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Bill Chase group Music » Jazz » Fusion » Jazz-Rock
Hej guys I,m looks Bill Chase jazz group. If somebody have this fantastic albums please upload asap! Thanks in advance!
1973: Joe Farrell - Penny Arcade Post-bop, Fusion, Crossover Jazz
1973: Joe Farrell - Penny Arcade
Artist: Joe Farrell
Album: Penny Arcade
Label: Wounded Bird
Year: 1973; Release: 2011
Format,bitrate: FLAC/Mp3 @320kbps
Time: 36:10
Size: 240.42 MB/92.89 MB

Joe Farrell gained his greatest fame with his popular string of CTI recordings. For this set, he performs three of his originals (none of which caught on), guitarist Joe Beck's "Penny Arcade," and a 13-minute version of Stevie Wonder's "Too High." Farrell (heard on tenor, soprano, flute and piccolo) is in excellent form, as are keyboardist Herbie Hancock, Beck, bassist Herb Bushler, drummer Steve Gadd and Don Alias on conga. As is true of his other CTI sets, this Joe Farrell effort expertly mixes together some slightly commercial elements and superior recording quality with strong solos.
~ Scott Yanow, All Music Guide

Killer CTI work from Joe Farrell with grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion a combo that's got a harder, tighter feel than most CTI groups a key reason why Joe's records of this time are so legendary! The album features a fantastic version of Stevie Wonder's "Too High" one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream". 1996-2014, Dusty Groove, Inc.
2004: Louisiana Washboard Five - Futuristic Rhythm Music » Jazz » Traditional Jazz
2004: Louisiana Washboard Five - Futuristic Rhythm
Artist: Louisiana Washboard Five
Album: Futuristic Rhythm
Label: Stomp Off 1398
Year: 2004 ; Release:2004
Format, bitrate:Mp3-320kbps
Size: 125 mb

Although listed as the Louisiana Washboard Five, the band heard on Futuristic Rhythm is actually a septet with Matthias Seuffert added on second reeds along with pianist Keith Nichols. Ole Mortoen Velde takes a guest vocal on the title cut while Nichols sings on two songs. This batch of revival classic jazz brings back five tunes by Jabbo Smith, three by Fats Waller, two Jelly Morton songs, and a variety of other vintage material. Steinar Saetre and Matthias Seuffert work very well together as the reed section, trumpeter Ketil Saethre provides a colorful lead and hot solos, and the rhythm section swings in 1920s fashion. The results are an enjoyable set of spirited and creative classic jazz. ~ Scott Yanow, All Music Guide
1975: Tom Scott - New York Connection Fusion, Crossover Jazz
1975: Tom Scott - New York Connection
Artist: Tom Scott
Album: New York Connection
Label: Epic/Sony Music Distribution
Year: 1975; Release: 1996
Format, bitrate: FLAC/Mp3 @320kbps
Time: 45:14
Size: 263 MB/108.67 MB

For New York Connection, Scott left his L.A. Express in California and ventured to the Big Apple to join forces with keyboardists Bob James and Richard Tee, guitarist Hugh McCracken, drummer Steve Gadd and others who -- like the saxman -- had decent jazz chops, but devoted much of their time to R&B/soul session work. While Scott was never in a class with Stanley Turrentine, Grover Washington, Jr. or David "Fathead" Newman, gritty, down-home smokers like "Midtown Rush," "Dirty Old Man" and "Look Out for Number Seven" provide additional evidence that he was indeed a capable, enjoyable soloist who, at the time, played from the heart. Though softer pieces such as "Time and Love" and the CD's title song make for a sort of disco-ish "easy listening," they're far more substantial than the rubbish that was to come.
~ Alex Henderson, All Music Guide
1957: Fats Waller - One Never Knows, Do One Music » Jazz » Traditional Jazz
1957: Fats Waller - One Never Knows, Do One
Artist: Fats Waller
Album: One Never Knows, Do One
Label: RCA Victor LP LPM-1503
Year: 1940's; release:1957
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 48:02
Size: 104.5 MB

