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jasapaal
 Into the Rhythm
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2001: New York Trio – Blues In The Night |
Jazz, Mainstream, Hard-bop |
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 Artist: New York Trio Album: Blues In The Night Label: Venus Year: 2001 Format: FLAC; Size: 317MB; 71 MB/ Part1-204.00 MB;Part2-203.49 MB Time: 51:37 AMG Rating:  Repost with add links from Mr. jasapaal In the dawn of the 21st century, pianist Bill Charlap took the jazz world by storm with a series of rewarding albums for labels both in the U.S. and abroad. On Blues in the Night, he leads his New York Trio in a recording made for the Japanese label Venus, with veteran bassist Jay Leonhart and fellow young gun Bill Stewart joining him. Right away Charlap signals that he can take an old chestnut into a new direction. His stretched-out, blues-drenched "Blues in the Night" makes effective use of space and showcases his sidemen as well. Leonhart's buoyant bassline brings to mind the late Milt Hinton in the brisk rendition of "I Could Have Danced All Night." Charlap's intense workout of "Blue Skies" is a virtual jazz history lesson, showing the influence of a number of legendary pianists, while achieving a sound distinctly his own. His loping, jaunty approach to "My Funny Valentine" is another winner; equally playful is the snappy waltz treatment of "Tenderly," accented by Stewart's brushwork. One of the most promising pianists of his generation, this Charlap CD is highly recommended. ~ Ken Dryden, All Music Guide |
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2001: Kurt Elling - Flirting With Twilight |
Music » Jazz » Vocal Jazz |
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 Artist: Kurt Elling Album: Flirting With Twilight Label: Blue Note Year: 2001 Format, rate: mp3, 320kbs Size: 149MB Time: 35:39 Who but Kurt Elling would open a ballads album by singing a Charlie Haden bass solo? It's a typically ambitious move, transforming "Moonlight Serenade," Glenn Miller's perennial slow-dance favorite, into a hip, smoky ode. Elling is a distinctive vocalist, endowed with true musicianship: Listen as he sticks to his band like glue on the very slow tempo of "Lil' Darlin'." That's not easy. Laurence Hobgood, Elling's longtime musical partner, plays outstanding piano throughout and crafts subtle horn arrangements on several tracks. Bassist Marc Johnson and drummer Peter Erskine illuminate the session as well. The horn section -- trumpeter Clay Jenkins, alto saxophonist Jeff Clayton, and tenor saxophonist Bob Shepard -- is heard to greatest effect on the closing "While You Are Mine" and the beginning of "Detour Ahead." Some of the songs, like Stephen Sondheim's "Not While I'm Around" (from Sweeney Todd), come out sounding a bit bland. But among the best is "Orange Blossoms in Summertime," based on a Curtis Lundy tune, during which Elling executes a harmonized ensemble passage with the horns and holds a climactic long note at the end. Other highlights include the bouncy 6/8 take on "Easy Living" and the drum-and-vocal opening of "I'm Through With Love." While Flirting With Twilight lacks the breadth of a record like The Messenger, it's still a worthy statement from Elling, who shows yet again that vocal jazz can be more than just easy listening. ~ David R. Adler, All Music Guide
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1999: Kurt Elling - Live In Chicago |
Jazz, Vocal Jazz |
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 Artist: Kurt Elling Album: Live In Chicago Label: Blue Note Year: 1999, release: 2000 Format, rate: mp3, 320kbs Size: 166 MB Time: 70:18 AMG rating  Fans of Kurt Elling have long known that his recordings, as clever and well-orchestrated as they might be, don't quite match up to the power and charm of his live performances. Years of holding court at the Green Mill and other Chicago clubs are what really have brought Elling his most devoted followers, so it is exciting to see that Blue Note's new Elling album is a document of three special nights spent recording at the legendary Uptown jazz club. And indeed, with a few small exceptions, the album shows off Elling at his best -- loose, uninhibited, creative, and solid. His standard backing trio has never been tighter and more balanced, and the performance of pianist (and Elling collaborator) Lawrence Hobgood really shines. Three saxophonists -- Von Freeman, Ed Petersen and Eddie Johnson -- manage to blend together in perfectly balanced harmonies, as well as command attention in solos of their own. Chicago's own Khalil El'Zabar makes a fine appearance, and a rare contribution by legendary jazz vocalist Jon Hendricks shows that he can still steal a show. The enthusiasm of the highly appreciative audience is captured, as well as more than a little evidence of the noise in the surrounding bar. The three nights of recording produced some fine versions of new and classic songs, including "Esperanto," Elling's pairing of the poetry of Pablo Neruda with the music of Vince Mendoza's jazz classic, "Esperança"; and "The Rent Party," which recalls Elling's jazz-poet days at the beginning of his career. ~ Stacy Proefrock, AMG Review |
