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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!
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 ‎
Year1967
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.
1958: The Tony Kinsey Quintet - Time Gentlemen Please! Music » Jazz » Swing
1958: The Tony Kinsey Quintet - Time Gentlemen Please!
Artist: The Tony Kinsey Quintet
Album: Time Gentlemen Please!
Label: Decca
Year:1958
Format, bitrate: MP3; 320 kb/s (LP-rip)
Size: 84,7 MB


Long regarded as one of Britains finest jazz drummers and composers, Tony Kinseys multi-faceted musical career extends from jazz player to composer of music in many genres, including works for full symphony orchestra and chamber groups. He was a founder member of the John Dankworth Seven, working with the band for a period of two years, leaving only so that he could concentrate more on playing in Londons leading jazz clubs. Tony studied percussion in New York with Cozy Cole and Bill West, and composition and orchestration with Bill Russo. Album NOT included in the "Tony Kinsey Collection."

1959: Bill Potts -The Jazz Soul Of Porgy & Bess Music » Jazz » Swing
1959: Bill Potts -The Jazz Soul Of Porgy & Bess
Artists:Bill Potts
Album:The Jazz Soul Of Porgy and Bess
Label:United Artists Ultra Audio WWS-8517
Year: 1959
Format, bitrate: MP3, 320bps
Time: 38:29
Size: 96:0 Mb

Music that will endure, played with all the skill, passion and imagination that great jazz musicians can bring to bear on it. These are but two of the basic factors which make THE JAZZ SOUL OF PORGY AND BESS one of the finest jazz albums ever made. Just as crucial was a third the superb work of arranger Bill Potts, which established him as a major figure in the field of arranging for jazz orchestra. Add to all that a score that includes the top songs written by George and Ira Gershwin for this classic musical.

The result was itself a multifaceted classic, a faithful translation to the language of big band jazz of the emotional rollercoaster of love and tragedy set to music by the Gershwins, brought to dramatic life by one of the finest groups of jazz ever assembled under one roof for a recording session.
~ Fresh Sound Records
2000: Scott Hamilton - Ballad Essentials Swing, Mainstream
2000: Scott Hamilton - Ballad Essentials
Artist: Scott Hamilton
Album: Ballad Essentials
Label: Concord Jazz
Release: February 22, 2000
Format, bitrate: Mp3, 320 kBit/s
Time: 58:32
Size: 143 MB (full scans)

Tenor saxophonist Scott Hamilton is something of a jazz anomaly. Young enough to be part of the generation of players influenced by John Coltrane, Sonny Rollins, and Ornette Coleman, he draws his primary inspiration from an earlier generation of saxophonists. Don Byas, Ben Webster, Coleman Hawkins and, of course, Lester Young--the big-toned, warm, breathy tenor giants of the '30s and '40s--are the icons that fire Hamilton's approach. BALLAD ESSENTIALS is a superb cross-section of his work, recorded with various lineups for the Concord label between 1977 and 1995. Unsurprisingly, the program is all standards, rendered with fabulous technique and delivered with genuine, unabashedly sentimental warmth. Hamilton's version of "Everything Happens To Me" could have melted the iceberg in TITANIC; his horn sings over a lush string section in an Alan Broadbent arrangement of "My Foolish Heart," and his transformation of Thelonious Monk's "Round Midnight" stands with any recorded version. Also featured are the great trad/swing pianists John Bunch and Dave McKenna, and fellow tenor Ken Peplowski. Innovative? Not exactly. Timeless swing/jazz ballads played with breathtaking beauty? Absolutely. The musical line leading up to tenor saxophonist Scott Hamilton is not confusing. He wears his influences on his sleeve. You hear Lester Young's phrasing, Ben Webster's languid tone, and more than a dash of Zoot Sims's overall presentation. And while 1989's Scott Hamilton Plays Ballads is a gorgeous showing off of these influences, Ballad Essentials is a magnificent overview of his smoldering command of the genre. There's a pair of tracks from Plays Ballads ("In a Sentimental Mood" played as limber, late-night swing and "Round Midnight" given a robust, big-hearted embrace) and a pair from With Strings . The other eight pieces come from all over Hamilton's catalog, and describing any particular tune would tax the vocabulary--"aching" and "tender" have only so many synonyms. Hamilton's sense of swing is easy to love, as is his brawny tone--even when it slips into whispering mode. Ballad Essentials is meant as a themed collection, and it not only succeeds as such, it also serves as a primer for Hamilton's whole output
1969: Charlie Earland Trio feat. George Coleman - Soul Crib Soul-Jazz, Funk-Jazz
1969: Charlie Earland Trio feat. George Coleman - Soul Crib
Artist: Charles Earland Trio with George Coleman
Album: Soul Crib
Label: Choice Records; Catalog#: ST 520
Format: FLAC, Vinyl-Rip
Time: 36:45
Size: 114.13MB + 114.93MB