Fats Waller (May 21, 1904 December 15, 1943) was an African-American jazz pianist, organist, composer, and entertainer. Fats Waller is one of the most beloved personalities in American music and one of jazz musics brightest stars. Though many knew him for his clown-like antics, he was primarily a beautiful pianist and organist who could create a type of spontaneous excitement impossible to replicate. Fats brought the stride style of piano playing fully into the swing era, both as a solo player and as the leader of a legendary small combo. He used his impeccable technique to produce a uniquely bouncy swing and improvise brilliantly.All in all, this is an album revealing another perspective of Waller that is credible and enjoyable.
1965: Wes Montgomery / Clark Terry - Straight, No Chaser Music » Jazz » BeBop » Hard-bop
1965: Wes Montgomery / Clark Terry - Straight, No Chaser
Artist: Wes Montgomery / Clark Terry
Album: Straight, No Chaser
Label: Jazz Door
Year: 1965; Release:1992
Format, bitrate: FLAC/Mp3 @320kpbs
Time: 45:53
Size: 334.1 MB/128.47 MB

Unusual pressing of some of the rare 1965 live material cut by Wes – with the usual group that features Harold Mabern on piano, Art Harper on bass, and Jimmy Lovelace on drums – but also with Clark Terry on trumpet! Titles include "Wes Got Rhythm", "Straight No Chaser", "In A Mellotone", and "Just Friends". (Out of print.) 1996-2014, Dusty Groove, Inc.
2011: The SWR Big Band And Syd Lawrence Orchestra - World's Biggest Big Band: Live At Theaterhaus, Stuttgart Music » Jazz » Big Band
2011: The SWR Big Band And Syd Lawrence Orchestra - World's Biggest Big Band: Live At Theaterhaus, Stuttgart
Artist: The SWR Big Band And The Syd Lawrence Orchestra
Album: World's Biggest Big Band (Live At Theaterhaus, Stuttgart)
Label: Hänssler Classic
Year: 2011
Format, bitrate: Mp3, 320 kBit/s
Time: 53:39
Size: 129.42 MB (full scans @300 dpi)

Recently voted "Best Big Band in the Land" for the 11th consecutive year, Chris Dean's SYD LAWRENCE ORCHESTRA continues to thrill audiences in Concert Halls, Theatres, and Music Festivals all over Europe. Renowned for its exciting blend of high-octane Big Band Swing and Classic Dance Music, the Orchestra's repertoire ranges from the wartime million sellers of the legendary Glenn Miller through the era of the great Count Basie Orchestra to the hit songs of Frank Sinatra and Ella Fitzgerald. Count Basie himself described the Syd Lawrence Orchestra as "So good it should be BANNED!" Our current program features the Grammy Nominated SWR Big Band, together with the swinging Syd Lawrence Orchestra ina delicious assortment of specially created new arrangements - twice the energy, twice the fun! Don't miss the thrilling meeting in full on Jazz!

Here you will meet the full force of two top big bands! The result is music as a whole body experience. On August 18th 2012 SYD Laurence Orchestra from England and SWR Big Band will swing together under the artistic direction of Chris Dean as part of the Musiktage Südliche Weinstrasse in Bad Bergzabern. The Force of the two bands is simply stunning, listening to them feed each others lines is pure pleasure: This is more than just a concert, this is an event!
1945: Artie Shaw - The Complete Spotlight Band 1945 Broadcasts 2D Music » Jazz » Swing
1945: Artie Shaw - The Complete Spotlight Band 1945 Broadcasts  2D
Artist: Artie Shaw
Album: The Complete Spotlight Band 1945 Broadcasts 2D
Label: Hep Records
Year: v1945; release: 2009
Quality: MP3@320 kbps
Size: 173 mb; 147 mb
Total time: CD1: 77:01; CD2: 60:40

