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Jimmy McGriff - Christmas with Jimmy McGriff (1996)

2009-12-29T14:25:00.001+03:00

Genre: Soul Jazz, Christmas, Hard Bop, Jazz-Funk
Release Date: 1964 (Lp) (as Christmas With McGriff — Sue Records)
Reisue Release Date: Sep 24, 1996
Label: Distributed by Collectables Records COL 5747
Ripped — Uploaded by: Musicgate
Included: FLAC (tracks), TAU, CUE, LOG
Rip validating: EAC ripped, correct, test and cope mode, accureatelly ripped, runknown
Covers: Full Artworks provided

Tracks info:
1. White Christmas
2. Christmas With McGriff
3. I Saw Mommy Kissing Santa Claus
4. Hip Santa
5. Winter Wonderland
6. Santa Claus Is Coming To Town
7. Rudolph The Red Nosed Reindeer
8. Jingle Bells

Personel info:
Larry Frazier Guitar (Rhythm)
Ira Howard Liner Notes
Rudolph Johnson Saxophone
Jimmy McGriff Organ

Продолжение текста / More text
About albume — from booklet:

JIMMY McGRIFF — Christmas With McGriff: Collectables 5747
The real pleasures in life can be counted on the fingers of one hand. The feeling of enjoyment or delight is a pleasure in itself. So often, however, these gratifying experiences are either so swift or commonplace that we tend to overlook them and the important roles they play in our daily lives. The ability to retain the smallest of satisfactions can count heavily as a stabilizing factor, during later periods of frustration or sadness. For some, fond memories of children at play are as helpfully tranquilizing, in effect, as amassed fortunes are for others.
Fortunately, there are several holidays each year that are so overwhelming in meaning that we are forced to stop and do some deep thinking. During the Christmas season, when the snow sifts slowly over the land and the cold days are warmed by good feeling, we are afforded our best opportunity to pause, reflect and appreciate. We who do, derive our lasting pleasure from either (or both) the quiet reverence of the holiday's original significance or the festive, joyful exuberance with which it is now greeted. This of course, can apply to our tastes in music, which plays such an important role in the celebration of Christmas.
It is a special brand of music that we employ each Yuletide to recover moments of fruition that have fleeted by. Each year artists supply us with -this special material which like them, is both old and new. Each year the gamut of religious inspirationals — to popular ballads — to kiddie novelties is run and, each year cries of overcommercialization and overabundance ring out. However, it's well worth our time and effort if but one good new tune, delivered with good taste, rises above the multitude of mediocrity.
Organist Jimmy McGriff and his trio of accompanists, saxophonist Rudolph Johnson, rhythm guitarist Larry Frazier and drummer Willie "Saint" Jenkins, have happily supplied us with the best of the aforementioned elements necessary for appreciation at Christmastime. And, most important, they have done so with good, jazz-oriented taste. This, their first seasonal offering, is a bright, rhythmic approach to a choice collection of pop and novelty standouts. On the pop end, they offer a driving new interpretation of the classic "White Christmas" and an intriguingly slow revamping of the charming "Winter Wonderland". On the novelty side, they contagiously amble over "I Saw Mommy Kissing Santa Claus," fingersnap their way through a frisky reading of "Santa Claus Is Coming To Town," take a toe-tapping, low-keyed ride with "Rudolph The Red-Nosed Reindeer" and rock with a bossa nova flavor on "Jingle Bells". In addition, there are two McGriff originals, which can go on to assume yearly importance: the solid rhythmic twister, "Hip Santa", and the captivating "Christmas With McGriff, which picks up steam along the way.
Organs, chimes, sleigh bells, etc. have become synonymous with Christmas. With organist McGriff leading the way we find it an enjoyable, easy task, taking time out for a pause that refreshes our memory. This Christmas (as well as future ones), one more attractive package should rise head and shoulders above the deluge. It's the result of an outstanding pop-jazz contribution by Jimmy McGriff and Co.
—Ira Howard, Editor, CASH BOX Magazine

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VA - Swing Style Vol.2 (2009)

2009-12-29T14:17:00.004+03:00

Artist: Various
Album: Swing Style Vol.2 (2009)
Label: Lola's World
Genre: Jazz, Swing, Broken Beat
Format: MP3 (320 Kbps)

Tracklist:

01. Richard Cheese - Spider-Man Theme
02. Hediye Guven - Siyah Sandiklarim
03. Jenny Evans - Alright, OK, You Win
04. Lu Colombo & Maurizio Geri Swingtet - Gina
05. Andrews Sisters - Rum & Coca Cola (JoJo Effect Remix)
06. The Puppini Sisters - Walk Like An Egyptian (Album Version)
07. Unkle Ho - Kindergarten (Rube Remix)
08. Will Bradley - Scrub Me Mama (Swing Republic - Remix)
09. Parov Stelar feat. Gabriella Hanninen - Charleston Butterfly
10. Analogik & [Dunkelbunt] Feat. Morgenlandstricher - Gypsie Doodle
11. The Real Tuesday Weld - Cloud Cuckooland
12. Swing Republic feat. Mildred Bailey - Taint What You Do
13. Energie Du Verre - Jitterbug
14. Bing Crosby - On The Downbeat (Swing Republic - Remix)
15. Source - Framed Profile
16. Broadcaster - England (Radio Edit)
17. Parov Stelar - Chambermaid Swing (Original)
18. Swing Republic feat. Nat King Cole - Lover Come Back To Me
19. Bebo Best & The Super Lounge Orchestra - This Is Jazz (Tantratribe Mix)
20. Tommy Dorsey - Any Old Thing (Swing Republic - Remix)
21. David Klein Quintet - My Heart Belong To Daddy

Продолжение текста / More text

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Mundell Lowe - Guitar Moods (1956)

2009-12-29T14:13:00.003+03:00

Artist: Mundell Lowe
Title Of Album: Guitar Moods
Year Of Release: 1956
Recovery Data: February 20, March 2 and 9, 1956
Label: Original Jazz Classics / Catalog # OJCCD-1957-2 (RLP-208)
Genre: Jazz / Cool, Guitar Jazz
Quality: FLAC (Tracks+Log+Cue+Tau+Covers+Info)
Bitrate: Lossless
Total Time: 00:33:12

Благодарим уважаемого Muscgate, за классный альбом!

Track List:

01. SPEAK LOW 2:34 (Weill-Nash)
02. WE'LL BE TOGETHER AGAIN 2:04 (Laine-Fischer)
03. MEMORIES OF YOU 3:44 (Razaf-Blake)
04. ILL WIND 3:00 (Arlen-Koehler)
05. YOU DON'T KNOW WHAT LOVE IS 3:04 (Raye-DePaul)
06. I DREAM TOO MUCH 2:14 (Kern-Fields)
07. JUNE IN JANUARY 2:50 (Robin-Rainger)
08. I'LL TAKE ROMANCE 1:49 (Oakland-Hammerstein)
09. IT'S SO PEACEFUL IN THE COUNTRY 4:08 (Alec Wilder)
10. OUR WALTZ 1:51 (David Rose)
11. I'M OLD FASHIONED 2:05 (Kern-Mercer)
12. GOODBYE 3:05 (Gordon Jenkins)

Personnel:

Mundell Lowe (guitar);
Mundell Lowe; Phil Bodner (oboe, English horn, French horn);
Trigger Alpert (double bass);
Al Klink (flute, bass clarinet);
Ed Shaughnessy (drums).

Продолжение текста / More text

By David Rickert:
For fans of jazz guitar, the trio setting holds a special appeal. Not the familiar Nat King Cole style trio of guitar, piano, and bass, but rather the format where the guitarist is accompanied by bass and drums only, a situation which forces him to use chords and single note soloing to fill up the space.
Mundell Lowe ups the ante even more by playing a program consisting entirely of ballads, some of which are taken at a virtually tempoless pace. Lowe keeps things simple, employing basic chord shapes and sticking close to the melody in a style that bears a strong resemblance to Johnny Smith in his use of chords to carry the melody. The rhythm section is given little to do rather than provide atmosphere, and there are entire passages where they might as well have left the room as little as they play.
Lowe delights in all the possibilities of the open setting, letting his chords hang in the air to achieve a languid atmosphere. Maybe the oboe, English horn, and flute solos are a tad too sentimental, and perhaps a few midtempo tunes would have broken up the monotony that inevitably sets in with a project of this type, but there's still a great deal of beautiful guitar work here.
There's nothing like the satisfaction of discovering an obscure album that turns out to be great. Mundell Lowe has never really been given enough credit as a musician, but Guitar Moods is a wonderful entry in the field of jazz guitar recordings.

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Complete Blue Note Lee Morgan Fifties Sessions (1956-58)

2009-05-06T09:37:00.006+04:00

Artist: Lee Morgan
Album: Complete Blue Note Lee Morgan Fifties Sessions (1956-58) 4-CD Box Set
Label: Mosaic
Style: Hard Bop
Reсording Date: Nov 4, 1956-Feb 2, 1958
Format: MP3 @ 320 Kbps
Time: 256 m:18 s
Size: 6x100 + 8 Мб

Tracks:
CD1:
1. Gaza Strip 3:57
2. Reggie of Chester 4:55
3. Little T 8:24
4. Little T [alternate Take] 8:10
5. Stand By 5:51
6. Roccus 8:18
7. The Lady 6:47
8. Latin Hangover 6:45
9. Whisper Not 7:21
10. His Sister 6:30

CD2:
11. D's Fink 7:44
12. Slightly Hep 6:28
13. Where Am I? 5:50
14. Hasaan's Dream 8:44
15. I Remember Clifford 7:09
16. Mesabi Chant 6:11
17. Tip-Toeing [alternate Take] 6:42
18. Tip-Toeing [alternate Take] 6:43
19. Domingo 9:19

CD3:
20. Just by Myself 9:26
21. City Lights 5:46
22. You're Mine You 6:03
23. Temp de Waltz 6:24
24. Kin Folks 9:45
25. Just One of Those Things [alternate Take] 7:52
26. Just One of Those Things 7:17
27. Heavy Dipper 7:06

CD4:
28. A Night in Tunisia 9:24
29. Lover Man 6:52
30. New-Ma 8:16
31. Since I Fell for You 5:36
32. Personality 6:15
33. All at Once, You Love Her 5:29
34. Who Do You Love, I Hope 4:59
35. Candy 7:04
36. C. T. A. 5:06
37. All the Way 7:22

Personel: Ray Bryant - Piano, Paul Chambers - Bass, Sonny Clark - Piano, George Coleman - Sax (Alto), Sax (Tenor), Curtis Fuller - Trombone, Benny Golson - Arranger, Sax (Tenor), Gigi Gryce - Flute, Sax (Alto), Philly Joe Jones - Drums, Wynton Kelly - Piano, Hank Mobley - Sax (Tenor), Lee Morgan - Trumpet, Charlie Persip - Drums, Kenny Rodgers - Sax (Alto), Clarence Sharpe - Sax (Alto),
Horace Silver - Piano, Art Taylor - Drums, Bobby Timmons - Piano, Wilbur Ware - Bass.

Вашему вниманию предлагается компиляция на 4-х CD записей Lee Morgan сделанных на лейбле Blue Note в период 1956-58 годов.
Продолжение текста / More text
Lee Morgan recorded for Blue Note in the late '50s, playing seven dates between 1956 and 1958. Morgan was still in his teens at the time and half of the joy of The Complete Blue Note Lee Morgan Fifties Sessions is hearing the trumpeter develop at a rapid rate. The four-disc box set The Complete Blue Note encompasses sessions with Horace Silver, Paul Chambers, Benny Golson, Wynton Kelly, Sonny Clarke, Doug Watkins, and Art Taylor. Morgan may have been young at the time these were recorded, but he was impressive even at the beginning, playing blistering hard bop and lyrical ballads with equal ease. He may have gone on to record greater, more influential albums but this music remains exciting, vital, and simply joyous. Stephen Thomas Erlewine, AMG.

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Jimmy Forrest - Forrest Fire (1960)

2009-04-26T11:13:00.005+04:00

Artist: Jimmy Forrest
Album: Forrest Fire
Rating AMG: 4
Recording Date: Aug 9, 1960
Label: New Jazz/OJC
Genre: Jazz, Styles: Hard Bop, Soul-Jazz
Time: 39:39
Format/Bitrate - flac (rapidshare.com)
Size: 2х100+70 Mb

Titles:
1. Remember (Berlin) - 5:27
2. Dexter's Deck (Gordon) - 6:37
3. Jim's Jam (Forrest) - 8:54
4. Bags' Groove (Jackson) - 8:25
5. When Your Lover Has Gone (Swan) - 5:27
6. Help! (Watkins) - 4:49

Personel: Jimmy Forrest - Sax (Tenor), Thornel Schwartz - Guitar, Jimmie Smith - Drums, Larry Young - Organ.

Продолжение текста / More text
Review Scott Yanow, AMG:
During 1961, Jimmy Forrest recorded four albums for Prestige and its subsidiary New Jazz, all of which have been reissued on CD in the Original Jazz Classics series. The appealing tenor is matched up with 20-year-old organist Larry Young, guitarist Thornel Schwartz and drummer Jimmie Smith. They perform two jump tunes ("Dexter's Deck" and Doug Watkins' "Help"), a pair of blues, a swinging version of Irving Berlin's "Remember," and a lone ballad ("When Your Lover Has Gone"). Excellent music that is also quite accessible.

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Wes Montgomery - Tequila (1966)

2008-12-12T23:46:00.003+03:00

Artist: Wes Montgomery
Album: Tequila
Rating AMG: 3
Recording Date: Mar 17, 1966-May 18, 1966
Label: Verve
Genre: Jazz, Styles: Hard Bop, Jazz-Pop, Soul-Jazz
Time: 46:57
Format/Bitrate - flac (Rapidshare)
Size: 120+120+60 Mb

Tracklisting:
01. Tequila
02. Little Child (Daddy Dear)
03. What the World Needs Now Is Love
04. The Big Hurt
05. Bumpin' on Sunset
06. Insensatez (How Insensitive)
07. The Thumb
08. Midnight Mood
09. Wives and Lovers*
10. Tequila (alternative take)*
11. The Big Hurt (alternative take)*
12. Bumpin' on Sunset (alternative take)*

Personnel: Wes Montgomery (guitar); Claus Ogerman (arranger); Bernard Eichenm Arnold Eidus, Paul Gershman, Emanuel Green, Julius Held, Harry Lookofsky, Joe Malin, Gene Orloff (violin); Abe Kessler, Charles McCracken, George Ricci, Harvey Shapiro (cello); George Devens (vibraphone); Ron Carter (bass); Grady Tate (drums); Ray Barretto (congas).

Producer: Creed Taylor.

Продолжение текста / More textOn two of the songs included on Tequila, "Tequila" and "The Thumb," Wes Montgomery had an opportunity to jam a bit while backed just by bassist Ron Carter, drummer Grady Tate and the congas of Ray Barretto. The other six selections utilize a string section arranged by Claus Ogerman but, even with a throwaway version of "What the World Needs Now Is Love," there are memorable renditions of "Bumpin' on Sunset" and "Insensatez" that uplift this album quite a bit beyond the guitarist's later A&M recordings. Scott Yanow, AMG.

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Sarah Vaughan - Vaughan and Violins

2008-12-10T21:10:00.004+03:00

Artist: Sarah Vaughan
Album: Vaughan and Violins
Recording Date: Jul 7, 1958-Jul 12, 1958
Release Date: Feb 4, 2003
Label: Emarcy
Genre: Jazz, Styles: Ballads, Standards, Traditional Pop, Vocal Jazz
Format/Bitrate - ape (Rapidshare)
Size: 100+87 Mb

Tracks:
1. Please be kind
2. The midnight
3. Live for love
4. Misty
5. I’m lost
6. Love me
7. That’s all
8. Day by day
9. Gone with the wind
10.I’ll close is gone
11.The thrill is gone

Personnel: Sarah Vaughan - Vocals, Ronnell Bright - Piano, Kenny Clarke - Drums, Pierre Cullaz - Guitar, Richard Davis - Double Bass, Kansas Fields - Drums, Michael A. Hauser - Vibraphone, Jo Hrasko - Sax (Baritone), Marcel Hrasko - Sax (Alto), Quincy Jones - Arranger, Conductor, Zoot Sims - Sax (Tenor), Maurice Vander - Piano.
Продолжение текста / More text
During the 1950s, Sarah Vaughan wowed the public with her lush, rich vocals, especially in ballad settings. She is backed by a string section for most of this collection of ballads recorded in Paris with conductor/arranger Quincy Jones. This 1958 recording is notable as it is one of the first albums to feature Erroll Garner's mega-hit "Misty" with Johnny Burke's brand new lyrics; this version is notable for its simplicity and lack of gimmicky vocal effects. Many of the tracks add a rhythm section (usually pianist Ronnell Bright, bassist Richard Davis, and drummer Kenny Clarke, though other drummers also took part), along with a saxophone quartet for backgrounds, with tenor saxophonist Zoot Sims providing occasional brief solos or counterpoint, though the saxophone credits in the booklet don't match up very well with the music. Vaughan is in top form throughout the disc; only the use of excessive reverb on the closing to "Gone with the Wind" dates these magical sessions. Ken Dryden, AMG

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Sarah Vaughan - The Rogers and Hart Songbook

2008-12-10T20:55:00.003+03:00

Artist: Sarah Vaughan
Album: The Rogers and Hart Songbook
Release Date: 1954-1958
Label: Emarcy
Genre: Jazz, Styles: Ballads, Standards, Traditional Pop, Vocal Jazz
Time: 37:33
Format/Bitrate - flac (Rapidshare)
Size: 100+80 Mb

Personnel: Sarah Vaughan, Richard Hayman Arranger, Conductor, Hal Mooney Arranger, Conductor, Don Costa Arranger, Conductor, Ronnell Bright Piano, Richard Davis Bass, Roy Haynes Drums, Jimmy Jones Piano, Turk Van Lake Guitar.

Tracks:
My Funny Valentine
Little Girl Blue
A Tree In The Park
It's Got To Be Love
A Ship Without A Sail
Bewitched
Thou Swell
It Never Entered My Mind
It's Easy To Remember
Why Cant't I
My Romance
My Heart Stood Still

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Oscar Peterson Trio - Night Train

2008-12-06T10:18:00.002+03:00

Artist: Oscar Peterson
Album: Night Train
Recording Date: Dec 15, 1962, Dec 16, 1962
Label: Verve
Time: 44:08
Format/Bitrate - mp3, 320 kbps (Rapidshare)
Size: 107 Mb

Tracklist:
1. Night Train (Forrest, Simpkins ...) 3:23
2. C Jam Blues (Bigard, Ellington) 4:50
3. Georgia on My Mind (Carmichael, Gorrell) 3:42
4. Bags' Groove (Jackson) 5:12
5. Moten Swing (Moten) 2:52
6. Easy Does It (Basie, Russell) 2:45
7. Honeydripper (Liggins) 2:23
8. Things Ain't What They Used to Be (Ellington, Persons) 4:35
9. I Got It Bad (And That Ain't Good) (Ellington, Webster) 5:05
10. Band Call (Ellington) 3:51
11. Hymn to Freedom (Peterson) 5:30

Продолжение текста / More textRecorded at Radio Recorders, Hollywood, California on December 16, 1962.

Oscar Peterson Trio: Oscar Peterson (piano); Ray Brown (bass); Ed Thigpen (drums).

Down Beat (9/97, p.54) - 4 stars (out of 5) - "...[Peterson's] speed and flow are spotlit and the trio fits together with unparalleled grace..."

Although the repertoire on this CD reissue by the Oscar Peterson Trio (with bassist Ray Brown and drummer Ed Thigpen) is fairly typical (with such veteran standards as "C Jam Blues," "Bags' Groove," "Easy Does It" and "I Got It Bad"), Peterson and his sidemen sound fairly inspired. Actually the highpoints are the final two selections: Duke Ellington's "Band Call" and the original version of O.P.'s "Hymn to Freedom." This CD gives one a definitive look at the 1960s Oscar Peterson Trio. Scott Yanow, AMG

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Oscar Peterson - Fly Me To The Moon (2006)

2008-12-06T09:55:00.003+03:00

Artist: Oscar Peterson
Album: Fly Me To The Moon
Release Date: Jul 17, 2006
Label: Universal/Verve
Format/Bitrate - mp3, 320 kbps (Rapidshare)
Size: 100 + 62 Mb

Tracklist:
01 At Long Last Love
02 I Love You, Porgy
03 Greensleeves
04 Fly Me to the Moon
05 If I Should Lose You
06 I Didn’t Know What Time It Was
07 When I Fall in Love
08 A Time for Love
09 Smile
10 Once Upon a Summertime
11 All the Things You Are
12 Someday My Prince Will Come
13 It Never Entered My Mind

Продолжение текста / More text
The new JAZZ CLUB series is an attractive addition to the Verve catalogue. With its modern design and popular choice of repertoire, the JAZZ CLUB is not only opened for Jazz fans, but for everyone that loves good music. This collection by the outrageous Oscar Peterson features 13 tracks including 'Someday My Prince Will Come', 'When I Fall In Love', 'I Loves You Porgy', 'Fly Me To The Moon' and more. 2006.

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George Shearing - Blues Alley Jazz (1979)

2008-12-04T22:50:00.006+03:00

Artist: George Shearing
Album: Blues Alley Jazz
Rating AMG: 4 1/2
Release Date: Oct 1979
Label: Concord Jazz
Genre: Jazz, Styles: Bop, Cool
Time: 42:48
Format/Bitrate - flac (Rapidshare)
Size: 120 + 87 Mb

[u]Titles[/u]:
1. One for the Woofer (Taylor) 8:04
2. Autumn in New York (Duke) 4:42
3. The Masquerade Is Over (Magidson, Wrubel) 6:18
4. That's What She Says (Fest 3:45
5. Soon It's Gonna Rain (Jones, Schmidt) 4:34
6. High and Inside (Torff) 3:28
7. For Every Man There's a Woman (Arlen, Robin) 3:41
8. This Couldn't Be the Real Thing (Mulligan, Torme) 3:17

Продолжение текста / More text

Pianist George Shearing started a productive ten-year association with the Concord label with this live set, a duo outing matching him with the brilliant bassist Brian Torff. Their performances are virtuosic, intuitive, full of sly wit and always swinging; it is surprising that Torff did not become more famous. The close interaction between the two masterful musicians on such numbers as Billy Taylor's "One for the Woofer," "The Masquerade Is Over" and a humorous "Lazy River" are quite impressive as is Shearing's surprisingly effective vocal on "This Couldn't Be the Real Thing." This CD is recommended. Scott Yanow, AMG.

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Nat King Cole - 1936-1940 (Chronological 757)

2008-11-24T22:35:00.005+03:00

Artist: Nat King Cole
Album: 1936-19406
Rating AMG: 3
Recording Date: Jul 28, 1936-Feb 1940
Release Date: 1994
Label: Classics
Genre: Jazz, Styles: Vocal Jazz, Swing, Jump Blues, Traditional Pop
Time: 53:40
Format/Bitrate - flac (Rapidshare)
Size: 100+81 Mb

Titles:
1. Honey Hush (Cole) 2:57
2. Stomping at the Panama (Skoller's Shuffle) (Cole) 3:03
3. Bedtime (Sleep Baby Sleep) (Cole) 2:57
4. Thunder (Cole) 2:50
5. There's No Anesthetic for Love (Cole) 3:12
6. Dixie Jamboree (Cole) 3:02
7. Ta-De-Ah 2:38
8. Riffin' at the Bar-B-Q (Cole) 2:04
9. Harlem Swing 2:30
10. I Lost Control of Myself 3:14
11. The Land of Make Believe 2:49
12. That Please Be Mineable Feeling 2:15
13. Dancing in the Street (Norris) 3:04
14. You're So Different (Fain, Parish) 2:59
15. I Wouldn't Have Known It (Bryant, Cole) 2:31
16. Let's Get Happy 2:17
17. I Like to Riff (Cole) 2:49
18. On the Sunny Side of the Street (Fields, McHugh) 2:55
19. Black Spider Stomp (Cole) 2:37
20. By the River Sainte Marie (Leslie, Warren) 2:22

Nat King Cole (Piano, Vocals), King Cole's Swingsters (Vocals), Juanelda Carter (Vocals), Eddie Cole (Sax (Baritone), Vocals, Standup Bass), Bonnie Lake (Vocals),
Oscar Moore (Guitar, Vocals), Wesley Prince (Sax (Baritone), Vocals, Standup Bass).

Продолжение текста / More textReview arwulf arwulf, AMG:
Here's a parcel of rarities that chronicle the rise of Nathaniel Adams Cole, from his very first appearances on record as a pianist in his brother's swing sextet through a series of attempts to establish a distinctive style as vocalist and leader of his own trio. On July 28, 1936, Eddie Cole's Solid Swingers made four sides for Decca Records in Chicago. These are valuable not only on account of Nat King Cole, but also as fine examples of small-band swing from the mid-'30s. "Thunder" and "Stomping at the Panama" are energetic stomps. Nat's brother Eddie -- a proficient bassist -- sings his own composition, the bouncing "Honey Hush." There is a gorgeous tenor sax solo during the easygoing "Bedtime." Nat the 19-year-old pianist sounds at times like Earl "Fatha" Hines. It's a pity this band didn't wax another 20 sides. In 1937 Cole formed his first trio and began "rehearsing on the job at the public's expense," as Fats Waller would have said. Made in Hollywood on January 14, 1939, 12 recordings almost painfully illustrate the trio's search for a cohesive and possibly even dignified style. The first four numbers have lots of collective scat singing, and it is clear that this sort of group coordination would take a long time to perfect. "There's No Anesthetic for Love" is silly and surely would have turned into something more substantial if only Fats Waller had gotten his hands on it. "Let's Get Happy" is tight enough, but six other tracks feature whiny female vocalists. In a premonition of the act as it would sound by 1950, Cole sings "That Please Be Mineable Feeling" without anyone else's vocal backing. By February of 1940 this group had finally found its footing. "On the Sunny Side of the Street" -- or, as they sing it, "On the Side of the Street That's Sunny" -- is the first example on record of the mature, precise Nat King Cole Trio, augmented here with Lester Young's brother Lee at the drum kit. All of this would lead to Nat King Cole becoming a famous pop vocalist and nightclub personality. Although his amazing abilities earned him a place in the evolution of jazz piano somewhere between Earl Hines and Bud Powell, Cole would gradually sing more and play less until the point where most of his fans thought of him simply as a honey-voiced guy in a nice suit. Years later the great percussionist J.C. Heard would reflect upon the horror that jazz musicians felt when Cole all but abandoned the instrument. "Listen," said Heard, "when Nat Cole gave up playing piano, everybody got sick!"

