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1996: Billy Taylor - Ten Fingers, One Voice Swing, Mainstream
1996: Billy Taylor - Ten Fingers, One Voice
Artist: Billy Taylor
Album: Ten Fingers, One Voice
Label: Arkadia Jazz
Year: 1996; release: 1999
Quality: MP3@320 kbps
Size: 120 mb
Total time: 52:55

Jazz master pianist, composer, journalist and educator Billy Taylor stands alone both figuratively and literally with his CD, Billy Taylor: 10 Fingers, One Voice (also available via download). Only the 2nd solo recording in his 65 year career, the Billy Taylor that emerges here was a surprise a daring risk-taker who has absorbed the entire Jazz tradition but now breaks through as an immediately identifiable personal force. (quote from the liner notes written by Nat Hentoff)

Now at the peak of his powers, he bring fresh, yet steeped in history of Bop, piano style to this robust collection that features both thoughtful originals and classic standards from accomplished composers such as Dizzy Gillespie, Rogers & Hart, Clifford Brown, Jon Hendricks, and Cole Porter.

His career is recognized with the utmost adoration and respect. Dr. Billy Taylor is one of only three Jazz musicians appointed to the National Council of the Arts and currently works as the Artistic Director for Jazz at the John F. Kennedy Center for the Performing Arts. He is a recipient of the National Medal of Arts, and is also known for the artist profiles he hosted as the Arts correspondent for CBS Sunday Morning.

Playing with infectious joy and playfulness, Billy Taylor: 10 Fingers, One Voice showcases Taylors deliberate and impressive ability to swing dynamically on upbeat numbers and yet play stirringly on softer songs, conveying both his passionate melodic soul and his blissful energy resulting in a solo piano recording with a depth that makes repeat listening an imperative.
~ From Liner notes
1959: Basso - Valdambrini Quintet - The Basso - Valdambrini Quintet Music » Jazz » BeBop » Post-bop

1959: Basso -  Valdambrini Quintet  - The Basso - Valdambrini Quintet
Artists: Basso - Valdambrini Quintet
Album: Quintet
Label: Verve MG V 20009
Year: 1959 ; release : 1959
Format mp3, bitrate: 320 kbps (LP-rip)
Time: 41:12
Size: 91,8 mb

The small groups co-led by tenor sax player Gianni Basso and trumpeter Oscar Valdambrini were the most celebrated jazz units to emerge from Italy in the late 1950's and early 60's. First rising to prominence in Milan, under the name The Italian Sextet, Basso actually came from Asti (where they make such damn fine wine) while Valdambrini was born in Turin. They played the San Remo and Lyon jazz festivals and distinguished themselves in Armando Trovajolis big band before reverting to their own quintet. Working in a West Coast and hard bop idiom they held a long term residence in Milan which was successful enough to attract Verve Records in the USA, who issued a Basso-Valdambrini album in their International Series in 1959. ~ Andrew Cartmel
2014: Houston Person The Melody Lingers On Music » Jazz » Mainstream
2014: Houston Person  The Melody Lingers On
Artist: Houston Person
Album: The Melody Lingers On
Label: HighNote
Year: 2014
Quality: MP3@320 kbps
Size: 129 mb
Total time: 56:59
By request

Soulful sounds from legendary tenorist Houston Person working here with a hip group that makes the album way more than just another batch of late nite ballads! Houston's tenor is well-rounded and laidback, but it's got some fresh company in a quintet that includes the vibes of Steve Nelson, piano of Lafayette Harris, bass of Ray Drummond, and drums of Lewis Nash none of whom are newcomers to jazz, but who definitely represent a more youthful approach that makes itself especially known in the rhythms which breathe new life into tunes that include "Only Trust Your Heart", "Bewitched", "You're Nearer", "Gone Again", "Try A Little Tenderness", and "They All Laughed".
1996-2015, Dusty Groove, Inc.

