Artist: Ray Brown
     Album: Live At Starbucks
     Label: Telarc Jazz Zone
     Year: 1999
     Format, bitrate: FLAC (Img,cue,log,scans); mp3, 320 kbit/s
     Time: 60:12
     Size: 352 mb/161 mb (+5%rec)

     Widely loved and hated, the Starbucks coffee chain has been playing host to some very good jazz groups. The first live recording from a Starbucks store came from bass legend Ray Brown and his trio, featuring Geoff Keezer on piano and Karriem Riggins on drums. The trio dealt in what used to be called the big beat -- a deep-pocketed swing that rhythm sections of old would serve up as a matter of course. Riggins's lithe trap work and Brown's bass -- beautifully recorded, with reverberating lows that shake the floor -- provide a rock-solid foundation for the chopsy yet impeccably soulful piano inventions of Keezer, who remains one of the instrument's most thrilling technicians. Particularly effective is the mid-set Ellington trilogy, beginning with the rollicking "Mainstem" and ending with a furious "Caravan," with a poetic, swinging bass feature on "Love You Madly" sandwiched in between. (Check out Keezer's "My Favorite Things" reference at the end of "Caravan.") Other highlights include Tadd Dameron's "Our Delight," a subtle "I Should Care," and the bluesiest "When I Fall in Love" you're likely to hear. ~ David R. Adler, Rovi

     Artist: Bill Frisell
     Album: Is That You?
     Label: Elektra
     Year: 1989, release: 1992
     Format, bitrate: mp3, 320 kBit/s
     Time: 52:01
     Size: 115 MB


Recorded in 1989 while Frisell was still a member of Naked City, Is That You? finds the guitarist already trending away from that band's scattershot assault and toward the more pastoral leanings he would embrace in the upcoming decade. At its best, as on the title track, Frisell creates nostalgic but heartfelt melodies that have the sense of being a soundtrack to a bittersweet movie. Wayne Horvitz' "Yuba City" is also evocative and very much in keeping with his other work from around that time, all sumptuous melodic hooks overlaying somewhat clunky rhythms. There are other nice touches here and there (the charming "Rag," for instance), but too often the gauziness that is an inherent problem with much of Frisell's music comes to the fore. While his cover of "Chain of Fools" chugs along with some dopey panache, "The Days of Wine and Roses" threatens to evaporate into the mist altogether. Fans of his later work may welcome this approach and, indeed, consider it one of his most attractive attributes, but those listeners hoping to hear more of the bite and devil-may-care attitude shown in his work with Zorn may feel suffocated. ~ Brian Olewnick, All Music Guide

     Artist: The Lounge Lizards
     Album: Lounge Lizards
     Label: EG Records
     Year: 1980; release: 1981
     Format, bitrate: mp3/320 kB/s
     Time: 40:11
     Size: 88 MB

     One might be forgiven for mistaking the Lounge Lizards' debut album for a traditional jazz release at a glance, what with the two Thelonious Monk covers and the participation of producer Teo Macero (who had previously worked with such heavyweights as Miles Davis, Dave Brubeck and Ella Fitzgerald, to name just a few). No, while there's definitely great respect shown here for the jazz tradition, the members are obviously coming at it from different backgrounds -- most especially guitarist Arto Lindsay, whose occasional atonal string scraping owes far more to his experience in New York City's no wave scene than to quote unquote traditional jazz. In fact, the two aforementioned Monk covers seem a strange choice when you actually hear the band, which has more in common with sonic experimentalists like Ornette Coleman or Sun Ra. That's not to say that this is too experimental; saxophonist and lead Lizard John Lurie knows when to blow noise and when to blow melody, and ex-Feelies drummer Anton Fier manages to infuse a good rock feel into the drum parts even when he's playing incredibly complex rhythms. The end result is a album that neatly straddle both worlds, whether it's the noir-ish "Incident on South Street," the art-funk of "Do the Wrong Thing," or the thrash-bebop found in "Wangling"."

     Artist: Miles Davis
     Album: The Man with the Horn
     Label: Columbia
     Year: 1981, release: 1997
     Format, bitrate: MP3, 320Kb/s
     Time: 52:49
     Size: 116 mB



Miles Davis' first comeback record finds the trumpeter a bit shaky (he would improve album by album during the next few years) and has a few poppish throwaway tracks; it is doubtful if anyone really remembers the title cut or "Shout." But with Bill Evans on soprano and electric bassist Marcus Miller, the other four selections are more rewarding with Davis forming the nucleus of his new band.

