |
|
|
1965: Sam Rivers - Fuchsia Swing Song |
Music » Jazz » BeBop » Post-bop |
|
|
 Artist: Sam Rivers Album: Fuchsia Swing Song Label: Blue Note Year: 1965 Time: 39:10 Format: FLAC Size: 100MB x 2 + 33MB (Full covers) AMG Rating: Recorded in 1964 immediately after leaving the Miles Davis Quintet, Sam Rivers' Fuchsia Swing Song is one of the more auspicious debuts the label released in the mid-'60s. Rivers was a seasoned session player (his excellent work on Larry Young's Into Somethin' is a case in point) and a former member of Herb Pomeroy's Big Band before he went out with Davis. By the time of his debut, Rivers had been deep under the influence of Coltrane and Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition. Using a rhythm section that included Tony Williams (whose Life Time he had guested on), pianist Jaki Byard, and bassist Ron Carter, Rivers took the hard bop and blues of his roots and poured them through the avant-garde colander. Today, players like Joshua Redman, Branford Marsalis, and James Carter do it all the time, but in 1964 it was unheard of. You either played hard bop or free; Davis' entire modal thing hadn't even completely blasted off yet. The title and opening track is a case in point. Rivers opens with an angular figure that is quickly translated by the band into sweeping, bopping blues. Rivers legato is lightning quick and his phrasing touches upon Coleman Hawkins, Sonny Rollins, Coleman, and Coltrane, but his embouchure is all his. He strikes the balance and then takes off on both sides of the aisle. Byard's comping is actually far more than that, building in rhythmic figures in striated minors just behind the tenor. "Downstairs Blues Upstairs" sounds, initially anyway, like it might have come out of the Davis book so deep is its blue root. But courtesy of Byard and Williams, Rivers goes to the left after only four choruses, moving onto the ledge a bit at a time, running knotty arpeggios through the center of the melody and increasingly bending his notes into succeeding intervals while shifting keys and times signatures. He never goes completely over the edge as he would on his later Blue Note dates. The most difficult cut on the date is "Luminous Monolith," with its swing-like figure introducing the melody. Eight bars in, the syncopation of the rhythm sections begins a stutter stem around the time and then the harmony with Byard building dense chords for Rivers to jump off of.~ Thom Jurek, All Music Guide |
|
|
2005: Blue Note Plays Ray Charles |
Music » Jazz » Mainstream |
|
|
 Artist: Various Album: Blue Note Plays Ray Charles Label: Blue Note Year: 2005 Time: 47:18 Format: MP3 320 Kbps Size: 110 MB Covers REPOST with a new link
Blue Note Plays Ray Charles contains 11 previously released performances by jazz artists associated with the label who dip into the songbook of "Brother Ray." These are enjoyable re-creations courtesy of several Hammond B-3 masters, including Jimmy McGriff's "I Got a Woman," Freddie Roach's "Night Time Is the Right Time," and Jimmy Smith's "I'm Movin' On." Also of note is guitarist Grant Green's lyrical take on "I Can't Stop Loving You," with pianist Herbie Hancock's light, late-night blues touch influenced by The Genius After Hours. On past Blue Note Plays releases, the time line of music has tended to cross several decades, making for an erratic and jarring listening experience. Fortunately, there is a consistency on Blue Note Plays Ray Charles, as nine of the tracks were recorded in the '60s with the exception of two by Lou Rawls: "That's Where It's At," with Charles on vocals, from 1989 and "Hide nor Hair" from 1992. This budget-priced release is recommended to all fans of Ray Charles, whether they are jazz fans or not. ~ Al Campbell, All Music Guide  ñáîðíèê, ïîñâÿùåííûé Ðýþ ×àðëüçó, áûëè âêëþ÷åíû ïðîèçâåäåíèÿ, óæå è ðàíüøå èñïîëíÿâøèåñÿ ìóçûêàíòàìè, ÷üè èìåíà ñâÿçàíû ñ ëåéáëîì Blue Note. Ïðåæäå âñåãî, íàäî îòìåòèòü çàìå÷àòåëüíûå èíòåðïðåòàöèè Äæèììè Ìàê-Ãðèôà "I Got a Woman", Ôðåääè Ðîó÷à "Night Time Is the Right Time" è Äæèì Ñìèòà "I'm Movin' On". Òàêæå äîñòîéíî îñîáîãî âíèìàíèÿ ãèòàðèñò Ãðàíò Ãðèí, åãî ëèðè÷íîå èñïîëíåíèå ìåëîäèè "I Can't Stop Loving You", îòòåíåííîå ëåãêèì, íî÷íûì áëþçîì ïèàíèñòà Õåðáè Õåíêîêà.  ïîñëåäíåå âðåìÿ â Blue Note èçäàâàëèñü ñáîðíèêè ñ ïðîèçâåäåíèÿìè ïîñëåäíèõ äåñÿòèëåòèé - ò.å. ñ ìóçûêîé íåðâíîé è ýêñöåíòðè÷íîé.  ýòîì æå ñáîðíèêå äåâÿòü èç îäèííàäöàòè òðåêîâ áûëè çàïèñàíû â 60-õ ãã. Èñêëþ÷åíèå - "That's Where It's At" 89 ãîäà ñ ãîëîñîì ñàìîãî ×àðëüçà è "Hide nor Hair" 92 ãîäà. Ñáîðíèê áûë áû èíòåðåñåí äëÿ âñåõ ëþáèòåëåé Ðýÿ ×àðëüçà, â íå çàâèñèìîñòè îò òîãî, êàê îíè îòíîñÿòñÿ ê äæàçó. |
|
|
1995-1996: King Crimson - Deja Vrooom |
Pop classics, Music video |
|
|
 Artist: King Crimson Album: Deja Vrooom Label: Discipline Global Mobile Year: 1995 - 1996 Release: 1999 Format: 2 x DVD 5 Size: 7866 MB Audio: Dolby 5.1, DTS Multiple Angle (Some tracks) REPOST with a new link ...The concert is from a performance in Japan during the 'Thrak' tour of 1995-1996, and is one of their best live performances that have been commercially released. The concert previously appeared on video as "King Crimson: Live in Japan", but trust me, even if you do have that video, or if you don't even have a DVD player....get a DVD player for crying out loud! It's 2003....get with the times!(..)