Houston Person's 2014 effort, The Melody Lingers On, is a romantic, laid-back set of songs showcasing the septuagenarian saxophonist. A journeyman artist with a bent toward swinging soul-jazz, Person has developed into something of an American treasure over the past 30 years. Since the '90s, Person has released a steady stream of standards albums, heavy on lyrical and blues-based songs that perfectly exploit his distinctive, burnished tenor drawl. The Melody Lingers On is no exception, featuring a set of songs heavily weighted toward an intimate, afterglow vibe centered on the warm sound of Person's saxophone. Backing the South Carolina-born tenor man this time is an equally superb handful of artists, including vibraphonist Steve Nelson, pianist Lafayette Harris, bassist Ray Drummond, and drummer Lewis Nash. Included here are such standards as "My Funny Valentine," "Gone Again," "Bewitched," and "They All Laughed." Person also digs deep into the R&B end of his career with a slow, vibrant take on the Otis Redding classic "Try a Little Tenderness." At 79 years young, with The Melody Lingers On Person continues his reign as one of the titans of the lush jazz tenor sound.
~ Matt Collar, All Music Guide
1972: Thomas Jefferson - Sleepy Time Down South New Orleans Jazz, Dixieland
1972: Thomas Jefferson - Sleepy Time Down South
Artist: Thomas Jefferson
Album: Sleepy Time Down South
Label: Maison Bourbon
Year: 1972 ; Release:1980
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Size: 82.49MB
AMG rating: 1972: Thomas Jefferson - Sleepy Time Down South

Thomas Jefferson was one of the finest Dixieland trumpeters to emerge from New Orleans during the 1950s/'60s. The initial release by the tiny Maison Bourbon label, which came out with at least nine LPs, puts the focus on the trumpeter/vocalist on seven Dixieland standards and his own basic "Ting A Ling." Some of the raving in the liner notes is a bit absurd ("Now that you have in your hand the finest Dixieland Record ever..."), but this is a fine showcase for Jefferson, who is joined by trombonist Waldren "Frog" Joseph, clarinetist Clarence Ford, pianist Phamous Lambert, bassist Lloyd Lambert and drummer Stan Williams. Although Jefferson mostly performs a repertoire associated with Louis Armstrong (including "Sleepy Time Down South," a version of "Tiger Rag" that is too fast for his sidemen, "Bill Bailey" and "Mack the Knife") and his singing sometimes has Armstrong's raspiness, his trumpet playing is fairly original. A lively Dixieland date that, due to its obsolete label, may never be reissued on CD despite its quality.
~ Scott Yanow, All Music Guide
1995: Georgie Fame - Walking Wounded Music » Soul » Soul-Jazz
1995: Georgie Fame - Walking Wounded
Artist: Georgie Fame
Album: Walking Wounded
Label: Go Jazz
Quality: FLAC
Year: 1995; release: 1998
Size: 461.44 MB (with scans)
Total time: 72:40
REPOST with a new link