Big-band leader and clarinetist Artie Shaw's orchestra was one of the most popular and creative of the Swing era (roughly 1934-46). Further, Shaw was one of the few bandleaders to embrace the jazz innovations of bebop of the early and mid-1940s. The fresh influences of bop are melded with the sophisticated sounds of Shaws big band swing on THE COMPLETE SPOTLIGHT BAND 1945 BROADCASTS set, resulting in some of the finest music of the Swing eras twilight years. The presence of musicians the caliber of Roy Eldridge, Dodo Marmarosa (who played with Charlie Parker), and Barney Kessel (ditto) doesnt hurt, either. ~ All Music Guide
2014:Cinzia Roncelli - Sings Swallow - Willow: A Jazz Suite Music » Jazz » Vocal Jazz
2014:Cinzia Roncelli - Sings Swallow - Willow: A Jazz Suite
Artist: Cinzia Roncelli
Album: Sings Swallow-Willow: A Jazz Suite
Label: Musica Jazz MJCD 1277
Released: 2014
Format: MP3@320 kbps
Time: 50:24
Size: 136MB

The Vocalist Cinzia Roncelli, which is experiencing a time of great success and great collaborations, presents his latest work which celebrates one of the most important contemporary jazz musicians in the world, bassist Steve Swallow, and does so using just the great musician, together another outstanding musician overseas, drummer Adam Nussbaum, saxophonist and pianist Nicholas Ricci Giovanni Mazzarino, true architect of this musical meeting. A real, authentic and today Unique philological work on the music of the great bassist / American composer Steve Swallow. The artistic project existing since 2001 (Mazzarino / Swallow / Nussbaum), is enhanced by means of the extraordinary artistic caliber of singer Cinzia Roncelli. A suite divided into five movements written by the composer Giovanni Mazzarino. The Suite explores not only the music of the American musician but also his solos turning them into real songs with lyrics written by the talented Sicilian singer Daniela Spalletta, thus taking the form of vocalese. The recording work came out attached to the magazine JAZZ in the month of February 2014.
1979: Billy Harper Quintet - In Europe Hard-bop, Post-bop
1979: Billy Harper Quintet - In Europe
Artist: Billy Harper
Album: In Europe
Label: Soul Note; Catalog#: SN 1001
Released: 1979
Format: FLAC, Vinyl-Rip
Time: 42:11
Size: 154MB + 165MB
AMG rating: 1979: Billy Harper Quintet - In Europe

Billy Harper is a huge exponent of what is termed Spiritual Jazz and here we have one of his albums which demonstrates a clear and powerful example of that style. Harper is an exemplary saxophone player with an extremely full and warm tone, somewhat in the vein of Coltrane, but also in a league of his own and noted for his fierce soloing verging on Free Jazz. This LP was recorded and released on the unique Italian Soul Note label. At that time Billy was in Europe with his quintet and producer Giovanni Bonondrini seized the opportunity to grab some of that repertoire emanating from his 1979 tour. The listener is treated to three tunes all composed by Billy and delivered with amazing energy by Harper as a leader of a phenomenal quintet. It consists of Billy on tenor, Everett Hollins on trumpet, Fred Hersch on piano, Louis "Mbiki" Spears on bass and Horacee Arnold on Drums. The group as a whole seamlessly merges together exuding a deep and rich soulful sound. The first track Priestess is a thriller from start to finish. It starts so serenely with an effortless solo from Fred Herschs soulful piano, building with bass lines from Mbiki Spears and the crashing drums of Horacee Arnold, and then joining together Harper and trumpeter Everett Hollins. The next tune Calvary starts with Spears bass and is more uptempo with rest of the group joining with some great interchanging solos, again just as awesome. The final track Illumination takes up the whole of side B is an epic tune truly showcasing some fantastic duo work between Harper and Arnold with Harper and Hollins holding down the basic melody; the coda is progressively built and gently finished off at the end. Overall this album exposes a brilliant ensemble sound and is an essential LP for any Billy Harper devotee, Enjoy!