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Nat King Cole - 1946 (Chronological 938)

2008-11-24T22:31:00.001+03:00

Artist: Nat King Cole
Album: 1946
Rating AMG: 2 1/2
Recording Date: Feb 16, 1946-Jun 14, 1946
Release Date: Aug 19, 1997
Label: Classics
Genre: Jazz, Styles: Vocal Jazz, Swing, Jump Blues, Traditional Pop
Format/Bitrate - flac (Rapidshare)
Size: 100+55 Mb

Titles:
1. I Can't Believe That You're in Love With Me (Gaskill, McHugh) 3:02
2. The Way You Look Tonight (Fields, Kern) 3:05
3. Airiness á la Nat (Lim) 2:34
4. My Old Flame (Coslow, Johnston) 2:59
5. I'm in the Mood for Love (Fields, McHugh) 3:09
6. I Don't Know Why (I Just Do) (Ahlert, Turk) 3:09
7. Route 66 Kicks (Troup) 2:59
8. Everyone Is Saying Hello Again (Malone, Segal) 2:37
9. Route 66 Kicks (Troup) 2:59
10. (What Can I Say) After I Say I'm Sorry? (Donaldson, Lyman) 3:00
11. To a Wild Rose (MacDowell) 3:12
12. Baby, Baby All the Time (Troup) 3:11
13. Could Ja (Carey, Fischer) 3:00
14. Baby, Baby All the Time (Troup) 2:59
15. Oh, But I Do! (Fitzgerald, Watts) 2:37
16. Rex Rhumba (Cole) 3:15
17. But She's My Buddy's Chick (Atkinson, Oliver) 3:05
18. You Call It Madness (But I Call It Love) (Columbo, Conrad, Dubois) 3:02
19. Homeward Bound (Feather) 2:57
20. Chant of the Blues (Dog-Gone Unlucky Blues) (Cole) 3:09
21. The Christmas Song (Torme, Wells) 3:10

Personel: Red Callender (Bass), Nat King Cole (Piano, Vocals), Johnny Miller (Bass), Jackie Mills (Drums), Oscar Moore (Guitar), Keynoters - Performer.
Продолжение текста / More text

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Frankie Trumbauer - 1929-1931

2008-11-16T13:45:00.003+03:00

Artist: Frankie Trumbauer
Album: 1929-1931
Rating AMG: 4
Recording Date: Sep 18, 1929-Jun 24, 1931
Release Date: Oct 2, 2002
Label: Classics
Genre: Jazz, Styles: Swing, Dixieland
Time: 72:25
Format/Bitrate - flac (rapidshare)
Size: 100+74 Mb

Tracks:

01. Love Ain't Nothin' But The Blues
02. How Am I To Know?
03. Turn On The Heat
04. Manhattan Rag
05. Sunny Side Up
06. My Sweeter Than Sweet
07. What Wouldn't I Do For That Man
08. Happy Feet
09. I Like To Do Things For You
10. Get Happy
11. Deep Harlem
12. What's The Use?
13. Hittin' The Bottle
14. Bye Bye Blues
15. Choo Choo
16. Bass Drum Dan
17. Honeysuckle Rose
18. In the Merry Month Of Maybe [Singing]
19. In the Merry Month Of Maybe [Humming]
20. Crazy Quilt [Singing]
21. Crazy Quilt [Humming]
22. Georgia On My Mind
23. Honeysuckle Rose

Продолжение текста / More text
Credits:
Hoagy Carmichael (Piano), Hoagy Carmichael (Cello), Hoagy Carmichael (Vocal Effect), Eddie Lang (Guitar), Joe Venuti (Violin), Joe Venuti (Vocal Effect), Frankie Trumbauer (Clarinet (Contrabass)), Frankie Trumbauer (Director), Frankie Trumbauer (Sax (Alto)), Frankie Trumbauer (Sax (C-Melody)), Frankie Trumbauer (Vocals), Rosy McHargue (Clarinet), Rosy McHargue (Sax (Alto)), Kurt Dieterle (Violin), Lennie Hayton (Piano), Lennie Hayton (Cello), Fud Livingston (Clarinet), Fud Livingston (Sax (Tenor)), George Marsh (Drums), Bill Rank (Trombone), Mischa Russell (Violin), Roy Bargy (Piano), Bob Conselman (Drums), Jack Fulton (Trombone), Harry Goldfield (Trumpet), Min Leibrook (Sax (Bass)), Matty Malneck (Violin), Andy Secrest (Trumpet), Andy Secrest (Cornet), Charles Strickfaden (Oboe), Charles Strickfaden (Sax (Alto)), Smith Ballew (Vocals), Art Jarrett (Vocals), Nat Natoli (Trumpet), Charlie Margulis (Trumpet), Izzy Friedman (Clarinet), Izzy Friedman (Sax (Tenor)), Anatol Schenker (Liner Notes), Dave Rose (Piano), Jennifer Lang (Vocals), John Tobin (Banjo)

C-melody saxophonist Frankie Trumbauer will always be most famous for the recordings that he made with cornetist Bix Beiderbecke but he also led a series of fine sessions after Bix had departed the Paul Whiteman Orchestra. This CD features Trumbauer leading a large combo filled with Paul Whiteman sidemen during 1929-30 and a nonet in 1931. While some of the numbers are a bit commercial and there are vocals by Smith Ballew, Art Jarrett and Trumbauer himself, there are also some fine jazz solos from the leader, cornetist Andy Secrest, violinist Joe Venuti and trombonist Bill Rank. Among the better tracks are "Manhattan Rag" (which has Hoagy Carmichael on piano), "Happy Feet," "Get Happy" and "Honeysuckle Rose." ~ Scott Yanow, All Music Guide

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Rosemary Clooney - Rosie Solves the Swingin' Riddle

2008-11-05T00:16:00.002+03:00

Artist: Rosemary Clooney
Album: Rosie Solves the Swingin' Riddle!
Rating AMG: 4
Recording Date: May 25, 1960-Jun 2, 1960
Release Date: 1961
Label: Koch
Genre: Jazz, Styles: Show Tunes, Ballads, Swing, Standards, Traditional Pop, Vocal Pop
Time: 30:08
Format/Bitrate - mp3, 320 kbps
Size: 72 Mb

Хочу предложить вашему вниманию небольшой альбом Rosemary Clooney "Rosie Solves the Swingin' Riddle". Замечу, что существует переиздание этого альбома с двумя бонусными треками (всего их получается 14), но это не тот случай :(.

Titles:
01. Get Me to the Church on Time
02. Angry
03. I Get Along Without You Very Well
04. How Am I to Know
05. You Took Advantage of Me
06. April in Paris
07. I Ain't Got Nobody (And Nobody Cares for Me)
08. Some of These Days
09. By Myself
10. Shine on Harvest Moon
11. Cabin in the Sky
12. Limehouse Blues

Personel: Rosemary Clooney (vocals); Al Hendrickson (guitar); Abe Most, Plas Johnson (saxophone); Don Fagerquist, Pete Condoli (trumpet); George Roberts, Tommy Pederson (trombone); Bill Miller (piano); Joe Comfort (bass guitar); Alvin Stoller, Frank Lynn (drums).

Liner Note Author: Peter Levinson.

Recording information: RCA Studio, Hollywood, California (1960 - 1961).

Arranger: Nelson Riddle.

Продолжение текста / More textWithout doubt, vocalist Rosemary Clooney was one of the best interpreters of the Great American Songbook. On this 1960 meeting with legendary bandleader and arranger Nelson Riddle, Clooney is heard in fine form. Recorded during a period when she and Riddle were entangled in a steamy extramarital affair, this album is predictably quite romantic and carefree. Clooney later confessed that this was one of the most inspired periods of her life, due to her personal relationship with Riddle. Many standards are heard on this release, including an assertive "I Get Along Without You Very Well," an upbeat "April in Paris," and a swinging "Some of These Days." The little-known songs "Shine on Harvest Moon" and "Angry" round out this set of otherwise familiar Broadway tunes quite well. Riddle's orchestra swings hard on all 14 tracks, and a real simpatico is created between Clooney and the accompanying musicians.

Review John Bush, AMG:
Although Rosemary Clooney worked with Nelson Riddle nearly every week for her '50s radio show, they were together for full LPs much less often -- only this record from 1961 and a 1963 follow-up titled Love. The pair made the most of their first collaboration, devising a program of 12 standards that combined Riddle's pugnacious yet intricate arrangements with Clooney's warm, grand vocals to create a swing record with feeling. Riddle's orchestra roars through his breakneck arrangements for "April in Paris" and "Cabin in the Sky," but Clooney weathers the storm with an elegance that borders on the untroubled. Vocalist fits together with orchestra like hand in glove, since nearly all of the musicians were veterans of her show. [A Bluebird reissue from 2004 added two bonus tracks, "Without Love" and "The Wonderful Season of Love" (the latter was the theme from Return to Peyton Place, directed by her husband, José Ferrer).

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J.J. Johnson and Kai Winding - Jay And Kai

2008-11-05T00:09:00.005+03:00

Artist: J.J. Johnson and Kai Winding
Album: Jay And Kai
Label: Savoy
Time: 44:15
Format/Bitrate - flac
Size: 100+89 Mb

Titles:
1. Bernie's Tune
2. Lament
3. Blues For Trombones
4. The Major
5. Yesterdays
6. Co-Op
7. Reflections
8. Blues In Tows
9. What Is This Thing Called Love
10. The Boy Next Door
11. I Could Wright A Book
12. Carioca

Personel:

1, 6-8
Wally Cirillo (piano) replaces Bauer
Rudy Van Gelder Studio, Hackensack, NJ, August 26, 1954

2-4, 9,
J.J. Johnson (trombone)
Kai Winding (trombone)
Billy Bauer (guitar)
Charles Mingus (bass)
Kenny Clarke (drums)
Rudy Van Gelder Studio, Hackensack, NJ, August 24, 1954

5
J.J. Johnson (trombone)
Leo Parker (baritone sax)
Hank Jones (piano)
Al Lucas (bass)
Shadow Wilson (drums)
NYC, December 24, 1947

10,12
Kai Winding (trombone)
Lou Stein (piano)
Eddie Safranski (bass)
Tiny Kahn (drums)
Al Young (bongo, timbales)
NYC, March 4, 1952

Продолжение текста / More text
Review Scott Yanow, AMG:
The music on this Savoy CD is excellent, but the packaging is rather dumb. Rather than reissue all 12 selections from a pair of 1954 sessions that led to the birth of the J.J. Johnson-Kai Winding two-trombone quintet (renditions that also include either pianist Wally Cirillo or guitarist Billy Bauer along with bassist Charles Mingus and drummer Kenny Clarke), there are just eight on this CD along with a Johnson track from 1947 ("Yesterdays") and three of the four Winding performances (in a quintet with pianist Lou Stein) from 1952. Sure to frustrate completists, this reissue is still worth picking up if found at a budget price, for the music contains plenty of worthy trombone solos. ~ Scott Yanow

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Johnny Hodges - The Complete Johnny Hodges Sessions 1951-1955

2008-11-04T23:55:00.006+03:00

Artist: Johnny Hodges
Album: The Complete Johnny Hodges Sessions 1951-1955
Rating AMG: 5
Recording Date: Jan 15, 1951-Sep 8, 1955
Release Date: Jul 1989
Label: Mosaic
Genre: Jazz, Styles: Ballads, Swing
Time: 4:36:54
Format/Bitrate - flac (Rapidshare)
Size: 1.31 Gb

As is true of most Mosaic box sets, it would be very difficult to improve upon this reissue. After 22 years, altoist Johnny Hodges left Duke Ellington's orchestra in 1950 to try to make it on his own as a bandleader. Five years later, he returned to Ellington for the final 15 years of his life after having recorded the music heard on this six-LP set. Hodges's small group, a unit that emphasized blues, ballads, and riff-filled romps, was an extension of the Ellington band. Hodges had a big hit with "Castle Rock" (ironically a feature for tenor saxophonist Al Sears), but otherwise had trouble at the end making ends meet. Other notable sidemen on these enjoyable performances include trumpeters Emmett Berry and Harold "Shorty" Baker, trombonist Lawrence Brown, and tenors Flip Phillips, Ben Webster, and John Coltrane on one session (during which he unfortunately does not solo); the final session, from Sept. 8, 1955 (after Hodges had already returned to Ellington), also has trumpeter Clark Terry and pianist Billy Strayhorn. Most of this music had been long out of print at the time this 1989 box was released. A highly recommended gem of swinging jazz. ~ Scott Yanow AMG

Информацию о треках и исполнителях можно найти в сканах.

Rec.Jan 15, 1951-Sep 8, 1955

Personel: Al Hibbler (Vocals), Louie Bellson (Drums), Johnny Hodges (Sax (Alto)), Flip Phillips (Sax (Tenor)), Ben Webster (Sax (Tenor)), Rudy Williams (Sax (Tenor)), Harold Baker (Trumpet), Emmett Berry (Trumpet), Teddy Brannon (Piano), Ray Brown (Bass), Red Callender (Bass), Call Cobbs (Piano), John Coltrane (Sax (Tenor)), J.C. Heard (Drums), Osie Johnson (Drums), Leroy Lovett (Piano), Lloyd Trotman (Bass), John Williams (Bass), Al Walker (Drums), Anatol Schenker (Liner Notes), Barney Richmond (Bass), Lawrence D. Brown (Trombone)

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Часть 11 / Part 11
Часть 12 / Part 12

Сканы / Artwork

Оркестр под управлением Олега Лундстрема - Не грусти! С чего начинался Лундстрем

2008-09-25T21:17:00.003+04:00

Artist: Оркестр под управлением Олега Лундстрема
Album: Не грусти! С чего начинался Лундстрем
Записи 1958-59 годов
Label: Мелодия
Time: 73:26
Format/Bitrate - mp3, 320 kbps (Rapidshare)
Size: 100+70 Mb

Хотелось бы предложить вашему вниманию записи раннего Оркестра под управлением Олега Лундстрема.

Titles:
1. Новоселы (Марш фокстрот) - О.Лундстрем - Эстрадный оркестр п/у Олега Лундстрема - 2.38
2. Весенняя песня - А.Ключарев – Оркестр - 4.05
3. Не грусти - Г.Ротт – А.Писманник - И.Алексеева - 4.30
4. Мечты - А.Манасыпов – Оркестр - 3.17
5. Прости, я сам виноват - А.Бабаджанян – Г.Регистан - Аскольд Беседин - 4.15
6. О тебе - А.Эшпай – Г.Регистан - А.Беседин - 3.15
7. Романсеро Пабло из оперетты «Поцелуй Чаниты» - Ю.Милютин – Е.Шатуновский - А.Беседин - 4.15
8. Весел я - Ц.Биксио – Г.Регистан - А.Беседин
9. Расцвел мангустан - Индонезийская народная, обр.О.Лундстрема - Е.Гвоздев - М.Кристалинская - 4.23
10. Песенка почтальона - А.Колкер – Л.Норкин - М.Кристалинская - 2.35
11. Юмореска - О.Лундстрем – Инструментал - 5.30
12. Нет, скажешь ты - А.Эшпай – Г.Регистан - Галина Казакова - 3.08
13. Тише - А.Островский – З.Петрова - Г.Казакова - 5.50
14. В двадцать лет - А.Эшпай, Ю.Саульский – Г.Регистан - Г.Казакова - 2.29
15. Белая береза - И.Шамсутдинов – Оркестр - 3.11
16. Захра - Иракская народная, обр. О.Лундстрема - Ара Арсенян - 4.30
17. Песня радости - Л.Лядова – Б.Брянский - Гюли Чохели - 2.43
18. На отдыхе - А.Бабаджанян – инструментал - 3.12
19. Пойми меня, друг - А.Аджемян – Б.Брянский - Т.Осокина - 3.42
20. Фантазия на темы песен о Москве - О.Лундстрем – оркестр - 6.20

К сожалению информация на диске об исполнителях отсутствует. Есть только информация о вокалистах, которая указана последней позицией в каждой песне. Это - И.Алексеева, М.Кристалинская, А.Беседин и др.

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Jimmy Forrest - Forrest Fire (1960)

2008-09-25T21:09:00.003+04:00

Artist: Jimmy Forrest
Album: Forrest Fire
Rating AMG: 4
Recording Date: Aug 9, 1960
Label: New Jazz/OJC
Genre: Jazz, Styles: Hard Bop, Soul-Jazz
Time: 39:39
Format/Bitrate - flac
Size: 2х100+70 Mb

Titles:
1. Remember (Berlin) - 5:27
2. Dexter's Deck (Gordon) - 6:37
3. Jim's Jam (Forrest) - 8:54
4. Bags' Groove (Jackson) - 8:25
5. When Your Lover Has Gone (Swan) - 5:27
6. Help! (Watkins) - 4:49

Personel: Jimmy Forrest - Sax (Tenor), Thornel Schwartz - Guitar, Jimmie Smith - Drums, Larry Young - Organ.

Продолжение текста / More textReview Scott Yanow, AMG:
During 1961, Jimmy Forrest recorded four albums for Prestige and its subsidiary New Jazz, all of which have been reissued on CD in the Original Jazz Classics series. The appealing tenor is matched up with 20-year-old organist Larry Young, guitarist Thornel Schwartz and drummer Jimmie Smith. They perform two jump tunes ("Dexter's Deck" and Doug Watkins' "Help"), a pair of blues, a swinging version of Irving Berlin's "Remember," and a lone ballad ("When Your Lover Has Gone"). Excellent music that is also quite accessible.

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Erskine Hawkins & His Orchestra - The Original Tuxedo Junction

2008-09-25T21:04:00.002+04:00

Artist: Erskine Hawkins
Album: The Original Tuxedo Junction
Rating AMG: 5
Recording Date: Sep 12, 1938-Jan 10, 1945
Label: Bluebird/RCA
Genre: Jazz, Styles: New York Blues, Swing
Time: 68:00
Format/Bitrate - flac
Size: 2х100+77 Mb

Titles:
01. Tuxedo Junction.flac
02. After Hours.flac
03. Tippin' In.flac
04. Rockin' Rollers' Jubilee.flac
05. Weary Blues.flac
06. Easy Rider.flac
07. Swing Out.flac
08. Big-Wig In The Wigwam.flac
09. Swingin' On Lennox Avenue.flac
10. Gin Mill Special.flac
11. Cherry.flac
12. Dolimite.flac
13. Song Of The Wanderer.flac
14. Junction Blues.flac
15. Sweet Georgia Brown.flac
16. Five O'clock Whistle.flac
17. Soft Winds.flac
18. Nona.flac
19. Blackout.flac
20. Don't Cry Baby.flac
21. Bear Mash Blues.flac

Personel: Erskine Hawkins - Trumpet.

Продолжение текста / More text
Review Scott Yanow, AMG:
This is an excellent one-CD sampler of the music of Erskine Hawkins' Orchestra. Although serious collectors will want to get the comprehensive Classics releases, this is a perfect place for more general listeners to begin.
Hawkins' three biggest hits("Tuxedo Junction," "After Hours," and "Tippin'In") lead off the set which otherwise has highlights from 1938-42. With the exception of 1945's "Tippin' In" (which features some memorable lead alto by Bobby Smith), all of Hawkins' key soloists are here, including the leader and Dud Bascomb on trumpets, either Paul Bascomb or Julian Dash on tenor, baritonist Haywood Henry, and pianist Avery Parrish (who made "After Hours" famous). Timeless swing.

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Ike Quebec - Blue & Sentimental (1961)

2008-09-25T09:34:00.002+04:00

Artist: Ike Quebec
Album: Blue & Sentimental
Rating AMG:5
Recording Date: Dec 16, 1961,Dec 23, 1961
Label: Blue Note
Genre: Jazz, Styles: Swing, Soul-Jazz, Jump Blues, Hard Bop
Time: 50:16
Format/Bitrate - mp3, 320 kbps
Size: 70+45 Mb

Хочу предложить Вашему вниманию "Blue & Sentimental" - один из лучших в творчестве музыканта.

Titles:
1. Blue And Sentimental
2. Minor Impulse
3. Don't Take Your Love From Me
4. Blues For Charlie
5. Like
6. That Old Black Magic - (bonus track)
7. It's Alright With Me - (bonus track)
8. Count Every Star

Personel: Ike Quebec (tenor saxophone, piano); Grant Green (guitar); Paul Chambers (bass); Philly Joe Jones (drums).

Продолжение текста / More textReview cduniverse:
Although not as well known as other big tenor men like John Coltrane, Hank Mobley, or Benny Golson, Ike Quebec was a major contributor to the classic era of jazz and this 1961 Blue Note date captures him in his prime. BLUE & SENTIMENTAL is indeed one of but a few discs that Quebec recorded for Blue Note, although he was involved with the legendary label as an A&R man and performed on many sessions by other artists. His huge, velvety tone and bluesy swagger are Quebec's signature as he lopes and swings through several classic tunes like Count Basie's lazy title track, the bouncing "That Old Black Magic," and Cole Porter's hauntingly melodic "It's Alright With Me." Filling out the quartet are no less than Grant Green, Paul Chambers, and Philly Joe Jones, Blue Note regulars all, who shine brightly as always. Other choice moments on this disc include Quebec and Green's tight interaction on Quebec's catchy "Minor Impulse," the smoky ballad "Don't Take Your Love From Me," and the easy-going closer "Count Every Star."

Review Scott Yanow, AMG:
Ike Quebec's 1961-1962 comeback albums for Blue Note were all pretty rewarding, but Blue and Sentimental is his signature statement of the bunch, a superbly sensuous blend of lusty blues swagger and achingly romantic ballads. True, there's no shortage of that on Quebec's other Blue Note dates, but Blue and Sentimental is the most exquisitely perfected. Quebec was a master of mood and atmosphere, and the well-paced program here sustains his smoky, late-night magic with the greatest consistency of tone. Part of the reason is that Quebec's caressing tenor sound is given a sparer backing than usual, with no pianist among the quartet of guitarist Grant Green, bassist Paul Chambers, and drummer Philly Joe Jones. It's no surprise that Green solos with tremendous taste and elegance (the two also teamed up on Green's similarly excellent Born to Be Blue), and there are plenty of open spaces in the ensemble for Quebec to shine through. His rendition of the Count Basie-associated title cut is a classic, and the other standard on the original LP, "Don't Take Your Love From Me," is in a similarly melancholy vein. Green contributes a classic-style blues in "Blues for Charlie," and Quebec's two originals, "Minor Impulse" and "Like," have more complex chord changes but swing low and easy. Through it all, Quebec remains the quintessential seducer, striking just the right balance between sophistication and earthiness, confidence and vulnerability, joy and longing. It's enough to make Blue and Sentimental a quiet, sorely underrated masterpiece. (The CD reissue adds three bonus cuts, all standards, which fit the program very nicely indeed.)

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Gene Ammons & Sonny Stitt - Boss Tenors In Orbit

2008-09-25T09:28:00.003+04:00

Artist: Gene Ammons & Sonny Stitt
Album: Boss Tenors in Orbit!
Rating AMG: 3
Recording Date: Feb 18, 1962
Release Date: Jun 4, 2002
Label: Verve
Genre: Jazz, Styles: Soul-Jazz, Hard Bop
Format/Bitrate - flac
Size: 2x100+71 Mb

Titles:
1. Long Ago and Far Away
2. Walkin'
3. Why Was I Born
4. John Brown's Body
5. Bye Bye Blackbird

Personel: Gene Ammons (tenor saxophone); Sonny Stitt (alto & tenor saxophones); Don Patterson (organ); Paul Weeden (guitar); Billy James (drums).

Producer: Creed Taylor.

Recorded at Van Gelder Recording Studio in Englewood Cliffs, New Jersey on February 18, 1962. Originally released on Verve (8468). Includes liner notes by Bill Kirchner.
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Jelly Roll Morton - 1926-1928

2008-09-25T09:24:00.002+04:00

Artist - Jelly Roll Morton
Album - 1926-1928
Label - Classics
Years: December 16, 1926, release November 19, 1996
Quality - MP3, 192
Size: 100mb
Total time: 1:10:42

Tracklist:
01. Doctor Jazz (3:29)
02. Cannon Ball Blues (3:36)
03. Hyena Stomp (3:13)
04. Billy Goat Stomp (3:32)
05. Wild Man Blues (3:08)
06. Jungle Blues (3:31)
07. Beale Street Blues (3:18)
08. The Pearls (3:29)
09. Wolverine Blues (2:56)
10. Mr. Jelly Lord (2:48)
11. Midnight Mama (2:46)
12. Mr. Jelly Lord (2:59)
13. Sergent Dunn's Bugle Call Blues (3:04)
14. Ham and Eggs (3:04)
15. Buffalo Blues (3:08)
16. You Need Some Loving (3:12)
17. Georgia Swing (2:32)
18. Kansas City Stomps (2:56)
19. Shoe Shiner's Drag (3:20)
20. Boogaboo (3:20)
21. Shreveport (3:19)
22. Mournful Serenade (3:26)

Total Time: 70:42

Personal:
Recorded at 1926-1928. Hayes Alvis - Tuba; Bill Benford - Tuba; Tommy Benford - Drums; Wallace Bishop - Drums; Lee Blair - Banjo; Garvin Bushell - Clarinet, Sax (Alto); Leslie Corley - Banjo; Baby Dodds - Drums; Johnny Dodds - Clarinet; Johnny Dunn - Cornet; Stump Evans - Sax (Alto); Geechie Fields - Trombone; Herb Fleming - Trombone; Andrew Hilaire - Drums; Harry Hull - Tuba; George Mitchell - Cornet; John Mitchell - Banjo; Jelly Roll Morton - Piano, Speech/Speaker/Speaking Part, Vocals; Kid Ory - Trombone; Mort Perry - Drums; Ward Pinkett - Trumpet; Gerald Reeves - Trombone; Johnny St. Cyr - Banjo; Bud Scott - Guitar; Omer Simeon - Clarinet; Edwin Swayzee - Trumpet; Louis Taylor - Trombone; Walter Thomas - Clarinet, Sax (Bass), Sax (Soprano); Quinn Wilson - Tuba.

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Ben Webster - 1944-1946 (Chronological 1017)

2008-09-20T23:36:00.003+04:00

Artist: Ben Webster
Album: 1944-1946
Rating AMG: 4
Recording Date: Feb 8, 1944-Jan 24, 1946
Release Date: Jan 12, 1999
Label: Classics
Genre: Jazz, Styles: Swing, Traditional Pop, Ballads
Time: 76:01
Format/Bitrate - flac
Size: 85+77 Mb

Вашему вниманию предлагается альбом Ben Webster вышедший на лейбле Classics. Записи 1944-1946 годов.

Titles:
1. Woke Up Clipped
2. Teezol
3. 'Nuff Said
4. The Horn (I Got Rhythm)
5. Dirty Deal
6. Don't Blame Me
7. I Surrender Dear
8. Tea For Two
9. Perdido
10. I Surrender Dear
11. Broke But Happy
12. Blues On The Bayou
13. Jumpin' With Judy
14. Blues On The Delta
15. Honeysuckle Rose
16. I Surrender Dear
17. Blue Skies
18. Kat's Fur
19. Blues In My Heart
20. Emaline
21. Am I Blue
22. Rose Of The Rio Grande

Personel: Ben Webster (tenor sax), Budd Johnson (tenor sax), Oscar Pettiford (bass), Cozy Cole (drums), Johnny Guarnieri (piano), Emmett Berry (trumpet), Denzil Best (drums), Big Sid Catlett (drums), Clyde Hart (piano), Hot Lips Page (trumpet) и др.

Продолжение текста / More text
Review arwulf arwulf, AMG:
Most Ben Webster albums on the market today seem to be reissues from his magnificent autumnal years, majestically lush or bearishly brusque. It's good to have a chronological sampling of Webster's work from the mid-'40s, in order to appreciate exactly how he developed into the Ben Webster of 1959 and 1969. After popping up on early big band swing records by Bennie Moten and Willie Bryant, Webster came into his own as the first really exceptional tenor saxophonist to be featured with Duke Ellington's Orchestra. What we have here is the post-Ellington Ben Webster. His tone has gotten bigger and wider, grittily sensuous and invariably warm like a pulse in the jugular. The first eight tracks were made for radio broadcast purposes in February of 1944. The combination of Hot Lips Page and Ben Webster is a bitch. There are strolling romps with titles like "Woke Up Clipped," "Dirty Deal" and "'Nuff Said," lively stomps built on to the changes of "Tea for Two" and "I Got Rhythm," and two choice examples of Webster developing his ballad chops. "Perdido," from a quartet session recorded near the end of March 1944, is positively stunning. Webster has definitely tapped into something primal, and no one can hear him without being at least partially transformed by the sounds of his saxophone. April Fool's day, 1944 found Webster in the company of tenors Budd Johnson and Walter "Foots" Thomas, with trumpeter Emmett Berry and a modern rhythm section. "Broke but Happy" is a sweet jaunt, real solid, especially when the saxes take over in unison. But the main reason to get your own copy of Classics 1017 is to have the Savoy session of April 17th, 1944. Gracefully accompanied by Johnny Guarnieri, Oscar Pettiford and David Booth, Webster blows four of the greatest three-minute recordings of his entire career. "Kat's Fur" is a goosed up, improved version of "'Nuff Said." "I Surrender Dear" runs even deeper than the two other versions included on this disc. "Honeysuckle Rose" and especially "Blue Skies" each represent Ben Webster at his toughest and truest. This is a rare blend of musk, and it's not synthetic. It's the real thing.

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Ben Webster - 1946-1951 (Chronological 1253)

2008-09-20T23:19:00.002+04:00

Artist: Ben Webster
Album: 1946-1951
Rating AMG: 3 1/2
Recording Date: May 3, 1946-Dec 27, 1951
Release Date: Oct 2, 2002
Label: Classics
Genre: Jazz, Styles: Hard Bop, Bop, Swing
Time: 56:17
Format/Bitrate - flac
Size: 85+66 Mb

Вашему вниманию предлагается альбом Ben Webster вышедший на лейбле Classics. Записи 1946-1951 годов.

Titles:
1. Jeep Is Jumpin'
2. I Got It Bad (And That Ain't Good)
3. Dark Corners
4. Mister Brim
5. Frog and Mule - Ben Webster Quartet
6. Spang - Ben Webster Quartet
7. Doctor Keets - Ben Webster Quartet
8. Park and Tilford Blues - Ben Webster Quartet
9. As Long As I Live
10. All Alone
11. Blue Belles of Harlem
12. Turn It Over
13. That Dit It
14. Best Friend Blues
15. Baby You Messed Up
16. Randle's Island
17. Old Folks
18. King's Riff
19. You're My Thrill

Personel: Ben Webster (tenor sax), Tony Scott (clarinet), Bill Coleman (trumpet), Maynard Ferguson (trumpet), Idries Suleiman (trumpet), Al Haig (piano), John Kirby (bass), Bill DeArango (guitar), Benny Carter (alto sax), Denzil Best (drums), Big Sid Catlett (drums), Gerry Wiggins (piano), other.

