Artist: Pachora
     Album: Astereotypical
     Label: Winter & Winter
     Year: 2003
     Format, bitrate: mp3, 320
     Size: 123 mb
     AMG Rating:



     Although Chris Speed, Brad Shepik, Skuli Sverrisson, and Jim Black have reputations as out jazz cats, they are keenly interested in the traditional musics of regions from the Balkans down to the Mediterranean and across to the Middle East. Since forming Pachora in the late '90s, they have used this particular band to explore folk-based forms from the margin where East meets West, but that doesn't mean they entirely sublimate their distinct musical personalities. They began tugging at the Pachora formula in earnest with their third album, 1999's Ast, which in addition to the odd-metered groovefests and lovely Balkan-flavored melodies included a David Bowie cover together with originals like Sverrisson's "Maria Changed," an album highlight that bracketed its Eastern-tinged middle section with a subtly beautiful melody that tilted toward Western folk and jazz. On 2003's Astereotypical, Pachora's fourth CD and first release on the Winter & Winter label, the band pushes still further against expectations. There are still plenty of opportunities for Speed's round-toned clarinet to dance across the top of infectious grooves fueled by Black's crisp percussion and Sverrisson's deep and supple bass and baritone guitar, and Shepik's virtuosity on the tambura, electric saz, and nylon-stringed guitar is on full display. But what about the abrasive and noisy textures of Speed's "Push," with the entire band filtered through distortion effects? Or the winding circular melody and rhythm of Black's balladic "Snap," not unlike a composition he would write for AlasNoAxis? How about "Bushka Lounge," another Speed piece, with its gathering dissonances and 7/4 groove tumbling into disarray at the tune's conclusion? Or the continued revelation of Sverrisson's playing and compositions, from the flowing neo-classical arpeggios of "Drifting" to the lovely "Nyla," which harks back to "Maria Changed"? Traditionalism is still present, but Pachora also seems open to a wider world of musical possibilities than ever before. Astereotypical is both a peak achievement for the quartet and a recording in which the artistic persona of each bandmember stands in bold relief. And it's unquestionably one of the top CDs of 2003, regardless of genre.

     Artist: Steven Bernstein
     Album: Diaspora Suite
     Label: Tzadik
     Year: 2008
     Quality: Lossless / mp3, 320kb/s
     Size: 444 MB / 165 mb
     AMG Rating:


     Diaspora Suite is the fourth in a series of Diaspora recordings that composer, trumpeter, bandleader, arranger, session player, producer, and musician-about-the-world Steven Bernstein has released on John Zorn's Tzadik imprint since 1999. The first three, Diaspora Soul, Diaspora Blues, and Diaspora Hollywood, were all universally acclaimed for their originality in taking traditional cantorial songs and other Ashkenazi folk music and arranging them in ways that allowed for elements of jazz, blues, rock, funk, soul, and even show tunes to integrate and transform one another without losing what was inherent to begin with. Now, four records in nearly nine years isn't a stretch for most musicians. But it's a wonder Bernstein gets them done at all, given the sheer number of other projects that he is deeply involved with — working with Hal Willner on the Leonard Cohen tribute/documentary I'm Your Man, directing the band for Robert Altman's film Kansas City and taking the band on tour, scoring episodes of the Backyardagains animated TV series, playing with his longtime group Sex Mob, being a member of Levon Helm's band in Woodstock, playing dozens of recording sessions on trumpet and slide trumpet, playing in the Millennial Territory Orchestra, and playing in the Harlem Experiment — as well as being a family man. >>>

     Artist: Kenny Kirkland
     Album: Kenny Kirkland
     Label: GRP
     Year: 1991
     Format: FLAC; Quality: Lossless / mp3, 320kb/s
     Size: 407 MB, 137MB
     AMG Rating:



     Keyboardist Kenny Kirkland's long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is "Mr. J.C." (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell's "Celia" (taken as a duet with percussionist Don Alias), the struttin' "Steepian Faith," a driving rendition of Ornette Coleman's "When Will the Blues Leave" that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter's "Ana Maria" and Thelonious Monk's "Criss Cross." This highly recommended CD has more than its share of brilliant moments. ~ Scott Yanow, All Music Guide    

   Artist: Don Cherry
   Album: Art Deco
   Year: 1988
   Label: A&M
   Format: FLAC
   Size: 307 MB (100MB+100MB+100MB+7MB)
   AMG Rating:




   Although it is not mentioned anywhere on the outside of this CD, this session is very much a reunion. Trumpeter Don Cherry is reunited with bassist Charlie Haden and drummer Billy Higgins from the early Ornette Coleman Quartet and, most importantly, tenor saxophonist James Clay. Clay, who after playing with Cherry in Los Angeles in the 1950s and doing a few recordings moved back to Texas, had been in obscurity for decades. Fortunately, his playing is quite strong on what turns out to be a surprising bop-oriented session. Comprised of superior standards, a few group originals and three Ornette Coleman tunes (including the classic "The Blessing"), this set is quite accessible and finds all of the musicians in top form.
    ~ Scott Yanow, All Music Guide

     Artists: Milt Jackson & Lucky Thompson
     Title: Complete Sextet Sessions of Milt Jackson & Lucky Thompson
     Genre: Jazz, Bebop, Swing
     Label: Dark Blue Notes
     Year: 1956
     Format: Lossless, WAVs

     I am not sure if Fresh Sound or any other label already put all titles recorded in 2-day session in 1956 by Milt Jackson and Lucky Thompson, into a commercial album... but here is my compilation.
     With its all beauty, first class musicianship and very true recording by Rudy Van Gelder.

     Artists: Franz Koglmann & Lee Konitz
     Album: We Thought About Duke
     Genre: Jazz, Avantgarde
     Year: 1995
     Label: hatHUT
     Format: Lossless, WAVs
     Size: 247 MB

     Duke Ellington tributes, much like Cole Porter, George Gershwin, John Coltrane, and Miles Davis tributes, were a dime a dozen in the '80s and '90s. All too often, these Ellington tributes were unimaginative and predictable, sticking to the standards while ignoring the many lesser-known gems that were written by Ellington or his partner Billy Strayhorn. But predictability isn't a problem on We Thought About Duke, a cerebral post-bop date that trumpeter/flugelhornist Franz Koglmann co-led with alto sax master Lee Konitz. This is definitely one of the more daring Ellington tributes that came out of the '90s. Instead of inundating us with standards that we've heard time and time again, Koglmann provides arrangements of such underexposed Ellington pieces as "Love Is in My Heart," "Zweet Zurzday" (which he co-wrote with Strayhorn), and "Lament for Javanette." In fact, one could be a serious Ellington enthusiast and be unfamiliar with these compositions. The best-known song on the CD is "The Mooche," which Ellington unveiled in 1928. Although "The Mooche" can hardly be considered obscure, it hasn't been done to death а la "In a Mellow Tone" or "Cotton Tail." Koglmann's arrangements have strong classical/chamber music leanings, and his admiration for Gil Evans is evident. For those seeking an Ellington tribute that is adventurous rather than conventional, We Thought About Duke is highly recommended. ~ Alex Henderson, AMG

     Artist: Philip Catherine
     Title: Guitars 2
     Label: Dreyfus
     Genre: Jazz, Post Bop
     Year: 2008
     Size: 326 MB
     Format: Lossless, WAVs

     Catherine's virtuosity is never in question, especially when he occasionally lets loose with a flurry of notes near the speed of light, but Guitars Two is largely a pensive affair. Multi-tracking himself on two (and sometimes more) guitars, with some occasional subtle processing to broaden the landscape, Catherine winds his way through eight originals, alongside tunes by John Lewis, Guinga, Nicolas Fiszman and longtime Django Reinhardt musical partner Stephane Grappelli. Going beyond the simple idea of one guitar accompanying the other, Catherine creates a "guitar as orchestra" vibe where, while he does indeed solo over an accompanying track at times, the guitars more often than not coalesce into a unified sound where it can be difficult to differentiate between them. >>>

     Artist: Michael Brecker
     Album: Leftovers
     Label: Dark Blue Notes
     Genre: Jazz, Post Bop
     Album Type: Compilation
     Year: 2008
     Format, bitrate: Lossless, WAVs
     Size: Volume 1 : 530MB & Volume 2 : 560M

     This compilation puts together some of the albums where Michael Brecker played as an honorable guest. The listener will hear that all tracks Brecker played as a guest are as good as Brecker's own recordings. They are not the leader's dominated performances but Brecker is felt as a virtual leader. Listen to Friesen tracks! As Nat Hentoff noted in his liner article, "the most basic listening challenge for musicians (to other's playing) is being a part of duet..." Two tracks are excellent examples for 'colloborative improvisation'. Brecker is "compelling and exhilaratingly unpredictable where Friesen speaks of Brecker's strong energy and technique". "Not only does Friesen set an incredibly fast tempo for Brecker as he introduces Sonny Rollins' "Airegin," but his complex line inspires Brecker to some of his best playing of his career".