The Billy Harper Quintet's In Europe appeared as the first release from the Soul Note label, a co-label of Milan's other avant-garde label, Black Saint, in 1979. In Europe presents Texas-born composer and tenor saxophonist Harper and his quintet, featuring an energetic lineup of musicians including Everett Hollins on trumpet, Fred Hersch on piano, Louie "Mbiki" Spears on bass, and Horace Arnold on drums. Recorded in Milan at Barigozzi studios, In Europe gives a fine glimpse at the power and intensity of Harper's compositions and his tremendous abilities as an improviser. Harper's gorgeous tone is reminiscent of John Coltrane's, an artist whose spiritual and soulful playing Harper builds off of to shape his own organic style. The three compositions presented on In Europe include some of Harper's best work, notably "Priestess," with its infectious gospel progression, and the energized and melodic "Calvary." Highly recommended music for post-bop and free jazz appreciators. ~ by Jeff Schwachter, AMG.
1968: Sergio Mendes & Brasil '66 - Fool On The Hill Music » Jazz » Latin » Bossa Nova
1968: Sergio Mendes & Brasil '66 - Fool On The Hill
Artist: Sergio Mendes & Brasil '66
Album: Fool On The Hill
Label: Universal Distribution/Universal/A&M
Year: 1968; Release: 2006
Format,bitrate: Flac/mp3@320kbps
Time: 33:55
Size: 214.8 MB/94.05 MB
AMG Rating: 1968: Sergio Mendes & Brasil '66 - Fool On The Hill

Having hit upon another smash formula -- cover versions of pop/rock hits backed by lavish strings, a simplified bossa nova rhythm, and the leader's piano comping -- Sergio Mendes & Brasil '66 produced two more chart-busting singles, again turning to the Beatles for sustenance with the title track (number six) and Simon & Garfunkel for "Scarborough Fair" (number 16). But again, the bulk of the album was dominated by Brazilians, and by one in particular: the hugely gifted Edu Lobo, whose dramatic "Casa Forte" and infectious "Upa, Neguinho" were the best of his four songs. The tracks were longer now, the string-laden ballads (arranged by Dave Grusin) more lavish and moody, and Lani Hall emerged as the vocal star of the band, eclipsing her new partner, Karen Philipp (although Hall is upstaged on "Lapinha" by future Brasil '77 member Gracinha Leporace). Even though he had become thoroughly embedded in the consciousness of mainstream America, Mendes still managed to have it three ways, exposing first-class tunes from little-known Brazilian talent, garnering commercial hits, and also making some fine records. Cultural note: the striking foldout cover art, depicting Brasil '66 at sunset seated on top of a nude woman, somehow made it past the uptight censors of the day and no doubt boosted sales; it was Mendes' highest-charting album at number three.
~ Richard S. Ginell, All Music Guide
1968: Ramsey Lewis - Mother Nature's Son Music » Soul » Soul-Jazz
1968: Ramsey Lewis - Mother Nature's Son
Artist: Ramsey Lewis
Album: Mother Nature's Son
Label: Universal Music Classics & Jazz/Cadet Records
Year: 1968;Release:2002
Format,bitrate: Flac (Log,Cue & scans)/MP3 @320kbps
Time: 40:20
Size: 260 MB/96.41 MB

24-bit digital remaster from Japan.

This album was another brainchild of Marshall Chess' regime at Chess Records and, in a sense, is of a piece with Electric Mud by Muddy Waters -- here, he's getting Ramsey Lewis, supported by an orchestra conducted and arranged by Charles Stepney, to do jazz improvisations on ten songs from The Beatles (aka The White Album). The results are a good deal more impressive and a lot less awkward than Electric Mud, Lewis and company being in far greater sympathy with this material than Muddy Waters was with Rolling Stones material. The orchestrations are occasionally a bit thick and treacly, but when Lewis jumps in and his playing takes flight, songs such as "Julia" soar off in all manner of unexpected and delightful directions, while "Back in the U.S.S.R.," divorced from its Chuck Berry sound, still serves as the basis for some funky improvisations by the pianist. The album probably didn't do much more for Lewis' career than Electric Mud did for Muddy Waters, but it's a better fit with Lewis and an enjoyable excursion. The cover art is also funny enough to almost make it worth the price of the LP, which was reissued in Japan in 2002 in 24-bit digital audio.
~ Bruce Eder, All Music Guide
1958: Aaron Bell Trio - After the Party's Over Music » Jazz » BeBop » Hard-bop
1958: Aaron Bell Trio - After the Party's Over
Artist: Aaron Bell Trio
Album: After the Party's Over
Label: RCA Victor
Year: 1958; release: 1999
Quality: MP3@320 kbps
Size: 107 mb
Total time: 45:56