Продолжение текста / More textReview Thom Jurek, AMG:
This volume in the Chronological Classics Ben Webster series is a fascinating slice during a wildly transitional period for the saxophonist. In the years between 1946-1951, Webster made numerous jumps as evidenced by these tracks, from the glorious jumping big swing of "The Jeep Is Jumpin'" while he was with Bill De Arango to the searing bebop of "Dark Corners" (with some blazing guitar work by De Arango) to the small-combo hard bop of "Randle's Island" to the bluesy, near soul-jazz balladry of "You're My Thrill." In Webster's company are some masters to be sure, including Maynard Ferguson, Al Haig, Big Sid Catlett, Bill Coleman, Benny Carter, Tony Scott, Buster Moten, and Gerald Wiggins, to name a few. This is varied set in terms of style, but these performances (and sound) are consistently fine.

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Cootie Williams And His Orchestra - 1941-1944

2008-09-20T23:13:00.002+04:00

Artist: Cootie Williams And His Orchestra
Album: 1941-1944 [Classics]
Rating AMG: 4 1/2
Recording Date: May 7, 1941-Aug 22, 1944
Release Date: 1995
Label: Classics (Chronological 827)
Type: Compilation
Genre: Jazz, Styles: Swing, Big Band, Bop, Standards, Jive
Time: 72:46
Format/Bitrate - mp3, 320 kbps
Size: 100+86 Mb

Вашему вниманию предлагается запись Cootie Williams And His Orchestra.

Titles:
1. West End Blues
2. Ain't Misbehavin'
3. Blues in My Condition
4. G-Men
5. Sleepy Valley
6. Marcheta
7. When My Baby Left Me
8. Fly Right (Epistrophy)
9. You Talk a Little Trash
10. Floogie Boo
11. I Don't Know
12. Do Some War Work, Baby
13. My Old Flame
14. Sweet Lorraine
15. Echoes of Harlem
16. Honeysuckle Rose
17. Now I Know
18. Tess's Torch Song (I Had a Man)
19. Cherry Red Blues
20. Things Ain't What They Used to Be
21. Is You Is or Is You Ain't My Baby?
22. Somebody's Gotta Go
23. 'Round Midnight
24. Blue Garden Blues (Royal Garden Blues)

Personel: Cootie Williams (trumpet). Bud Powell (piano), Pearl Bailey (vocal), Joe Guy (trumpet), Eddie "Cleanhead" Vinson (alto sax), Eddie "Lockjaw" Davis (tenor sax), Johnny Guarnieri (piano), Jo Jones (drums), other.

Продолжение текста / More text
Review arwulf arwulf, AMG:
In addition to serving as a primal ingredient in the Duke Ellington Orchestra, Charles "Cootie" Williams led a series of outstanding small groups and big bands during the 1940s, employing and encouraging young, innovative musicians at a time when other bandleaders resisted the inevitable evolution of swing to bop. This collection assembles eight sessions' worth of rare recordings made over a relatively short period of time. Vocalists are Pearl Bailey, Eddie "Cleanhead" Vinson, and Williams himself. Four superb septet sides from May 1941 feature the trumpeter bolstered by a well-oiled front line of trombone and alto and baritone saxophones driven by drummer Jo Jones, pianist Johnny Guarnieri, and bassist Artie Bernstein. "West End Blues" and "Blues in My Condition" are without question two of Williams' greatest achievements on record. Two recordings dating from April 1942 are emblematic of major stylistic movements that were evolving rapidly among Afro-American musicians. Cleanhead Vinson established himself as a modern blues vocalist with "When My Baby Left Me" and the Cootie Williams Orchestra served up what was without question the most advanced piece of music on the scene at that time: "Fly Right," also known as "Epistrophy," is credited to Thelonious Monk, Kenny Clarke, and Cootie Williams. What the senior members of this band -- Louis Bacon, Charlie Holmes, and John Williams, musicians whose careers reached back to the 1920s -- thought of this futuristic opus is food for thought. Beginning with "Floogie Boo," the remaining 19 tracks all date from the year 1944, and illustrate Cootie Williams' position near the eye of the hurricane of modern jazz. For now he had begun to employ remarkably imaginative musicians, taking the young Bud Powell under his wing and welcoming into the pack such fiery personalities as Eddie "Lockjaw" Davis and Charlie Parker. The most exciting record of all is saved for the last track, as Cootie Williams demonstrates his uncanny ability to talk through his trumpet using the mute in a mysterious manner with a facility equaled only by Joe "Tricky Sam" Nanton. This rare recording of "Blue Garden Blues," a gloriously modern big-band treatment of the old "Royal Garden Blues," is an astonishing, startling, mind-blowing treat, one of the greatest accomplishments in all of recorded jazz.

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Erroll Garner - 1944 Vol.2

2008-09-20T23:08:00.002+04:00

Artist: Erroll Garner
Album: 1944, Vol. 2
Rating AMG: 3
Recording Date: Dec 14, 1944-Dec 20, 1944
Label: Classics
Genre: Jazz, Styles: Bop, Swing
Time: 71:07
Format/Bitrate - flac (Rapidshare)
Size: 85+85+60 Mb

Titles:
1. I Hear A Rhapsody (Parts 1 & 2)
2. Erroll's Reverie
3. You Were Born To Be Kissed
4. Perdido
5. Soft And Warm
6. Everything Happens To Me
7. I'm In The Mood For Love
8. All The Things You Are
9. Blue Room
10. I Get A Kick Out Of You
11. Blues I Can't Forget
12. Boogie Woogie Boogie
13. Gliss In The Dark
14. The Fighting Cocks
15. A Lick And A Promise
16. Opus 1
17. Gaslight
18. Twistin' The Cat's Tail

Personel: Erroll Garner Trio, Erroll Garner - Piano, John Simmons - Bass, Harold "Doc" West - Drums.

Продолжение текста / More text
Review Scott Yanow, AMG:
The second in the Classics label's Erroll Garner series has nine unusual piano solos recorded privately at Baron Timme Rosenkrantz's apartment (ranging from the 2-1/2 minute novelty "Twisting the Cat's Tail" to an extensive eight-minute exploration of "I Hear a Rhapsody"), along with the ten songs that comprised Garner's first officially recorded session. The latter were originally cut as piano solos for the Rex label (later put out by Atlantic), but had bass (John Simmons) and drums (Doc West) overdubbed, which explains why they are better recorded than the piano. Overall, this is an interesting but not overly essential release.

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Django Reinhardt - In Solitaire: Complete Recordings For Solo Guitar 1937-1950

2008-09-19T00:17:00.013+04:00

Album: In Solitaire: Complete Recordings For Solo Guitar 1937-1950
Rating AMG: 5
Recording Date: Apr 1937-Jul 1950
Release Date: 2005
Label: Definitive (UK)
Genre: Jazz, Styles: Swing, Continental Jazz, Gypsy
Format/Bitrate - flac + scan
Size: 96 Mb

Вашему вниманию сольный альбом Django Reinhardt'а. Записи сделаны в период с 1937 по 1950 годы.

Titles:

1. Improvisation No.1
2. Perfum
3. Improvisation No.2 (Master)
4. Improvisation No.2 (Alternate)
5. Echoes Of Spain
6. Naguine
7. Improvisation No.3 Part 1
8. Improvisation No.3 Part 2
9. Improvisation No.6
10. Improvisation No.7 (Aka No.2)
11. Improvisation 47 (Improvisation No.5)
12. Improvisation No.4
13. Belleville
14. Nuages
15. Two Improvised Guitar Choruses (Bonus Track)

Продолжение текста / More textArtist: Django Reinhardt
Review arwulf arwulf, AMG:
Poetically speaking, an entire album of unaccompanied guitar solos by Django Reinhardt seems roughly commensurate with the earth's magnetic field, its inner and outer atmosphere, the atomic weight of the sun and all of the elements in the periodic table, in addition to a few more that haven't yet divulged themselves. This is elemental stuff. It borders on the cosmic. Django Reinhardt's solo guitar recordings pop up here and there like will-o-the-wisps or Red Dwarves across the sky chart of his panoramically extended discography. Gathered together in one album for the very first time are 15 solos recorded between 1937 and 1950 in Paris, London, Chicago, and Rome. Some were waxed as warm-ups in recording studios, others were committed to acetates for radio broadcast purposes; one "Improvisation" was recorded live at Chicago's Civic Opera House while two extended pieces ("Belleville" and "Nuages") were intended for use as the soundtrack to a film that was never completed. For the closing track the producers stepped away from the otherwise immaculate chronology (or looped back to track one like a Möbius Strip) to include a three-and-one-half minute sequence entitled "Two Improvised Guitar Choruses," culled from a rare and terrifically scratchy broadcast acetate cut in 1937. None of these performances sound anything like the familiar, rhythmically pulsing proceeds of the Quintet of the Hot Club de France. "Echoes of Spain" recalls the landscape of Andalusia and the verses of Federico Garcia Lorca. "Naguine" is an intimate portrait of the guitarist's wife. "Perfum" (Also known as "Parfum") conveys something like the bouquet from a vial of essential oil, rose absolute, perhaps, or a carnation-scented love potion from a little shop on Royal Street in New Orleans. Django Reinhardt's complete recordings for solo guitar are subtle and potent, sanguine and ethereal, magical and down to earth.

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Ten Years After - The Best Of (1991)

2008-09-19T00:17:00.009+04:00

Artist: Ten Years After
Album: The Best Of
Rating AMG: 4 1/2
Release Date: Jan 01, 2004
Label: EMI
Genre: Jazz, Styles: Blues-Rock, British Blues, Pop/Rock, Hard Rock
Time: 67:01
Format/Bitrate - mp3, 320 kbps
Size: 100+59 Mb

Titles:
1. Rock N Roll Music To The World
2. I'd Love To Change The World
3. I'm Going Home
4. Choo Choo Mama
5. Tomorrow I'll Be Out Of Town
6. I Woke Up This Morning
7. Me & My Baby
8. Good Morning Little School Girl
9. Going Back To Birminham
10. 50,000 Miles
11. Sweet Little Sixteen
12. I'm Coming On
13. Love Like A Man
14. Baby Won't You Let Me Rock N Roll You

Personel:
Alvin Lee - guitar, vocals, harp
Leo Lyons - bass
Chick Churchill - keyboard
Ric Lee - drums

Продолжение текста / More textReview AMG:
While it doesn't include all of their prime material, Essential features enough of their best songs to make it a fine introduction.

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Pete La Roca Sims - Turkish Women at the Bath

2008-09-19T00:17:00.006+04:00

Artist: Pete La Roca
Album: Turkish Women at the Bath
Rating AMG: 4
Release Date: 1967
Label: 32 Jazz
Genre: Jazz, Styles: Latin Jazz, Hard Bop
Time: 34:49
Format/Bitrate - flac
Size: 150+85 Mb

Titles:
1 Turkish Women at the Bath (La Roca) 5:45
2 Dancing Girls (La Roca) 6:07
3 Love Planet (La Roca) 5:40
4 Marjoun (La Roca) 3:40
5 Bliss (La Roca) 4:58
6 Sin Street (La Roca) 7:15
7 And So I (La Roca) 1:24

Personel: John Gilmore (ts), Chick Corea (p), Walter Booker (b), Pete La Roca Sims (d).

Impact Sound Studios, NYC, May 25, 1967.

Продолжение текста / More textA "lost" classic of spiritual free jazz, Turkish Women is a charming session inspired by the decadent Ingres painting of the same name. This late 1960s session brought together the fiery, refined tenor sax of John Gilmore; the ruminative acoustic piano of (pre-fusion) Chick Corea; the heavy, hefty-duty bass of Walter Booker; and leader Pete LaRoca. LaRoca, who left music shortly after this 1967 session to devote his time to the art of law, is a contrapuntal percussionist who's even credited in The Rough Guide to Jazz as "the first person to record a totally free-tempo drum solo." It's an ensemble effort, but longtime Sun Ra sideman Gilmore delivers a rare non-Arkestra performance that demonstrates why Coltrane was so clearly influenced by Gilmore's tightly-controlled, sonic whirlwinds. ~ Mike McGonigal, Amazon.com

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Roy Eldridge - 1943-1944 (Chronological 920)

2008-09-19T00:17:00.003+04:00

Artist: Roy Eldridge
Album: 1943-1944
Rating AMG: 3 1/2
Label: Classics
Genre: Jazz, Styles: Swing, Big Band, Ballads
Time: 59:37
Format/Bitrate - flac
Size: 150+96 Mb
Total time - 59:37

Titles:

01.After You've Gone Henry Creamer, Turner Layton (2:46)
02.The Gasser Roy Eldridge (2:53)
03.Jump Through the Window (2:40)
04.Minor Jive Roy Eldridge (2:41)
05.Stardust ... Hoagy Carmichael, Mitchell Parish (2:26)
06.Oh, Lady Be Good [Incomplete Take] ... George Gershwin, Ira Gershwin (1:33)
07.I Surrender, Dear ... Harry Barris, Gordon Clifford (2:44)
08.Tea for Two ... Vincent Youmans, Irving Caesar (3:33)
09.Flyin' on a V-Disc, Pt. 1 (Flying Home) ... Benny Goodman, Lionel Hampton (4:55)
10.Flyin' on a V-Disc, Pt. 2 (Flying Home) ... Benny Goodman, Lionel Hampton (3:57)
11.Don't Be That Way Benny Goodman, Edgar Sampson, Mitchell Parish (3:12)
12.I Want to Be Happy Vincent Youmans, Irving Caesar (2:55)
13.Fiesta in Brass Cab Calloway (2:53)
14.St. Louis Blues W.C. Handy (2:35)
15.I Can't Get Started Vernon Duke, Ira Gershwin (3:16)
16.After You've Gone Henry Creamer, Turner Layton (3:00)
18.Body and Soul Johnny Green, Edward Heyman, Robert Sour, Frank Eyton Roy Eldridge (3:16)
19.Fish Market Roy Eldridge (3:10)
20.Twilight Time Buck Ram, Alan Dunn, Al Nevins (2:51)
21.St. Louis Blues W.C. Handy (2:21)

Total time - 59:37

Recording Date: Nov 16, 1943-Oct 13, 1944

Personel: Roy Eldridge (trumpet), Louis Armstrong (trumpet), Coleman Hawkins (tenor sax), Oscar Pettiford (bass), Ike Quebec (tenor sax), Art Tatum (piano), Lionel Hampton (vibes), Jack Teagarden (trombone), Cozy Cole (drums),
Johnny Guarnieri (piano), Hal Singer (tenor sax), Emmett Berry (trumpet), Barney Bigard (clarinet), Big Sid Catlett (drums), Joe Thomas (trumpet) и др.

Продолжение текста / More textRoy Eldridge worked with Gene Krupa for a couple of years, then made a series of hot sides with a great seven-piece band, featuring tenor saxophonists Ike Quebec and Tom Archia. "After You've Gone" begins with a funny false-start introduction that Eldridge seems to have developed while working with Krupa. "The Gasser," a hot-to-trot walking blues, was based on the chord changes of "Sweet Georgia Brown." Also included here are two lovely, passionate ballads and an incomplete take of "Oh, Lady Be Good." The Esquire Metropolitan Opera House V-Disc Jam Session turned into a real all-star blowout on "Tea for Two," the conglomerated ensemble sounding pretty crowded by the time it works up to the out chorus. Eldridge's next adventure occurred with Lionel Hampton's V-Disc All-Stars. "Flyin' on a V-Disc" is, of course, Hamp's big hit "Flyin' Home." He hammers the vibes while saying "heyyy!' and keeps on saying it, clapping his hands and braying like a goat throughout all subsequent solos by the horn players, eventually leading the pack into an inevitable grandstand conclusion. The Little Jazz Trumpet Ensemble is heard on one of the earliest of all Keynote sessions, and the very first of producer Harry Lim's instrument-oriented dates, setting a precedent for the Coleman Hawkins Sax Ensemble and the Benny Morton Trombone Choir. Emmett Berry's inspiration was Roy Eldridge himself, while Joe Thomas patterned himself after Louis Armstrong. "St. Louis Blues" in particular is amazing. They work it up to a fine finish. Eldridge's working relationship with Decca Records bore fruit briefly in June of 1944 with another big-band date. This particular group included former Fats Waller trumpeter John "Bugs" Hamilton, ace trombonist Sandy Williams, and a pair of strong tenor players -- Franz Jackson and Hal Singer. Two dramatic ballads resulted, along with yet another patented stampede version of "After You've Gone." The orchestra assembled on October 13, 1944, had a formidable trombone section, as Williams found himself flanked by noteworthy slip horn agents Wilbur DeParis and Vic Dickenson. This band was also fortified with the presence of trumpeter Sidney DeParis, drummer Cozy Cole, and flashy amplified guitarist Napoleon "Snags" Allen, who is heavily featured on "Fish Market," a rocking blues that sounds a bit like "Tuxedo Junction." After Eldridge savors a pretty air called "Twilight Time," he leads a charge through "St. Louis Blues." Running the changes as fast as he can through a muted horn, Eldridge fires off a rapid stream of lyrics, turns Franz Jackson loose for a scorching hot tenor solo, and heads up an explosive hot finale. ~ arwulf arwulf, AMG

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Hank Mobley - Dippin' (1965)

2008-09-16T14:01:00.001+04:00

Artist: Hank Mobley
Album: Dippin'
Rating AMG: 4 1/2
Recording Date: Jun 18, 1965
Label: Blue Note
Genre: Jazz, Styles: Hard Bop
Time: 42:18
Format/Bitrate - mp3, 320 kbps
Size: 100 Mb

Titles:
1 The Dip 7:57
2 Recado Bossa Nova 8:11
3 The Break Through 5:52
4 The Vamp 8:21
5 I See Your Face Before Me 5:29
6 Ballin' 6:51

Personel: Hank Mobley (tenor saxophone); Lee Morgan (trumpet); Harold Mabern (piano); Larry Ridley (bass); Billy Higgins (drums).

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 18, 1965. Includes liner notes by Ira Gitler. Liner Note Author: Bob Blumenthal. Recording information: Van Gelder Studios, Englewood Cliffs, New Jersey (1965).

Продолжение текста / More text
Review cduniverse:
With DIPPIN', Hank Mobley is clearly entrenched in his "hard" period, as his more muscular, yet still round, tone and his penchant for funky grooves dominate the session. As on many other Mobley sides, Lee Morgan and Billy Higgins return to lend their respective touches, which once started the flame burning with Morgan's "The Sidewinder." Pianist Harold Mabern and bassist Larry Ridley round out the group. It is Mobley, however, who blows strongest here, strengthened by a long string of powerful dates like this one.

Like most post-"Sidewinder" Blue Note dates, DIPPIN' kicks off with a near-rip-off of the popular Morgan hit from 1963. Here, "The Dip" satisfies the requisite funkiness with a spirited quasi-Latin beat from Higgins and a Horace Silver-esque melody. The following "Recado Bossa Nova," one of the session's most memorable cuts, captures the Brazilian style that caused such a stir with equal amounts of taste and bluesy grunge. Later, the date's only ballad, the classic "I See Your Face Before Me," offers a respite with one of Mobley's smokiest performances on record. Finally, the closer "Ballin'" is a joyous waltz that ends the session on a swinging blast.

Review Thom Jurek, AMG:
Dippin' is one of Hank Mobley's finer moments, even considering that his entire Blue Note catalog is masterful, particularly his 1960s dates that reveal the depth and dimension of his understanding of harmonic invention -- all in the name of groove and swing, of course. This date, recorded on a single day in June of 1965, netted four Mobley originals as well as two covers. The band included trumpeter Lee Morgan, pianist Harold Mabern, bassist Larry Ridley, and drummer Billy Higgins. The two-horn front line always served Mobley well. Here, with Morgan, the groove commences from the first notes of the title cut that opens the set. The short bluesy lines burst from the horns, and are turned inside out with elegant yet knotty lines that move the tune almost into pop territory but never venture far from the blues. The sprightly "Recado Bossa Nova," written by Djalma Ferreira, moves the band outside its comfort zone rhythmically, but Mobley's horn chart is brilliant. Higgins and Ridley keep the bossa groove natural and steaming as the soloists begin taking the tune apart and putting it back together. There is one ballad on the set, "I See Your Face Before Me" composed by Arthur Schwartz and Howard Dietz. On it, Mobley does his best Ben Webster, blowing low and smoky and sweet, but the truth is that it doesn't belong on a program with so many hard bop swingers. The rest of the session is a pure joy and a fine document of Mobley's abilities as a bandleader and composer. The 2006 Rudy Van Gelder Edition on CD features spectacular sound, but contains no bonus material.

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Jazz in Paris - Clarinettes a Saint-Germain des Pres

2008-09-16T13:55:00.002+04:00

Artist: Hubert Rostaing / Maurice Meunier
Album: Clarinettes a Saint-Germain des Pres
Recording Date: Jan 11, 1956-May 1957
Release Date: Jul 16, 2002
Label: Sunnyside
Genre: Jazz, Styles: Swing
Time: 67:37
Format/Bitrate: mp3, 320 kbps
Size: 100+81 Mb

На этом диске записаны сразу два ансамбля: оркестр Hubert Rostaing'а (1-12) и квартет/квинтет Maurice Meunier'а (13-24).

Titles:
1. Bonjour Benny (Rostaing) 2:26
2. Autour de la Femme (Rostaing) 2:22
3. Champs Elysées Club (Rostaing) 2:59
4. Trop Tôt (Rostaing) 2:08
5. Sweet Renée (Rostaing) 3:08
6. L' Heure Tourne (Solal) 2:54
7. J'En Suis Saisie (Rostaing) 2:37
8. Say When? (Rostaing) 2:54
9. Ça Va Bouillir (Rostaing) 2:24
10. Oh, Lady Be Good (Gershwin, Gershwin) 2:15
11. Remember (Rostaing) 3:07
12. Cherokee (Noble) 3:11
13. Too Marvelous for Words (Mercer, Whiting) 4:32
14. Samakoutra (Meunier) 4:13
15. Somebody Loves Me (DeSylva, Gershwin, MacDonald) 3:37
16. Sweet Mau-Mau (Meunier) 4:21
17. Dig (Davis) 3:06
18. Crazy Rhythm (Caesar, Kahn, Meyer) 3:02
19. Blues for the Reverend (Matthews) 3:02
20. Don't Blame Me (Fields, McHugh) 4:22
21. With the Wind and the Rain in Your Hair (Edwards, Lawrence) 3:33
22. (Back Home Again In) Indiana (Hanley, MacDonald) 3:45
23. I Know, Don't Know How (Mulligan) 4:32
24. Tangerine (Mercer, Schertzinger) 3:44

Personnel:
William Boucaya Sax (Baritone)
Raymond Fol Piano
Christian Garros Drums
Michael A. Hauser Vibraphone
Maurice Meunier Clarinet, Sax (Alto)
Pierre Michelot Double Bass
Nat Peck Trombone
Hubert Rostaing Clarinet
Martial Solal Piano
René Urtreger Piano
Benny Vasseur Trombone
Charles Verstraete Trombone
Fernand Verstraete Trumpet

Продолжение текста / More text

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Ted Curson - Plenty of Horn (1961)

2008-09-16T13:47:00.005+04:00

Artist: Ted Curson
Album: Plenty of Horn
Rating AMG: 4
Release Date: Apr 1961
Label: Old Town
Genre: Jazz, Styles: Avant-Garde, Post-Bop, Hard Bop
Time: 40:06
Format/Bitrate: flac
Size: 100+100+37 Mb

Вашему вниманию предлагается дебютный альбом трубача Ted Curson.

Titles:
1. Caravan
2. Nosruc
3. Things We Did Last Summer
4. Dem's Blues
5. Ahma (See Ya)
6. Flatted Fifth
7. Bali-H'ai
8. Antibes
9. Mr. Teddy

Personnel:
Ted Curson (trumpet);
Eric Dolphy (flute);
Kenny Drew (piano);
Jimmy Garrison (bass);
Roy Haynes (drums);
Bill Barron.

Продолжение текста / More text

Biography Scott Yanow, AMG
An excellent and flexible trumpeter, Ted Curson will always be best-known for his work with Charles Mingus' 1960 quartet (which also included Eric Dolphy and Dannie Richmond). He studied at Granoff Musical Conservatory; moved to New York in 1956; played in New York with Mal Waldron, Red Garland, and Philly Joe Jones; and recorded with Cecil Taylor (1961). After the 1959-1960 Mingus association (which resulted in some classic recordings), Curson co-led a quintet with Bill Barron (1960-1965), played with Max Roach, and led his own groups. He spent time from the late '60s on in Europe (particularly Denmark) but has had a lower profile than one would expect since his return to the U.S. in 1976. Ted Curson has led sessions for Old Town (1961), Prestige, Fontana, Atlantic, Arista, Inner City, Interplay, Chiaroscuro, and several European labels, but has barely been on records at all since 1980.

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Coleman Hawkins - 1934-1937 (Chronological 602)

2008-09-12T10:15:00.005+04:00

Artist: Coleman Hawkins
Album: 1934-1937
Rating AMG: 3
Recording Date: Nov 18, 1934-1937
Label: Classics
Genre: Jazz, Styles: Swing, Classic Jazz
Time: 63:50
Format/Bitrate - flac(+ scans)
Size: 100+100+92 Mb

Titles:
1. Lullaby
2. Oh, Lady Be Good
3. Lost In A Fog
4. Honeysuckle Rose
5. Some Of These Days
6. After You've Gone
7. I Only Have Eyes For You
8. I Wish I Were Twins
9. Hands Across The Table
10. Blue Moon
11. Avalon
12. What a Difference A Day Made
13. Stardust
14. Chicago
15. Meditation
16. What Harlem Is To Me
17. Netcha's Dream
18. Love Cries
19. Sorrow
20. Tiger Rag
21. It May Not Be True
22. I'm in the Mood For Love

Personel: Coleman Hawkins (tenor sax, vocal), Stephane Grappelli (piano), Django Reinhardt (guitar), The Ramblers (Ensemble), Omer de Cock (tenor sax), Alix Combelle (tenor sax), others

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Review Stephen Cook, AMG:
Coleman Hawkins was already well on his way to becoming the first master of the tenor saxophone when these sides were recorded. With his ten-year incubation with the heralded Fletcher Henderson band in the past (not to mention fine stints with McKinney's Cotton Pickers and various session outfits), Hawkins moved to Europe in 1934 and proceeded to hone his tough yet romantic sound with a variety of overseas groups. This Classics disc covers the first half of his eventual five-year sojourn. In addition to the four sides with pianist Stanley Black that kick things off, the 22 cuts find Hawkins in the adequate, yet somewhat stiff, company of continental contingents from The Hague, Paris, and various other locales. Hawkins is impressive throughout, though, in spite of the less than swinging environs; thankfully, the ensemble playing heats up quite nicely on the cuts with Django Reinhardt. A few reservations having been aired, this disc's good overall sound and sufficient enough supply of quality solos and cuts make it a title Hawkins fans should seek out.

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Buddy Rich & Harry ''Sweets'' Edison - Buddy And Sweets

2008-09-12T10:08:00.002+04:00

Artists: Buddy Rich and Harry "Sweets" Edison
Album: Buddy and Sweets
Rating AMG: 3
Recording Date: Sep 1, 1955
Label: Norgran, Verve
Genre: Jazz, Styles: Swing
Format/Bitrate - flac
Size: 75+50 Mb

Titles:
1. Yellow Rose Of Brooklyn
2. Easy Does It
3. All Sweets
4. Nice Work If You Can Get It
5. Barney's Bugle
6. Now's The Time
7. You're Getting To Be A Habit With Me

Personnel: Buddy Rich (drums); Harry "Sweets" Edison (trumpet); Jimmy Rowles (piano); Barney Kessel (guitar); John Simmons (bass).

Recorded at Radio Recorders, Hollywood, California on Sepetmber 1, 1955. Producer - Norman Granz.