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1997: Kurt Elling - The Messenger |
Jazz, Vocal Jazz |
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 Artist: Kurt Elling Album: The Messenger Label: Blue Note Year: 1997 Format, Bitrate: mp3, 320kbs Size: 173MB Time: 72:06 AMG rating: This is one of the most interesting jazz vocal sets to be released in 1997. Kurt Elling covers a wide range of music, continually taking chances and coming up with fresh approaches. He is assisted by his longtime pianist Laurence Hopgood, different bassists and drummers, and on various tracks trumpeter Orbert Davis and the tenors of Edward Petersen and Eddie Johnson. Among the more memorable selections are Elling's vocalese version of Dexter Gordon's solo on the lengthy "Tanya Jean," and his spontaneous storytelling on "It's Just a Thing" (a classic of its kind), some wild scatting on "Gingerbread Boy," the fairly free improvising of "Endless," and his mostly straightforward renditions of "Nature Boy," "April In Paris" and "Prelude to a Kiss." Cassandra Wilson drops by for "Time of the Season," but does not make much of an impression. This rewarding and continually intriguing set is particularly recommended to listeners who feel that jazz singing has not progressed much beyond bop. ~ Scott Yanow, All Music Guide |
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2009:Bill Dixon – Tapestries For Small Orchestra |
Jazz, Freejazz |
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 Artist: Bill Dixon Album: Tapestries For Small Orchestra Label: FireHouse Year: 2009 Format, rate: mp3, 320kbs Time: 108:42 Size: 270MB Downbeat Rating:  Tapestries For Small Orchestra is the most persuasive, comprehensive case for Bill Dixon's iconic status since November 1981 (Soul Note) and perhaps even his 1966 landmark orchestra album, Intents And Purposes (RCA). This collection is also the best document to date of the impact Dixon has had on subsequent generations of trumpeters. With Intents And Purposes decades out of print and Dixon's substantial Soul Note catalog hitting a nadir, availability-wise, Tapestries For Small Orchestra may well become the definitive Bill Dixon recording for a new wave of listeners.~ Bill Shoemaker, Downbeat |
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2010: Michael Formanek – The Rub And The Spare Change |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Michael Formanek Album: The Rub And The Spare Change Label: ECM Year: 2010 Format, rate: mp3, 320kbs Size: 140MB Time: 58:08 Downbeat Rating:  What begins as a kind of modal hymn with “Twenty Three Neo” - complete with pianist Craig Taborn’s mildly incessant five-note phrase, bassist/band leader Michael Formanek’s quiet and supoortive arco playing shadowed by alto saxophone Tim Berne’s light, lyrical tone and drummer Gerald Cleaver’s soft percussive flurries - serves as an understated, dramatic backdrop to all that follows... Indeed, The Rub And Spare Change works on you incrementally, to the point where you forget where you started and only know of what you’re hearing at the moment. ~ John Ephland, Downbeat |
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1972: Keith Tippett - Blueprint |
Music » Jazz » Modern Jazz |
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 Artist: Keith Tippett Album: Blueprint Label: BGO Year: 1972 Format, bitrate: mp3, 192kb/s; FLAC Size: 53MB; 197,5 mb REPOST with FLAC link from Mr.valor01 Recorded after Keith Tippett's 50-piece orchestra project Centipede, Blueprint couldn't make a stronger contrast. This scaled-down session would become the starting point for the pianist's free improvisation career. His piano playing was still under a strong jazz influence and he had not started to use the instrument's bowels yet. Bassist Roy Babbington and vocalist Julie Tippetts accompany him almost throughout. Percussionists Frank Perry and Keith Bailey occasionally join in, providing mostly chimes and cymbals. The session, supervised by Robert Fripp, opens with "Song," a delicate jazzy number. With "Dance," things get more serious. Tippetts provides a steady rhythm guitar motif while everything around her breaks loose. Some numbers like "Glimpse" and "Woodcut" play more on silence than sound, exploring very quiet realms. At these points, the music is completely freed from any jazz references. Sound quality on the CD reissue is not fantastic (there is noticeable distortion in peaks), but the set remains engaging, even when one puts its historical significance aside. Oh, and by the way: those two "Blues," they aren't. ~ François Couture, All Music Guide |