At least once a year, usually just before the holiday season, Georgie Fame takes up residency at Ronnie Scotts club in London. This particular recording was done during November, 1995.Having the legendary Georgie Fame sitting behind the Hammond organ, night after night, in a London club is wonderfully reminiscent of the time, more than thirty years ago, when he held held court at the Flamingo Club. Back then, in the early sixties, it wasnt just for a week or two at a stretch, but for months at a time. He was at the heart of the ongoing scene, where American servicemen, budding British rockers and Georgie himself mixed it up and, ultimately created a musical stew that went on to change the pop scene the world over. So this recording takes its place in the pantheon of great Georgie Fame moments.So this record is full of spirits, spirits of great men who made the music, great moments when it was made and great places where the musicians held forth. Today, even the owner and namesake of the club where this album was recorded -- saxophonist Ronnie Scott -- is no longer with us. Yet Georgie Fames carries on with the good work, and is aware of his role in preserving and passing along the great jazz spirit.To that end, he has enlisted the able assistance of some of his favorite people to make this passage possible. The front line of the band includes some of Britains finest players, trumpet man Guy Barker, tenor saxophonist Alan Skidmore, alto saxophonist Peter King and Anthony Kerr on vibes. In the rhythm section is his regular bassist (and dapper man about town) Geoff Gascoyne along with the Powell brothers, Tristan on guitar and James on drums. These two boys have grown up with Georgie Fames music and are helping him carry the torch into the next century.It is our great pleasure and distinct honor here at Go Jazz to join hands with them all and fall in step. ~ Ben Sidran, from liner notes
1957: Sammy Davis Jr. & Mundell Lowe - Mood To Be Wooed Music » Jazz » Vocal Jazz
1957: Sammy Davis Jr. & Mundell Lowe - Mood To Be Wooed
Artists: Sammy Davis Jr. & Mundell Lowe
Album: Mood To Be Wooed
Label: Decca
Year: 1957; release: 1993
Quality: MP3@320 kbps
Size: 100 mb
Total time: 44:20

Sammy Davis, Jr. is so low-keyed in his performance on this album, it will come as a total shock to those who only know the singer for his searingly energetic '60s and early-'70s performances on record and stage. His intonation is more than good enough to carry the subdued, exquisitely lyrical approach to the repertory, which is built around Rodgers & Hart, Cole Porter, George Gershwin, Jimmy Van Heusen, and so on. This is Sammy Davis, Jr. trying to compete with Nat King Cole and pretty well succeeding, with Mundell Lowe's solo electric guitar providing tastefully understated accompaniment. Later on, he would add excitement to the equation, but here the singing in a reflective, almost introspective manner is good enough to carry the entertainment load.
~ Bruce Eder, All Music Guide
1973: Zbigniew Namysłowski - Winobranie (Polish Jazz – Vol. 33) Post-bop, Fusion, Contemporary Jazz, Freejazz
1973: Zbigniew Namysłowski - Winobranie (Polish Jazz – Vol. 33)
Artist: Zbigniew Namyslowski
Album: Winobranie (Polish Jazz – Vol. 33)
Label: Polskie Nagrania Muza SXL 0952
Year: 1973
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 42;12
Size: 104.75 MB

We have been waiting long for this album. Namysłowski's previous LPs the internationally-successful "Lola" (Decca SKL 4644) and "Polish Jazz Vol.6" (Muza XL 0305) were both relased in 1965. Since that time Namysłowski, for long one of the most creative jazz artists on the Polish scene, has made considerable progress in his development. This record proves it well enough, featuring Namysłowski playing his new compositions. The supporting group are actually co-makers of the music. Despite their youth, they belong to the top Polish jazzmen.
The music on this record, marked by the individuality of the composer-leader and his sidemen, is far from monotonous. In fact it is varied structurally, instrumentally and harmocically throughout, with changing tempos and times. What actually integrates it is the predominating cheerful mood. This climate is introduced from the very start with the title tune, Wine Feast, which opens and closes the record, fastening the whole music like a buckle. The mood is also present in the mostly humours titles of the other pieces. On all the tracks, despite their varying character, one can feel the freshness, ingenuity and spontaneity which has always been present in Namysłowski's music.
Wine Feast, a short piece based on a simple, catchy tune in 7/8, is linked with the next track, No Dough, No Kiks, featuring solos by the leader on alto, Jarzębski on bass and Jonkisz on drums. There is an amusing contrast between the slow, "Free" part of the piece, performed by the bowed cello-bas duo and the reprise of the theme, sung in Polish musicans slang.
The infulence of the folk music of both his own and another countries is ahother feature of Namysłowski's music. It is evident on this record while in Wine Feast we hear echos of Polish "kujawiak", Gogoszary, played in 11/8, includes some elements of Balkan folklore. The latter features a fine cello solo by the leader, with innovative use of an amplifier with wah-wah and fuzz effect, which results in a guitar-like sound.
Not Less Than Five Per Cent consist of two different parts. The first is of 12/8 and 13/8 alternately, the second is a tuneful ballad.
Side two begins with an extensive piece, composed of several parts which include the same theme but treated differently each time. The three different parts, changing smoothly one into another, are First Take, Ballad on the roost and Teddy Bears. The piece culminates in an develops dynamically, changing the original climate and tuning almost free, but keeping the timing and harmony, which gradually condenses.
Taj mahal deserves special mention as the group's successful attempt to achieve the sound of Indian music. It is interesting to note how the original Hindu instruments are replaced by their European counterparts. The sitar part is played by a piano, the bass takes on the role of tampura and the piccicato cello serves as the melodic solo instrument. The drummer plays an original tabla drum, and the trombonist odds to the rythm by playing assorted percussion. After hearing this piece on stage during Jazz Jambore 1972, the jazz expert Willis Conovar said it was the most perfect imitation of Hindu music he had ever heard. And the group's whole performance of the music featured on this record was the strongest experience he had during the whole festival.
This album guarantees a similar experience for anyone who enjoys good music.
~ Stefan Zondek, Original liner notes, 1973
1973: Rusty Bryant - For The Good Times Music » Soul » Soul-Jazz
1973: Rusty Bryant - For The Good Times
Artist: Rusty Bryant
Album: For The Good Times
Label: Prestige Records (Catalog#: P 10073) US
Released: 1973
Format: FLAC, LP- Rip
Time: 35:36
Size: 107MB + 117MB