Продолжение текста / More text
...In 1955, Buddy and Harry came together for one truly memorable session. Buddy Rich and Harry ”Sweets” Edison was originally recorded on Norgran Records but the label was later acquired by Verve. The two had recorded earlier when they were with the JATP but this was their first project where together they are the headliners. It’s swing at its best and is a venue for two of the master craftsman to showcase their talents.
The other members of the band are Jimmy Rowles on piano, Barney Kessel on guitar, and John Simmons on bass. With this impressive roster of background musicians the talent just doesn’t seem to stop. Jimmy Rowles started playing professionally at the age of 17 and over the years played with Lester Young and Billie Holiday. He’s received numerous Grammy nominations and is recognized as a master jazz pianist. John Simmons on bass picked up valuable experience when he played with Nat King Cole and also played briefly with Duke Ellington. He performed with many great jazz artists during the fifties but had to stop playing in the early sixties because of deteriorating health. A bit of trivia for my New York friends, Sue Simmons co-anchor of WNBC News at Five is his daughter. Barney Kessel, known as ”The Innovator,” legitimized the use of the guitar within the jazz spectrum.

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Benny Carter - 1946-1948 (Chronological 1043)

2008-09-12T09:59:00.007+04:00

Artist: Benny Carter
Album: 1946-1948
Rating AMG: 4
Recording Date: Apr 1946-Dec 12, 1948
Release Date: May 4, 1999
Label: Classics
Genre: Jazz, Styles: Swing, Jump Blues, East Coast Blues
Time: 75:38
Format/Bitrate - flac
Size: 100+86 Mb

Вашему вниманию предлагается еще один альбом Бенни Картера (Benny Carter). На лейбле Classics их вышло девять.

Titles:
1 Melodrama in a V-Disc Record Room (Jump Call) (Brenner) 3:30
2 I Can't Get Started (Duke, Gershwin) 2:54
3 He's Funny That Way (Moret, Whiting) 2:43
4 Moonglow (DeLange, Hudson, Mills) 2:51
5 Give Me Something to Remember You By (Dietz, Schwartz) 2:48
6 Oh, Lady Be Good (Gershwin, Gershwin) 2:38
7 Deep Purple (DeRose, Parish) 3:11
8 Back Bay Boogie (Carter) 5:17
9 Prelude to a Kiss (Ellington, Gordon, Mills) 3:05
10 Rebop Boogie (Carter) 3:00
11 Twelve O'Clock Jump (Carter) 2:54
12 Your Conscience Tells You So (Carter, Raye) 2:37
13 Mexican Hat Dance (Traditional) 2:53
14 Sweet Georgia Brown (Bernie, Casey, Pinkard) 2:36
15 Out of My Way (Catlett, Grimes) 3:01
16 What'll It Be (Webster) 3:16
17 Cadillac Slim (Webster) 3:03
18 Baby You're Mine for Keeps (Atwood, Herscher) 2:40
19 You'll Never Break My Heart Again (Atwood, Herscher) 2:53
20 Chilpanicingo (Atwood, Herscher) 2:54
21 An Old Love Story (Atwood, Herscher) 2:59
22 Reina (My Lovely Queen) (Atwood, Herscher) 2:58
23 Let Us Drink a Toast Together (Atwood, Herscher) 2:42
24 June Comes Around Every Year (Arlen, Mercer) 3:07
25 Forever Blue (Carter) 3:08

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Review Stephen Cook, AMG:
Benny Carter, like Coleman Hawkins, spent the '40s rubbing shoulders with bebop's young Turks, while mostly maintaining the style he forged during the early jazz and swing years. Possibly, like Hawkins again, Carter's '30s stay in Europe opened him up to the progressive nature of jazz and the necessity of always taking advantage of the music's complexities and malleability. And while Carter didn't ape Charlie Parker's alto flights or become a fixture at Minton's Playhouse, he did head up some fine big bands that featured the likes of Miles Davis, Dexter Gordon, J.J. Johnson, Max Roach, and Howard McGhee, to name a few bebop figures. This Classics discs takes in some of Carter's adventurous big band sides from 1946-1948, including a California outfit with Davis and Gerald Wilson. On the more traditional end, Carter is also heard with swing contemporaries like Buck Clayton and Ben Webster. A fine document of the fertile transition from swing to bebop.

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Carmen McRae - Carmen Sings Monk

2008-09-12T09:59:00.003+04:00

Artist: Carmen McRae
Album: Carmen Sings Monk
Rating AMG: 5
Recording Date: Jan 30, 1988-Feb 1, 1988
Label: Novus, Bluebird
Genre: Jazz, Styles: Vocal Jazz, Standards, Traditional Pop
Time: 65:02
Format/Bitrate - mp3, 320 kbps
Size: 100+74 Mb

Вашему вниманию предлагается запись Carmen McRae. На этом диске Carmen записала композиции своего хорошего друга Thelonious Monk. Альбом получил высокие оценки критиков. Альбом вышел на лейбле Novus (к нему относится рецензия Янова), здесь он в версии лейбла Bluebird (добавлены три трека: 16-18).
Приятного прослушивания.

Titles:
1. Get It Straight (a.k.a. Straight, No Chaser) - (live)
2. Dear Ruby (a.k.a. Ruby, My Dear)
3. It's Over Now (a.k.a Well, You Needn't)
4. Monkery's The Blues (a.k.a Blue Monk)
5. You Know Who (a.k.a. I Mean You)
6. Little Butterfly (a.k.a. Pannonica)
7. Listen To Monk (a.k.a. Rhythm-A-Ning)
8. How I Wish... (a.k.a. Ask Me How)
9. Man, That Was A Dream (a.k.a. Monk's Dream)
10. Round Midnight
11. Still We Dream (a.k.a. Ugly Beauty)
12. Suddenly (a.k.a. In Walked Bud) - (live)
13. Looking Back (a.k.a. Reflections)
14. Suddenly - (previously unreleased, alternate take)
15. Get It Straight - (previously unreleased, alternate take)
16. Round Midnight - (previously unreleased, alternate take)
17. Listen To Monk - (previously unreleased, alternate take)
18. Man, That Was A Dream - (previously unreleased, alternate take)

Personel: Carmen McRae (vocals); Clifford Jordan (soprano saxophone, tenor saxophone); Charlie Rouse (tenor saxophone); Eric Gunnison, Larry Willis (piano); George Mraz (bass); Al Foster (drums).

Producer: Larry Clothier.

Recorded at Clinton Studios, New York, New York on April 12 & 13, 1988. Originally released on Novus Records. Includes liner notes by Linda Dahl and Stuart Troup. All tracks have been digitally remastered. This is part of Bluebird's First Editions series.

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Review Scott Yanow, AMG:
Carmen McRae, a good friend of Thelonious Monk, sang 13 of his songs (two of which are also heard in different live versions) on this memorable project. Half of the lyrics are by Jon Hendricks, while the remainder were written by Abbey Lincoln ("Blue Monk"), Bernie Hanighen, Sally Swisher, or Mike Ferro. On all but the two concert performances, McRae is assisted by tenor saxophonist Clifford Jordan, pianist Eric Gunnison, bassist George Mraz, and drummer Al Foster; Mraz's solos are particularly impressive, although everyone is in sensitive form. The live recordings give listeners two more chances to acknowledge the uniqueness of tenor saxophonist Charlie Rouse's tone. As for McRae, her phrasing has rarely sounded better than on this classic set, and it is a particular pleasure to hear her interpret the intelligent lyrics and unusual melodies. "Dear Ruby" ("Ruby, My Dear") and "Listen to Monk" ("Rhythm-A-Ning") are among the high points of the essential and very delightful CD. An inspired idea and one of the best recordings of Carmen McRae's career.

Down Beat (8/90) - 5 Stars - Excellent - "..Carmen, who has always sung with the passion of absolute certainty, has put Monk on a new map."

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Hank Mobley - Dippin' (1965)

2008-09-12T09:53:00.003+04:00

Red Garland - All Morning Long (1957)

2008-09-12T09:47:00.003+04:00

Artist: Red Garland Quintet
Album: All Mornin' Long
Rating AMG: 3
Recording Date: Nov 15, 1957
Label: Original Jazz Classics
Genre: Jazz, Styles: Hard Bop
Time: 37:10
Format/Bitrate - mp3, 320 kbps
Size: 86 Mb

Вашему вниманию предлагается запись квинтета Рэда Гарланда (Red Garland). За один день был записан материал для двух дисков: этого и "Soul Junction". Отмечу, что в записи принимали участие John Coltrane и Donald Byrd.

Titles:
1. All Mornin' Long
2. They Can't Take That Away From Me
3. Our Delight

Personnel: Red Garland (piano); John Coltrane (tenor saxophone); Donald Byrd (trumpet); George Joyner (bass); Art Taylor (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on November 15, 1957. Originally released on Prestige (7130). Includes liner notes by Ira Gitler.

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Review by Scott Yanow, AMG:
On November 15, 1957, a quintet headed by pianist Red Garland recorded enough material for two records. This CD reissue (whose companion is Soul Junction) has a 20-minute version of "All Mornin' Long," along with briefer renditions of "They Can't Take That Away from Me" (a mere ten minutes) and Tadd Dameron's "Our Delight." More important than the material is that, in addition to Garland, the main soloists are John Coltrane and trumpeter Donald Byrd. Byrd was on his way to getting his sound together, while Trane, very much in his sheets-of-sound period, was already blazing a new path for jazz to follow. An excellent and often quite colorful jam session-flavored hard bop set.

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Oscar Peterson - Oscar's Boogie

2008-09-11T16:20:00.001+04:00

Artist: Oscar Peterson
Album: Oscar's Boogie [Jazz Hour]
Rating AMG: 3
Recording Date: Apr 30, 1945-Dec 15, 1947
Release Date: Nov 10, 1999
Label: Jazz Hour (The Netherlands)
Genre: Jazz, Styles: Swing, Mainstream Jazz, Bop
Format/Bitrate - mp3, 320 kbps
Size: 93 Mb

Вашему вниманию предлагается альбом с ранними записями (частью моно) Оскара Питерсона.

Titles:
01. My Blue Heaven
02. Louise
03. The Sheik Of Araby
04. I Got Rhythm
05. C Jam Blues
06. Humoresque
07. If I Could Be With You One Hour Tonight
08. Flying Home
09. China Boy
10. Time On My Hands
11. In A Little Spanish Town
12. Blue Moon
13. Sweet Lorraine
14. The Honeydripper
15. East Of The Sun (And West Of The Moon)
16. Runnin Wild
16. Runnin' Wild
17. Stairway To The Stars
18. Smiles
19. Poor Butterfly
20. Oscar's Boogie

Personel: Bert Brown - Bass, Clarence Jones - Drums, Oscar Peterson - Piano, Austin Roberts - Bass, Armand Samson - Guitar.

Продолжение текста / More text

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Oscar Peterson - Plays The Duke Ellington Song Book

2008-09-11T16:14:00.003+04:00

Artist: Oscar Peterson
Album: Oscar Peterson Plays the Duke Ellington Song Book [Compilation]
Rating AMG: 4
Recording Date: Dec 1952-Aug 9, 1959
Release Date: 1999
Label: Polygram
Genre: Jazz, Styles: Swing, Mainstream Jazz, Bop
Format/Bitrate - mp3, 320 kbps
Size: 100+40 Mb

Вашему вниманию предлагается альбом Оскара Питерсона на котором он исполняет произведения Дюка Эллингтона. Материалом для альбома послужили две сессии маэстро датируемые 1952 и 1959 годами. Отмечу, что существует одноименный диск на котором только одна сессия.
Titles:
01. John Hardy's Wife [1952]
02. Sophisticated Lady [1952]
03. Things Ain't What They Used to Be [1952]
04. Just A-sittin' and A-rockin' [1952]
05. In a Mellow Tone [1952]
06. I Got It Bad (and That Ain't Good) [1952]
07. Prelude to a Kiss [1952]
08. Cotton Tail [1952]
09. Don't Get Around Much Anymore [1952]
10. Take the A Train [1952]
11. Rockin' in Rhythm [1952]
12. Do Nothin' Till You Hear From Me [1952]
13. Don't Get Around Much Anymore [1959]
14. Sophisticated Lady [1959]
15. Rockin' in Rhythm [1959]
16. Prelude to a Kiss [1959]
17. In a Mellow Tone [1959]
18. Cotton Tail [1959]
19. Just A-sittin' and A-rockin' [1959]
20. Things Ain't What They Used to Be [1959]
21. Take the A Train [1959]
22. I Got It Bad (and That Ain't Good) [1959]
23. Do Nothin' Till You Hear From Me [1959]
24. John Hardy's Wife [1959]

Personel: Oscar Peterson (piano); Barney Kessel (guitar); Ray Brown (bass); Ed Thigpen (drums).

Producer: Norman Granz. Reissue producer: Ben Young.

Recorded at Radio Recorders, Hollywood, California in December 1952; Universal Recording Studios, Chicago, Illinois between July 14 and August 9, 1959. Includes liner notes by Cliff Preiss, Norman Granz and Lawrence D. Stewart. Digitally remastered using 24-bit technology by Kevin Reeves (Polygram Studios).

This is part of the Verve Records Master Edition series.

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Review Scott Yanow, AMG:
Twice in the 1950s, pianist Oscar Peterson recorded an extensive series of songbooks devoted to one composer. From 1952-53, Peterson, guitarist Barney Kessel and bassist Ray Brown were extensively documented; in 1959, the pianist joined up with Brown and drummer Ed Thigpen to repeat many of the programs (since the group had changed and the music could now be cut in stereo) plus additional songbooks. This 1999 CD brings together both of Peterson's Duke Ellington tributes; the same dozen songs were recorded with each of the two groups. The Duke Ellington-associated material -- which includes two songs by Mercer Ellington and Billy Strayhorn's "Take the 'A' Train" -- mostly consist of familiar songs, except for Mercer Ellington's "John Hardy's Wife." While the earlier session has a fair amount of variety in tempo and mood, with Kessel offering a competing and complementary solo voice to the pianist, the 1959 album was obviously put together very quickly during a two-month period when Peterson was being recorded constantly. Most of the latter songs are taken at slower and more relaxed tempos that make the playing close to easy listening background music. A comparison of the different versions of most of the songs shows the difference. However, due to the generosity of this reissue (24 concise selections that almost total 73-minutes) and the former rarity of the material (especially the Kessel date), Peterson fans will want to acquire this.

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Jimmy Smith - Midnight Special (1960)

2008-09-11T16:07:00.006+04:00

Artist: Jimmy Smith
Album: Midnight Special (1960, переиздание 1988)
Rating AMG: 5
Recording Date: Apr 25, 1960
Label: Blue Note
Genre: Jazz, Styles: Jazz Blues, Soul-Jazz, Hard Bop
Time: 36:19
Format/Bitrate - mp3, 320 kbps
Size: 90 Mb

Titles:
1. Midnight Special
2. Subtle One, A
3. Jumpin' The Blues
4. Why Was I Born
5. One O'Clock Jump

Personel: Jimmy Smith (organ); Stanley Turrentine (tenor saxophone); Kenny Burrell (guitar); Donald Bailey (drums).

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 25, 1960. Includes liner notes by Del Shields.

Продолжение текста / More text
The name Jimmy Smith is practically synonymous with jazz organ, and albums such as MIDNIGHT SPECIAL are part of the reason. Of course, there is Smith's legendary gospel- and blues-rooted style and brilliant bebop chops, present on SPECIAL in ample doses. Also, one could not ask for a better band: Donald Bailey, one of Smith's regular drummers; Kenny Burrell on guitar; and Stanley Turrentine on tenor sax. As great as Smith is, it's Turrentine's lusciously rich tenor tone and big bluesy honks that makes MIDNIGHT SPECIAL such a true joy. (Burrell's burr, elegant guitar isn't too shabby either.) In the end, this album is simply a party waiting to happen, for fans of Smith and soul-jazz alike.

Review Scott Yanow, AMG:
Midnight Special is a perfect complement to Back at the Chicken Shack, which was recorded the same day. Organist Jimmy Smith, tenor saxophonist Stanley Turrentine, and guitarist Kenny Burrell always make for a potent team, and with drummer Donald Bailey completing the group, the quartet digs soulfully into such numbers as the groovin' "Midnight Special," "Jumpin' the Blues," and "One O'Clock Jump." Highly recommended.

Down Beat (p.76) - 4 stars out of 5 -- "Saxophonist Stanley Turrentine is heard as the perfect front-line complement to Smith's organ."

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Blossom Dearie - Blossom Planet (2000)

2008-09-08T15:42:00.002+04:00

Artist: Blossom Dearie
Album: Blossom's Planet
Rating AMG: 4
Release Date: Jan 19, 2000
Label: Daffodil (собственный, кстати)
Genre: Jazz, Styles: Vocal
Time: 45:33
Format/Bitrate: mp3, 320 kbps
Size: 100+6 Mb

Вашему вниманию предлагается запись Blossom Dearie. Детали биографии: записывалась на Verve у Нормана Гранца, позднее на собственной фирме Daffodil. Тембр голоса и исполнение весьма привлекательны.

Titles:
01. Bye Bye Country Boy.mp3
02. Bluesette.mp3
03. Lies of Handsome Men.mp3
04. The Ladies Who Lunch.mp3
05. Love Dance.mp3
06. I'm Not Alone.mp3
07. La Belle Dame Sans Regrets.mp3
08. Go Away With Me.mp3
09. Make Some Magic.mp3
10. Wave.mp3

Personel: Blossom Dearie - Piano, Arranger, Vocals, Executive Producer, Ray Kilday - Bass, César Camargo Mariano - Synthesizer, Arranger, Luis Peralta -Percussion, Drums.

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Review Dave Nathan, AMG:
Blossom Dearie made her first recording in Paris in 1955. For the next 45-plus years, she turned out a steady stream of albums which have delighted her very devoted followers and vocal jazz fans alike. If Johnny Desmond was the epitome of relaxation and quietness on the alto saxophone, his vocal counterpart has to be Dearie. Her voice is as recognizable as Ella Fitzgerald's, Billie Holiday's, Peggy Lee's, and other great jazz vocalists. This album has a decidedly Brazilian jazz bent. There are songs by Grammy award-winner Brazilian composer Ivan Lins and Antonio Carlos Jobim. There are also Dearie originals, which she co-authored with the likes of Johnny Mandel, Michel Legrand, and Jack Segal. In short, an eclectic roster of appealing songs that characterize this singer's albums over the years and that all get that intimate caressing, clarity of expression, and intelligent delivery -- all of which are uniquely Dearie's. On Jobim's "Wave," she rides on a crest of strings created electronically by Cesar Camarago Mariano. Her interpretation of one of Jobim's most popular tunes sets it apart from most others as she leaves some space between each line of the chorus, a device which creates anticipation for the next line. This tune also is a vehicle for her minimalist, melodic pianism. A truly class track. Good singers can make songs sound better than they really are and Dearie's ability to do that is highlighted by her rendition of Sting's "La Belle Dame Sans Regrets," which she does in French to a subtle Latin beat. Blossom's Planet is a welcome addition to her large galaxy of superior vocal recordings and is highly recommended.

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Koko Taylor - Royal Blue (2000)

2008-09-08T15:36:00.002+04:00

Artist: Koko Taylor
Album: Royal Blue
Rating AMG: 3
Release Date: Jun 6, 2000
Label: Alligator
Genre: Blues, Styles: Modern Electric Chicago Blues, Chicago Blues, Vocal Pop
Time: 53:08
Format/Bitrate - mp3, 320 kbps
Size: 80 + 48 Mb

Вновь в Клубе Koko Taylor. Этот диск был записан в 2000-ом году после семилетней паузы. Номинировался на Грэмми.

Titles:
1. Save Your Breath
2. Hittin' on Me
3. Bring Me Some Water
4. But on the Other Hand
5. Don't Let Me Catch You (With Your Drawers Down)
6. Blues Hotel
7. Fuel to Burn
8. Man Next Door, The
9. Old Woman
10. Ernestine
11. Keep Your Booty Out of My Bed
12. Keep Your Mouth Shut and Your Eyes Open

Personnel: Koko Taylor (vocals); B.B. King (vocals, guitar); Keb' Mo' (vocals, National steel guitar, harmonica); Criss Johnson, Kenny Wayne Shepherd (guitar); Matthew Skoller (harmonica); Mark Colby (tenor saxophone); Johnnie Johnson, Ken Saydak (piano); Dolpha Fowler Jr. (organ); Kenny Hampton (bass); Kriss T. Johnson (drums).

Principally recorded at Chicago Recording Co. and Streeterville Studios, Chicago, Illinois.

ROYAL BLUE was nominated for the 2001 Grammy Award for Best Contemporary Blues Album.

Продолжение текста / More text
For her first album in seven years, Koko Taylor returns with a flurry of gritty material and a roster of guest royalty befitting the Queen of the Blues. Kicking things off with the fiery "Save Your Breath," Taylor keeps the temperature high with swaggering originals like the stop-start "Don't Let Me Catch You (With Your Drawers Down)" and the gutbucket blues "Ernestine" (featuring Johnnie Johnson's supple piano playing). The most impressive self-penned number is "The Man Next Door," a duet with Keb' Mo' with a stripped-down arrangement featuring a reigned-in vocal turn by Taylor goosed along by Mo's twangy National Steel guitar and wailing harmonica.
Elsewhere, the Queen mixes it up with young hotshot Kenny Wayne Shepherd (a searing cover of Melissa Etheridge's "Bring Me Some Water") and meets up with regal counterpart B.B. King (the crackling "Blues Hotel"). Taylor also has fun leisurely tearing into Ray Charles's "But On The Other Hand" and maintaining her bawdy image with the no-nonsense "Keep Your Booty Out Of My Bed."

Review Al Campbell, AMG:
Royal Blue is the first Alligator release from Koko Taylor since 1993's Grammy nominated Force of Nature. This is a mainly up-tempo set with excellent support from several guest appearances by B.B. King, Johnny Johnson, Ken Saydak, and Kenny Wayne Shepherd who contributes some scorching guitar on the Melissa Ethridge-penned hit "Bring Me Some Water." Taylor not only co-produced this release but wrote four of the 12 tracks, including the acoustic "The Man Next Door." On this track, the combination of Koko's passionate voice with Keb Mo's gritty Delta slide guitar makes you wish she would move further in this direction on future releases. Royal Blue proves Koko Taylor is still the undisputed queen of the blues.

Rolling Stone (9/14/00, p.180) - 3 stars out of 5 - "...ROYAL shows that this blues lioness still has her bite, and plenty of roar."
CMJ (5/29/00, p.26) - "...The pipes may be all of 65 years old, but the Queen of Chicago Blues can still rip it up like nobody else."
Down Beat (9/00, p.64) - 4.5 stars out of 5 - "...A major production number, complete with guest stars and contemporary material....The interaction of B.B. King and Koko is classic stuff..."
JazzTimes (11/00, p.68) - "...[She] roars with a gale force....Taylor is in classic earth-shakin' form....A lot of versatility.

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Dexter Gordon - I Want More (1964)

2008-09-02T12:33:00.007+04:00

Artist: Dexter Gordon
Album: I Want More
Rating AMG: 4
Recording Date: Jul 9, 1964
Label: Steeplechase
Genre: Jazz, Styles: Bop, Hard-Bop
Time: 50:30
Format/Bitrate: mp3, 320 kbps
Size: 100+18 Mb

Вашему вниманию предлагается концертный альбом квартета Dexter Gordon'a.

Titles:
1. Introduction :30
2. I Want More (Gordon) 11:05
3. Come Rain or Come Shine (Arlen, Mercer) 12:01
4. Where Are You? (Adamson, McHugh) 9:32
5. I Want to Blow Now (Green) 11:56
6. Second Balcony Jump (Eckstine, Valentine) 5:26

Personel Dexter Gordon Quartet : Rune Carlsson - Drums, Dexter Gordon - Sax (Tenor), Vocals, Tete Montoliu - Piano, Niels-Henning Ørsted Pedersen - Bass.

Продолжение текста / More textReview Scott Yanow, AMG:
SteepleChase has released on six CDs the radio broadcasts of Dexter Gordon and his 1964 Quartet (with pianist Tete Montoliu, bassist Niels-Henning Orsted Pedersen and on this volume drummer Rune Carlsson) from Copenhagen's Montmartre Club. In adition to the title cut, Dexter and co. perform "Come Rain or Come Shine," "Where Are You," the fun "I Want to Blow Now" (which Gordon sings) and "Second Balcony Jump." Fans will want all of the releases in this enjoyable and well-recorded series..

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Dexter Gordon - Love For Sale (1964)

2008-09-02T12:33:00.006+04:00

Artist: Dexter Gordon
Album: Love For Sale
Rating AMG: 4
Recording Date: Jul 23, 1964
Label: Steeplechase
Genre: Jazz, Styles: Bop, Hard-Bop
Time: 51:52
Format/Bitrate: mp3, 320 kbps
Size: 100+19 Mb (rapidshare)

Вашему вниманию предлагается концертный альбом квартета Dexter Gordon'a.

Titles:
1. Intro 1:28
2. Love for Sale (Porter) 13:52
3. I Guess I'll Hang My Tears Out to Dry (Cahn, Styne) 9:54
4. Big Fat Butterfly (Unknown) 7:01
5. Soul Sister (Gordon) 9:30
6. Cherokee (Noble) 10:01

Personel Dexter Gordon Quartet : Alex Riel - Drums, Dexter Gordon - Sax (Tenor), Vocals, Tete Montoliu - Piano, Niels-Henning Ørsted Pedersen - Bass.

Продолжение текста / More textReview Scott Yanow, AMG:
Dexter Gordon and his Quartet of 1964 (pianist Tete Montoliu, bassist Niels-Henning Orsted Pedersen and drummer Alex Riel) had a three-month engagement at the Montmartre Club in Copenhagen, broadcasting on the radio every other Thursday. SteepleChase has released these consistently exciting (and well-recorded) performances on six CDs. Love for Sale features the impressive group jamming on the title cut, "Cherokee," two Gordon originals (including "Big Fat Butterfly" which has the tenor taking a brief vocal) and an emotional rendition of "I Guess I'll Hang My Tears out to Dry." It's recommended, as are all of the releases in this valuable Dexter in Radioland series.

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Vic Feldman - On Vibes (1957)

2008-09-02T12:24:00.007+04:00

Artist: Victor Feldman
Album: On Vibes
Rating AMG: 3
Recording Date: Sep 1957
Release Date: 1957
Label: VSOP
Genre: Jazz, Styles: Cool, Post-Bop, Bop
Time: 27:37
Format/Bitrate: flac
Size: 100+72 Mb

Вашему вниманию предлагается альбом Victor Feldman. Он из числа музыкантов не очень известных, т.к. собственных альбомов у него не много, тем не менее работал со многими именитыми музыкантами. Есть очень интересные детали биографии. Родился в Англии в 1934 г., в возрасте 10(!) лет играл у Глена Миллера(!) на ударных. В составе оркестра Бенни Гудмена посетил Россию в 1962 г. (кстати, позднее записал диск с темами Советского джаза).

Titles:
1. Fidelius 2:48
2. Squeeze Me 3:20
3. Sweet and Lovely 3:44
4. Bass Reflex 3:59
5. Chart of My Heart 3:28
6. Wilbert's Tune 4:00
7. Evening in Paris 5:58

Personnel:
Victor Feldman - Percussion, Piano, Vocals (bckgr), Vibraphone,
Harold Land - Sax (Tenor), Vocals, Tenor (Vocal),
Stan Levey - Drums,
Carl Perkins - Piano,
Frank Rosolino - Trombone

Продолжение текста / More text
Review Scott Yanow, AMG:
This CD reissue of a set from the long-defunct Interlude label brings back an outing by vibraphonist Vic Feldman. Feldman is showcased in a quartet with pianist Carl Perkins, bassist Leroy Vinnegar and drummer Stan Levey on half of the selections, while the remaining tracks add trombonist Frank Rosolino and tenor saxophonist Harold Land. An obscurity ("Chart of My Heart"), two standards, and four Feldman originals comprise this enjoyable and relaxed bop date.

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Анна Бутурлина - My Favorite Songs (2006)

2008-09-02T12:24:00.006+04:00

Artist: Анна Бутурлина
Album: My Favorite Songs
Release Date: 2006
Label: Evergreen Records
Genre: Jazz, Styles: Jazz Vocal
Time: 53 мин
Format/Bitrate: mp3, 320 kbps
Size: 75+44 Mb (rapidshare)

Хотелось бы предложить вашему вниманию альбом Анны Бутурлиной "My Favorite Songs". Это второй диск в дискографии очаровательной джазовой вокалистки.

Modern jazz performing classic jazz!

Titles / Список композиций:
1. Tuxedo Junction 4:45
2. My Favorite Things 4:31
3. I'll Never Fall In Love Again 5:14
4. Lush Life 3:53
5. Samba De Orfeu 5:17
6. Nadie Me Ama 3:05
7. Get Out Of Town 4:08
8. Angel Eyes 5:05
9. Them There Eyes 4:16
10. Autumn In New York 7:07
11. Summer In The City 5:14

Personel / Состав:
Анна Бутурлина - вокал,
Сергей Головня - тенор-сакс, флейта,
Алексей Беккер - фортепиано,
Сергей Васильев - контрабас,
Дмитрий Севастьянов - барабаны,
Алексей Кузнецов - гитара,
Виктор "Арзу" Гуссейнов - труба, флюгельгорн,
Яков Окунь - барабаны.