The band members performances are really the key ingredient here. The ability to change angles and put the individual instruments prevalent in the mix during 3 of the songs is great, and well worth it for those interested in how the group achieves its sound. Trey Gunn, who plays a two-handed 'Warr' guitar, is a treat to watch perform, as he approaches the tunes in such a practical and inventive fashion. He was primarily covering the bass parts at the time, but I just really enjoy watching the two handed approach. The band altogether is not really very showy, and focuses mostly on playing the music, although Tony Levin does have commanding stage presence at times!
I've only mentioned the bass players....Adrian Belew, the lead singer/guitarist is on key the entire show, and watching him during his wilder guitar solos is something that shouldn't be missed. Robert Fripp, the groups leader and self-proclaimed 'Venal Leader', sits in the shadows most of the show, barely flinching or moving a muscle, with the exception of his fingers, which move rather fast and furiously at some points. He is an incredibly disciplined performer (heck, he even named his own record label and an album of 1981 'discipline), and is wonderful as a leader/guiding force in the group. . . . |
|
|
1992: Jimmy Giuffre - Fly Away Little Bird |
Music » Jazz » Big Band » Progressive Jazz |
|
|
 Artist: Jimmy Giuffre Album: Fly Away Little Bird Label: OWL Year: 1992, release: 2007 Time: 01:16:39 Format: FLAC Size: 101MB x 3 Full HQ Covers AMG Rating REPOST with a new link Why aren't there more recordings like Fly Away Little Bird? Perhaps it's because there aren't more musicians of this stature. The studio reunion of the legendarily experimental Jimmy Giuffre 3 in 1992 was reissued in 2003 on the French Sunnyside label and is a radical departure from anything the trio had done in the past. These studio apparitions of the band are their most seamlessly accessible while being wildly exploratory. In addition to the consummate improvisations and compositions by Giuffre (title track, a redone "Tumbleweed"), the tender meditations by Steve Swallow ("Fits" and "Starts"), and the bottom-register contrapuntal improves by Paul Bley ("Qualude"), this is a trio recording that uses standards such as "Lover Man," a radically and gorgeously reworked "I Can't Get Started," "Sweet and Lovely," and "All the Things You Are" to state hidden textural possibilities inside chromatic harmony. There is never the notion of restraint in the slow, easy, and proactive way these compositions are approached. Rather, they are traced along spectral melodic frameworks and opened up from the space provided by not having a drummer, allowing for tonal exploration and group interaction to meet in the center of a composition and grow it out to all three sides of a triangle. The moving emotions that swirl around inside these (mostly) light melodies are the most captivating and aesthetically beautiful this group has ever committed to tape. Here is a stellar display of the intricacies of musical communication as it happens and how achingly beautiful a record can be when three men listen carefully to one another's secret hearts. ~ Thom Jurek, All Music Guide |
|
|
2009: Pat Metheny - Orchestrion |
Music » Jazz » Fusion |
|
|
 Artist: Pat Metheny Album: Orchestrion Label: Nonesuch Year: 2009, release: 2010 Time: 51:55 Format: FLAC Size: 100MB x 3 + 53MB Full Covers 300ppp AMG rating  Pat Metheny’s Orchestrion refers to a 19th century hybrid musical instrument of the same name that contained (usually) a wind orchestra, various percussion instruments, and sometimes a piano played by a pinned cylinder or a music roll -- like a player piano. Metheny designed and plays one here thanks to a commissioned group of inventors, advanced solenoid switch technology, and pneumatics. This invention includes pianos, marimbas, bells, basses, “guitarbots,” percussion, cymbals, drums, loads of tuned bottles, and synth and fabricated acoustic instruments, played by Metheny triggering everything with his guitar. While it may have been simpler using a laptop with the latest sampling and MIDI technology, he explains in the booklet that the “acoustoelectric” sound and the “human element” he sought would have been impossible to achieve. Here, his extensively written compositions are a complete engagement with his trademark harmonic and lyric investigations and improvisations. Despite mechanics, everything here sounds and feels organic. Drums and percussion instruments swing, basslines flow in concert with and counterpoint to his guitar and piano lines. These five cuts showcase different sides of Metheny’s compositional acumen and poetic sense of detail without losing his euphoric, spacious sense of complex harmonic engagement or songlike melodic sensibilities.>>> |
|
|
English
Ðóññêèé
Set Home Page
Add to Favorite
Rss 2.0 news