One of Rusty Bryant's last albums for Prestige - recorded in that more-electric mode that graced the label's albums of the year 1973 - but in a style that's still pretty darn nice! The group's still a small combo - with Rusty on tenor and alto, plus with Hank Jones on electric piano, and the twin guitars of Joe Beck and Hugh McCracken. The rhythm team of Tony Levin and Steve Gadd is still pretty tight too - and there's some nice numbers on the set that cook with a warm electric soul jazz groove. Titles include the mellow "Theme From Deep Throat", a nice soundtrack groover, plus "The Last One Out", "Night In Tunisia", "Killing Me Softly", and "Appalachian Green". Dusty Groove Inc.

This album finds Bryant combining pop and soul-jazz with the aid of electric pianos and funky guitars. Things get started with tepid versions of the title track and Roberta Flack's "Killing Me Softly With His Song," both veering dangerously close to Muzak territory. The pieces are salvaged, however, by Joe Beck and Hugh McCracken's guitar work and Hank Jones' steady hand at the keyboards. Bryant turns in his best solo on a groovy version of "Theme From Deep Throat" that's propelled forward by bassist Tony Levin and drummer Steve Gadd. The album provides a backward glance at the strange world of jazz circa 1973. It also offers a chance to hear Bryant cut loose on a number of popular songs. ~ by Ronnie D. Lankford, Jr., AMG.
1947 - 1953: Jimmy Liggins & His Drops Of Joy - Rough Weather Blues, Vol. 2 Music » Blues » Jump Blues
1947 - 1953: Jimmy Liggins & His Drops Of Joy - Rough Weather Blues, Vol. 2
Artist: Jimmy Liggins& His Drops Of Joy
Album: Rough Weather Blues, Vol. 2
Label: Specialty Records
Year: 1947 - 1953; Release:1992
Format, bitrate: Mp3, 320 kBit/s
Time: 1:12:40
Size: 122.26 MB
AMG Rating: 1947 - 1953: Jimmy Liggins & His Drops Of Joy - Rough Weather Blues, Vol. 2