     Artist: Grover Washington, Jr.
     Album: All My Tomorrows
     Label: Columbia
     Year: 1994
     Format, bitrate: MP3@ 320 KBit/s
     Time: 73:45
     Size: 172 MB



Eddie Henderson's lovely flugelhorn colors the opening track, "E Preciso Perdoar (One Must Forgive)," setting the mood for a very mellow set. Washington, accompanied by six pieces, plays the standards straighter than Johnny Mathis sings them; everything is ratcheted down '40s-ish/'50s-ish cozy nightclub style. Freddy Cole resembles his brother, Nat King Cole, on "Overjoyed," while "Happenstance" showcases Henderson's absolute trumpeting skills. But if you expected to exercise your fingers with a few impromptu snaps, these tracks won't take you there. Washington's Winelight album, one of his best, was laid-back also but Washington's M.O. was stamped all over it; here you need credits and liner notes for verification, and only the opening tune emits any sparks. An attempt to silence the die-hard jazz critics who considered him a lightweight, but a disappointment for his Mister Magic fans.

     Artist: Jacques Loussier Trio
     Album: Baroque Favorites
     Label: Telarc
     Year: 2001
     Format, bitrate: mp3@320 kbit/s
     Time: 58:10
     Size: 134 MB

Jacques Loussier has spent most of his career blending jazz and classical styles into a lightly swinging and highly melodic hybrid. He is most well-known for tackling Bach, but here he covers a range of Baroque composers. Loussier, bassist Benoit Dunoyer De Segonzac, and drummer Andre Arpino play pieces by Handel, Pachabel, Scarlatti, Marcello, Albinoni, and Marias. Loussier has a very light touch and the trio is laid-back, never distracting from the melodies. You can hear the influence of Dave Brubeck in Loussier's playing (especially on Marais' "La Sonnerie de Sainte-Geneviиve du Mont"), and much like Brubeck's best work, there is a strong sense of warmth and intelligence on Baroque Favorites. The only complaint one might have is that the brevity of some of the songs breaks up the flow of the record. Nevertheless, Baroque Favorites is a very nice album. ~ by Tim Sendra

   Artist: Houston Person
   Album: In a Sentimental Mood
   Year: 2000
   Label: High Note
   Genre: Jazz Standards
   Format, bitrate: MP3@320 kb/s
   Time: 57:58
   Size: 135 MB





   Houston Person is an excellent, underrated tenor saxophonist with a full, rich tone and a knack for well-constructed, tasteful, but never boring solos. That said, he's occasionally guilty of giving the people what they want, releasing smooth and conservative albums that are perfectly enjoyable to listen to, but somewhat beneath what he's capable of. 2000's In a Sentimental Mood is exactly that; this collection of standards features some excellent performances of classic ballads, but it's all so polite that it's hard to see the set as anything more than better-than-average background music.

     Artist: Herb Ellis
     Album: After You've Gone
     Label: Concord Jazz
     Year: Aug 1974; release: 1992
     Format, bitrate: mp3@320 kbit/s
     Time: 48:41
     Size: 120 Mb





     This set from the 1974 Concord Jazz Festival (which has been reissued on CD) is a follow-up to the studio record Soft Shoe and uses similar personnel: guitarist Herb Ellis, bassist Ray Brown, drummer Jake Hanna, trumpeter Harry "Sweets" Edison, tenor saxophonist Plas Johnson and, in a rare straight-ahead outing, pianist George Duke. Each of the musicians has their chance to be featured; Ellis and Brown play a duet version of "Detour Ahead," and Edison is quite lyrical on "Mood Indigo." This is a bright, swinging set that helped to launch the Concord label. ~ by Scott Yanow

     Artist: Ron Carter Trio
     Album: So What
     Label: Blue Note
     Year: 1998
     Format, bitrate: mp3@320 kbit/s
     Time: 47:17
     Size: 106 MB

Ron Carter's recordings as a leader have varied in shape and style, from his contemporary commercial CTI recordings, his Milestone LP's emphasizing the piccolo bass, more symphonic efforts, and straight-ahead efforts such as this one. With the extraordinary Kenny Barron at the piano and drummer Lewis Nash, Carter plays standards and four of his originals that all fall snugly into the modern mainstream of jazz. It's a relatively laid-back affair, as Barron's potential energy is for the most part subdued, while Nash and Carter lock in on a cooperative mindset. In lieu of balance, the pianist tenderly wafts through a ballad version of "My Foolish Heart," leads out quaintly on "You'd Be So Nice to Come Home To," and springs along happily during the Randy Weston evergreen "Hi-Fly." There's more of a challenge to Carter's original material, as the cute tune "It's About Time" offers up tricky tandem playing from the bassist and Barron, "The Third Plane" is polite bop as the pianist slightly extrapolates, surrounding Carter's talk-back type melodic inserts, and while the emotional content of the trio darkens on the pensive, anticipatory "Three More Days." There's a thin veil of swing and blues similar to the standard "Too Close for Comfort" on "Eddie's Theme," while the opener "So What," a song Carter played with Miles Davis and on his own a thousand times, sports his lead bass melody line with a freshness that is reinvented. Truly a team effort, this consistently well-played set should remind us all how brilliant these players are, especially with the cool Count Basie concept of "less is more" in mind. ~ Michael G. Nastos, AMG