An obscure 50s session from bassist Aaron Bell one of the player's few dates as a leader, cut at a time when he was working in Duke Ellington's group of the decade! As with some of Duke's other bassists, Bell's got a strongly pronounced tone one that came through great in big group setting, and which really shines even more here working in a mostly piano trio setting, and coming across with a good sense of bounce and soul. The album features Bell in a few different groups with players who include Hank Jones or Charlie Bateman on piano, Ed Thigpen or Elvin Jones on drums, and a bit of extra trombone from Tyree Glenn. Bell even plays a bit of added tuba on a few tunes using the instrument in a way that's not too different from his bass and titles include "After The Party Blues", "Cool", "Party's Over", "Kumquat", "All The Way", "Love Nest", and a 2-part version of "Satin Doll".
1996-2014, Dusty Groove, Inc.
1959: Hal Mooney & His Orchestra - An Affair To Remember / Any Time Music » Jazz » Big Band
1959: Hal Mooney & His Orchestra - An Affair To Remember / Any Time
Artist: Hal Mooney & His Orchestra
Album: An Affair To Remember / Any Time
Label: Vocalion
Year: 1959
Release: 2009
Format, bitrate: Mp3, 320 kBit/s
Time: 1:07:09
Size: 155.06 MB (full scans)

Hal Mooney was one of the busiest and most in-demand arranger-composer-conductors on the 1940s, ''50s and ''60s American music scene, pumping out elegantly crafted scores for the likes of singers such as Dick Haymes, Helen Forrest, Kay Starr, Judy Garland and Dinah Washington. Several of Mooney''s own compositions the jumping instrumental, Swamp Fire, is typical have become essential to the basic library of big band jazz. In 1959''s An Affair to Remember he casts a glorious selection of evergreens in exquisitely crafted big band arrangements, which bring out all the beauty and splendour inherent in each melody. Any Time, from the same year, is one of those concept albums, which had become popular in the late 1950s. In this case Mooney takes as his inspiration the twelve astrological signs of the Zodiac, writing for each a melody summing up the characteristics associated with the respective sign. But regardless of the inspiration behind it, the music can be enjoyed on its own terms as superbly listenable and charming light orchestral music.
1975: Gil Evans - There Comes A Time Post-bop, Progressive Jazz
1975: Gil Evans - There Comes A Time
Artist: Gil Evans
Album: There Comes A Time
Label: RCA/Bluebird - ND85783
Year: 1975
Release: 1987
Format, bitrate: Mp3, 320 kBit/s
Time: 1:04:35
Size: 147.92 MB
AMG rating: 1975: Gil Evans - There Comes A Time

This CD reissue of Gil Evans' There Comes a Time differs greatly from the original LP of the same name. Not only are there three previously unreleased performances ("Joy Spring," "So Long," and "Buzzard Variation"), but "The Meaning of the Blues" has been expanded from six minutes to 20, and two numbers, "Little Wing" and "Aftermath the Fourth Movement/Children of the Fire," have been dropped (the former was reissued on Evans' Jimi Hendrix tribute album) and the remaining four tracks were re-edited and remixed under Evans' direction. So in reality, this 1987 CD was really a "new" record when it came out. The remake of "King Porter Stomp," with altoist David Sanborn in Cannonball Adderley's spot, is a classic. The "new" version of "The Meaning of the Blues" is memorable, and overall the music (which also has solos by Billy Harper and George Adams on tenors, along with trumpeter Lew Soloff) is quite rewarding, it's a creative big band fusion that expertly mixes together acoustic and electric instruments. This was one of Gil Evans' last truly great sets. [This is the original issue without the bonus tracks.]
~ Scott Yanow, All Music Guide
1967: Baja Marimba Band - Heads Up! Music » Jazz » Latin
1967: Baja Marimba Band - Heads Up!
Artist: Baja Marimba Band
Album: Heads Up!
Label: A&M Records ‎
Format, bitrate: MP3@320 kbps (Vinyl rip)
Time: 28:00
Size: 69.9 MB