Twenty-five more Specialty cookers, including an undubbed version of "Drunk," plenty of horn-leavened jump blues outings, and several unissued artifacts (including a rare example of the Drops of Joy getting jazzy on "Now's the Time").
~ Bill Dahl, All Music Guide
2014: Hedvig Mollestad Trio - Enfant Terrible Fusion, Jazz-Rock
2014: Hedvig Mollestad Trio - Enfant Terrible
Artist: Hedvig Mollestad Trio
Album: Enfant Terrible
Label: Rune Grammofon
Year:; Release: 2014
Format, bitrate: Mp3, 320 kBit/s
Time: 35:35
Size: 84.77 MB
AMG rating: 2014: Hedvig Mollestad Trio - Enfant Terrible

On their third offering, Norwegian guitarist Hedvig Mollestad's trio move further into the dense forest of hard rock, though they maintain their root ties to electric jazz improvisation. Enfant Terrible is as heavy as Shoot! was dynamic, as sludge-like and forceful as All Them Witches was intricate and angular. While the band's earlier efforts contained these qualities, they weren't saturated in them. The focus here is a visceral exploration of hard rock as an instrumental language. Recorded live to eight-track, it captures the vibe of Black Sabbath and Budgie but also of Jimi Hendrix's Band of Gypsys. Clocking in at a mere 36 minutes, these six jams offer a densely populated soundworld where overdriven, thick, thudding sludge meets exceptionally buoyant (though somewhat disguised) harmony. The repetitive vamp on "Laughing John" quickly gives way to a charging onslaught of rhythmic invention by Ivar Joe Bjornstad's drum kit playing double-time, and the in-the-pocket bass playing of Ellen Brekken. They give Mollestad a jumping-off point. With fractured invention she explores the discoveries of John McLaughlin, Larry Coryell, and Tony Bourge. "Arigato, Bitch" is even slower, as a Sabbath-esque bass plod underscores the stone-cold tonnage in the guitar vamp based on a blues figure. Mollestad excavates its inside single notes on each turnaround pass, twisting them into one another as Brekken's pulsing, minimal upright bass solo becomes the bridge to sonic travel. "Liquid Bridges" is a detailed glimpse at the airiness under the muddy morass. Mollestad delivers her expressionistic melody with the elegance and attack of a young Terje Rypdal. "Rastapopoulos" is essentially a careening crescendo in free fall -- too bad it's only two minutes long. The Sabbath-ian intro to "La Boule Noire" is anvil-weight heavy, but far from menacing -- or boring. It eventually unfolds into a group improvisation that recalls the aggressive jazz inquiry of Lotus-era Santana. The jazz chords on closer "Pity the Children" highlight a more structurally open, minor-key melody with bowed bass. It ratchets up in intensity until it cracks and gradually returns -- à la a Moebius strip -- to where it began. Despite its more conventional root language, Enfant Terrible showcases the growth of the Hedvig Mollestad Trio. They can take any piece of music and shift its focus in a split second; they can move it as far afield or draw it out slowly and deliberately, in each case letting hidden undertones unmask themselves gradually. They command, at this stage of their development, the will and ability to do as they wish with confidence, savvy, and arresting presence.
~ Thom Jurek, All Music Guide
1975: Ella Fitzgerald At The Montreux Jazz Festival Music » Jazz » Vocal Jazz
1975: Ella Fitzgerald At The Montreux Jazz Festival
Artist: Ella Fitzgerald
Album: At The Montreux Jazz Festival 1975
Label: Pablo
Recorded: July 17, 1975
Format: Flac
Time: 48:00
Size: 273 MB + artwork
AMG rating: 1975: Ella Fitzgerald At The Montreux Jazz Festival

Repost with new links from hungaropitecus

1989: Jim McNeely & WDR Big Band - East Coast Blow Out Music » Jazz » Big Band » Modern Big Band

1989: Jim McNeely & WDR Big Band - East Coast Blow Out
Artists: Jim McNeely & WDR Big Band
Album: East Coast Blow Out
Label: Lipstick Records
Year: 1989; release: 1999
Quality: Bitrate: my cd >mp3-320
Size: 128 mb (with full scans)
Total Time: 52:04