     Artists: Benny Carter & Dizzy Gilespie
     Album: Benny Carter,Dizzy Gillespie, Inc
     Recording: April 27, 1976
     Label: Original Jazz Classics
     Releases 1992
     Format, bitrate: mp3@320 kbit/s
     Time: 51:57
     Size: 120 MB



Although they were from different musical generations (Benny Carter was born ten years before Dizzy Gillespie), it is little wonder that the swing altoist and the bop trumpeter could match up so well on this sextet session; they were quite compatible. Surprisingly, the material they chose to perform could have been better (there is only one Carter composition among the six songs) but on "Broadway" and "A Night in Tunisia," the two veteran hornmen (along with pianist Tommy Flanagan and guitarist Joe Pass) sound at their best. ~ Scott Yanow, All Music Guide

     Artist: Ron Carter Trio
     Album: So What
     Label: Blue Note
     Year: 1998
     Format, bitrate: mp3@320 kbit/s
     Time: 47:17
     Size: 110 MB



     Bassist Ron Carter continues to prove that less is more. Following a winning effort with a quartet on The Bass and I,Carter returns with a trio date balanced between originals and standards. His sidemen, pianist Kenny Barron and drummer Lewis Nash help create a supple sound that enables Carter to lead without sounding anachronistic (or worse, like the bass solo during a generic jazz set). The title track is an obvious reference to Carter's tenure with Miles Davis's quintet of the mid '60s, and he includes, "You Be So Nice to Come Home To" in honor of the late Davis's alum, drummer Tony Williams. The trio shines on Randy Weston's "Hi-Fly" and Carter's own "3 More Days," one of four originals that animate this engaging outing. ~Martin Johnson, Amazon.com
   

     Artist: Masada String Trio
     Album: 50th Birthday Celebration, Vol. 1
     Label: Tzadik
     Year: 2004
     Genre: Avantgarde, Klezmer
     Format, bitrate: mp3@320 kbit/s
     Time: 63:03
     Size: 143 mb


     September 2003 marked the 50th birthday of John Zorn, and to celebrate, Tonic hosted a month-long celebration of Zorn's various musical groups and projects. The shows were recorded, and the best of them are being released as a new series on Zorn's "Tzadik" label.The first offering is the entire early set by the Masada String Trio, recorded on September 4, 2003, with Zorn conducting Mark Feldman on violin, Erik Friedlander on cello, and Greg Cohen, on bass. This group has been performing this material for more than six years by 2003, and the interplay between them is something to behold. Each player is a virtuoso, in complete command of his instrument, and the apparent ease with which they negotiate these tunes is amazing. Whether they're responding to an eager, appreciative audience, or just geared up for the Zorn festivities, one really gets a sense that something special is taking place at this show. Many of the tunes performed here are also on Circle Maker, but these versions tend to be much longer than the Circle Maker versions, giving each player plenty of room to solo. And what amazing playing -- these guys really know the repertoire as well as the other players, and the level of communication is just awe-inspiring. From soloing to comping, bowing to pizzicato techniques, the set is dazzling from start to finish. Only "Malkut" and "Karet" are anything but beautiful, sounding like pieces left more open to free improvisation than the others, and allowing other facets of the players' abilities to come out. The Masada songbook has elicited a rather large number of truly excellent recordings from its various ensembles. Add this one to the list. Recommended. ~ by Sean Westergaard

     Album: Compilation
     Label: Telefunken
     Year: 1930th (?)
     Genre: Retro
     Format, bitrate: mp3@320 kb/s, shellac-rip
     Time: 25:41
     Size: 48 mB

     Хочу предложить членам Клуба несколько необычный материал.

     В наследство от родителей мне досталась несколько коробок со старыми грампластинками. Среди них мое внимание привлекли несколько дисков фирмы "Telefunken". Не могу утверждать точно, но очевидно они были привезены родственниками моей бабушки из Чехии накануне Второй мировой войны. Пластинки не в идеальном состоянии, да и найти проигрыватель на 78 об./мин. нелегко. Поэтому запись с сильными шумами. Она может носить лишь иллюстративный характер, но может быть кому-то будет интересно.

     В дополнение привожу найденный в интернете материал по истории фокстрота.