Продолжение текста / More text
Review:
Новый студийный альбом «My Favorite Songs» (Evergreen Records, 2006) раскрыл новые грани таланта Анны Бутурлиной: необыкновенно душевными и даже какими-то пронзительными вышли ее версии знаменитых джазовых стандартов – «Lush Life», «Angel Eyes», «Autumn in New York»… Очень симпатичными получились у нее и латиноамериканские песенки «Nadie Me Ama» и «Samba de Orfeu». А свой несравненный драйв Анна в полной мере продемонстрировала в ритмичных «Tuxedo Junction» и «Summer in the City». В записи нового альбома принимали участие: квартет пианиста Алексея Беккера, постоянно работающий с певицей, и специальные гости – выдающиеся российские джазмены: гитарист Алексей Кузнецов, трубач Виктор «Арзу» Гусейнов и пианист Яков Окунь, выступивший в нескольких композициях в роли… барабанщика. Ко всему этому следует добавить, что все аранжировки были сделаны самой певицей. В результате получился альбом, раскрывающий все грани незаурядного таланта Анны Бутурлиной, который наверняка понравится и поклонникам певицы, и просто многочисленным любителям вокального джаза.

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Red Garland - All Kinds of Weather (1958)

2008-09-02T12:18:00.007+04:00

Artist: Red Garland
Album: All Kinds of Weather
Genre: Hard Bop
Recording Date: Nov 27, 1958
Label: Original Jazz Classics
Quality - mp3, 320
Size: 83 Mb
Total time: 39:40

Вашему вниманию предлагается запись трио Red Garland.

Track Listings:
1. Rain
2. Summertime
3. Stormy Weather
4. Spring Will Be A Little Late This Year
5. Winter Wonderland
6. 'Tis Autumn

Personnel:
Red Garland (piano);
Paul Chambers (bass);
Art Taylor (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on November 27, 1958. Originally released on Prestige (7148). Includes liner notes by Ira Gitler.
Digitally remastered by Kirk Felton (1990, Fantasy Studios, Berkeley, California).

Продолжение текста / More text
Review Scott Yanow, AMG:
Red Garland was always a consistent pianist and all of his mid-to-late-'50s Prestige dates are worth acquiring. This CD reissue has six titles having to do with seasons and the weather (such as "Rain," "Summertime" and "Winter Wonderland"). The gimmick served as a good excuse for Garland, bassist Paul Chambers and drummer Art Taylor to explore six superior songs and their interpretations always swing and uplift the melodies.

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Sarah Vaughan - Crazy and Mixed Up (1982)

2008-09-02T12:18:00.006+04:00

Artist: Sarah Vaughan
Album: Crazy and Mixed Up
Genre: Vocal, Ballads, Standards, Traditional Pop, Vocal Jazz
Recording Date: 1-2 марта 1982
Label: Pablo
Quality: flac
Size: 100 + 91 Mb
Total time: 33:19

Вашему вниманию предлагается альбом Sarah Vaughan "Crazy and Mixed Up" вышедший на лейбле Pablo. 4 1/2 звезды от AMG.

Track Listings:
1. I Didn't Know What Time It Was
2. That's All
3. Autumn Leaves
4. Love Dance
5. The Island
6. Seasons
7. In Love In Vain
8. You Are Too Beautiful

Personnel:
Sarah Vaughan (vocals); Roland Hanna (piano); Joe Pass (guitar); Andy Simpkins (bass); Harold Jones (drums).

Recorded at Group IV Studios, Hollywood, California on March 1 & 2, 1982. Includes liner notes by Norman Granz.

Продолжение текста / More text
Digitally remastered by Joe Tarantino (1987, Fantasy Studios, Berkeley, California).

Review allaboutjazz.com:
As the years went by, Sassy's voice only seemed to grow stronger, wider, richer and more flexible. Unfortunately, she recorded infrequently in the decade before her death in 1990, a sad fact made all the more tragic because the self-produced Crazy and Mixed Up is one of the finest records of Vaughan's long career. Backed by a superb quartet, Vaughan dives into these eight standards with authority and abandon.
After 1967 Vaughan's voice would darken, taking on greater weight and maturity, acquiring a wider vibrato, and extending its range at both ends--but not without a pronounced falsetto break and forced upper register that turns off some listeners. Still, all fans of jazz singing should check out her mind-boggling scat performance on “Autumn Leaves” (Crazy and Mixed Up, Pablo, 1982). Vaughan was at her best when extemporaneously recomposing standards into fresh melodies that she made her own. As After Hours at the London House demonstrates, her transformation of a familiar song can readily become the listener's new standard as well.

Review Scott Yanow, AMG:
Sarah Vaughan had complete control over the production of this album, Crazy and Mixed Up (which would be her last small-group recording) and, even if the results are not all that unique, her voice is often in near-miraculous form. With fine backup work from pianist Roland Hanna, guitarist Joe Pass, bassist Andy Simpkins and drummer Harold Jones, Sassy sounds in prime form, on such songs as "I Didn't Know What Time It Was," "Autumn Leaves," "The Island" and "You Are Too Beautiful." It is hard to believe, listening to her still-powerful voice on this CD reissue, that she had already been a recording artist for 48 years.

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Wes Montgomery - Far Wes (1958)

2008-09-01T11:11:00.003+04:00

Artist - Wes Montgomery
Album - Far Wes
Genre - Hard Bop
Release Date: Jun 21, 1979
Recording Date: Apr 1958-Oct 1959
Label - Pacific Jazz
Quality - mp3, 320
Size: 100 + 20 Mb
Total time: 51:25

Вашему вниманию предлагается ранняя, можно сказать историческая запись, гитариста Wes Montgomery. На ней он записан в ансамбле с двумя родными братьями. Кроме братьев Монтгомери в записи принимали участие Harold Land - тенор и Tony Bazely - ударные.
4 1/2 звезды на AMG. Приятного прослушивания.

Track Listings:
1. Far Wes
2. Leila
3. Old Folks
4. Wes' Tune
5. Hymn For Carl
6. Montgomeryland Funk
7. Stompin' At The Savoy
8. Monk's Shop
9. Summertime
10. Falling In Love With Love
11. Renie

Personnel:
Wes Montgomery: guitar, Monk Montgomery: bass, Buddy Montgomery: piano, Harold Land: tenor sax, Tony Bazely: drums
Producer: Richard Bock, Compilation producer: Michael Cuscuna.
Recorded in Los Angeles, California in April 1958 & October 1959. Includes linernotes by Don DeMichael.

Продолжение текста / More text
Review Amazon.com:
"Far Wes" is a follow-up and companion to the "Fingerpickin'" CD and was originally released on two LPs. In 1975 Pacific Jazz released a double vinyl album which comprised all of Wes's sessions for the label (four, as far as I can tell), and that's what's on these two CDs.
"Far Wes" is more laid-back and relaxed than most of "Fingerpickin'," but is still a very satisfying collection of tunes. It's all in a quintet format, with the Montgomery brothers- -Buddy, Monk, and Wes--as the core. Harold Land (#1-7) and Pony Poindexter (#8-11) alternate on tenor and alto sax, while Tony Bazley and Louis Hayes handle the drums.

Review Scott Yanow, AMG:
This historical CD contains some of guitarist Wes Montgomery's first recordings; in fact only three small-group songs predate these performances. The then-obscure guitarist is heard in two different quintets, both of which include his brothers Buddy (on piano) and Monk (playing electric bass). The earlier set has Harold Land's tenor as a lead voice while altoist Pony Poindexter takes his place on the later date, Wes's sound was already quite recognizable and he contributes six originals which alternate with Harold Land's "Hymn for Carl" and four standards.

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Joe Henderson - Mirror Mirror (1980)

2008-09-01T11:01:00.006+04:00

Artist: Joe Henderson
Album: Mirror, Mirror
Genre: Post-Bop, hard-Bop
Recording Date: Jan 1980
Label: Pausa
Quality: mp3, 320
Size: 99 Mb
Total time: 43:23

Еще один альбом хард- и постбоповый тенор-саксофониста Joe Henderson (Джо Хендерсона). В записи также принимали участие: Chick Corea (piano), Ron Carter (bass), Billy Higgins (drums).

Tracks:
1 Mirror, Mirror
2 Candlelight
3 Keystone
4 Joe's Bolero
5 What's New?
6 Blues For Liebestraum

Personnel: Joe Henderson (tenor saxophone), Chick Corea (piano), Ron Carter (bass), Billy Higgins (drums).

Продолжение текста / More text
Review Scott Yanow, Allmusic.com:
Tenor saxophonist Joe Henderson has had a remarkably consistent career. Although he has spent periods (such as the 1970s) in relative obscurity and others as almost a jazz superstar, Henderson's style and sound has been relatively unchanged since the 1960s. This lesser-known album finds Henderson in typically fine form in an acoustic quartet with pianist Chick Corea, bassist Ron Carter and drummer Billy Higgins. Carter and Corea contribute two songs apiece, Henderson gets to perform his "Joe's Bolero" and the tenor sounds majestic on "What's New."

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Joe Henderson - Double Rainbow: The Music Of Antonio Carlos Jobim (1995)

2008-09-01T11:01:00.005+04:00

Artist: Joe Henderson
Album: Double Rainbow: The Music Of Antonio Carlos Jobim
Genre: Post-Bop, Bossa Nova
Release Date: Sep 19, 1994 - Nov 6, 1994
Label: Verve
Quality: mp3, 320
Size: 75 + 62 Mb
Total time: 62:23

Этого исполнителя еще не было в Клубе. Хард- и постбоповый тенор-саксофонист Joe Henderson (Джо Хендерсон) сумел доказать, что креативный маркетинг позволяет успешно продавать джаз, при этом не опуская его до попсового уровня. Хотя он находился под влиянием Сонни Роллинса и Джона Колтрейна, в его музыке есть стиль и узнаваемость. Приятный альбом. 4 1/2 звезды на AMG. Приятного прослушивания. Кстати, сайдмены какие: Herbie Hancock, Elaine Elias, Jack DeJohnette и др.

Tracks:
1. Felicidade
2. Dreamer (Vivo Sonhando)
3. Boto
4. Ligia
5. Once I Loved :: Amor Em Paz
6. Triste
7. Photograph
8. Portrait In Black And White (A.K.A. Zingaro)
9. No More Blues :: Chega De Saudade
10. Happy Madness
11. Passarim
12. Modinha

Personnel:
Joe Henderson (tenor saxophone);
Herbie Hancock, Elaine Elias (piano);
Oscar Castro-Neves (guitar, percussion);
Christian McBride, Nico Assumpcao (bass);
Paulo Braga (drums, percussion);
Jack DeJohnette (drums).

Recorded at Clinton Recording Studios, New York on November 5 & 6, 1994 and Oceanway Recording, Los Angeles, California on September 19 & 20, 1994.

Продолжение текста / More text
Review Cduniverse.com:
Joe Henderson has been one of the great tenor stylists since he burst on the scene in the 1960s as a sideman and leader on several historic Blue Note recordings. Henderson found a space on the horn to accomodate both the innovations of John Coltrane and Sonny Rollins, plus a wide range of personal timbral devices--expressive manipulations of the embouchure that allowed him to produce breathy, flute-like ornaments and a unique vocal cry. Henderson's work with producer Richard Seidel has emphasized the tenor saxophonist's gifts as an interpreter of other people's music. His critically acclaimed recordings of music associated with Billy Strayhorn (LUSH LIFE) and Miles Davis (SO FAR, SO NEAR) have been jazz best-sellers.
Now with DOUBLE RAINBOW, Henderson pays tribute to the rich designs of the late Antonio Carlos Jobim in the form of two suites: one with a Brazilian styled band (evoking shades of the Getz/Gilberto collaborations), the other with an all-star American aggregation including bassist Christian McBride, pianist Herbie Hancock and drummer Jack DeJohnette. From Henderson's first notes over the bouncy groove of "Felicidade," his lyrical gifts are well-served by pianist Elaine Elias and guitarist Oscar Castro-Neves. And on the lovely melodies of "Dreamer" and "Once I Loved" Henderson patiently shapes his phrases with a real regard for the lyrics.
The powerhouse American rhythm section helps Henderson to stretch out rhythmically and harmonically. Hancock is in remarkable form, even by his own lofty standards, helping Henderson to reorchestrate each Jobim standard without losing the shape of the tune. "Happy Madness" features them in an extraordinary duet, while "Modinha" opens with a solo sax feature of epic scope and control, before McBride comes strolling through with his indomitable beat. DOUBLE RAINBOW is choice from start to finish.

Review Scott Yanow, Allmusic.com:
The third of tenor-saxophonist Joe Henderson's tribute CDs on Verve was originally supposed to be a collaboration with the great bossa nova composer Antonio Carlos Jobim but Jobim's unexpected death turned this project into a memorial. Henderson performs a dozen of the composer's works with one of two separate groups: a Brazilian quartet starring pianist Eliane Elias and a jazz trio with pianist Herbie Hancock, bassist Christian McBride and drummer Jack DeJohnette. In general, Henderson avoids Jobim's best-known songs in favor of some of his more obscure (but equally rewarding) melodies and in some cases (such as a very straight-ahead "No More Blues") the treatments are surprising. Highlights of this very accessible yet unpredictable CD include "Felicidade," "Triste," "Zingaro" and a duet with guitarist Oscar Castro-Neves on "Once I Loved," although all of the performances are quite enjoyable. Highly recommended.

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Joe Henderson - Page One (1963)

2008-09-01T10:52:00.010+04:00

Artist: Joe Henderson
Album: Page One
Genre: Hard Bop
Recording Date: Jun 3, 1963
Label: Blue Note
Quality: flzc
Size: 250 Mb
Total time: 41:54

Вашему вниманию предлагается еще один альбом хард- и постбопового тенор-саксофониста Joe Henderson (Джо Хендерсона). Приятный альбом. 5 звезд и галочка на AMG.

Tracks:
1. Blue Bossa
2. La Mesha
3. Homestretch
4. Recorda Me
5. Jinrikisha
6. Out Of The Night

Personnel: Joe Henderson (tenor saxophone); Kenny Dorham (trumpet); McCoy Tyner (piano); Butch Warren(bass); Pete La Roca (drums).
The Rudy Van Gelder Edition of PAGE ONE includes an essay by Bob Blumenthal.
Producer: Alfred Lion. Reissue producer: Michael Cuscuna.
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 3, 1963. Originally released on Blue Note (84140). Includes liner notes by Kenny Dorham and Bob Blumenthal.
Digitally remastered using 24-bit technology by Rudy Van Gelder (1998, Van Gelder Studio, Englewood Cliffs, New Jersey).
This is part of the Blue Note Rudy Van Gelder Editions series.

Продолжение текста / More text
Review Cduniverse.com:
The title PAGE ONE is fitting for this disc as it marks the beginning of the first chapter in the long career of tenor man Joe Henderson. And what a beginning it is; no less than Kenny Dorham, McCoy Tyner, Butch Warren, and Pete La Roca join the saxophonist for a stunning set that includes "Blue Bossa" and "Recorda Me," two works that would be forever associated with Henderson. Both are bossa novas that offer a hip alternative to the easy-listening Brazilian trend that would become popular with the masses. Henderson and Dorham make an ideal pair on these and other choice cuts like the blistering "Homestretch" and the engaging swinger "Jinrikisha." These both show the already mature compositional prowess that would become Henderson's trademark throughout his legendary career. The final blues number, "Out of the Night," features powerful work by the leader that only hints of things to come in subsequent chapters.

Review Scott Yanow, Allmusic.com:
Tenor saxophonist Joe Henderson's debut as a leader is a particularly strong and historic effort. With major contributions made by trumpeter Kenny Dorham, pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca, Henderson (who already had a strikingly original sound and a viable inside/outside style) performs six generally memorable compositions on this CD reissue. Highlights include the original versions of Dorham's "Blue Bossa" and Henderson's "Recorda Me." It's highly recommended.

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Aretha Franklin - Jewels In The Crown (2007)

2008-09-01T10:52:00.008+04:00

Artist - Aretha Franklin
Album - Jewels in the Crown: All Star Duets with the Queen
Genre - Pop/Rock, Smooth Soul, Adult Contemporary, Contemporary R&B
Release Date: Nov 13, 2007
Label - Arista
Quality - mp3, 320
Size: 99 Mb
Total time: 69:00

Вашему вниманию предлагается свежий выпущенный сборник: дуэты Aretha Frankin с разными музыкантами, среди которых Keith Richards, Frank Sinatra, Mariah Carey, Whitney Houston. В него вошли вещи записанные с середины 80-х годов до настоящего времени.

Track Listings:
1. Jumpin' Jack Flash - (with Keith Richards)
2. Sisters Are Doin' It For Themselves - (with Eurythmics)
3. I Knew You Were Waiting (For Me) - (with George Michael)
4. What Now My Love - (with Frank Sinatra)
5. Put You Up On Game - (with Fantasia)
6. What Y'all Came To Do - (with John Legend)
7. Never Gonna Break My Faith - (with Mary J. Blige)
8. Through the Storm - (with Elton John)
9. It Isn't, It Wasn't, It Ain't Never Gonna Be - (with Whitney Houston)
10. (You Make Me Feel Like) A Natural Woman - (with Gloria Estefan/Bonnie Raitt)
11. Doctor's Orders - (with Luther Vandross)
12. Ever Changing Times - (with Michael McDonald)
13. Chain Of Fools - (with Mariah Carey)
14. Don't Waste Your Time - (with Mary J. Blige)
15. Love All the Hurt Away - (with George Benson)
16. Nessun Dorma - (with The New York Recording Orchestra)

Additional personnel: The New York Recording Orchestra, Elton John, Eurythmics, Fantasia, Frank Sinatra, George Benson , George Michael, Gloria Estefan, Harlem Boys Choir, John Legend, Keith Richards, Luther Vandross, Mariah Carey, Mary J. Blige, Michael McDonald, Whitney Houston, Bonnie Raitt.

Продолжение текста / More text
JEWELS IN THE CROWN: ALL-STAR DUETS WITH THE QUEEN is a hybrid release of material old and new, with many of its 16 tracks dating back to Aretha Franklin's mid-1980s career resurgence. A number of these have never appeared on any of Franklin's proper albums prior to this release: her sassy take on "Jumpin' Jack Flash" with Keith Richards on lead guitar is from a film soundtrack and her duet with Annie Lennox, "Sisters Are Doin' It For Themselves," first appeared on Eurythmics' BE YOURSELF TONIGHT, while "What Now My Love" was a highlight of Frank Sinatra's DUETS. The three new songs pair Franklin with neo-soul star John Legend, hip-hop goddess Mary J. Blige and, most impressively, Franklin's spiritual granddaughter Fantasia, who holds her own against her biggest inspiration on "Put You Up On Game."

Rolling Stone (p.196) - 3.5 stars out of 5 -- "[S]ome of it is lively....And there are three 'newly recordeds'..."

Review John Bush, AMG:
There are duet records, and then there is recording "Jumpin' Jack Flash" with Keith Richards. A 16-track compilation of Aretha Franklin's duets from the '80s and '90s, Jewels in the Crown: All-Star Duets with the Queen benefits from the high-profile partners that the Queen of Soul has been able to hook over the years (plus a trio of new tracks featuring sympathetic partners: John Legend, Mary J. Blige, and Fantasia). Spanning her Arista years, the collection runs the gamut of studio techniques from the '80s to the 2000s. Six songs come from the '80s, including the Keith Richards feature, which is a little too pristine to suit a version of "Jumpin' Jack Flash." Others from the same era sound better, such as "Sisters Are Doin' It for Themselves" with Eurythmics (which benefits from David Stewart's digital studio knowledge), and Franklin's hit duet with George Michael on "I Knew You Were Waiting (For Me)." The '90s duets are also mixed, including a lackluster pairing with Frank Sinatra on "What Now My Love" (from the original Duets album), but also an energetic live performance of "Chain of Fools" with Mariah Carey that works much better than could be expected. Of the new tracks, John Legend's "What Y'All Came to Do" is the best, an upfront and testifying jam with deft vocal freestyles from Legend and Franklin.

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Bill Evans - From Left to Right (1970)

2008-09-01T10:47:00.003+04:00

Artist - Bill Evans
Album - From Left to Right
Genre - Post Bop
Release Date: Dec 1979
Recording Date: 1969-1970
Label - MGM
Quality - mp3, 320
Size: 75 Mb
Total time: 52:12

Предлагаю вашему вниманию диск Bill Evans. Должен честно предупредить: критике он не понравился. Причина проста: диск записан в стиле "easy listening". Хотя - по-моему - вполне приятно слушается.

Track Listings:
1. What Are You Doing The Rest Of Your Life?
2. I'm All Smiles
3. Why Did I Choose You?
4. Soiree
5. Dolphin-Before, The
6. Dolphin-After, The
7. Lullaby For Helene
8. Like Someone In Love
9. Children's Play Song
10. What Are You Doing The Rest Of Your Life? - (quartet)
11. Why Did I Choose You? - (quartet)
12. Soiree - (alternate take)
13. Lullaby For Helene - (quartet)

This 1998 reissue contains four bonus tracks not on the original release.

Personnel: Bill Evans (acoustic & electric pianos); Mickey Leonard (arranger, conductor); Harvey Estrin (flute, reeds); Greorge Triffon (trumpet, flugelhorn); John D. Messner, Wayne Andre, Mickey Gravine (trombone); Paul Falise (bass trombone); Ray Alonge, Joseph DeAngelis (French horn); Donald Ashworth, Romeo Penque, Joseph Soldo, William Slapin (reeds); David Schwartz (violin, viola); Karen Jones, Leo Kahn, David Nadien, George Ockner, Raoul Poliakin, Tosha Samaroff (violin); Norman Forrest, Alfred V. Brown (viola); Seymour Barab, George Ricci (cello); Sam Brown (guitar); Eddie Gomez (bass); John Beal (electric bass); Marty Morell, Sol Gubin, Gary Chester (drums).

Principally recorded at A&R Studios, RCA Studios, Media Sound and Century Sound, New York, New York in 1969 & 1970. Originally released on MGM (4723). Includes liner notes by Michael (Mickey) Leonard, Harold Rhodes and Helen Keane.

Digitally remastered using 22-bit technology by Suha Gur (Polygram Studios). This is part of Verve's By Request series.

Продолжение текста / More text
In the '60s the jazz pianist Bill Evans would occasionally record an orchestral "easy listening" session to pay the bills, with predictably mediocre results. But FROM LEFT TO RIGHT, while certainly easy on the ears, is also one of Evans' most intriguing "lost" records, brought to us courtesy of Verve's winning "By Request" series. The novelty is that Evans plays both Fender Rhodes and acoustic piano simultaneously in real time, trading off themes and improvs with deliberative taste and, of course, rare skill. The sessions were produced by Evans' long-time, protective manager Helen Keane, so there was little danger of "selling out."

Unobtrusively arranged by Michael Leonard, this 1969 release resembles nothing so much as famed bossa nova composer Antonio Carlos Jobim's series of shimmering instrumental albums with arranger Claus Ogerman, even without those gently relentless rhythms driving every tune. Still, the highlight of this album is the dancing two-part "The Dolphin - Before & After," a non-Jobim bossa nova which allows Evans his only extended improvisations.

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Oscar Peterson with Milt Jackson - Two of the Few (1983)

2008-09-01T10:40:00.008+04:00

Artist: Oscar Peterson with Milt Jackson
Album: Two of the Few
Rating AMG: 4 1/2
Recording Date: Jan 20, 1983
Label: Pablo/OJC
Genre: Jazz, Styles: Mainstream Jazz, Bop, Swing
Time: 45:33
Format/Bitrate - mp3, 320 kbps
Size: 100+10 Mb

Вашему вниманию предлагается запись дуэта Oscar Peterson и Milt Jackson.
Отличный диск отличных музыкантов.

Titles:
1. Oh, Lady Be Good (Gershwin, Gershwin) 7:54
2. If I Had You (Campbell, Connelly, Shapiro) 4:27
3. Limehouse Blues (Braham, Furber) 4:28
4. Mister Basie (Peterson) 5:54
5. Reunion Blues (Jackson) 5:12
6. More Than You Know (Eliscu, Rose, Youmans) 6:35
7. Just You, Just Me (Greer, Klages) 5:07
8. Here's Two of the Few (Jackson) 5:56

Personel: Oscar Peterson - piano, Milt Jackson - vibraphone.

Recorded at RCA Recording Studios, New York, New York on January 20, 1983. Originally released on Pablo (2310-881). Includes original liner notes by Norman Granz.

Продолжение текста / More text
Review Scott Yanow, AMG:
This CD reissue brings back a unique duet recording featuring pianist Oscar Peterson and vibraphonist Milt Jackson. One would expect the instrumentation to feature mostly ballads, but the opposite is true as O.P. and Bags romp through quite a few uptempo pieces. Highlights include "Oh, Lady Be Good," "Limehouse Blues," "Reunion Blues," and "Just You, Just Me." This is a successful and highly enjoyable outing.

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Red Garland Trio - Groovy (1957)

2008-09-01T10:40:00.006+04:00

Artist: Red Garland Trio
Album: Groovy
Rating AMG: 4
Release Date: May 24, 1957
Recording Date: Dec 14, 1956-Aug 9, 1957
Label: Prestige/OJC
Genre: Jazz, Styles: Hard Bop
Format/Bitrate - mp3, 320 kbps
Size: 95 Mb

Вашему вниманию предлагается запись трио Рэда Гарланда (Red Garland). Приятного прослушивания.

Titles:
1. C Jam Blues
2. Gone Again
3. Will You Still Be Mine?
4. Willow Weep For Me
5. What Can I Say Dear (After I Say I'm Sorry?)
6. Hey Now

Personel: Red Garland (piano); Paul Chambers(bass); Arthur Taylor (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on December 14, 1956 and May 24 & August 9, 1957. Originally released on Prestige (7133). Includes liner notes by Ira Gitler.
Digitally remastered using 20-bit technology by Shigeo Miyamoto (JVC Studios).

Продолжение текста / More text
Review Scott Yanow, AMG:
As the liner notes properly state, this CD (Red Garland's fourth as a leader for the Prestige label) has "jazz standards, ballad standards, blues ballads and just plain blues." The pianist's trio (with bassist Paul Chambers and drummer Art Taylor) swings such numbers as "C Jam Blues," "Will You Still Be Mine" (the latter from The Ahmad Jamal songbook) and "What Can I Say After I Say I'm Sorry" with spirit and subtle invention. All of Red Garland's Prestige recordings are worth getting.

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Harold Land - West Coast Blues (1960)

2008-09-01T10:34:00.004+04:00

Artist: Harold Land
Album: West Coast Blues
Rating AMG: 4
Recording Date: May 17, 1960,May 18, 1960
Release Date: May 17, 1960-May 18, 1960
Label: Jazzland/OJC
Genre: Jazz, Styles: Hard Bop
Time: 42:26
Format/Bitrate: mp3, 320 kbps
Size: 97 Mb

Тенор-саксофонист эры боп Harold Land. Интересный исполнитель, играл с известными музыкантами. По мнению Скотта Янова, обозревателя AMG, сильно недооцененный.

Tracks:
1. Ursula
2. Klactoveedsedstene
3. Don't Explain
4. West Coast Blues
5. Terrain
6. Compulsion

Personnel:
Harold Land, tenor saxophone
Joe Gordon, trumpet
Wes Montgomery, guitar
Barry Harris, piano
Sam Jones, bass
Louies Hayes, drums

Продолжение текста / More text
Review Dustygroove.com:
One of our favorite albums ever from Harold Land, and a great set that has a hard soul jazz feel -- despite the "west coast" in the title. Harold's playing with a great group that includes Barry Harris, Joe Gordon, and Sam Jones -- as well as guitarist Wes Montgomery, who's work on the session really gives it a soulful edge! The cover lists the rhythm section as "all-soul", and it's right, as the accompaniment for Harold here is more sensitive, and more swinging than on most of his other records. The set sparkles with brilliance, and with great relaxed soulful playing.