East Coast Blow Out was recorded not on the East Coast but in Cologne, Germany, home of the marvelous WDR Big Band, one of the chief attractions of this record. Out in front of the big band is a heavy-hitting quartet comprised of pianist/composer/leader Jim McNeely, guitarist John Scofield, bassist Marc Johnson, and drummer Adam Nussbaum. McNeely's piano playing is sparingly featured ("Skittish" being a notable exception); the primary soloists are Scofield and Johnson. The album's five tracks flow together as an extended suite, full of dynamic and rhythmic variation and dramatic sweep. McNeely shows a preference for ending movements with unaccompanied statements. Thus movement one ends with solo piano, movement two with solo guitar, movement four with solo bass -- all unexpected touches that enhance thematic development. Johnson shines on the quietest movement, "More Questions," while the finale, "Finally," belongs to Nussbaum. Scofield tears it up on just about every track -- fans of the now very famous guitarist ought to seek out this obscure goodie. McNeely's composing and big band arranging continue to receive wide acclaim, and this intricate, highly advanced album is a very fine, though relatively early, example of his craft. ~ David Adler, All Music Guide
1980: Billie Harris I Want Some Water Music » Jazz » Fusion » Contemporary Jazz
1980: Billie Harris  I Want Some Water
Artist: Billie Harris
Album: I Want Some Water
Label: Nimbus West Records
Year: 1980; release: 1999
Style: Spiritual jazz
Quality: MP3@320 kbps
Size: 145 mb
Total time: 63:52

A spiritual jazz classic from the hip LA scene of the late 70s led by saxophonist Billie Harris, and featuring a group that includes Horace Tapscott on piano! We don't know much about Harris, but he's got a freewheeling spiritual sound that's very much in the Coltrane-inspired mode, yet also steeped in the creative improvised style of Tapscott's scene in LA. Tracks are all long, with a sound that builds majestically over time and the set leaves us wondering why Harris wasn't a bigger player at the time. The core tracks of the CD were recorded in the studio with Tapscott, Harris, and added bass, percussion, and guest vocals by the enigmatic Lorelei. An additional longer track was recorded live, with a larger group that also includes Adele Sebastian on flute and Sabia Mateen on tenor. And a last track is an 8 minute solo piano number by Tapscott. Titles include "Why Don't You Listen", "I Want Some Water", "Many Nights Ago", "The Advocate", and "Prayer Of Happiness". 1996-2015, Dusty Groove, Inc.
1971: Booker T. & The M.G.`s - Melting Pot Music » Blues » Rhythm-n-Blues
1971: Booker T. & The M.G.`s - Melting Pot
Artist: Booker T. & The M.G.`s
Album: Melting Pot
Label: Stax
Year:1971; Release:1990
Genre: Soul, Southern Soul,Funk, Memphis Soul,R&B
Format, bitrate: MP3 @320 kb/s
Size: 97.4 MB

Melting Pot could be the most well-realized of all the albums by Booker T. & the M.G.'s, a smooth and soulful, yet expansive 35 minutes of all originals, the latter in sharp contrast to their exploration of the Beatles' Abbey Road album material on their preceding album. And the irony was that it was their swan song. Booker T. Jones, in particular, was increasingly unhappy working at Stax/Volt Records, owing his feelings to management and structural changes at the company, and also felt the need to change the group's formula somewhat. Steve Cropper was playing lots of session work that was keeping him from recording in Memphis as well, and the result was an album recorded mostly in New York City, far away from Stax/Volt and largely built on the group's (especially Jones') best impulses. That said, Melting Pot managed to be a sort of back-to-the-roots effort in the sense that they were back to doing originals, but was also a strikingly more expansive record, with Jones in particular playing with an almost demonic intensity and range, backed ably by Donald "Duck" Dunn's rocksteady bass in particular. There were a few other touches, such as the wordless chorus on "Kinda Easy Like" and extended running times, showing the group stretching out on much larger musical canvases. ~ Bruce Eder, All Music Guide
1950's: Louis Armstrong - The Essential Satchmo Music » Jazz » Traditional Jazz
1950's: Louis Armstrong - The Essential Satchmo
Artist: Louis Armstrong
Album: The Essential Satchmo
Label: Music Club
Years: 1950's; release: 1992
Quality: FLAC
Size: 292 MB (inc. covers)
Time: 57:25