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2010: Fred Hersch - Whirl |
Jazz, Post-bop |
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 Artist: Fred Hersch Album: Whirl Label: Palmetto Year: 2010 Format, rate: mp3, 320kbs Size: 136MB Time: 56:06 AMG rating: A couple of weeks before the release of Whirl, Fred Hersch was the subject of a long and chilling New York Times Magazine piece by David Hadju. The article related that in late 2008 Hersch, who has suffered from HIV/AIDS-related illnesses for years, had been experiencing symptoms that gradually took his motor functions away -- he became delusional; he couldn't swallow, eat, or drink; and he fell into a coma and began to experience the shutting down of his vital organs. Miraculously, he somehow survived. Apparently, Hersch wasn't ready to die or to stop making music, and Whirl is the evidence, his first recording since recovering from his illness, issued on Palmetto and featuring bassist John Hébert and drummer Eric McPherson. The ten tunes on offer here reflect in Hersch something that, while altogether him (his lyric style is always immediately recognizable), is also more open, less formal, and even more adventurous in terms of tune selection, composition, and improvisation. The three cover tunes include a sprightly, involved reading of Jaki Byard's "Mrs. Parker of K.C." Hersch plays the arpeggios sparklingly clean, and yet allows the funkiness in Byard's knotty melody to shine right through them. His solo reflects elements of his former teacher's iconoclastic language while never allowing his own style to be subsumed. Harry Warren's "You're My Everything" reveals Hersch's elegance without excess. The loose swing of his collaborators gives him room to play with "singing" flourishes in the melody and in his solo. "Mandevilla" is a habanera played with restraint and a very conscious use of its rhythmic implications, playing the melody right through the center without using anything extra, though it is full and beautiful. The title track, dedicated to ballet dancer Suzanne Ferrell, is -- as its title suggests -- a flight of fancy yet deeply focused in its leaps and bounds in modes, meters, and harmonic invention. While there are some wonderful ballads here as well -- "Sad Poet" dedicated to Antonio Carlos Jobim, a reading of the forgotten nugget "When Your Lover Has Gone" -- there isn't anything on Whirl that suggests sorrow or caution. If anything, this is among the most most celebratory and energetically intimate records in Hersch's large catalog. ~ Thom Jurek, All Music Guide |
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1974: Roger Kellaway: Come To The Meadow |
Jazz, Hard-bop |
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 Artist: Roger Kellaway Album: Come To The Meadow Label: A&M Year: 1974 Format, rate: mp3, 320kbs Size: 100MB Time: 42:43 REPOST with a new link This out-of-print LP from Roger Kellaway's briefly popular Cello Quartet features pretty melodies, the warm sound of classical cellist Edgar Lustgarten, and some fine solo work from pianist Roger Kellaway, who is joined by bassist Chuck Domanico and drummer Emil Richards. There is not much jazz here, but the atmospheric and lyrical music did have its audience for a time. ~ Scott Yanow, All Music Guide |
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1973:Eberhard Weber – The Colours of Chloë |
Music » Jazz » BeBop » Post-bop |
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 Artist: Eberhard Weber Album: The Colours of Chloë Label: ECM Year: 1973 Format, rate: mp3, 320kbs Size: 100MB Time: 39:42 AMG Rating: 
Eberhard Weber's first record remains his most well-known and influential. An ambitious work of what might be called symphonic jazz, The Colours of Chloë helped to define the ECM sound -- picturesque, romantic, at times rhythmically involved, at others minimalistic and harmonically abstruse. Weber at various points combines strings, choir, synthesizer, and small jazz ensemble. It's a brew that can bring to mind some of the progressive rock and fusion of the era, although Weber's vision is a good deal more idiosyncratic than that. The disc is comprised of only four tracks. First is the atmospheric, stage-setting "More Colours," followed by the title track, during which pianist Rainer Brüninghaus and drummer Ralf Hübner become active. Next is "An Evening With Vincent Van Ritz," featuring deft Rhodes chording from Brüninghaus and a flügelhorn solo by Ack van Rooyen. Finally, there's the nearly 20-minute "No Motion Picture" (this was originally side two of the LP), based on a fast, repetitive bass riff that keeps re-emerging throughout the course of the composition. People will disagree about whether The Colours of Chloë stands the test of time, but Weber's aesthetic played a significant role in the creative music of the '70s, attracting a fair share of emulators.