Amazon.com reviewer:
Harold Land's "West Coast Blues" may be a one-time gathering of jazz all-stars, but it is one of the best jam sessions in the OJC catalog. This album is quite a departure from his more personal previous effort "The Fox", in that Land has to be more of a team player due to the immense talents of his colleagues featured here -- Wes Montgomery on guitar, Joe Gordon on trumpet, and as the album jacket says, "the all-soul rhythm section" of Barry Harris on piano, Sam Jones on bass and Louis Hayes on drums. If this seems like an unlikely lineup, you're right it is. This session came together in May 1960 for the Jazzland label (an offshoot of Riverside) when the Cannonball Adderley Quintet (of which Harris, Jones and Hayes were members) was in San Francisco for an extended gig. Wes Montgomery was also living in San Fran and was just beginning to receive acclaim (one wonders if he would have cut this session even a year later -- probably not he would have been too big). Orrin Keepnews then brought Land and Gordon up from L.A. to complete the session. The fact that the rhythm section had played together so frequently provides this jam session with a solid foundation, but it is the magical interplay between Wes, Land and Gordon that really sets this disc on fire. There are three Land originals here (all are excellent) and the title track is Wes Montgomery's composition. Any fan of Land, Montgomery or even Cannonball will thoroughly enjoy this fantastic outing.

Review Scott Yanow, AMG:
This reissue (which surprisingly has not yet come out in complete fashion on CD) was originally recorded for the Jazzland label. Tenor saxophonist Harold Land leads an all-star sextet that includes guitarist Wes Montgomery, trumpeter Joe Gordon, pianist Barry Harris, bassist Sam Jones and drummer Louis Hayes. Together, they perform three of Land's originals, "Don't Explain," and Charlie Parker's "Klactoveedsedstene," and an early version of Montgomery's "West Coast Blues." The music is as well-played and swinging as one would expect from this superior bop group.

Биография исполнителя (Bio):

Harold Land
Real name: Harold de Vance Land
Born: Dec 18, 1928 in Houston, TX
Died: Jul 27, 2001
Genres: Jazz
Styles: Hard Bop, Post-Bop
Instruments: Sax (Tenor)

Harold Land is an underrated tenor saxophonist whose tone has hardened with time and whose improvising style after the 1960s became influenced by (but not a copy of) John Coltrane. He grew up in San Diego and started playing tenor when he was 16. After working locally and making his recording debut for Savoy (1949), Land had his first high-profile gig in 1954 when he joined the Clifford Brown/Max Roach Quintet. Land performed and recorded with the group until late 1955 when due to family problems he had to return home to Los Angeles (where he has been based ever since). He played with Curtis Counce's band (1956-1958), recorded a pair of memorable albums for Contemporary (1958-1959), led his own groups in the 1960s, and co-led groups with Bobby Hutcherson (1967-1971) and Blue Mitchell (1975-1978). Harold Land continued freelancing around Los Angeles up until his death in 2001. Land recorded as a leader (in addition to Savoy and Contemporary) for such labels as Jazzland, Blue Note, Imperial, Atlantic, Cadet, Mainstream, Concord, Muse, and Postcards. His son, Harold Land Jr., occasionally played piano with his groups.
— Scott Yanow

www.allmusic.com

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Chet Baker - The Touch Of Your Lips (1979)

2008-08-29T11:54:00.004+04:00

Artist - Chet Baker
Album - The Touch Of Your Lips
Genre - Vocal Jazz, Cool, West Coast Jazz
Release Date: Jun 21, 1979
Label - Steeple Chase
Quality - mp3, 320
Size: 85 Mb
Total time: 48:27

Хотелось бы предложить вашему вниманию альбом Chet Baker позднего периода, где он играет стандарты в составе трио. На двух вещах он также поет. Спокойный, приятный альбом. 4 звезды от AMG. Приятного прослушивания.

Track Listings:
1. I Waited for You
2. But Not for Me
3. Autumn in New York
4. Blue Room
5. Touch of Your Lips
6. Star Eyes
7. Autumn in New York [Take 2][#]

Personnel:
Chet Baker - Trumpet, Vocals
Doug Raney - Guitar
Niels-Henning Orsted Pedersen - Bass
Продолжение текста / More text
Review Chetbakertribute.com:
The minimalist setting is perfect for this collections pretty tunes. Chet's playing is inspired and almost flawless, and Doug Raney adds some great solos. This same trio would later record the famous October 4, 1979 concert that spawned 3 great SteepleChase CD's.

Review Scott Yanow, AMG:
This was the perfect setting during his later years. The trumpeter (who also sings on two of the six songs) sounds very relaxed and comfortable while accompanied by the duo of guitarist Doug Raney and bassist Niels Pedersen, taking some consistently lyrical solos on the six standards.

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Frank Sinatra - Songs For Swingin' Lovers! (1956)

2008-08-29T11:38:00.008+04:00

Artist: Frank Sinatra
Album: Songs for Swingin' Lovers!
Rating AMG: 5+
Recording Date: Oct 17, 1955-Jan 16, 1956
Label: Capitol
Genre: Jazz, Styles: Vocal Jazz, Jazz-Pop, Big Band, Swing, Traditional Pop, Standards
Time: 43:59
Format/Bitrate: mp3, 256 kbps
Size: 85 Mb

Вашему вниманию предлагается один из лучших дисков Фрэнка Синатры. Есть такая забавная серия книг с названием "1000 и 1 книга (фильм/альбом) которые вы должны прочитать перед тем как умереть". Ну в общем, если прослушаете этот альбом - останется всего 1000 альбомов.

Titles:
1. You Make Me Feel So Young
2. It Happened In Monterey
3. You're Getting To Be A Habit With Me
4. You Brought A New Kind Of Love To Me
5. Too Marvelous For Words
6. Old Devil Moon
7. Pennies From Heaven
8. Love Is Here To Stay
9. I've Got You Under My Skin
10. I Thought About You
11. We'll Be Together Again
12. Makin' Whoopee
13. Swingin' Down The Lane
14. Anything Goes
15. How About You?

Personel:
Frank Sinatra - Performer,
Nelson Riddle - Arranger, Conductor,
Pete Welding - Liner Notes, Compilation,
Voyle Gilmore - Producer.

Продолжение текста / More text
Review Stephen Thomas Erlewine, AMG:
After the ballad-heavy In the Wee Small Hours, Frank Sinatra and Nelson Riddle returned to up-tempo, swing material with Songs for Swingin' Lovers!, arguably the vocalist's greatest swing set. Like Sinatra's previous Capitol albums, Songs for Swingin' Lovers! consists of reinterpreted pop standards, ranging from the ten-year-old "You Make Me Feel So Young" to the 20-year-old "Pennies From Heaven" and "I've Got You Under My Skin." Sinatra is supremely confident throughout the album, singing with authority and joy. That joy is replicated in Riddle's arrangements, which manage to rethink these standards in fresh yet reverent ways. Working with a core rhythm section and a full string orchestra, Riddle writes scores that are surprisingly subtle. "I've Got You Under My Skin," with its breathtaking middle section, is a perfect example of how Sinatra works with the band. Both swing hard, stretching out the rhythms and melodies but never losing sight of the original song. Songs for Swingin' Lovers! never loses momentum. The great songs keep coming and the performances are all stellar, resulting in one of Sinatra's true classics.

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Gene Ammons - Up Tight! (1961)

2008-08-29T11:38:00.007+04:00

Artist: Gene Ammons
Album: Up Tight!
Recording Date: Oct 17, 1961-Oct 18, 1961
Label: Prestige
Genre: Jazz; Style: Soul-Jazz, Hard Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 74:43
Size: 75+67 Mb

Искренне надеюсь, что я не надоел вам выкладывая альбомы одного исполнителя - Gene Ammons. По мнению критиков, этот альбом очень хорош для тех, кто хочет составить представление о стиле игры Аммонса. Приятного прослушивания.

Tracks:
1. The Breeze And I
2. Carbow
3. Moonglow
4. I'm Afraid The Masquerade Is Over
5. I'm Beginning To See The Light
6. Jug's Blue Blues
7. Lester Leaps In
8. The Five O'Clock Whistle
V9. I Sold My Heart To The Junkman
10. Song Of The Islands
11. Up Tight
12. Travelin'
13. Soft Summer Breeze
14. Don't Go To Strangers

Personnel: Gene Ammons (tenor saxophone); Walter Bishop, Jr., Patti Brown (piano); Arthur Davis, George Duvivier (bass); Arthur Taylor (drums); Ray Barretto (congas).

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on October 17 & 18, 1961. Originally released on Prestige (7208).
Digitally remastered by Phil De Lancie (1994, Fantasy Studios, Berkeley, California).
Продолжение текста / More textReview Scott Yanow, AMG:
Gene Ammons recorded many albums for Prestige but, if this CD is a good start for listeners unfamiliar with his playing. A reissue of two LPs (Up Tight and Boss Soul) recorded during the same two-day period, these performances find Ammons backed by a pair of four-piece rhythm sections (with either Walter Bishop or Patti Bown on piano and Ray Barretto's congas a major asset) and taking the lion's share of the solo space. Ammons sounds particularly warm and emotional throughout this CD, particularly on such numbers as "The Breeze and I," "I'm Afraid the Masquerade Is over," a cooking "Lester Leaps In" and "Song of the Islands." His sound and style effectively bridged the gap between bop and soul jazz.

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Jimmy Smith - The Sounds Of Jimmy Smith (1957)

2008-08-29T11:28:00.005+04:00

Artist: Jimmy Smith
Album: The Sounds of Jimmy Smith
Rating AMG: 3
Recording Date: Feb 11, 1957-Feb 13, 1957
Release Date: Feb 11, 1957
Label: Blue Note
Genre: Jazz, Styles: Soul-Jazz, Hard Bop, Jazz Blues
Time: 61:26
Format/Bitrate: mp3, 320 kbps
Size: 75+56 Mb

Очередной диск Джимми Смита.

Titles:
1. There Will Never Be Another You
2. Fight, The
3. Blue Moon
4. All The Things You Are
5. Zing Went The Strings Of My Heart
6. Somebody Loves Me
7. First Night Blues - (bonus track)
8. Cherokee - (bonus track)
9. The Third Day - (bonus track)

Personnel: Jimmy Smith (organ); Eddie McFadden, Thornel Schwartz (guitar); Donald Bailey, Art Blakey (drums).

Liner Note Authors: Leonard Feather; Bob Blumenthal.
Recording information: Manhattan Towers, New York, New York (02/1957).

Продолжение текста / More test
In 2005 Blue Note reissued this Jimmy Smith date from 1957, with superbly remastered sound and new liner notes. The session is classic Smith, with plenty of deep, bluesy grooves, swirling, bop-influenced Hammond, and a sultry, nightclub vibe. Backed only by a drummer and guitarist (axeman Eddie McFadden deserves mention), Smith tackles a range of originals and standards, including two solo organ pieces, a church-like rendition of "All the Things You Are," and a frenetic original entitled "The Fight." THE SOUNDS will make a welcome addition to the library of any soul-jazz fan.

Review Scott Yanow, AMG:
This LP, which has been included as part of a Mosaic Jimmy Smith three-CD box set, features the organist taking a pair of rare unaccompanied solos on "All the Things You Are" and a fairly free "The Fight" and jamming several songs ("Zing Went the Strings of My Heart," "Somebody Loves Me" and "Blue Moon") with his trio. Art Blakey fills in for drummer Donald Bailey on "Zing" while guitarist Eddie McFadden is heard throughout the three selections. Excellent straightahead jazz from the innovative organist.

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Milt Jackson - Statements (1961)

2008-08-28T17:06:00.008+04:00

Artist: Milt Jackson
Album: Statements
Recording Date: Dec 14, 1961-Aug 6, 1964
Label: Impulse!
Genre: Jazz Style: Mainstream Jazz, Hard Bop, Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 53:49
Size: 75 + 50 Мб

Предлагаю вашему вниманию альбом вибрафониста MJQ Милта Джексона. B альбом вошли вещи записанные с разными музыкантами в составах от трио до квинтета. Приятного прослушивания.

Tracks:
1. Statement (Jackson) 5:28
2. Slowly (Goell, Raksin) 3:02
3. A Thrill from the Blues (Jackson) 5:42
4. Paris Blues (Ellington) 2:54
5. Put Off (Jackson) 5:34
6. A Beautiful Romance (Jackson) 2:26
7. Sonnymoon for Two (Rollins) 5:57
8. The Bad and the Beautiful (Raksin) 3:07
9. Blues for Juanita (Jackson) 5:38
10. I Got It Bad (And That Ain't Good) (Ellington, Webster) 2:38
11. Big George (Jackson) 4:43
12. Gingerbread Boy (Heath) 3:41
13. Anything I Do (Conn, Douglas) 2:59

Personel: Milt Jackson - Vibraphone, Hank Jones - Piano, Jimmy Heath - Sax (Tenor), Tommy Flanagan - Piano, Richard Davis - Bass, Paul Chambers - Bass, Connie Kay - Drums.

Продолжение текста / More text
Review:
Vibraphonist Milt Jackson has been so consistent throughout his lenghty career that his excellence can be taken for granted. This Impulse recording features Bags with a quartet (including pianist Hank Jones) from 1961 and leading a quintet (with tenor-saxophonist Jimmy Heath and pianist Tommy Flanagan) in 1964; the latter was originally half of the album Jazz 'N' Samba. In addition there is a feature for Flanagan in a trio without the vibraphonist that was originally on an Impulse sampler. The blues, ballads, standards and originals are typical of Jackson's recordings as is the high-quality of the swinging music. Nothing too unusual occurs but the results are pleasing.
Scott Yanow, AMG

Review 2:
Along side Lionel Hampton and Red Norvo, Milt Jackson stands as the defining personality for the vibraphone in jazz. Statements was recording in 1961 during the middle of his twenty year tenure with the now legendary Modern Jazz Quartet. Hank Jones, who played piano on the session said, "The biggest thing about Milt is his feeling. He gets more emotional mileage out of a melody than any other vibist. Others may feel a song as deeply as he does, but he somehow can express more emotion. It's fantastic what he can make out of the most simple line."
Connie Kay, Milt's drummer-bandmate from the Modern Jazz Quartet, joined the session as well as bassist Paul Chambers. The resulting tracks were considered to be some of Milt's best as evidenced by the easy-going, free spirited performances heard throughout. Jones later commented on the success of the session, "I've never seen Bags [Milt's nickname], so relaxed."
Vervemusicgroup.com

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Gerry Mulligan & Thelonious Monk - Mulligan Meets Monk (1957)

2008-08-28T16:59:00.012+04:00

Artist: Gerry Mulligan & Thelonious Monk
Album: Mulligan Meets Monk
Recording Date: Dec 14, 1961-Aug 6, 1964
Label: Impulse!
Genre: Jazz Style: West Coast Jazz, Cool, Post-Bop, Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 59:01
Size: 75 + 61 Мб

В конце 50-х - начале 60-х годов Gerry Mulligan провел несколько "meetings" (по современному, забивал стрелки) с известными музыкантами (Дж. Ходжесом, Ст. Гетцем и др.).

Tracks:
1. 'Round Midnight
2. Rhythm-A-Ning
3. Sweet And Lovely
4. Decidedly [Take 4]
5. Decidedly [Take 5]
6. Straight, No Chaser [Take 3]
7. Straight, No Chaser [Take 1]
8. I Mean You [Take 4]
9. I Mean You [Take 2]

Personel: Thelonious Monk (piano); Gerry Mulligan (baritone saxophone); Wilbur Ware (bass); Shadow Wilson (drums).
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Review:
In the late 1950's/early 1960's, baritonist Gerry Mulligan participated in several recorded "meetings" with jazz musicians who he admired. For this set (reissued on CD in the OJC series), Mulligan teams up with pianist Thelonious Monk (who shares co-leadership), bassist Wilbur Ware and drummer Shadow Wilson on a surprisingly successful date. Monk and Mulligan blend together quite well on what was essentially Thelonious' repertoire of the era including "'Round Midnight," "Rhythm-A-Ning," "Sweet And Lovely" and "I Mean You"; the CD reissue also includes three alternate takes and has plenty of joyful spirit.
Scott Yanow, AMG

Review 2:
Critics thought the pairing of Gerry Mulligan and Thelonious Monk a strange one when this 1957 session was originally released, Mulligan's light baritone saxophone strongly identified with the cool school and Monk's percussive piano, fractured rhythms, and dissonant tunes the last word in bop. It's an interesting combination, though, with Mulligan's melodic focus actually working fairly well with Monk and his regular band, drummer Shadow Wilson and bassist Wilbur Ware. Common roots in swing are apparent on Mulligan's "Decidedly," a variant of "Undecided," while the baritonist acquits himself well on some of Monk's best-known tunes. Monk was at his peak as a player in 1957 -- working steadily for the first time in years in a long tenure at the Five Spot -- and it shows everywhere here, including the splashing chords and asymmetrical runs of "Sweet and Lovely." Ware, one of the most significant bassists in jazz history, is a perfect accompanist and as commanding a soloist as Mulligan or Monk, using subtle rhythmic shifts and double stops in an almost minimalist way. The alternate takes of several tunes are genuinely different approaches to the material, revealing just how spontaneous the meeting was. --Stuart Broomer

Amazon.com reviewer:
This disc combines Monk & his rhythm-section of the time -- Wilbur Ware & Shadow Wilson -- with the baritonist Gerry Mulligan, a stylistically unusual pairing that works out very well. Monk's skeletal chording & frequent preference to have his sidemen "stroll" (play without piano accompaniment) make a natural common ground with Mulligan, who had developed the pianoless quartet in his 1950s groups with Baker & Brookmeyer. Though this session was an informal blowing session, & thus doesn't feature any of Mulligan's sophisticated arrangements, he nonetheless frequently plays quiet counterlines to Monk like he did with Chet -- it's an interesting sound, & I've never heard anyone else do this with Monk.
The album is a bit uneven, but what pushes it into the first rank is the version of "Round Midnight", which is probably the single best group reading of the tune I've heard by Monk. Certainly it's the best version he did for Riverside except for the solo version on _Thelonious by Himself_. As usual with Monk in this period, his flow of compositions was slowing down, & there's only one new tune on the disc, "Rhythm-a-Ning" (first recorded by Monk for Atlantic a few months before on his collaboration with Art Blakey). The version here is very different from Monk's later recordings of the tune: it has a double-length bridge which seems to give Mulligan a little trouble (he goofs up a little at the end of the bridge on his first chorus); the performance isn't quite together, but nonetheless has lots of meat in the solos & a good vibe, which is I presume why they didn't do retakes. I'm not sure why "I Mean You" needed 3 complete takes, as they all sound pretty good to me -- but I certainly won't complain about getting the bonus tracks. "Decidedly" is Mulligan's variant on Shavers' "Undecided", and features a stoptime solo by Mulligan & some of Ware's most intriguing playing -- check out his very offbeat solo on the master take, in particular. "Sweet and Lovely" is a favourite tune of mine, & despite Monk's covering it in other places I would again name this as the best group reading Monk gave it.
A fine disc. Originally it was intended that the album be split between quartet tracks & a big band arranged by Mulligan, but because the 1st recording session went so well the producer & the band decided to go back into the studio the next day to complete the album with just the quartet. I think that was the right decision. This remains one of the high points of Monk's Riverside tenure.
Amazon.com

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Gene Ammons - Big Sound (1958)

2008-08-28T16:59:00.010+04:00

Artist: Gene Ammons
Album: Big Sound
Recording Date: Jan 3, 1958
Label: Prestige/OJC (Original Jazz Classics)
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 49:20
Size: 75+35 Мб

День 3 января 1958 года был удачным для Gene Ammons. В этот день он и его состав All Stars записали материал для двух альбомов: этого и "Groove Blues". Хороший альбом, в записи принимали участие John Coltrane, Art Taylor и другие.
Приятного прослушивания.

Tracks:
1. Blue Hymn
2. The Real McCoy
3. Cheek To Cheek
4. That's All

Personnel:
Gene Ammons (tenor saxophone);
John Coltrane (alto saxophone);
Paul Quinichette (tenor saxophone);
Pepper Adams (baritone saxophone);
Jerome Richardson (flute);
Mal Waldron (piano);
George Joyner (bass);
Arthur Taylor (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on January 3, 1958. Originally released on Prestige (7132).

Digitally remastered by Gary Hobish (1991, Fantasy Studios, Berkeley, California).

Продолжение текста / More text
Review (cduniverse.com):
THE BIG SOUND is a companion to GROOVE BLUES. Both albums were recorded on a single day in 1958 and feature an impressive array of players. Ammons' tenor saxophone is joined here by John Coltrane's alto, Paul Quinichette's tenor, Pepper Adams' alto, and Jerome Richardson's flute. The rhythm section is anchored by the piano of Mal Waldron. The set opens with the slow blues "Blue Hymn," an Ammons original. Waldron's "The Real McCoy" then kicks things into higher gear with an excitingly propulsive arrangement. The massed horns state the tune's main theme before breaking off into furious soloing. Likewise, Irving Berlin's "Cheek to Cheek" swings at a clip at once laid back and relentless. As with GROOVE BLUES, the album closes with a ballad, the song form forever linked with Ammons.

Review (Scott Yanow, AMG):
Along with its fellow CD, Groove Blues, this reissue fully documents all of the music recorded by tenor saxophonist Gene Ammons on the busy day of January 3, 1958. Although there were many guest soloists, only one of the four songs on this half of the set (Mal Waldron's "The Real McCoy") has appearances by John Coltrane (on alto) and the tenor of Paul Quinichette. However, baritonist Pepper Adams is aboard for two of the performances, and flutist Jerome Richardson (along with pianist Mal Waldron, bassist George Joyner, and drummer Art Taylor) are on all four. Ammons is easily the main star (he really excelled in this setting) and is in generally fine form on the two standards ("That's All" and "Cheek to Cheek"), his own "Blue Hymn," and the Waldron original.

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Complete Blue Note Lee Morgan Fifties Sessions (1956-58)

2008-08-28T16:53:00.004+04:00

Artist: Lee Morgan
Album: Complete Blue Note Lee Morgan Fifties Sessions (1956-58) 4-CD Box Set
Label: Mosaic
Style: Hard Bop
Reсording Date: Nov 4, 1956-Feb 2, 1958
Format: MP3 @ 320 Kbps
Time: 256 m:18 s
Size: 6x100 + 8 Мб

Вашему вниманию предлагается компиляция на 4-х CD записей Lee Morgan сделанных на лейбле Blue Note в период 1956-58 годов.

Tracks:
CD1:
1. Gaza Strip 3:57
2. Reggie of Chester 4:55
3. Little T 8:24
4. Little T [alternate Take] 8:10
5. Stand By 5:51
6. Roccus 8:18
7. The Lady 6:47
8. Latin Hangover 6:45
9. Whisper Not 7:21
10. His Sister 6:30

CD2:
11. D's Fink 7:44
12. Slightly Hep 6:28
13. Where Am I? 5:50
14. Hasaan's Dream 8:44
15. I Remember Clifford 7:09
16. Mesabi Chant 6:11
17. Tip-Toeing [alternate Take] 6:42
18. Tip-Toeing [alternate Take] 6:43
19. Domingo 9:19

CD3:
20. Just by Myself 9:26
21. City Lights 5:46
22. You're Mine You 6:03
23. Temp de Waltz 6:24
24. Kin Folks 9:45
25. Just One of Those Things [alternate Take] 7:52
26. Just One of Those Things 7:17
27. Heavy Dipper 7:06

CD4:
28. A Night in Tunisia 9:24
29. Lover Man 6:52
30. New-Ma 8:16
31. Since I Fell for You 5:36
32. Personality 6:15
33. All at Once, You Love Her 5:29
34. Who Do You Love, I Hope 4:59
35. Candy 7:04
36. C. T. A. 5:06
37. All the Way 7:22

Personel: Ray Bryant - Piano, Paul Chambers - Bass, Sonny Clark - Piano, George Coleman - Sax (Alto), Sax (Tenor), Curtis Fuller - Trombone, Benny Golson - Arranger, Sax (Tenor), Gigi Gryce - Flute, Sax (Alto), Philly Joe Jones - Drums, Wynton Kelly - Piano, Hank Mobley - Sax (Tenor), Lee Morgan - Trumpet, Charlie Persip - Drums, Kenny Rodgers - Sax (Alto), Clarence Sharpe - Sax (Alto),
Horace Silver - Piano, Art Taylor - Drums, Bobby Timmons - Piano, Wilbur Ware - Bass.

Продолжение текста / More text
Review Stephen Thomas Erlewine, AMG:
Lee Morgan recorded for Blue Note in the late '50s, playing seven dates between 1956 and 1958. Morgan was still in his teens at the time and half of the joy of The Complete Blue Note Lee Morgan Fifties Sessions is hearing the trumpeter develop at a rapid rate. The four-disc box set The Complete Blue Note encompasses sessions with Horace Silver, Paul Chambers, Benny Golson, Wynton Kelly, Sonny Clarke, Doug Watkins, and Art Taylor. Morgan may have been young at the time these were recorded, but he was impressive even at the beginning, playing blistering hard bop and lyrical ballads with equal ease. He may have gone on to record greater, more influential albums but this music remains exciting, vital, and simply joyous.

Bio:
Lee Morgan was a stalwart of the driving jazz-meets-funk-meets-blues grooves produced by Blue Note in the 1960's. A flashy player of enormous technique and invention, he became the natural successor to Clifford Brown, emerging on the jazz scene shortly after Brownie's death in 1956. Morgan quickly developed his own style, fusing classic bebop motifs with more modern rhythms, harmonies and melodies.
Born in Philadelphia on July 10, 1938, he began his trumpet studies with a private instructor, and continued them at Mastbaum High School for the Arts, where he also played the alto horn. A fan of jazz from an early age, he was exposed to a wide variety of live music in the vibrant Philadelphia music scene, which had produced such notables as John Coltrane, Benny Golson, the Heath brothers, and many others.
By the time he was 15, Morgan was leading his own group with bassist James "Spanky" DeBrest as his partner. He was also taking part in Tuesday night workshops at the Music City club, which brought him into early contact with Miles Davis and his primary early influence, Clifford Brown. After Morgan graduated from Mastbaum in 1956, he and DeBrest subbed with the Jazz Messengers when Art Blakey arrived in Philadelphia short two musicians. "Spanky stayed on," Morgan explained in the liner notes to his first Blue Note album. "I could have stayed too, but I didn't want to sign a contract, so I left after two weeks. Very soon after that, Dizzy Gillespie returned from his South American tour. Morgan's career took off when he joined Dizzy’s big band at the age of 17.
Dizzy was always a generous teacher, and allowed his young protege plenty of solo space. This provided Morgan an excellent opportunity to gain experience before his return to Blakey's group in 1958 after Dizzy’s group disbanded. That year he recorded, Candy, his first of twenty-five Blue Note recordings as a leader, and though he was only 18 at the time, Morgan had already attracted attention with brassy acrobatic solos that heralded the arrival of a significant, new talent. While working with the Jazz Messengers, Morgan formed a great partnership with tenorist Benny Golson, and their shared sense of timing and musical rapport is obvious on the album Moanin', both on the title track and on numbers such as Blues March. Morgan shared the Messengers frontline with Golson, Hank Mobley and then Wayne Shorter until a heroin problem forced him to leave the band in 1961, (when he was replaced by Freddie Hubbard).
He returned to his native Philadelphia for a few years, where he maintained a low profile while battling his addiction, working occasionally with saxophonist Jimmy Heath. He returned to New York in 1963, where he recorded, The Sidewinder, on the Blue Note label with sideman Joe Henderson, This was Morgan’s greatest commercial success. He entered his greatest period, recording one memorable album after another, writing "Ceora" and "Speedball" and spending a second period with Blakey (1964-65).
He also recorded widely as a sideman on many classic jazz albums such as Gillespie's Night In Tunisia, John Coltrane's Blue Trane, Grachan Moncur's Evolution and dates for others, including Curtis Fuller, Philly Joe Jones, Wynton Kelly, Clifford Jordan, Hank Mobley and Wayne Shorter. Morgan was as comfortable unleashing dynamic displays of instrumental virtuosity on triple time blues as he was displaying controlled sensitivity and passion on ballads. His style included elements drawn from Dizzy Gillespie and Clifford Brown, but his own wide, crackling tone, his use of bluesy phrasing and effects, searing high register, human-voiced half-valve effects, and his dancing, funky, timing, was the essence of hard-bop.
Morgan's later bands featured Bennie Maupin or Billy Harper on saxophone, and while the modal jazz direction taken by many other bands became more prominent in his compositions, Morgan remained at heart a hard-bop trumpet player.
Lee Morgan’s fast lane lifestyle ended on February 19, 1972, when he was shot dead by his common-law wife, Helen More, during a performance at Slug's in New York, ending his life at the age of 33.