     Artist - Dave Holland Sextet
     Album - Pass It On
     Label: EmArCy
     Quality - Lossless Flac + MP3@320 from Ms. zanuda.
     Size: 428 mb

The latest album recorded back in 2007, issued recently by Dahe Holland Sextet. Holland continues to define the the jazz of the ages.

REPOST with additional MP3-link from Ms. zanuda.

Dave Holland's quintets and big bands have set a new high standard for modern mainstream and progressive jazz since the late '90s. While not a new assertion, and considering his entire body of work, Holland has time and time again proven his compositional theorems as valid, accessible, ever interesting, and especially memorable. Using a sextet, upright bassist Holland sets the bar even higher, adding the always tasteful pianist Mulgrew Miller and a four-horn front line that is relentless. This group continues to define jazz perfectly in the 21st century. Evidence is offered in the jaunty opening "The Sum of All Parts," a 5/4 African percussion-based piece led out by the always interesting Robin Eubanks, with folded-in alto and trumpet, witty counterpoint, and the always engaging, joyous sound that Holland has perfected in the past decade. Adding a light samba feel during the upbeat "Fast Track" with the horns in perfect unison, the ensemble shifts up to hard bop, the hip piano of Miller adding to the enjoyability quotient. A 10/8 choppy and bouncy "Modern Times" also uses Brazilian inferences and a clarion call, and has Antonio Hart switching to soprano. On the soulful side, the title track recalls visions of Horace Silver courtesy of Miller — a groovy, fun boogaloo that has "radio hit" written all over it, while "Lazy Snake" takes the soul element deep underground — there's one on every Holland CD — and contrasts it with a suggestion of stark surrealism. Then there's the near 14-minute, free-based, diffuse "Rivers Run" (dedicated to Sam Rivers) accented by the bowed bass of Holland, building in intensity as the horns step up the sonic density in darker hues. Of course, this band can easily drive music hard, as on the post-bopper "Equality," which turns sullen and funky, then swings angularly. "Double Vision" sports a Native American spirit feel in a feature for Hart's stylistic alto, and the serene, lucid ballad "Processional" in 5/4 time is further support to the notion that intellectual music need not be devoid of warm blue notes infused into its fabric. The addition of the wonderful trumpeter Alex Sipiagin, the ever-maturing trombone playing of Eubanks (who wrote "The Sum of All Parts" and "Rivers Run"), and the nearly perfect percussive propulsion of the extraordinary drummer Eric Harland make this band practically unstoppable, and unprecedented in seizing mantles for its sheer talent level. Another triumph among many solid efforts the clearly brilliant and effusive Holland has strung together, this should certainly be a popular item among listeners and critics, and is a strong contender for best jazz CD of 2008. ~ AMG

     Artist GEORGE COLEMAN
     Album LIVE AT YOSHI'S
     Label EVIDENCE
     Year 1989
     Genre JAZZ
     Format FLAC
     Size 485MB

   Artist: Dave Holland
   Album: Variations on Pass It On
   Recording Date: 1984-2007
   Label: Pi-Rate Productions
   Format: WAVs
   Size: 603 MB

     Artist: Clifford Jordan
     Album: Four Play
     Label: DIW
     Year: 1990
     Format: FLAC; Quality: Lossless
     Size: 270 MB


     Although this CD is technically listed under all four musicians' names (tenor-saxophonist Clifford Jordan, pianist James Williams, bassist Richard Davis and drummer Ronnie Burrage), Jordan (who contributed two of the four originals) is primarily the lead voice. His sound was always instantly recognizable and he seemed to be in a good mood for the date, judging by the many song quotes he throws into his solos (espacially on "Hi Fly"). Wiliams sounds at his best on his original jazz waltz "For My Nephews," a tune that also features Davis' bowed bass. Overall this Japanese CD (which was made available for a time domestically through Columbia) is a good example of the hard bop mainstream of the early 1990's as played by some of its best practioners. ~ Review by Scott Yanow, AMG.