[center] ~ David R. Adler, All Music Guide
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2010: Jane Monheit - Home |
Music » Jazz » Vocal Jazz |
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 Artist: Jane Monheit Album: Home Label: EmArCy Year: 2010 Format, rate: mp3, 320kbs Size: 107 MB Time: 48:12 AMG Rating:  Vocalist Jane Monheit delivers a sophisticated and romantic set of standards on her 2010 effort Home. Once again showcasing Monheit's sparkling virtuosic singing, Home also features the backing talents of the singer's longtime associates pianist Michael Kanan, bassist Neal Miner, and drummer Rick Montalbano. Also featured are guitarist Frank Vignola, trumpeter Joe Magnarelli, violinist Mark O'Connor, and others. Although Monheit takes the spotlight on such American popular songbook tunes as "A Shine on Your Shoes,'' "This Is Always," and "I'll Be Around," she also allows for several exceptional duets, including "Tonight You Belong to Me" with singer/guitarist John Pizzarelli and "It's Only Smoke" with singer Peter Eldridge. Home is an urbane, immaculately produced effort that should appeal to Monheit's longtime fans. ~ Matt Collar, All Music Guide |
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1997: Jeff Berlin – Taking Notes |
Jazz, Fusion |
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 Artist: Jeff BerlinAlbum: Taking NotesLabel: Denon Year: 1997 Genre: Jazz, Fusion Format, rate: mp3, 320kbs Size: 137MB Time: 56:42 AMG Rating: Jeff Berlin is a superb electric bassist, and the music on this CD, although it has its rock and funk moments, is quite jazz-oriented. On some selections, Berlin is joined by four or five horns playing big-band-style riffs. While the bassist is in the spotlight much of the time (including a duet with keyboardist Clare Fischer on "Imagine" and an unaccompanied "Clinton Country," which is a medley of familiar patriotic songs), he was generous in allocating solo space; there are occasional spots for Rob Lockart (on tenor and alto) and trumpeter Howie Shear. Attention was paid to varying moods and styles, with the result being a satisfying release. And any musician witty enough to name an original "Hello Dali" deserves attention. ~ Scott Yanow, All Music Guide |
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2010: George Duke – Déjà Vu |
Jazz, Fusion |
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 Artist: George Duke Album: Déjà Vu Label: Telarc Year: 2010 Format, rate: mp3, 320kbs Size: 119 MB Time: 55:47 AMG Rating: Déjà Vu is 2010's bookend to 2008's Dukey Treats. That record explored George Duke's funk roots and channeled everything from Earth, Wind & Fire to P-Funk, artists who inspired his own successful run of funk outings. Déjà Vu revisits Duke's love of electric funky jazz. Here he recalls some of the production and musical techniques he employed in the '70s. Along with playing a load of synths (mono and analog), Rhodes and Wurlitzer electric pianos, clavinet, acoustic piano, and even miniMoog bass are in abundance, too. The production is pure retro; compared to the contemporary jazz recordings of the 21st century, Déjà Vu sounds almost organic. Duke composed, produced, and arranged the set as well. "A Melody" recalls -- seamlessly -- the sounds and textures explored on 1979's Brazilian Love Affair. A chorus of backing vocalists glides above a modern samba groove, driven by various synth strings and percussion and rhythms held steady by drummer Ronald Bruner, Jr. and bassist Michael Manson. The breezy melody gives way to some fine inside improvisation. "You Touch My Brain" is slippery laid-back funk à la Sly Stone's Fresh album, with a nice trumpet break by Nicholas Payton. "What Goes Around Comes Around" features some nice piano, an excellent vocal through a synth, and a gorgeous Everette Harp soprano solo. "Ripple in Time" is dedicated to Miles Davis. Duke is is clearly