Repost with new links

From the 50's version of 'When You're Smiling' to 'That Lucky Old Sun' to 'The Sunny Side Of The Street', this collection is Louis Armstrong at his most subtle, his most mellow and his best. Sit in the dark, with a bottle of wine in the arms of someone you love. This will take you to heaven. Come on Music Club. Re-release it!!!!
~ Jimbo,
2009: Lila Downs - En Paris - Live a FIP Music » Jazz » Latin
2009: Lila Downs - En Paris - Live a FIPArtist: Lila Downs
Album: Y La Misteriosa En Paris - Live a Fip
Year: 2009; release: 2010
Format: FLAC (cue, log, scans)
Size: 535 MB
Label: World Village (2010)
Total time: 68:50
AMG rating 2009: Lila Downs - En Paris - Live a FIP

REPOST with new links

Given the experience of seeing Lila Downs y la Misteriosa in concert, its a wonder it took almost a decade for Anglos to hear her that way on record (thanks to World Village). This offering, recorded at Radio Frances FIP station, features her full international octet: Paul Cohen (her husband) on clarinet and saxophone; drummer Yayo Serka from Chile; Venezuelan guitarist Juancho Herrera; Paraguayan harpist, violinist, and charango player Celso Duarte; bassist Carlos Henderson from St. Louis; Colombian percussionist Samuel Torres; and New Yorkers Rob Curto on accordion and Dana Leong on trombone (the latter is also an accomplished cellist and producer). The essence of Downs' wondrously diverse, mind-blowing show is captured here in brilliant audio. Though she was touring in support of 2008s Ojo de Culebra -- four of these tracks appeared there -- she performs music from six different albums reaching back to 1999's Sandunga. Whether its the conjunto/norteno-infused El Relampago or the Spanish-flavored dub of La Linea or La Cumbia del Mole," the energy is the same: focused, spontaneous, and explosive. The lilting traditional ballad La Llorna is a standout, as is Chuy Rasgado's ranchera Naila. While Downs is a versatile vocalist and a true stylist as well as a dynamic performer, la Misteriosa cannot be overlooked for the sheer force and flow they provide in her live show; they are a sophisticated, forward-thinking ensemble of seasoned players who have been together for years, and now play instinctively with one another, adding an unmistakable dynamic. This one is all killer, no filler.
~ Thom Yurek, All Music Guide
2004: Gitte Hænning - Jazz Music » Jazz » Vocal Jazz
2004: Gitte Hænning -  Jazz
Artist: Gitte Hænning
Album: Jazz
Label: Etiquette Records/Soulfood
Year: 2004; release: 2005
Quality: MP3@320 kbps
Size: 120 mb
Total time: 52:47

Danish singer Gitte Haenning was born in the city of Århus in 1946. A celebrated regional teen idol in the '50s, Haenning made the move to Germany in 1963, obliterating the charts with her smash single "Ich Will 'Nen Cowboy Als Mann." A highly successful collaboration with popular German singer Rex Gildo followed, but Haenning was losing interest in the unforgiving and often fleeting world of pop music. She eventually turned her sights toward jazz and film, building a legacy that includes over 120 TV productions, many theater and film appearances, and numerous hit singles and albums that continue to draw new fans each year. ~ James Christopher Monger, All Music Guide