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Gene Ammons - Groove Blues (1958)

2008-08-28T10:45:00.010+04:00

Artist: Gene Ammons
Album: Groove Blues
Recording Date: Jan 3, 1958
Label: Prestige/OJC
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 44:30
Size: 100 Mb

День 3 января 1958 года был удачным для Gene Ammons. В этот день он и его состав All Stars записали материал для двух альбомов: этого и "Big Sound". Хороший альбом, 4 звезды от AMG, в записи принимали участие John Coltrane, Art Taylor и другие.
Приятного прослушивания.

Tracks:
1. Ammon Joy
2. Groove Blues
3. Jug Handle
4. It Might As Well Be Spring

Personnel:
Pepper Adams - Sax (Baritone),
Gene Ammons - Sax (Tenor),
John Coltrane - Sax (Alto), Sax (Tenor),
George Joyner - Bass,
Jamil Nasser - Bass,
Paul Quinichette - Sax (Tenor),
Jerome Richardson - Flute, Sax (Tenor),
Art Taylor - Drums,
Arthur Taylor - Drums,
Mal Waldron - Piano.

Recorded at the Van Gelder Studio, Hackensack, New Jersey on January 3, 1958.
Digitally remastered by Phil De Lancie (1992, Fantasy Studios, Berkeley, California).

Продолжение текста / More text
Review:
On January 3, 1958, Gene Ammons had a good day-a very good day. Recording sessions from that date resulted in two albums with his All Stars, GROOVE BLUES and the equally impressive THE BIG SOUND. On GROOVE BLUES, the All Stars stretch out on four tunes: Ammons' own "Jug Handle," two numbers by pianist Mal Waldron, and one song by Rogers & Hammerstein.
The All Stars boast four saxophonists and represent the cream of the post-bop crop. John Coltrane's alto, Pepper Adams' baritone, and Paul Quinichette's tenor trade off with Ammons' tenor with fire and grace. Their massed sound, along with Jerome Richardson's flute, is a dazzling force as it flies over the piano and rhythm section gently pushing "Groove Blues." The closing ballad, "It Might as Well be Spring," is built around the lush tones of Ammons' solitary horn and the piano-anchored trio, its 11 minutes of passionate romanticism drifting by like a hypnotic reverie.
cduniverse.com

Review II:
On Jan. 3, 1958, Gene Ammons led one of his last all-star jam sessions for Prestige. The most notable aspect to this date (which resulted in two albums of material) is that it featured among its soloists John Coltrane, on alto. This CD, a straight reissue of one of the original LPs, includes baritonist Pepper Adams, the tenor of Paul Quinichette and Coltrane on two of the four selections and Jerome Richardson's flute during three of the songs in addition to a fine rhythm section (pianist Mal Waldron, bassist George Joyner and drummer Art Taylor). This set consists of three of Waldron's originals in addition to the standard ballad "It Might as Well Be Spring" and it (along with the CD The Big Sound) fully documents the productive day.
Scott Yanow, AMG

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Gene Ammons - Angel Eyes (1962)

2008-08-28T10:45:00.007+04:00

Artists: Gene Ammons with Frank Wess and Art Taylor
Album: Angel Eyes
Recording Date: Jun 17, 1960-Sep 25, 1962
Release Date: Jun 17, 1960
Label: Prestige
Genre: Jazz; Style: Soul-Jazz, Hard Bop
Format: mp3, bitrate: mp3, 320 Kbps
Time: 36:25
Size: 85 Mb (rapidshare)

В этот диск вошли две сессии Gene Ammons записанные в 1960 и 1962 годах. Хороший альбом, 4 звезды от AMG, Scott Yanow рекомендует.
Приятного прослушивания.

Tracks:
1. Gettin' Around
2. Blue Room
3. You Got To My Head
4. Angel Eyes
5. Water Jug
6. It's The Talk Of The Town

Personnel:
Gene Ammons (tenor saxophone);
Frank Wess (tenor saxophone, flute);
Mal Waldron (piano);
Johnny "Hammond" Smith (organ);
Doug Watkins, Wendell Marshall (bass);
Arthur Taylor, Ed Thigpen (drums).

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 17, 1960 and September 5, 1962.
Digitally remastered by Phil De Lancie (1998, Fantasy Studios, Berkeley, California).

Продолжение текста / More text
Review:
Gene Ammons was one of the great tenor saxophone stylists of jazz. His big, breathy, swaggering and slightly rough tone, rich with more than just a hint of blues and R&B, was popular with both big band jazz and soul-jazz audiences through the funk/fusion era. Ammons was also an influence on a couple of generations of R&B players, including King Curtis, Big Jay McNeely and Willis "Gator Tail" Jackson.
ANGEL EYES consists of two sessions from 1960 and 1962, where Ammons works out on some jazz standards, accompanied by such talents as Johnny "Hammond" Smith, Art Taylor, and Mal Waldron. On the tunes featuring organ ("Blue Room"), the music is rooted firmly in the relaxed, smoky, funky soul-jazz sound of Jimmy Smith, Jimmy McGriff and Joey DeFrancesco. On the piano ballads, Ammons and company favor a sentimental, straight-ahead approach in the Dexter Gordon/Sonny Rollins/Ben Webster tradition. ANGEL EYES is an ideal way to experience jazz at a crossroads in the early '60s, as well as Ammons in peak form.
cduniverse.com

Review II:
Music from two different occasions are combined on this CD reissue. The four songs from 1960 match the great tenor Gene Ammons with Frank Wess (doubling on flute and tenor), organist Johnny "Hammond" Smith, bassist Doug Watkins, and drummer Art Taylor. Wess, one of jazz's great flutists, battles Ammons on tenor to a draw on "Water Jug," while the leader takes "Angel Eyes" as his memorable feature. In addition, Ammons is heard in 1962 with pianist Mal Waldron, bassist Wendell Marshall, and drummer Ed Thigpen playing with great warmth on the ballads "You Go to My Head" and "It's the Talk of the Town." The latter set was one of Ammons' final ones before serving a long prison sentence (drug-related), yet his interpretations are full of optimism. Recommended.
Scott Yanow, AMG

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Eva Cassidy - Live At Blues Alley (1996)

2008-08-28T10:37:00.011+04:00

Artist: Eva Cassidy
Album: Live At Blues Alley
Genre: Contemporary Singer/ Songwriter, Adult Alternative Pop/ Rock
Label: Eva Music
Recording Date: Jan 2, 1996, Jan 3, 1996
Release Date: Sep 23, 1997
Size: 75 + 62 Мб (rapidshare, mp3, 320)
Total time: 57:58

Предлагаю вашему вниманию альбом Eva Cassidy. Концертная запись, сделанная в конце карьеры певицы. Альбом получил 4.5 звезд и галочку на AMG. Приятного прослушивания!

Tracks:
1. Cheek To Cheek
2. Stormy Monday
3. Bridge Over Troubled Water
4. Fine And Mellow
5. People Get Ready
6. Blue Skies
7. Tall Trees In Georgia
8. Fields Of Gold
9. Autumn Leaves
10. Honeysuckle Rose
11. Take Me To The River
12. What A Wonderful World
13. Oh, Had I A Golden Thread

Personnel:
Chris Biondo - Guitar (Bass), Producer
Eva Cassidy - Guitar (Acoustic), Guitar (Electric), Producer
Hilton Felton - Organ (Hammond)
Keith Grimes - Guitar (Electric)
Raice McLeod - Drums

Recorded in Los Angeles, California on August 14, 1954. Includes liner notes by Michael Bourne.

Продолжение текста / More text
Review:
The late Eva Cassidy gained a loyal following in the Washington, D.C., area through appearances in small clubs, utilizing her pitch-perfect singing voice to interpret a variety of tunes ranging from standards to modern-era pop songs. A notoriously shy performer, Eva Cassidy had a somewhat stiff stage presence, but she endeared herself to her audiences by performing songs she obviously loved, combining elements of soul, gospel, blues, and jazz. Live at Blues Alley is an excellent showcase for her vocal talents and her ability to make even the most familiar tune uniquely her own. Admittedly, the titles on Live at Blues Alley seem like a set list for a bad Vegas lounge act; songs such as Irving Berlin's "Cheek to Cheek" and Louis Armstrong's "What a Wonderful World" have been done to death for decades. Fortunately, Eva Cassidy had an obvious affection for these standards. She sounds as if she had a ball performing the Irving Berlin number, while her subtle reading of the Louis Armstrong tune is nothing less than extraordinary. She was equally successful with more contemporary pop classics like "Bridge Over Troubled Water" and "Take Me to the River." Ultimately, the slower songs are the most stirring, particularly her rendition of "Fields of Gold." Her tear-jerking version of the Sting tune could very well be one of the greatest cover songs ever recorded. Eva Cassidy's popularity slowly began to spread outside of the D.C. area upon the release of this album in early 1996. Unfortunately, Eva Cassidy passed away later that year, just as she began laying the groundwork for what could have been a stellar career in music. However, her posthumous success has been astonishing, with worldwide critical acclaim and extensive exposure on British television that helped her album Songbird climb to number one on the British album chart in March, 2001. Live at Blues Alley was the only solo album released during Eva Cassidy's lifetime (an album recorded with Chuck Brown, The Other Side, was also released), and it's an excellent introduction to a performer who never lived to witness the impact her voice made on her fans all over the world.
William Cooper, AMG

Singer Eva Cassidy achieved posthumous fame with SONGBIRD, an anthology of her finest moments. During her lifetime, however, Cassidy made a name for herself in Washington, D.C., where she lived and regularly performed. LIVE AT BLUES ALLEY captures Cassidy in her element running through a list of standards like "What a Wonderful World" and contemporary favorites like "Bridge Over Troubled Water."
While Cassidy's choice of material might seem somewhat stock, her singing is anything but. Her clear, guileless voice dazzles in both its technical facility and its emotional expressiveness, and it is easy to hear why she had a dedicated local following (and would have broken through to a wider audience had it not been for her death in 1996). Fans of SONGBIRD should seek out LIVE AT BLUES ALLEY for a taste of Cassidy as she sounded in intimate quarters.
cduniverse.com

"Ева была сложным человеком, - рассказывали о ней друзья. - Болезненно скромная, ранимая, подверженная депрессии, но самоуверенная и упрямая во всем, что касалось личных убеждений и творческих принципов. Профессиональная карьера ее мало занимала, она предпочитала жить в окружении близких друзей, которые понимали и поддерживали ее". Недоверие к музиндустрии было взаимным, найти общий язык им так и не удалось. Не помог даже "божественный голос" Евы Кэссиди. Собственно, только стараниями ближнего круга единомышленников наследие Евы Кэссиди стало достоянием миллионов людей. К сожалению, уже после ее смерти.

Каждая записанная Евой Кэссиди мелодия, каждый перепетый хит - это всегда маленькое чудо. Десятки таких маленьких чудес, почти никому неизвестных при жизни певицы, оказались сильнее косности и инерции шоу-бизнеса, обманув даже смерть, которая не только не убавила интереса к ее творчеству, но, собственно, и спровоцировала его по-настоящему. Жизнь победила."

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Dinah Washington - Dinah Jams (1954)

2008-08-28T10:37:00.009+04:00

Artist: Dinah Washington
Album - Dinah Jams
Genre - Vocal Jazz, Classic Female Blues, Standards
Label: Polygram
Recording Date: Aug 15, 1954
Size: 92 Мб
Total time: 38:32

Предлагаю послушать диск известной певицы джаза, блюза, R&B Dinah Washington. Запись сделана на концерте в 1954 году, когда певица поднималась к известности. Обратите внимание на звездный состав сопровождающих музыкантов и то, что альбом получил 5 звезд на AMG. Приятного прослушивания.

Tracks:
1. Lover Come Back To Me
2. Alone Together
3. Summertime
4. Come Rain Or Come Shine
5. No More
6. I've Got You Under My Skin
7. There Is No Greater Love
8. You Go To My Head

Personnel: Dinah Washington (vocals); Herb Geller (alto saxophone); Harold Land (tenor saxophone); Clifford Brown, Clark Terry, Maynard Ferguson (trumpet); Junior Mance, Richie Powell (piano); Keeter Betts, George Morrow (bass); Max Roach (drums).

Recorded in Los Angeles, California on August 14, 1954. Includes liner notes by Michael Bourne.

Продолжение текста / More text
Review:
Recorded at the start of Dinah Washington's climb to fame, 1954's Dinah Jams was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time -- tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow -- trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session. Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" -- all including a round of solos -- there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown. Other solo highlights include Land's fine tenor solo on "Darn That Dream" and Geller's alto statement on the disc's standout Washington vocal, "Crazy." And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like The Swingin' Miss D or The Fats Waller Songbook, both of which feature top arrangements by Quincy Jones.
Stephen Cook, AMG

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Nina Simone - Released (1997)

2008-08-28T10:28:00.010+04:00

Artist - Nina Simone
Album - Released
Genre - Standards, Vocal Jazz
Label - Camden
Year - 1997
Quality - MP3, 320kbs/s
Size: 100+53 Mb
Total time - 1:10:05

Хочу предложить вашему вниманию диск Nina Simone "Released". На нем собраны песни исполняемые в период 1967-1968 годов.

Tracks:
01. Backlash Blues
02. Blues for Mama
03. Go to Hell
04. I Shall Be Released
05. It Be's That Way Sometimes
06. I Want a Little Sugar in My Bowl
07. My Man's Gone Now
08. Why? (The King of Love Is Dead)
09. I Wish I Knew (How It Would Feel to Be Free)
10. Do What You Gotta Do
11. Do I Move You?
12. In the Dark
13. Look of Love
14. Since I Fell for You
15. Mr. Bojangles
16. Just Like a Woman
17. Turn Me On
18. Nobody's Fault But Mine
19. Ain't Got No (I Got Life) [Live]
20. I Loves You, Porgy
21. Gin House Blues [Live]

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Review:
This Australian compilation gathers 21 songs from a small period in the career of Nina Simone, the 1967-1968 era of the British hit "Ain't Got No (I Got Life)" and LPs like 1967's Silk & Soul. Those looking for a tight collection of Simone's crossover period will find much to love here, from "It Be's That Way Sometimes" and "The Backlash Blues" to covers of "I Shall Be Released," "Just Like a Woman," and "The Look of Love." The big caveat, however, is the presence of "Ain't Got No (I Got Life)" only in a live version, which makes this collection much more difficult to justify. It's worth picking up on a whim, but definitely not a careful search.
John Bush, AMG

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Stacey Kent - Breakfast On The Morning Tram (2007)

2008-08-28T10:28:00.009+04:00

Artist - Stacey Kent
Album - Breakfast On The Morning Tram
Recording Date - Mar-Apr 2007
Release Date - Oct 2, 2007
Label - Blue Note
Genre - Vocal, Vocal Jazz, Contemporary Blues Music
Format/Bitrate - mp3, 320 kbps
Size - 85 + 47,5 Mb

Хочу предложить вашему вниманию альбом выпущенный в октябре 2007 года "Breakfast On The Morning Tram" выпущенный после перехода Стейси на лейбл Blue Note. Альбом по мнению критиков получился весьма удачным. Приятного прослушивания.

Track List:
1. Ice Hotel
2. Landslide
3. Ces Petits Riens
4. I Wish I Could Go Travelling Again
5. So Many Stars
6. Samba Saravah
7. Breakfast on the Morning Tram
8. Never Let Me Go
9. So Romantic
10. Hard-Hearted Hannah
11. Saison des Pluies
12. What a Wonderful World

Personnel: Stacey Kent (vocals); John Parricelli (guitars); Jim Tomlinson (alto saxophone); Graham Harvey (Fender Rhodes piano); Dave Chamberlain (double bass); Matt Skelton (drums).

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Review:
JazzTimes (p.111) - "The angel-voiced Kent is paralleling a change in labels with an alteration musical direction that is as welcome as it is exciting."

Kent is what men used to call a classy broad. Her elegant fashion sense and understated vocal style make her sound like a woman from another time, a unflappable, sophisticate with a warm, slightly world-weary persona. She was born in the United Sates, but after a trip to France decided to become a jazz singer. In the early 90s she landed in Oxford where she met her husband and musical director sax player Jim Tomlinson. Tomlinson also produces Kent's albums, and this time, composed several charming tunes that sound like potential standards, collaborations with lyricist Kazuo Ishiguro, author of Remains of the Day. Original tunes like "The Ice Hotel" and "I Wish I Could Go Traveling Again" are full of wry humor and Kent delivers them with her usual effortless grace. "The Ice Hotel" is a samba that talks of forsaking the tropics for a room that keeps the temperature at a "steady five degrees." The ambivalent lyric is perfectly suited for Kent's unassuming style. Is she chiding a lover for his detached demeanor or promising a passionate night that will raise the temperature and put a sizzle in the air? It's hard to tell, and with the music is as warm as the lyric is cool, the tune has a delicious tension. "I Wish I Could Go Traveling Again" sounds like the kind of tune Noel Coward used to write, full of urbane humor and references to "overpriced hotels devoid of charm". Its melancholy meditation on lost love is enhanced by John Parricelli's rippling guitar and Graham Harvey's subtle bluesy piano. Kent slows down "What a Wonderful World" making it sound more blue than celebratory. Her wistful phrasing imbues the song with a painful melancholy. Each player steps out for brief impressive solos, but mainly they lay back and support their boss's unobtrusive style.
j. poet, AMG

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Katie Melua - Call Off The Search (2003)

2008-08-28T09:55:00.004+04:00

Artist: Katie Melua
Album: Call off the Search
Label: Dramatico Entertainment Ltd.
Original Release Date: Nov 3, 2003
Genre: Vocal Style: Adult, Alternative Pop/ Rock, Vocal Jazz, Jazz Blues
Format, bitrate: MP3@320 kbit/s
Time: 41:16
Size: 95 MB

Предлагаю вашему вниманию альбом "Call off the Search" 2003 года. На данный момент он считается наиболее успешным в карьере певицы.

Tracks:
01. Call Off The Search 03:23
02. Crawling Up A Hill 03:25
03. The Closest Thing To Crazy 04:13
04. My Aphrodisiac Is You 03:33
05. Learnin' The Blues 03:24
06. Blame It On The Moon 03:46
07. Belfast (Penguins And Cats) 03:22
08. I Think It's Going To Rain Today 02:29
09. Mockingbird Song 03:07
10. Tiger In The Night 03:08
11. Faraway Voice 03:13
12. Lilac Wine 04:13

Personnel:
Katie Melua - vocals, guitar
Jim Cregan - guitar
Mike Batt - piano, organ
Tim Harries - bass instrument
Michael Kruk - drums
Chris Spedding - guitar
Henry Spinetti - drums

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Review:
English listeners went mad for Katie Melua with the release of her debut album there in late 2003. Issued domestically in June 2004, Call Off the Search posits the lovely Melua pristinely in between pop, adult contemporary, and traditional American musical forms, with savvy marketing handling the finishing touches. (Think Norah Jones.) It's a comfortable, lightly melodic affair that drinks red wine safely in the middle of the road. Raised in Soviet Georgia and the United Kingdom, Melua has a beguiling accent that colors the ends of her phrases, adding character to her velvety, if occasionally only satisfactory singing voice. She has a nice time with the understated R&B sashay of John Mayall's "Crawling Up a Hill," as well as Mike Batt's "My Aphrodisiac Is You," which is spiced up with barrelhouse piano, muted trumpet, and sly references to opium and the Kama Sutra. The singer's own "Belfast (Penguins and Cats)" opens nicely with a few measures of solo acoustic guitar before it's joined by the orchestral maneuvers that sweep through the majority of Call Off the Search's after-dark cabaret. (Melua also penned a dedication to Eva Cassidy, who she's been compared to vocally.) While the instrumentation is never overbearing, a stoic version of Randy Newman's "I Think It's Going to Rain Today" and a couple of late-album pop vocal entries do dawdle a bit in the soft-focus halo that hovers over Search's more easygoing stretches. These selections are perfectly capable, yet pretty obvious, as if the decision was made to sprinkle Melua's debut equally with safety and variety, in case a particular style didn't stick. Still, despite a few detours down easy street, Call Off the Search is a promising debut, and comfortable like the first drink of the evening.
Johnny Loftus, AMG

Any notions of Katie Melua being a calculated Norah Jones knockoff fly out the window within seconds of listening to the jazzy chanteuse's wispy, sultry voice on her debut CALL OFF THE SEARCH. Like her idol, the late Eva Cassidy, in tribute to whom Melua penned the fetching "Faraway Voice," the young singer is clearly one of those fortunate souls who feels music in every fiber of their being.
It's somewhat surprising to note that the songs, which have the feel of Gramophone antiquity, were actually written by the singer herself or her mentor Mike Batt. Mixed in with the originals are some truly lovely covers including a heart-wrenching rendition of Randy Newman's "I Think It's Going to Rain Today" and a soulful version of John Mayall's "Crawling Up a Hill." Melua's vocals lie somewhere between the introverted pop quiver of Sarah McLachlan and the debauched croon of Billie Holiday, an otherworldly and appealing voice that makes CALL OFF THE SEARCH an intriguing first outing.
cduniverse.com

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Al DiMeola - Orange and blue (1994)

2008-08-27T16:38:00.010+04:00

Artist: Al Di Meola
Album: Orange and blue
Label: Bluemoon
Original Release: 1994
Release Date: 12/27/2006
Format, bitrate: MP3@320 kb/s
Time: 59:25
Size: 75 + 57 MB

Один из самых известных джазовых гитаристов мира с очень интересным альбомом. Критики Allmusic не особенно высоко оценивают этот альбом, хотя мне этот диск нравится.

Track list:
1. Paradisio
2. Chilean Pipe Song
3. Ta'alina Chant
4. Orange And Blue
5. This Way Before
6. Summer Country Song
7. If We Meet Again, Part One
8. If We Meet Again, Part Two
9. Cyprus
10. Theme Of The Mother Ship
11. Precious Little You
12. Casmir
13. On My Own

Personnel: Al DiMeola (acoustic, electric, classical & 12-string guitars, Kurzweil piccolo flute, pipes, violin, Hawaiian string harp, santour, piano, synthesizer, drums, tablas, cymbals, shakers, percussion, finger snaps); Hernan Romero (vocals, acoustic guitar, double-neck charango, piano, synthesizer, bells, finger snaps); George Dalaras, Noa (vocals); Andres Boyarski (saxophone); Mike Pinella (trumpet); Conrad Herwig (trombone); Simon Shaheen (violin); Mario Parmisano (strings, piano, Fender Rhodes piano, Hammond organ, keyboards, bass, finger snaps); Marc Johnson (acoustic bass); Pino Palladino (electric & fretless basses); Peter Erskine, Manu Katche, Steve Gadd (drums); Gumbi Ortiz (congas, bongos).
Principally recorded at The Power Station, The Hit Factory and Manhattan Center Studios, New York, New York.

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Al di Meola's passion for the acoustic guitar has not diminished his love of electric music. Upon collaboration with Gibson, the Al di Meola Jazz Guitar was issued. In stark contrast to his customary Les Paul, this guitar is a large hollow-body similar to an L-5. The jazz guitar allows di Meola to achieve a warmer tone; however, he seemed to be going through a Pat Metheny stage at the time of this recording. The upside is that di Meola's solos combine his remarkable control with a newfound sense of swing, the downside being that he seems to have lost some of his identity. "Chilean Pipe Song" stands as one of di Meola's most memorable compositions. The supporting cast of Mario Parmisano and Peter Erskine greatly enhance the music, as each is a distinguishable and tasteful musician. Erskine particularly shines on "Summer Country Song." The one burner here is "Casmir," a fast-paced tune reminiscent of the Elegant Gypsy days. "On My Own" features di Meola's debut on piano. It is by no means anything spectacular, but it does reaffirm his continued exploration and growth. The strong playing and quality of the compositions make this recommended despite the Metheny flavorings.
Review by Robert Taylor, AMG

Down Beat (11/94, p.50) - 3.5 Stars - Good - "...mines the Metheny motherlode (lilting Brazilian-flavored pop-jazz with falsetto vocals doubling guitar lines) while interjecting his own trademark bravado along the way..."

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Dexter Gordon Quartet - Heartaches (1965)

2008-08-27T16:26:00.009+04:00

Artist - Dexter Gordon Quartet
Album - Heartaches
Recording Date - 5 August 1965
Type - Compilation, Live
Label - Steeplechase
Genre - Jazz, Style - Hard Bop
Format/Bitrate - MP3/320 kbps
Size - 75 + 37 Mb

Хотелось бы предложить вашему вниманию два альбома Dexter Gordon Quartet, относящихся к тому периоду творчества, когда Dexter Gordon после проблем с наркотиками покинул Штаты и жил в Европе.

Tracks:
1. Heartaches 14:15
2. Devilette 12:26
3. You've Changed 10:20
4. Introduction 0:58
5. So What? 9:44

Personnel:
Dexter Gordon - tenor saxophone
Kenny Drew - piano
Niels Pedersen - bass
Alex Riel - drums

Recorded live at Monmartre Jazzhus, Copenhagen, August 1965.

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Review:
This Steeplechase set features Dexter Gordon during his long European sojourn. Recorded live in 1965 in Paris, Gordon is accompanied by the great bassist Niels-Henning Ørsted Pedersen, pianist Kenny Drew, and drummer Alex Riel. There are four cuts here, and they include the title track, a standard set to a burning tempo, a gorgeous balladic read of "You've Changed," a swaggering swinger in Ben Tucker's "Devilette", and a strutting, bluesed-out version of Miles Davis' "So What." The recording quality can be a tiny bit iffy at times, but the performance is stellar and more than makes up for the few rough spots in the session. Recommended.
Thom Jurek, Allmusic.com

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Jimmy Smith - In a Plain Brown Wrapper (1971)

2008-08-27T16:26:00.008+04:00

Artist: Jimmy Smith
Album: Jimmy Smith in a Plain Brown Wrapper
Label: Verve
Genre: Jazz
Style: Soul-Jazz, Hard Bop
Recording Date: 1971, MGM Recording Studios, Hollywood, California
Recording Time: 41:50
Format, bitrate: MP3@320 kbit/s
Size: 89 MB

Рад предложить вашему вниманию еще один альбом "Jimmy Smith in a Plain Brown Wrapper". Запись сделана в 1971 году в несколько нетипичной манере для Джимми Смита. Кроме того, на всех вещах Джимми Смит еще и поет.

Tracklist:
1. Recession Or Depression 3:24
2. Jimmy Smith Is A Midnight Cowboy 4:20
3. Freedom And Justice 4:36
4. Zodiac Song 8:54
5. Number One 3:43
6. Love Is Mission Impossible 6:00
7. No Substitute For Love 4:48
8. I Don't Know 6:05

Performer:
The Latin Jazz Quintet - Performer
Shirley Scott - Performer
Jimmy Smith - Organ, Vocals
Larry Williams - arranger, producer
Dave Blumberg - arranger (strings and horns)

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Review:
Another album, another style. From this vantage point, it's something of a mystery as to what was going on with Jimmy Smith's career here. Was he getting restless with what he was playing, or was Verve behind the continually changing styles, fearing declining sales? Was the chopping and changing, in fact, causing declining sales? It's not an answer that is easy to find. The results, however, are a schizophrenic series of albums. No one style is adhered to for more than one album at a time. Take this one, for example. Previously, I'm Gon' Git Myself Together saw Jimmy's first move into jazz funk, with a heavy rockish sound. This time he's moved entirely into funk, but it sounds nothing like the funk of the previous album. There is no evolution at all, which does cause many of the above questions to arise. That aside, it is a funky album and rather a rare one, although one that has so much of Larry Williams stamp on it (he writes, arranges and produces here) as to make it seem more of a joint album. The biggest shock is that Jimmy sings on every song, which was a first and something never to be repeated. As far as old jazz hands adapting to the funk, it's a pretty good album. In terms of Jimmy's overall career, it is a lesser effort. If you like the funk and you like Jimmy, you'll probably get a kick out of it.