inspired by Davis; Tutu period. It's a lengthy but moody beginning, but cracks into a beautiful funky vamp at the two-minute mark. Duke's bass sound is big and meaty; Oscar Brashear provides excellent trumpet work next to Harp’s tenor sax before a badass guitar by Jef Lee Johnson claims the vamp and works it to death. "Stupid Is as Stupid Does" might have come from his Feel or Faces in Reflection outings from the mid-'70. Hubert Laws’ signature flute appears, as does Bob Sheppard’s tenor. The title track is the biggest surprise: closing out the album, it reflects the drama of John McLaughlin and Mahavishnu Orchestra, with Duke handling the guitar sounds on a Motif ES8! The violin playing by Sarah Thornblade is a dynamic foil. Déjà Vu is Duke's most consistently satisfying and eclectic recording since 1995's Illusions. Highly recommended. ~ Thom Jurek, All Music Guide |
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1982: Al Cohn With Zoot Sims – Zoot Case |
BeBop, Cool |
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 Artists: Al Cohn , Zoot Sims Album: Zoot Case Label: Gazel Year: 1982, release: 1993 Format, rate: mp3, 320kbs Size: 123 MB Time: 57:30 AMG Rating:  During a 30-year period the very complementary tenors Zoot Sims and Al Cohn teamed up on an irregular but always consistently satisfying basis. This club date from Stockholm, one of their final joint recordings, features the pair backed by pianist Claes Croona, bassist Palle Danielsson and drummer Petur Ostlund. Both Zoot and Cohn sound quite inspired and they really push each other on "Exactly like You," "After You've Gone" (which features Sims on soprano) and even a surprisingly heated version of "The Girl from Ipanema." Al Cohn's tone had deepened during the years and, although they sounded nearly identical in the 1950s, it is quite easy to tell the two tenors apart during this encounter. The CD (available through the Swedish Sonet label) is highly recommended for fans of the saxophonists and for bop collectors in general. ~ Scott Yanow, All Music Guide |
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1986: Kenny Barron – What If? |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Kenny Barron Album: What If? Label: Enja Year: 1986, release: 2008 Format, bitrate: mp3, 320kbs Size: 100 MB Time: 42:19   Although brief at just over 42 minutes long, this is a satisfying effort from pianist Kenny Barron. His second Enja release documents a quintet consisting of trumpeter Wallace Roney, tenor saxophonist John Stubblefield, bassist Cecil McBee, and drummer Victor Lewis. The entire quintet is showcased on four Barron originals, the haunting melody of "Phantoms," the freebop of the title track, the relaxed swing of "Voyage," and the lovely waltz "Lullabye." Barron performs with McBee and Lewis on McBee’s beautiful ballad "Close to You Alone, performs an up-tempo duet with Lewis on Charlie Parker's "Dexterity," and goes solo on Thelonious Monk's "Trinkle Trinkle." Long considered as one of the finest pianists in jazz, Barron's excellent composing skills are also evident on this worthy addition to his discography. ~ Greg Turner, All Music Guide |
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1956: Clifford Brown - The Beginning And The End |
Jazz, Hard-bop |
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 Artist: Clifford Brown Album: The Beginning And The End Label: Columbia Year: 1956; release: 1994 Format: MP3, VBR Size: 44 MB Time: 34:22  This CD, a straight reissue of the original LP, has some incredible music. Trumpeter Clifford Brown is heard at the beginning of his tragically brief career, taking solos on a pair of R&B sides by Chris Powell's Blue Flames. The remainder of the package features Brown on the last night of his life, just a few hours before his death in a car accident. Performing in his hometown of Philadelphia before a loving crowd, the 25-year-old is