As chronicled in drummer Earl Palmer's autobiography, trumpeter and bandleader Herb Alpert saw a brass band playing in front of a bullfight arena in a Mexican town and the rest was history. There is no denying that the resulting successful if indirect intrusion into the international pop instrumental charts on behalf of street music from south of the border was a lively addition to the sounds of the '60s. Albums such as Heads Up!, one of at least a dozen by various versions of the Baja Marimba Band, demonstrate that things could have been even livelier if the performers hadn't wimped out so much. the Baja Marimba Band, led by a marimba player, arranger, and composer named Julius Wechter, started out as a spinoff of Alpert's acclaimed Tijuana Brass. Disc jockeys marching in front of the hit parades were kind and even partial to instrumentals in this decade. The sound of marimbas can go well beyond purely attractive to the downright intoxicating, so it is no surprise that Wechter's outfit got some airplay, most notably with a strange arrangement of "(Ghost) Riders in the Sky." The group was in its fourth year of recording when Heads Up! came out, and it suggests more than just a general reluctance to truly feature the wondrous marimbas.

In fact, if any detail warrants a "head's up!," it is the strong disconnect between image and reality with this band. The front cover is a wonderfully sepia-toned photograph of a band that from appearances could have held its own during the shoot-out at the end of Sam Peckinpah's The Wild Bunch, perhaps utilizing their music stands to ward off machine-gun fire. Individual mug shots of the nine bandmembers on the back cover continue what can be considered something of a deception. Facial expressions and costuming suggest an off-the-wall element that is really pretty difficult to find in the music itself. It is like buying a copy of Captain Beefheart's Trout Mask Replica and finding an Ed Ames album inside. Wechter, obviously mining for hits, packs the less than 30-minute opus with bland arrangements of topical hits. The opening take on "Georgy Girl" sets the pace, not much of a pace at all, and not much of a reaction from the listening public -- as this single barely made it into the Top 100. Covers of "Born Free" and "They Call the Wind Maria" are even worse, fairly typical small-band brass and reed arrangements shrouding the marimbas like a corrupt building contractor covering a gas stove with a tarp so he won't have to face the mechanical inspector. Guitarist Bud Coleman contributes an original entitled "The Odd One," while Wechter slips two of his own pieces onto the second side. Although not grandly memorable or even particularly distinctive, these performances are at least some improvement over the schlock. At least things conclude on a lively note, with echoes of Spike Jones and Mickey Katz: an arrangement of "The Cry of the Wild Goose," a lovable old folk song, romps and stomps like a drunken klezmer band trying to run a wedding band out of town. Drummer Frank DeVito provides the vocal on the obligatory cover of "Winchester Cathedral."
~ Eugene Chadbourne, All Music Guide
1990: Yellowjackets - Greenhouse Music » Jazz » Fusion » Crossover Jazz
1990: Yellowjackets - Greenhouse
Artist: Yellowjackets
Album: Greenhouse
Label: MCA/GRP
Year: 1990; Release:1991
Format,bitrate: MP3@320 kbps
Time: 1:00:08
Size: 144.73 MB
AMG Rating: 1990: Yellowjackets - Greenhouse

The Yellowjackets' first release for GRP, Greenhouse, is a real gas. The disc starts innocently enough with "Freedomland," the kind of smart smooth jazz song that marked The Spin. It's on the following "Greenhouse" that listeners glimpse a change in the air: Strings (!) set the stage for dreamy, exotic jazz that melts in your mind, music that goes well beyond similar experiments on earlier Yellowjackets sessions. From this point on, the band travels back in time: Russell Ferrante's piano, the understated rhythm section, and Bob Mintzer's saxophones (Marc Russo had left, though Mintzer wasn't an "official" member yet) smoke with the fire of cool jazz. There are still some electronics employed, but generally they're arranged in a subordinate role to give the acoustic sounds an added presence. It would be tempting to call Mintzer the catalyst of change -- his saxophone playing is more note-filled and squeakier than Russo's, a style that evokes traditional jazz -- but the new direction in sound is just as evident in the piano playing of Ferrante, the softened attack of William Kennedy (plenty of cymbals, quieter snare hits), and the articulated playing of Jimmy Haslip (best heard on "Indian Summer"). The fresh start allows The Yellowjackets to escape from under the cloud of smooth jazz and expose their "serious" side, all while continuing to place composition and melody over individual musicianship. Calling this the band's most mature work to date belies a natural distrust of smooth jazz, so better to say that Greenhouse is loaded with personality. Mintzer's spooky bass clarinet on "Brown Zone," the wild bop workout unleashed on "Liam/Rain Dance," and the violin jig on "Freda" are among their most memorable musical moments. The Yellowjackets haven't changed the way they approach their music, but the newfound ability to communicate in a more traditional jazz setting casts them in a whole new (and flattering) light. ~ Dave Connolly, All Music Guide
1956: Glenn Miller - Concert Music » Jazz » Big Band
1956: Glenn Miller - Concert
Artist: Glenn Miller
Album: Concert
Label: RCA Mono LP LPM-1193
Year: 1940's ; release:1956
Format, bitrate: MP3 320KPS
Time: 34:33
Size: 81.6MB