******* Re-Encode, Re-Post - New Scans ********


This album has never seen the light of day on CD. Some tracks were later released on a few of Charles' Muse albums; namely Smokin' and Mama Roots, but careful checking of track timings reveals slightly different versions. In this regard they may have not been from the same session. George Coleman's addition to Charles Earlands Trio truly makes this LP magnificent. He plays beautifully right throughout the whole session. In addition the listener cannot disregard the intuitive playing of Jimmy Ponder whereby he at times gets some marvelous opportunities to really stretch out. Of course as always Charles Earland beyond any doubt greatly entertains with his vivacious mastery of the B-3. Similarly without Walter Perkins driving the beat on drums and the inclusion of some very innovative percussive effects the tunes wouldn't be as dynamic. "Soul Crib" leans more toward the jazz side of things, featuring no fewer than five standards, one swinging original The Dozens and a psychedelic free improvisation piece called Mus Be LSD that seems completely out of place. Taken together the album truly entertains and clearly showcases George Colemans tenor blending seamlessly with Charles' big organ sounds. A masterful gem for its time and is highly recommended.
1981/1982: Freddie Hubbard - Ride Like The Wind Hard-bop, Post-bop
1981/1982: Freddie Hubbard - Ride Like The Wind
Artist: Freddie Hubbard
Album: Ride Like The Wind
Label: Elektra/Musician/WEA Japan
Years: 1981/1982; release: 2013
Quality: MP3@320 kbps
Size: 88,1 mb
Total time: 37:17

Recorded in 1982 by Jeffrey Weber and arranger Allyn Ferguson, this live to two-track digital set showcases Freddie Hubbard in the company of two large bands -- one a brass group, the other a string orchestra -- both of which feature the same rhythm section. Ferguson wrote three tunes for the session, including the funky "Hubbard's Cupboard" and "Two Moods for Freddie" (which shifts gears from elegant and nocturnal to finger-popping contemporary electric jazz in the course of a couple of minutes); this pair opens and closes the album. The cover of Joe Zawinul's "Birdland" is reverent but swinging, and Hubbard's lone composition here, "Bridgitte," is a beautiful ballad that showcases the strings and Dan Ferguson's sweetly singing electric guitar and opens up into a midtempo groover. The title track is a cover of Christopher Cross' smash; it and Kenny Loggins' saccharine "This Is It" are less successful even if they are somewhat colorful -- there is only so much one can do to dress up mediocre pop songs. This isn't a great success like Hubbard's CTI albums were, but Ride Like the Wind nonetheless showcases the trumpeter in fine solo form. ~ Thom Jurek, All Music Guide
2012: Scott Hamilton - Swedish Ballads & More Music » Jazz » Mainstream
2012: Scott Hamilton - Swedish Ballads & More
Artist: Scott Hamilton
Album: Swedish Ballads & More
Label: Stunt Records
Year: 2012; release: 2013
Quality: Bitrate: my cd >mp3-320
Total Time: 52 min.
Total Size: 124 mb (with full scans)
Lovely laid-back mainstream...Highly recommended!

The album opens with the Swedish folk tune Ack Vrmeland Du Skna or Dear Old Stokholm – either name works for this lovely tune – and the mood is set. The tunes that we call standards have a timeless quality. They have stood the test of time and continue to inspire generations of jazz musicians. Most of the songs on this recording fall into this category. The American saxophonist Scott Hamilton and the Swedish pianist Jan Lundgreen have chosen the repertoire, and each of the seven tunes is somehow associated with Sweden.
Dear Old Stockholm was first recorded and made famous outside of Sweden by Stan Getz. His version – in collaboration with pianist Bengt Hallberg – is from 1951. Since then, many others including Miles Davis have recorded it. On this album Scott Hamilton has created a classic and wonderful interpretation.
2002: Anna Maria Jopek & Pat Metheny - Upojenie Vocal Jazz, Standards

2002: Anna Maria Jopek & Pat Metheny - Upojenie
Artists: Anna Maria Jopek & Pat Metheny
Album: Upojenie
Label: Nonesuch
Year: 2002; release: 2008
Format, bitrate:Mp3, 320 Kbps
Size: 172 MB
AMG Rating: 2002: Anna Maria Jopek & Pat Metheny - Upojenie