"I always had the image in my head that I want to end as an old lady in a hand a bottle Whiskey and a cigar in the other - the singing jazz. Even as a child I liked jazz. he gave me a lot of body and soul, and also for the head. The songs on this album I have years ago discovered for myself - they are special and have a story to tell. I walked on tour and made a recording. On this album I open the box of cigars for a bit them." ~ Gitte Haenning
1960: Various Artists - Newport Jazz Festival All Stars Music » Jazz » Traditional Jazz
1960: Various Artists - Newport Jazz Festival All Stars
Artist: Various Artists
Album: Newport Jazz Festival All Stars
Label: Atlantic/Wounded Bird
Year: 1960
Release: 2010
Format, bitrate: Mp3, 320 kBit/s
Time: 35:46
Size: 81.64 MB

The front line on this record - Pee Wee Russell, Vic Dickenson, Bud Freeman and Buck Clayton - gave the 1959 Newport Jazz Festival the best opening set it's had in its sixyear history. Billed as the Newport Jazz Festival All Stars, with Jimmy Rushing and the rhythm section of Ray and Tommy Bryant and Buzzy Drootin, their set inspired jazz critic John Wilson to give the festival the best opening review he has written in several years. This album had been recorded earlier in 1959 when we had put the band together for an engagement at Storyville in Boston. For this session, Jake Hanna, who is now with Marian McPartland, was on drums and Champ Jones, one of Boston's finest, played bass. I made my yearly appearance on piano. >>>>>
1957: Ray Eberle Plays Glenn Miller Favorites Swing, Mainstream, Vocal Jazz
1957: Ray Eberle Plays Glenn Miller FavoritesArtist: Ray Eberle
Album: Ray Eberle Plays Glenn Miller Favorites
Label: Simitar
Year: 1957
Quality: MP3@VBR (LP-rip)
Size:53,8 mb
Total time: 39:50

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Ray Eberle, Glenn Miller's ballad vocalist from 1938-42, never escaped from the shadow of Miller throughout the remainder of his life. By the mid-1950s he was considered a has-been, even though his voice was actually stronger than during his glory years. Eberle's only two albums as a leader were both tributes to his former boss, including this date (which was reissued on a 1997 CD). There are five instrumentals for the largely unidentified band (only trombonist Will Bradley and lead altoist Hymie Schertzer are mentioned), and some of the soloists are a little more modern than their 1940 counterparts, looking more toward cool jazz than swing. However, the very familiar arrangements on tunes such as "In the Mood" and "Tuxedo Junction" are rather restrictive. Eberle does his best on his seven pieces (which includes "Fools Rush In," "Skylark" and "At Last"), but his voice remains an acquired taste. Primarily of interest for its nostalgic purposes.
~ Scott Yanow, All Music Guide
1985: Wynton Marsalis - Black Codes (From the Underground) Music » Jazz » BeBop » Post-bop
1985: Wynton Marsalis - Black Codes (From the Underground)
Artist: Wynton Marsalis
Album: Black Codes (From the Underground)
Label: Columbia
Year: 1985
Format, bitrate: Mp3 320 Kbps
Time: 50:41
Size: 115 Mb
AMG rating: 1985: Wynton Marsalis - Black Codes (From the Underground)
1985: Wynton Marsalis - Black Codes (From the Underground)

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This is probably the best Wynton Marsalis recording from his Miles Davis period. With his brother Branford (who doubles here on tenor and soprano) often closely emulating Wayne Shorter and the rhythm section (pianist Kenny Kirkland, bassist Charnett Moffett, and drummer Jeff Watts) sounding a bit like the famous Herbie Hancock-Ron Carter-Tony Williams trio, Wynton is heard at the head of what was essentially an updated version of the mid- to late-'60s Miles Davis Quintet (despite Stanley Crouch's pronouncements in his typically absurd liner notes about Marsalis' individuality). The music is brilliantly played and displays what the "Young Lions" movement was really about: young musicians choosing to explore acoustic jazz and to extend the innovations of the pre-fusion modern mainstream style. Marsalis would develop his own sound a few years later, but even at age 23 he had few close competitors. [b]~ Scott Yanow, All Music Guide
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