The 12 examples on RCA's 1956 black label album entitled GLENN MILLER CONCERT (LPM 1193) are a real tribute to engineers who set up mikes in less-than-ideal dance halls or ven outdoors and somehow managed to send back to their stations a signal that must've sounded wonderful over parlor console and car radio alike.

1967: Bill Potts - Brasilia Nueve - How Insensitive Latin, Bossa Nova
1967: Bill Potts - Brasilia Nueve - How Insensitive
Artists: Bill Potts - Brasilia Nueve
Album: How Insensitive
Label: Decca
Year: 1967; release: 2009
Quality: MP3@320 kbps
Size: 70,1 mb
Total time: 30:36

One of the rarest albums by pianist-arranger Bill Potts is How Insensitive (Decca). It was recorded by Brasilia Nueve (New Brazil)a studio band assembled in New York in May 1967. The album seems to have been intended as an Easy Listening entry, but like all things by Potts, the album shows exceptional arranging and smarts.

So who was in this one-shot Brasilia Nueve band? Oh, just the cream of the New York studio scene in need of a few bucks in the Jefferson Airplane era: Marky Markowitz (tp), Zoot Sims (ts), Tito Puente (vib), Bill Potts (p,arr), Barry Galbraith, Tony Gottuso (g), Richard Davis (b), Mel Lewis (d), Chino Pozo (cga), Louie Ramirez (perc) and Charlie Palmieri (cabasa).

Interestingly, the liner notes didn't hide a thing. Written by jazz critic Stanley Dance, the notes include a box by Sammy Cahn, who says, I am sure you must now be aware that extravagant praise for Bill Potts and his great talent is a personal thing with me." My guess is the album was assembled in the wake of the A Man and a Woman movie soundtrack being nominated for Best Original Score" at both the BAFTA Awards and Golden Globe Awards in '67. The film's bossa nova score was by Francis Lai, and one of his songs, Baden Powell's Samba Da Bencao is here as My Heart Loves the Samba.

On How Insensitive, Sims is the star of the show. By 1967, Sims had already recorded two magnificent bossa nova albumsNew Beat Bossa Nova, Vols. 1 and 2, for Colpix in August and October of 1962, just months after Stan Getz and Charlie Byrd had recorded the hit album Jazz Samba. On How Insensitive, Sims has a big, swinging sound that isn't as yearning as Getz's but still remains breezy and melodic without loading up on an endless string of fluid runs. Markowitz, meanwhile, plays the role of Bobby Hackett here, with lines that gracefully circle the melody. And Potts on piano is exceptional, often doubling up with Puente.

Interestingly, none of the Latin percussion players are Brazilian. Tito Puente, Charlie Palmieri and Louie Ramirez were from New York, and Chino Pozo was from Cuba.
~ JazzWax
1970: Georges Arvanitas - Pianos Puzzle Music » Jazz » BeBop » Post-bop
1970: Georges Arvanitas - Pianos Puzzle
Artist: Georges Arvanitas
Album: Pianos Puzzle
Label: Saravah Records (Catalog#: SH 10.012)
Year: 1970
Format: FLAC, LP-Rip
Time: 34:27
Size: 101MB + 106MB

******* New Source [LP], Fresh Rip, Re-post *******

Here we have another classic rare George Arvanitas Trio album released on the French Saravah Records label. George and his crew made up of Jacky Samson on bass and Charles Saudrais on drums lays down some of Arvanitasexciting and dynamic original compositions. The listener also gets to hear George showcasing his mastery of the Hammond [B3] organ.
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