Originally released in 2002 in Europe and Japan, Upojenie (Ecstasy) is a collaboration between Pat Metheny and superstar Polish vocalist Anna Maria Jopek. It came into being after Jopek approached the guitarist at a jazz festival in Warsaw in 2001. Her original idea was to perform some of her own work, some of Metheny's, and some Polish folk songs (exactly what happened). The collaboration was recorded over four months in Poland; it is something wholly other than the sum of its parts might suggest. Co-produced by composer Marcin Kydrynski (Jopek's husband) and Metheny, with Jopek and Pawel Bzim Zarecki, this set marries together the guitarist's signature meld of jazz, pop, and American forms with electronics, early folk melodies, classical melodies, and arrangements with exotic instrumentation and Jopek's otherworldly but gentle voice. For Metheny fans, this is a unique opportunity on two fronts: to hear new versions of his own tunes with different arrangements, titles, and lyrics, as well as the opportunity to be introduced to an immense talent. Now that the set has been released stateside, it becomes an opportunity for fans of contemporary jazz and sophisticated adult pop as well. The set commences with the duet "Cicy Zapada Zmrok" (Here Comes the Silent Dusk), a traditional evening prayer sung by Jopek with Metheny on the 42-string Pikasso guitar. It's skeletal, ethereal, and haunting, yet in Metheny's hands, the melody transcends its origin and becomes a song that could have been sung on the North American plains as well as in Eastern Europe. Another duet, "Biel" (Whiteness), written by Kydrynski, features the singer buoyed by Metheny's classical and baritone guitars. It feels spacious enough to have been recorded in a church, but its roots are in samba.
These tracks are the anomalies on the album, however. More often Metheny and Jopek are accompanied by a full band mainly comprised of crack Polish session players, including the great pianist Leszek Mozdzer. Check the version of Metheny's "High Tide, Love Tide, the Breath of Time...," titled "Przyplyw, Odplyw, Oddech Czasu..." (Tell Her You Saw Me) here, with lyrics by Magda Czapinska. The nearly whispered, restrained multi-tracked vocals, a soprano guitar, and lithe basslines, acoustic piano, loops, timpani, and percussion create a web of gossamer and ether before the tempo changes and all sounds seem to bleed into one warm blanket of sound with the considerable emotions in this music all on display. "Are You Going with Me," the original single from this set, is an instrumental with wordless vocals that evolves from the arrangement found on Offramp into something far more folkish and mysterious. Jopek's own "Czarne Slowa" (Black Words) is a deeply sad, piano-driven love song, a ballad with somber overtones hinting at an intricate folk-jazz hymn. The nostalgic "By On Byl Tu" ("Let It Stay" from the Pat Metheny Group's Travels) becomes a hymn of longing and homecoming with the guitarist's classical guitar kissed by Mozdzer's piano, upright bass, and drums. But in Jopek's round, warm, seemingly ageless vocal, this song is almost a lullaby, with gorgeous interplay between the instruments. The domestic issue of this set contains two bonus cuts including a live number. Metheny fans who couldn't afford the import should jump on this, and those who have an interest in sophisticated pop singers from Stacey Kent to Inara George should consider this as well. Upojenie is international jazz as poetry in motion.

~ Thom Jurek , All Music Guide
1950-1954: Gerald Wilson Orchestra - Big Band Modern Music » Jazz » Big Band
1950-1954: Gerald Wilson Orchestra - Big Band Modern
Artist: Gerald Wilson Orchestra
Album: Big Band Modern
Label: Jazz Factory
Years: 1950-1954; release: 2006
Quality: MP3@320 kbps
Size: 162 mb
Total time:67:06

First time on CD for this ultra-rare album by the Gerald Wilson Orchestra, the only studio session recorded by Wilson under his own name between 1947 and 1961 and features seven bonus tracks. Includes never before heard solos by tenor stars Wardell Gray, Zoot Sims and Stan Getz and one of a kind arrangements by Wilson! The bonus tracks are from a 1950 concert recorded in San Francisco which is, without a doubt, an essential addition to Wilson's recorded legacy, and an extremely important discographic discovery. In fact, this concert has never been previously released on any format. It was originally recorded in Stereo, which was a completely new technology in 1950.
~ Jazz Factory
1967-1970: Jo Stafford - As Time Goes By Music » Jazz » Vocal Jazz
1967-1970: Jo Stafford - As Time Goes By
Artist: Jo Stafford
Album: As Time Goes By
Label: SSJ
Years: 1967,1969,1970; release: 2011
Quality: mp3/320 kbps
Size: 113 MB
Time: 43:56

Jo Stafford is one of the top singers in the 20th century American popular music history. Her pre-war fame came with the choral group the Pied Pipers she formed in 1938 and the group's work with the Tommy Dorsey Orchestra from 1939 until 1942. As a solo singer, Stafford made many hit records for Capitol Records.
The 13 tunes contained in this CD were recorded for Reader's Digest between 1967 and 1970. Sold through mail order, the original records were soon forgotten and faded into obscurity, until the good people at the Japanese label SSJ Records uncovered them and released them on CD for the first time.