     Artist: Marty Ehrlich's Dark Woods Ensemble
     Album: Sojourn
     Label: Tzadik
     Year: Jun 22, 1999
     Genre: avantgarde, folk-jazz, klezmer
     Format, bitrate: mp3@320 kbit/s
     Time: 46:37
     Size: 109 MB

     Essential for strong believers in soprano-saxophone jazz, Sojourn is a fine album from Marty Ehrlich's Dark Woods Ensemble. It may not be incredibly dynamic, but these mature, mellow compositions flow from semi-reflective to plaintive ("The Secret of Light") to moderne. All of the musicians contribute substantially to the project's strength. Bassist Mark Helias pulls and plucks with an excellent round, warm tone; cellist Erik Friedlander effortlessly slides between the front and back of the mix; guest Marc Ribot adds fine soloing; and Ehrlich alternates between clarinet and soprano sax. A satisfying listen replete with themes, harmonies, closure, and interesting motion all around. ~ Joslyn Layne

     Artist: Ленинградский ансамбль джазовой музыки п/у Давида Голощекина
     Album: 15 лет спустя
     Label: «Мелодия» С60 20507 007
     Year: 1983, release 1984
     Format, bitrate: mp3@320 kbit/s LP-rip
     Time: 37:14
     Size: 52 MB

Поздравляю всех с наступившим Новым годом!

     Предлагаю послушать замечательную, на мой взгляд, запись.
Заранее прошу прощения за качество записи - диск не в идеальном состоянии и опыта подготовки у меня нет

Давид Голощекин. Биография

     Artist: Aldo Rodriguez
     Album: Guitarra
     Label: Areito
     Year: 1980
     Genre: Classical
     Format, bitrate: MP3@320 kBit/s
     Time: 34:48
     Size: 62 MB

     Aldo Rodriguez was born in 1955 and studied the guitar with Isaac Nicola and Martha Cuervo. He also attended master-classes with Alirio Díaz, María Luisa Anido and Frank Fernandez. He has given master-classes in Poland, France, Colombia, Bulgaria and Chile, and teaches at the National School of Music in Havana, Cuba. He has received various honours from the Cuban Government, including the Medalla por la Cultura Nacional, and the Medalla Alejo Carpentier, awarded by the government in 2003.

     Artist: Various artists
     Album: Ragtime
     Label: Supraphon
     Year: 1977
     Genre: ragtime
     Format, bitrate: MP3@320 kbit/s (LP rip)
     Time: 33:02
     Size: 63 mB

Предлагаю Вам вернуться на 100 лет назад и окунуться в атмосферу столь популярной тогда музыки.
«…Потом Сью храбро вошла в комнату Джонси с чертежной доской, насвистывая рэгтайм» (О. Генри «Последний лист», 1907).

     Artist: Kurt Edelhagen & Wolfgang Sauer
     Album: Live
     Label: Amiga Jazz
     Year: 1965 release 1981
     Genre: Jazz
     Format, bitrate: mp3, 320 kbit/s (LP rip)
     Time: 35:51
     Size: 79 mb


A well-respected bandleader whose orchestras tended to emphasize swinging dance music but were open to boppish solos, Kurt Edelhagen was a major name in Germany for quite a few years. He studied piano and conducting and then in 1946 formed his first big band. Edelhagen was a natural bandleader and he headed ensembles for the radio station in Frankfurt, in Nuremberg (1949-52) and most notably the orchestra of Sudwestfunk (1952-57) which sometimes looked towards Stan Kenton. In 1957 he joined Westdeustcher Rundfunk in Cologne which in time included such players as trumpeters Dusko Goykovich and Jimmy Deuchar, altoist Derek Humble and trombonist Jiggs Whigham. He headed that band until it broke up in 1973 and remained semi-active up until near his death. Kurt Edelhagen recorded fairly often in Germany during 1949-72 although few of his records (other than one put out by Golden Era) have been made available in the U.S. ~ Biography by Scott Yanow

     Artist: Dizzy Gillespie & Gonzalo Rubalcaba
     Album: En Vivo. Havana Jazz Plaza’85 Festival
     Label: Areito
     Year: 1985
     Genre: Hard-bop
     Format, bitrate: mp3/256 kbit/s (LP rip)
     Time: 45:33
     Size: 78 MB

Artist: Jack McDuff
Album: Crash!
Label: Prestige
Year: 1963, release 1994, 1995
Genre: Hard Bop
Format, bitrate: mp3, 320 kb/s
Time: 76:23
Size: 178 mB

Organist Jack McDuff has long had a powerful style and the two former LPs that are combined on this single CD offer some strong examples of his accessible playing. In both cases McDuff is joined by guitarist Kenny Burrell (in fact one of the two sets was originally under Burrell's name), drummer Joe Dukes and occasionally Ray Barretto on congas. In addition Harold Vick is on tenor for most selections and Eric Dixon guests on tenor and flute during three songs. Highlights include a driving "How High the Moon," "Love Walked In" and a pair of original blues: "Smut" and "Our Miss Brooks." McDuff and Burrell work together quite well. This 76-minute CD is easily recommended to fans of the jazz organ. ~ Scott Yanow, AMG