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Dexter Gordon Quintet - Ladybird (1965)

2008-08-27T16:21:00.010+04:00

Artist - Dexter Gordon Quintet
Album - Ladybird
Release Date - Feb 15, 2005
Recording Date - Aug 19, 1965
Type - Complation, Live
Label - Steeplechase
Genre - Jazz, Style - Bop, Hard Bop
Format/Bitrate - MP3/320 kbps
Size - 75 + 38 Mb

Tracks:
1. Ladybird Dameron 2:03
2. So What Davis 12:37
3. Who Can I Turn To (When Nobody Needs Me) Bricusse, Newley 1:21
4. Blues by Five Davis 4:12

Personnel:
Dexter Gordon, tenor saxophone
Donald Byrd, trumpet
Kenny Drew, piano
Niels Pedersen, bass
Alex Riel, drums
Nils Winther, Producer, Restoration

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Review:
The latest offering from the seemingly bottomless Danmarks Radio Archive, this disc presents another air shot of Gordon’s lengthy mid-1960s Cafe Montmarte stint. Dex’s sizable cachet as an expatriate jazz icon prompted a nightly spooling of the tape machines. The resulting cache, so far doled out one set at a time, documents a particularly fertile time for the saxophonist. Shortly after arriving on European shores he teamed with pianist Kenny Drew and a topflight pair of locals in the persons of Pedersen and Riel, set up shop and enjoyed a more relaxed lifestyle than the scuffling of his earlier Big Apple years. This package is a bit different from the previous ones in that it presents trumpeter Donald Byrd, a fellow NYC emigre, sitting in with the working group.
The top-heavy program revolves around extended readings of two standards: the Tad Dameron-penned title track and a blue-chip modal number from the best-selling jazz album of all-time. After a brief ensemble stroll through theme Gordon essays a hungry, if slightly boilerplate solo that swallows up a healthy string of choruses. Byrd follows, cooler in cast and surfing across Riel’s frothy snare and cymbal-driven fills with a succession of slightly smeared runs. Pithy Drew and Pedersen statements follow. Riel lends steady hi-hat and sharp, textured brushwork to the latter’s deft pizzicato exposition and the two wear their advanced postbop pedigrees proudly. The piece winds up with a short spate of robust exchanges between Riel and the rest. These closing minutes are marred by a recurring and intrusive tape warble that ends up sounding oddly like a third remedial horn.
“So What” receives a comparably elongated reading with Pedersen paying homage to and capaciously expanding on Paul Chambers’ original epochal role. After the familiar bass invocation and riffing theme Gordon breaks away and spools out a sultry solo flanked briefly by just Pedersen and Riel at a brisk, but effervescent tempo. As on the previous cut, Drew delivers deft complementary chords that push the action without prodding it. Byrd’s improvisation unfolds in the leader’s wake, displaying a bit of the gelid clarity that was the composer’s calling card. Pedersen brings up the rear with another compact colloquium on killer contrabass technique. The horns wisely abstain from reentry and let it stand as the denouement.
Byrd sits out on a luxurious “Who Can I Turn To?”, but the band returns to full-size for the closer, another Miles Davis’ tune, “Blues By Five.” The trumpeter’s presence and the high degree of rapport shared by the rhythm section make this date one of note. Coupled with a tune choice that strays dexterously in more challenging directions than the band’s usual diet of bop standards it’s a welcome program that finds Gordon in a limber and exploratory mode. Foibles in fidelity aside, Dex aficionados will be sold on the disc’s face value. But casual listeners will probably also be pleasingly surprised by the caliber of this classic conclave.
Bagatellen.com

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Jean-Luc Ponty - Individual Choice (1983)

2008-08-27T16:21:00.009+04:00

Artist: Jean-Luc Ponty
Album: Individual Choice
Label: Atlantic
Release Date: Mar 1983-May 1983
Genre: Jazz, Style: Fusion, Post-Bop, Crossover Jazz
Format, bitrate: MP3@320 kbit/s
Time: 37:05
Size: 87,5 MB

Tracklisting:
1. Computer Incantations for World Peace (5:41)
2. Far from the Beaten Paths (5:59)
3. In Spiritual Love (7:01)
4. Eulogy to Oscar Romero (2:32)
5. Nostalgia (5:02)
6. Individual Choice (4:56)
7. In Spite of All (5:55)

Total Time: 37:06

Personnel:
Jean-Luc Ponty (violin, keyboards, organ, synthesizer, programming);
Allan Holdsworth (guitar);
George Duke (Mini-moog);
Randy Jackson (bass);
Rayford Griffin (drums).

Principally recorded at The Music Grinder and Cherokee Recording Studio, Los Angeles, California from March to May 1983.

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Review:
Here is Ponty's radical break with his past, one that further tightened his control over his craft while ironically liberating his muse. In laying out his attractive new music on synthesizers and sequencers, emphasizing revolving ostinato patterns, Ponty rejuvenated his melodic gift, and as a result, even in this controlled setting, his violin solos take on a new freshness and exuberance. Except for two tracks, Ponty does without a formal rhythm section — and on two other tracks, he goes it completely alone. Indeed, he does best of all when he has no one but himself to play with on "Computer Incantations for World Peace" and the lovely mood piece "Eulogy to Oscar Romero." Guest interloper George Duke (a fellow refugee from Frank Zappa's band) contributes a Minimoog solo to "In Spiritual Love," where Ponty provides his own percussive backing on rhythm computer. Even if one grumbles on principle about the reduction of spontaneity in Ponty's music over the Atlantic years, the musical end here absolutely justifies the means. Don't miss it.
Richard S. Ginell, All Music Guide

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Hound Dog Taylor & The Houserockers - Natural Boogie (1973)

2008-08-26T15:25:00.011+04:00

Artist: Hound Dog Taylor and the HouseRockers
Album: Natural Boogie
Release Date: 1973
Label: Alligator
Genre: Blues
Style: Slide Guitar Blues, Electric Chicago Blues, Chicago Blues
Quality: mp3, 320 kbps
Time: 40:18
Size: 82 Мб + Covers

Хочу сказать, что данный альбом - это нечто удивительное. Я был дважды удивлен. Посмотрев на обложку, я подумал, что ветеран блюза будет исполнять что-то грустно-печальное. И ошибся: ветеран отжигает блюз/рок не хуже Элвиса. Заинтересовавшись, посмотрел биографию: второе удивление: родился в 1915 году, умер в 1975, первый альбом выпустил в 1971(!), что, согласитесь, не типично. "Natural Boogie" - второй альбом, записанный в 1973 году. Желаю всем приятного прослушивания.

Track list:

1. Take Five 2:44
2. Hawaiian Boogie 2:42
3. See Me In The Evening 5:08
4. You Can't Sit Down 3:25
5. Sitting At Home Alone 4:19
6. One More Time 2:26
7. Roll Your Moneymaker 4:02
8. Buster's Boogie 3:22
9. Sadie 6:13
10. Talk To My Baby aka I Can't Hold Out 3:17
11. Goodnight Boogie 3:24

Credits:
Hound Dog Taylor (Guitar), Hound Dog Taylor (Vocals), Hound Dog Taylor (Producer), Hound Dog Taylor (Main Performer), Stu Black (Engineer), Stu Black (Mixing), Ted Harvey (Drums), Bruce Iglauer (Producer), Brewer Phillips (Guitar), Tom Coyne (Mastering), Michael Trossman (Cover Design)

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Album Review:
Hound Dog Taylor's second album was every bit as wild as the first, bringing with it a fatter sound and a wider range of emotions and music. A recut here of Taylor's first single, "Take Five," totally burns the original while the smoldering intensity of "See Me in the Evening" and "Sadie" take this album to places the first one never reached.
Cub Koda, AMG

(Hound Dog Taylor - g, voc; Brewer Phillips - g; Ted Harvey or Levi Warren - dr)

Шеф «Аллигатор Рекордз» Брюс Иглауэр называл Хаунд Дог Тэйлора и его группу The Houserockers самыми искренними и непосредственными блюзменами, которых он когда-либо слышал. Он говорил: «Ни один другой блюз-бэнд не получал столько буквально детского удовольствия от игры перед публикой. Причем совершенно неважно, сколько этой публики было — десять ли человек в чикагском баре, несколько ли тысяч на фестивале — они всегда вели себя одинаково и, казалось, сами получали большее наслаждение от концерта, чем слушатели». Собственно говоря, Иглауэр и основал свой лейбл в 1971 году для того, чтобы издать альбом Хаунд Дог Тэйлора.
К сожалению, гитарист и вокалист неожиданно умер в 1975 году, успев записать всего три альбома. В 1982 году на «Аллигаторе» выходит четвертый альбом с неизданными ранее записями, в 1999 — сборка лучших вещей Deluxe Edition, и вот теперь Брюс Иглауэр, покопавшись в концертных старых записях группы, понял, что многие песни абсолютно достойны переиздания в таком варианте, несмотря на все технические огрехи. Так что перед вами — концертный альбом со знакомыми вещами, но исполненными в гораздо более бесшабашной и отвязной манере по сравнению со студийными версиями. И опять же говорит сам Иглауэр: «Как только я начинаю слушать эти старые концертники, у меня на губах появляется улыбка, голова начинает кивать в такт музыке и я вновь понимаю, что это был самый жизнерадостный блюз, который мне только доводилось слышать».

Евгений ДОЛГИХ

© 2007 Jazz-Квадрат

Biography:
Birth Name: Theodore Roosevelt Taylor
Born: Apr 12, 1915 in Natchez, Mississippi
Died: Dec 17, 1975 in Chicago
Genre: Blues
Active: '60s, '70s
Instruments: Slide Guitar, Vocals, Guitar

Alligator Records, Chicago's leading contemporary blues label, might never have been launched at all if not for the crashing, slashing slide guitar antics of Hound Dog Taylor. Bruce Iglauer, then an employee of Delmark Records, couldn't convince his boss, Bob Koester, of Taylor's potential, so Iglauer took matters into his own hands. In 1971, Alligator was born for the express purpose of releasing Hound Dog's debut album. We all know what transpired after that.

Named after President Theodore Roosevelt, Mississippi-native Taylor took up the guitar when he was 20 years old. He made a few appearances on Sonny Boy Williamson's fabled KFFA King Biscuit Time radio broadcasts out of Helena, AR, before coming to Chicago in 1942. It was another 15 years before Taylor made blues his full-time vocation, though. Taylor was a favorite on the South and West sides during the late '50s and early '60s. It's generally accepted that Freddy King copped a good portion of his classic "Hide Away" from an instrumental he heard Taylor cranking out on the bandstand.

Taylor's pre-Alligator credits were light -- only a 1960 single for Cadillac Baby's Bea & Baby imprint ("Baby Is Coming Home"/"Take Five"), a 1962 45 for Carl Jones's Firma Records ("Christine"/"Alley Music"), and a 1967 effort for Checker ("Watch Out"/"Down Home") predated his output for Iglauer.

Taylor's relentlessly raucous band, the HouseRockers, consisted of only two men, though their combined racket sounded like quite a few more. Second guitarist Brewer Phillips, who often supplied buzzing pseudo-bass lines on his guitar, had developed such an empathy with Taylor that their guitars intertwined with ESP-like force, while drummer Ted Harvey kept everything moving along at a brisk pace.

Their eponymous 1971 debut LP contained the typically rowdy "Give Me Back My Wig," while Taylor's first Alligator encore in 1973, Natural Boogie, boasted the hypnotic "Sadie" and a stomping "Roll Your Moneymaker." Beware of the Dog, a live set, vividly captured the good-time vibe that the perpetually beaming guitarist emanated, but Taylor didn't live to see its release -- he died of cancer shortly before it hit the shelves.

Hound Dog Taylor was the obvious inspiration for Alligator's "Genuine Houserocking Music" motto, a credo Iglauer's firm still tries to live up to today. He wasn't the most accomplished of slide guitarists, but Hound Dog Taylor could definitely rock any house he played at.

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Gene Ammons - Jammin' With Gene (1956)

2008-08-26T15:10:00.008+04:00

Artist: Gene Ammons
Album: Jammin' With Gene
Recording Date: Jul 13, 1956
Label: Prestige/OJC (Original Jazz Classics)
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format mp3, bitrate: mp3, 320 Kbps
Time: 40:21
Size: 89 Mb

Предлагаю вашему вниманию одну из джем-сейшн тенор-саксофониста Gene Ammons записанную в 1956 году. Приятного прослушивания.

Tracks:
1. Jammin' With Gene
2. We'll Be Together Again
3. Not Really The Blues

Personnel Gene Ammons All Stars: Gene Ammons (tenor saxophone); Jackie McLean (alto saxophone); Art Farmer, Donald Byrd (trumpet); Mal Waldron (piano); Doug Watkins (bass); Art Taylor (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on July 13, 1956. Originally released on Prestige (7060). Includes liner notes by Doug Ramsey and Ira Gitler. Digitally remastered by Phil De Lancie (1991, Fantasy Studios, Berkeley, California).

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Review:
This tenor-saxophonist led a series of excellent all-star jam sessions for the Prestige label during the mid-'50s that took advantage of the extra time available on LPs (as opposed to the three-minute 78). This album features versions of "Jammin' with Gene" (a blues), "We'll Be Together Again" (which evolves from being an Ammons ballad feature into a group jam and then back again) and "Not Really the Blues" that clocks in between ten and over 16 minutes. With such sidemen as trumpeters Art Farmer and Donald Byrd, altoist Jackie McLean, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor, this is an excellent (and rather spontaneous) straightahead session.
Scott Yanow, AMG

Ammons recorded quite a few dates with a varying cast of All Stars. JAMMIN' WITH GENE is from a session recorded in July of 1956. The album features the trumpets of Art Farmer and Donald Byrd, Jackie McLean on alto sax, Mal Waldron on piano, and a rhythm section comprised of bass player Doug Watkins and drummer Art Taylor. A decidedly relaxed vibe runs through the three extended tunes. The opening title cut gives plenty of room to the distinctive soloists before slowing down for the ballad "We'll Be Together Again." Things tpick up to with the propulsive, 16-minute "Not Really the Blues." Taylor absolutely sparkles on this one, his high hat and snare galloping along as he punctuates the soloing horn players with ecstatic hits and rolls on his toms.
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Gene Ammons - Blue Gene (1969)

2008-08-26T15:10:00.007+04:00

Artist: Gene Ammons
Album: Blue Gene
Recording Date: May 2, 1958
Release Date: May 3, 1958
Year: 1947 - 1964, release 1996
Label: Original Jazz Classics
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format mp3, bitrate: mp3, 320 Kbps
Time: 40:31
Size: 95 Mb

Стал известен, работая в 1944–47 в оркестре Билли Экстайна. В 1949 заменил Стэна Гетца в биг-бэнде Вуди Германа. В 1950 организовал ансамбль, в котором постоянно устраивал "бои" двух тенор-саксофонистов (партнером был Сонни Стит), о чем свидетельствуют альбомы Boss Tenor и Soul Summit. После распада ансамбля в 1952 работал в чикагских клубах, выезжая в Нью-Йорк только на записи. В 1958 начались неприятности — у него обнаружили наркотики, последовал арест. После скорого освобождения вновь начал играть с Сонни Ститом, но недолго. В 1962 году при втором задержании с партией наркотиков угодил на семь лет в тюрьму, где ему через некоторое время разрешили создать джазовый ансамбль. Это помогло ему выйти из заключения в хорошей форме и сразу же записать несколько успешных альбомов.

Tracks:
1. Blue Gene
2. Scamperin'
3. Blue Greens And Beans
4. Hip Tip

Personnel:
Gene Ammons (tenor saxophone)
Pepper Adams (baritone saxophone)
Idrees Sulieman (trumpet)
Mal Waldron (piano)
Doug Watkins (bass)
Art Taylor (drums)
Ray Barretto (congas)

Recorded in New York, New York on May 2, 1958. Originally released on Prestige (7146). Includes original release liner notes by Ira Gitler. Digitally remastered by Joe Tarantino (Fantasy Studios, Berkeley, California).

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Review:
The final of his series of jam sessions for Prestige features an excellent septet (the leader on tenor, trumpeter Idrees Sulieman, baritonist Pepper Adams, pianist Mal Waldron, bassist Doug Watkins, drummer Art Taylor and Ray Barretto on congas) stretching out on three original blues and the ballad "Hip Tip"; all four pieces were written by Waldron. Few surprises occur but everyone plays up to their usual high level. This enjoyable straightahead CD is a reissue of the original LP.
Scott Yanow, AMG

Another of the mid-1950s Ammons studio jam sessions for Prestige, Blue Gene lives up to its title by utilizing blues changes as the basis for three of its four selections. Pianist Mal Waldron wrote all these lines and the minor-key ballad, "Hip Tip." Ammons was one of the most expressive saxophonists and, in Idrees Sulieman and Pepper Adams, he found soulmates among the other horns. Each man had jammed with Gene on Prestige previously.

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Gene Ammons - Funky (1957)

2008-08-26T15:02:00.008+04:00

Artist: Gene Ammons
Album: Funky
Recording Date: Jan 11, 1957
Label: OJC (Original Jazz Classics)
Genre: Jazz Style: Soul-Jazz, Hard Bop
Format mp3, bitrate: mp3, 320 Kbps
Time: 39:24
Size: 87 Mb

Предлагаю вашему вниманию еще одну джем-сейшн тенор-саксофониста Gene Ammons записанную в 1957 году в составе Gene Ammons All Stars.

Tracks:
1. Funky (Burrell ) 9:01
2. Pint Size (Mundy ) 12:23
3. Stella By Starlight (Washington, Young) 8:57
4. King Size (Mundy) 9:16

Personnel:
Gene Ammons (tenor saxophone);
Jackie McLean (alto saxophone);
Art Farmer (trumpet);
Mal Waldron (piano);
Kenny Burrell (guitar);
Doug Watkins (bass);
Art Taylor (drums).

Recorded at the Van Gelder Studio, Hackensack, New Jersey on January 11, 1957.
Digitally remastered by Kirk Felton (1992, Fantasy Studios, Berkeley, California).

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Review:
The Gene Ammons all-star jam session recordings of the 1950's are all quite enjoyable and this one is no exception. The great tenor is matched with trumpeter Art Farmer, altoist Jackie McLean, guitarist Kenny Burrell, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor for lengthy versions of "Stella By Starlight," the Burrell blues "Funky" and a pair of numbers by arranger Jimmy Mundy. All of the horns plus Burrell and Waldron get ample solo space and Ammons seems to really inspire his sidemen on these soulful bop jams.
Scott Yanow, AMG

The cast of FUNKY resembles that of Ammons' THE HAPPY BLUES, recorded a year earlier. Ammons' varying All Stars lineup again features a rich frontline, with his tenor saxophone joined by Jackie McLean's alto and Art Farmer's trumpet. This time out, the All Stars sail over a quartet of guitarist Kenny Burrell, pianist Mal Waldron, bass player Doug Watkins, and drummer Arthur Taylor.
The four extended tunes allow ample space for each of the richly charismatic soloists. Burrell's title tune starts things off with a relaxed groove pretty much characteristic of the whole set. Things slow down for the lush balladry of "Stella by Starlight," which shows off Waldron's stylish support to great effect. Shortly after this session, Waldron would be heard accompanying Billie Holiday for the last two years of her life.
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Chuck Brown & Eva Cassidy - The Other Side (1992)

2008-08-26T15:02:00.007+04:00

Artist: Chuck Brown & Eva Cassidy
Album: The Other Side
Release Date: 1992
Label: Liason
Genre: R&B Style: R&B
Format/bitrate: mp3/320 Kbps
Time: 53:17
Size: 75 + 55 Mb

Предлагаю вашему вниманию интересный альбом, на котором записан дуэт вокалистов Chuck Brown & Eva Cassidy. Стиль исполнения мягкий, подходящий для отдыха или романтического ужина.
Приятного прослушивания.

Tracklist:
1. Let The Good Times Roll
2. Fever
3. You Don't Know Me
4. I Could Have Told You So
5. Gee Baby, Ain't I Good To You
6. I'll Go Crazy
7. You Don't Know What Love Is
8. Drown In My Own Tears
9. God Bless The Child
10. Red Top
11. Dark End Of The Street, The
12. Shadow Of Your Smile, The
13. Over The Rainbow
14. You've Changed

Personnel: Chuck Brown (vocals, guitar); Eva Cassidy (vocals, guitar, keyboards); Keith Grimes, Dave Lourim (guitar); Dan Cassidy (violin); Matthew Allen (strings); Philip Jehle (clarinet); Tom Crawford, Donnell Floyd, C.J. (saxophone); Gilbert Pryor, The Reverend Pope, "Little" Benny Harley (trumpet); Roy Battle (trombone); Lenny Williams (piano, vibes); Mark "Godfather" Lawson (organ); Kent Wood (organ, synthesizer); Chris Biondo (bass, congas); Keter Betts (upright bass); Raice McLeod, Jim Campbell, Ju Ju House (drums); William Cook (congas); Darryl Andrews (percussion).
Recorded at Chris Biondo's, Glendale, Maryland.
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Online CD shops where you can sample tracks before purchasing the disc are especially helpful with Chuck Brown, whose music is rarely programmed on radio. The Other Side consists of '40s and '50s supper-club sounds. Eva Cassidy sings on more than half of the tracks, soloing and performing a number of duets, including "You Don't Know Me," "I Could Have Told You So," and "I'll Go Crazy." The '60s deep soul classic "Dark End of the Street" is the most modern song. Lovers of '50s MOR will love this release; everyone else, will not.
Andrew Hamilton, AMG

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Al Di Meola, John Mclaughlin, Paco De Lucia - The Guitar Trio (1996)

2008-08-26T11:20:00.007+04:00

Artists: Al DiMeola, John Mclaughlin, Paco De Lucia
Album: The Guitar Trio
Label: Verve
Recording Date: May 1996-Jul 1996
Release Date: 10/15/1996
Genre: Jazz
Style: Fusion, Post-Bop
Format, bitrate: MP3@320 kb/s
Time: 53:02
Size: 75 + 45 MB

Track list:

1. La Estiba
2. Beyond The Mirage
3. Midsummer Night
4. Manha De Carnaval
5. Letter From India
6. Espiritu
7. Le Monastere Dans Les Montagnes
8. Azzura
9. Cardeosa

Personnel: Paco De Lucia, John McLaughlin (guitar); Al DiMeola (guitar, percussion). Producers: Paco De Lucia, Al DiMeola, John McLaughlin. Engineers: Stuart Bruce, Russell Kearney.

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Review
The acoustic guitar trio of John McLaughlin, Al DiMeola, and Paco DeLucia can always be relied upon to create quiet but fiery music. The three virtuosos always sound restrained and tasteful (yet inwardly explosive) when they play together. This 1996 effort has three originals apiece from McLaughlin and DiMeola, two by DeLucia and a beautiful McLaughlin-DiMeola duet on "Manha de Carnaval" that makes one wish they would more fully explore bossa nova. Most of the selections are thoughtful, but there are also plenty of explosive outbursts for contrast (along with the jubilant closer "Cardeosa") on the highly arranged yet spontaneous-sounding program.
by Scott Yanow, AMG

Down Beat (3/97, p.46) - 3 Stars - (out of 5) - "...they find synergies that carry them to previously uncharted regions of speed-freak guitar nirvana. Their collective attainment is astonishing....a killer hi-fi demonstration album..." Musician (3/97, p.94) - "...brims with tight, fiery arrangements, daredevil solos, and inventive compositions, especially from McLaughlin's pen....it's nice to hear fretboard firepower in the service of more ambitious musicality."

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Jimmy Smith & Wes Montgomery - Further Adventures Of Jimmy & Wes (1966)

2008-08-26T11:08:00.013+04:00

Artist: Jimmy Smith и Wes Montgomery
Album: The Further Adventures Of Jimmy & Wes
Recording Date: Sep 21, 1966-Sep 28, 1966
Label: Verve
Genre: Jazz
Style: Soul-Jazz, Hard Bop
Format/Bitrate: MP3/320
Time: 31:35
Size: 97 MB

Track list:
1. King Of The Road (Miller) 4:13
2. Maybe September (Evans, Faith, Livingston) 6:24
3. OGD (AKA Road Song) (Montgomery) 6:08
4. Call Me (Hatch) 3:13
5. Milestones (Davis) 4:12
6. Mellow Mood (Smith) 8:44
7. 'Round Midnight (Hanighen, Monk, Williams) 7:18

Personel:
Bob Ashton Flute, Sax (Tenor), Woodwind
Danny Bank Flute, Clarinet (Bass), Sax (Baritone), Woodwind
Ray Barretto Percussion
Jimmy Cleveland Trombone
Richard Davis Bass
Dick Hixson Trombone
Quentin Jackson Trombone
Melba Liston Trombone
Jimmy Maxwell Trumpet
Wes Montgomery Guitar, Performer
Aric Lach Morrison Producer, Production Assistant, Assistant Producer
Oliver Nelson Arranger, Conductor
Joe Newman Trumpet
Jerome Richardson Clarinet, Flute, Woodwind
Ernie Royal Trumpet
Gene Santoro Liner Notes
Jon Schapiro Producer, Production Assistant, Assistant Producer
Jimmy Smith Organ, Organ (Hammond), Performer
Tony Studd Trombone (Bass)
Grady Tate Drums
Creed Taylor Producer
Clark Terry Trumpet, Flugelhorn
Shawn Wilson-Bunyan Design, Design Coordinator
Phil Woods Clarinet, Sax (Alto), Woodwind

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Further Adventures of Jimmy and Wes picks up where Dynamic Duo left off, digging a little further into the one-time-only Wes Montgomery/Jimmy Smith sessions and coming up with more fine music -- mellower in general than Dynamic Duo but first-class nonetheless. Unlike most of the studio sessions from this time, Montgomery gets plenty of room for his single-string work as well as his famous octaves, and both techniques find him in full, mature bloom, needing fewer notes in which to say more (Smith, of course, is precisely the opposite). All but one of the tracks on the original LP find Smith and Montgomery interacting only with themselves, the drums of Grady Tate, and the congas of Ray Barretto; Roger Miller's "King of the Road" (not often covered by jazzers) and Montgomery's "O.G.D." (later known as "Road Song") come off best. Oliver Nelson's big band makes a sole appearance with a swaggering chart of "Milestones." Though Dynamic Duo is probably the priority purchase by a hairsbreadth margin, you'll need to have both that album and Further Adventures eventually.
Richard S. Ginell, AMG

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Larry Carlton - Last Nite (1986)

2008-08-26T11:08:00.012+04:00

Исполнитель: Larry Carlton
Название диска: Last Nite
Label: MCA
Genre: Jazz
Styles: Fusion; Crossover Jazz; Smooth Jazz
Release: 17 февраля 1986
Количество треков: 6
Формат|Качество: MP3|320 – 96 MB
Time: 43:54 min

Рад представить вам Ларри Карлтона. Концертная запись, которая считается лучшей в карьере этого музыканта.
Tracks:
1. So What (Davis) 7:57
2. Don't Give It Up (Carlton) 5:32
3. The B.P. Blues (Carlton) 7:53
4. All Blues (Davis) 8:18
5. Last Nite (Carlton) 7:57
6. Emotions Wound Us So (Carlton) 6:17

Personnel:
Larry Carlton Guitar, Producer
Alex Acuсa Percussion
Abraham Laboriel Bass
John "J.R." Robinson Drums
Terry Trotter Keyboards
Rik Pekkonen Engineer

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This live set is one of Larry Carlton's best recordings because the guitarist stretches himself. Joined by keyboardist Terry Trotter, bassist Abraham Laboriel, drummer John Robinson and percussionist Alex Acuna (and an occasional three-piece horn section), Carlton plays five- to eight-minute versions of four originals (including "The B.P. Blues"), plus Miles Davis's "So What" and "All Blues." Recorded at the Baked Potato in North Hollywood in California, Carlton is heard throughout at his very best, making one wonder why he has recorded so few albums of a similar spontaneous nature in his career. -- Scott Yanow, AMG

В большинстве энциклопедий и справочников Ларри Карлтон обозначен как джазовый музыкант. На самом деле это не совсем так. Один из самых востребованных студийных гитаристов (в наиболее урожайное время принимал участие в записи более 500 альбомов в год) за свою долгую карьеру переиграл музыку всех жанров и стилей. Кроме хард-рока и хэви метала. С выходом Fire Wire этот пробел был устранён. Альбом во многом напоминает предыдущий Sapphire Blue (2004) : схожий инструментальный состав, блюзовая основа многих композиций. Но звучание кардинальным образом изменилось: сделано всё, чтобы саунд был максимально тяжёлым, "тёмным". Не только мощный бас, риффы и лишённые верхних обертонов гитарные соло : медная секция порой как будто состоит из одних тромбонов. В то же время почти половина треков представляют собой по идее мелодичные композиции: медленный блюз "Naked Truth", своеобразный трибьют Питеру Грину "Surrender", очень красивая ,зыбко-атмосферная с интересной солирующей трубой "Goodbye" (что-то от знаменитого опять же гриновского "Альбатроса"). Есть даже лирический трек с акустической гитарой, впрочем, изрядно подпорченный каким-то маниакальным писком на протяжении всего номера. Остальное - качественный инструментальный хард-фьюжн, с настоящими метальными риффами в "Big Trouble", яркими фанковыми клавишами ("Dirty Donna's House Party", "The Prince", "Mean Street"). Поклонники хард-рока радостно потирают руки, любители традиционного Карлтона морщат лбы: уж не диск ли Джо Сатриани по ошибке положили в коробочку? -- papan © 2007 Jazz-Квадрат

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