2001: Harald Haerter - Cosmic Fusion, Contemporary Jazz
2001: Harald Haerter - Cosmic
Artist: Harald Haerter
Album: Cosmic
Label: TCB 21162
Year: 2001
Format, bitrate: Mp3, 320 kBit/s
Time: 46:05
Size: 113 MB (full scans)

Swiss guitarist Haerter studied from 1980 to 1984 at the Berklee College of Music and with John Scofield . In 1985 he founded the Intergalactic Maiden Ballet, with whom he toured Europe and recorded several albums: 1985 eponymous album was recorded, which appeared at ITM, the other productions Square Dance (1989) and Gulf (1994) contained some articles written by prominent guest musicians.
With Dewey Redman , he founded a quintet in 1994, which among other things with more than 150 concerts, Erik Truffaz , Arthur Blythe , John Enders , Joe Lovano and Nils Petter Molvaer occurred. After the saxophonist Michael Brecker album Haerter Mostly Live had heard, he invited him in 1997 to a European tour and held with him in 1999 an international concert series. To his band Catscan currently include Gitta Kahle and Hilaria Kramer .
1959: Buddy Bregman & His Orchestra ‎ This Band Swings Music » Jazz » Big Band
1959: Buddy Bregman & His Orchestra  ‎ This Band Swings
Artist: Buddy Bregman & His Orchestra
Album: This Band Swings
Label: Hallmark
Year: 1959; release: 2010
Quality: MP3@320 kbps
Size: 78,5 mb
Total time: 34:35

Not yet 30 and dubbed Hollywoods wonder-boy of music when he recorded these sessions, Buddy Bregman had already amassed an incredible list of radio, television and motion picture credits, and had done backgrounds for everybody from Ella to Bing Crosby.

In 1959, he had a show every Sunday on NBC titled Buddy Bregmans Music Shop, where he appeared leading the powerful dance band with which he recorded the album This Band Swings. The band featured the best of front rank Hollywood musicians, with fine soloing from brass and reeds and an excellent rhythm section authoritatively driven by Mel Lewis and the tasteful beat of guitarist Jim Hall. This is the flamboyant swing of Buddy Bregmans band.
2012: Mulgrew Miller & Klüvers Big Band - Grew's Tune Music » Jazz » Big Band » Modern Big Band
2012: Mulgrew Miller & Klüvers Big Band - Grew's Tune
Artist: Mulgrew Miller & Klüvers Big Band
Album: Grew's Tune
Label: Stunt
Quality: Bitrate: my cd > mp3-320
Year: 2012
Total Size: 130mb
Size: 136 mb (with full scans)

The Klüvers Big Band was founded in Denmark in 1977 as a government-supported orchestra for concerts and education, conducted by Jens Klüver. Numerous well-known jazz artists have performed with the orchestra; pianist Mulgrew Miller was recruited for a series of concerts with the band in 2012, though he was not known for working with large ensembles. Several of his compositions were selected and big-band arrangements by two Americans (Dennis Mackrel and Matt Harris) and one Dane (trumpeter Jesper Riis) were commissioned for these performances. Miller thrives in this modern big-band setting, while both the solos and ensemble work by the band are first-rate, as are the imaginative arrangements. The driving "Thinking Out Loud" makes a powerful opener, with Miller's potent chops and Morten Lund's pulsating drumming. Trumpeter Jakob Buchanan and tenor saxophonist Claus Waidtlow are showcased along with the pianist in the brisk post-bop vehicle "Return Trip," followed by the engaging "Samba d'Blue." "Hand in Hand" mixes funk, blues, and gospel in an infectious soul-jazz setting. Perhaps this recording will make The Klüvers Big Band better known outside of Europe, along with encouraging others to recruit Mulgrew Miller for record and concert dates with a big band.
~ Ken Dryden, All Music Guide
1971: Mal Waldron - Signals Music » Jazz » BeBop » Post-bop
1971: Mal Waldron - Signals
Artist: Mal Waldron
Album: Signals
Label: Freedom Records (Catalog#: FLP 41042)
Released: 1979
Format: FLAC, LP-Rip
Time: 35:56
Size: 146.87MB

One of two LP's by pianist Mal Waldron made available on the Freedom label in the mid-1970's when Arista was handling it, this set features a solo outing by Waldron that fully displays his continually evolving style. He had moved away from his earlier Thelonious Monk influence to an extent and developed his own brooding style which made expert use of repetition. Waldron's four originals give him plenty of opportunity to stretch out; hopefully this intriguing set will be reissued on CD eventually. ~ Scott Yanow, All Music Guide.
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