heard playing at his absolute peak. He performs "Walkin" with a local sextet that includes Billy Root on tenor and pianist Sam Dockery (a future member of Art Blakey's Jazz Messengers), "A Night in Tunisia" with a quintet, and concludes both his night and his career with a quartet rendition of "Donna Lee" that is simply brilliant. Brownie's death was one of the great tragedies of jazz history and his "goodbyes" to the audience are ironic and in retrospect quite sad; don't listen to it twice. But Clifford Brown's playing on this date is so memorable that the CD is essential for all jazz collections.~ Scott Yanow, AMG |
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1968: Dorothy Ashby – Afro-Harping |
Jazz, Cool, Hard-bop |
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 Artist: Dorothy Ashby Album: Afro-Harping Label: Cadet Year: 1968 Format: MP3, 320 KB/s Size: 84MB Time: 35:56 AMG rating The best and most complete album done by jazz harpist (a rare style) Dorothy Ashby. She didn't approach her instrument as if it were a gimmick, and she wasn't content to be a background/mood specialist. She turned the harp into a lead instrument, and offered solos that were as tough and memorable as those done by any reed, brass, or percussion player. ~ Ron Wynn, AMG Review |
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1957: Dorothy Ashby – The Jazz Harpist |
Jazz, Cool, Hard-bop |
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 Artist: Dorothy Ashby Album: The Jazz Harpist Label: Regent Year: 1957 Format: MP3, 256 KB/s Size: 55MB Time: 29:31 AMG Rating Her first, and best, album has Frank Wess on flute. ~ Michael G. Nastos, AMG Review |
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McCoy Tyner – Reaching Fourth |
Music » Jazz » BeBop » Post-bop |
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 Artist: McCoy Tyner Album: Reaching Fourth Label: Impulse! Year: 1962 Release: 1963 (LP); 1998 (CD) Time: 34:02 Format: FLAC Size: 200MB AMG Rating:  Pianist McCoy Tyner's second set as a leader has as of 1996 not been reissued on CD. Featured in a trio with bassist Henry Grimes and drummer Roy Haynes, Tyner performs two of his originals ("Reaching Fourth" and "Blues Back") plus three standards and "Theme For Ernie." One of the two most original and influential pianists to fully emerge in the 1960s (along with Bill Evans), McCoy Tyner's unique chord voicings and ease at playing creatively over vamps pushed the evolution of jazz piano forward quite a bit. This outing, although not as intense as his work with the John Coltrane Quartet, is generally memorable and still sounds quite viable 35 years later. ~ Scott Yanow, AMG |
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McCoy Tyner – Tender Moments |
Music » Jazz » BeBop » Post-bop |
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 Artist: McCoy Tyner Album: Tender Moments Label: Blue Note Year: 1967 Format: FLAC Size: 239MB Time: 39:44 AMG Rating: On this excellent set (reissued on CD by Blue Note), McCoy Tyner had the opportunity for the first time to head a larger group. His nonet is an all-star aggregation comprised of trumpeter Lee Morgan trombonist Julian Priester, altoist James Spaulding, Bennie Maupin on tenor, the French horn of Bob Northern, Howard Johnson on tuba, bassist Herbie Lewis, and drummer Joe Chambers in addition to the pianist/leader. Tyner debuted six of his originals, and although none became standards (perhaps the best known are "The High Priest" and "All My Yesterdays"), the music is quite colorful and advanced for the period. Well worth investigating. [The 2004 Rudy Van Gelder Edition does not contain any bonus material. It does, however, feature wonderfully remastered sound in 24-bit resolution transferred from the original two-track analog tapes. It replaces the earlier CD issue.] ~ Scott Yanow, AMG |
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