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» 1959: Grant Green - First Recordings + 6 Bonus tracks
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1956: Sidney Bechet and Sammy Price Bluesicians Music » Blues » Jazz-Blues
1956: Sidney Bechet and Sammy Price Bluesicians
Artists: Sidney Bechet and Sammy Price
Album: Sidney Bechet and Sammy Price Bluesicians
Label: Vogue
Year: 1956
Format, bitrate: MP3, 320 kb/s
Time: 42 minutes
Size: 91,3 Mb


With Sidney Bechet (sop sax), Price's "Bluesicians" hit on old-time and good time standards -- Bechet, as always, in good tune. ~ Michael G. Nastos
1955: Bob Gordon - Moods in Jazz & Reflections in Jazz Cool, West Coast Jazz
1955: Bob Gordon - Moods in Jazz & Reflections in Jazz
Artist: Bob Gordon
Album: Moods in Jazz & Reflections in Jazz
Label: Tampa/V.S.O.P.
Year: 1955; release: 1995
Quality: MP3@320 kbps
Size: 115 mb
Total time: 49:08

On one of two albums led by baritonist Bob Gordon before his tragic death in a 1955 car crash, the cool-toned baritonist blends in well with trombonist Herbie Harper in a quintet that also includes a no-name rhythm section (pianist Maury Dell, bassist Don Prell and drummer George Redman). The emphasis is on slower tempos, in fact, two of the songs are titled "Slow Mood" (the Eddie Miller composition) and "Slow." This CD reissue of a Tampa set is worth picking up by fans of relaxed straightahead jazz.
~ Scott Yanow, All Music Guide
1955: Red Mitchell Happy Minors Music » Jazz » BeBop » Hard-bop
1955: Red Mitchell  Happy Minors
Artist: Red Mitchell
Album: Happy Minors
Label: Bethlehem/Solid (Japan) CD (Item 655974)
Year: 1955; release : 2003
Format mp3, bitrate: 320 kbps
Time: 28:54
Size: 103 mb

A hell of a cooker from bassist Red Mitchell a set that's got a sound that's way more mature and modern than you might guess from the image on the cover! Red's at the helm of a hip combo that also features sharp tenor from Zoot Sims and beautiful work on valve trombone from Bob Brookmeyer working here at that cool compressed height of his 50s style we love so much. Conte Candoli's in the group on trumpet, giving things a surprising sort of bite and rhythm is completed by Claude Williamson on piano and Stan Levey on drums players who can be bold one minute, and carefully quiet the next. Titles include "Kelly Green", "Once In A While", "Bluesology", "Happy Minor", and "Long Ago & Far Away". 1996-2015, Dusty Groove, Inc.
1955: Milt Hinton - East Coast Jazz/5 Music » Jazz » BeBop » Cool
1955: Milt Hinton - East Coast Jazz/5
Artist: Milt Hinton
Album: East Coast Jazz/5
Label: Bethlehem / Avenue
Year: 1955; release: 2001
Style: East Coast Jazz
Quality: MP3@320 kbps
Size: 92,6 mb
Total time: 41:20

One of the best (and few) sessions ever cut as a leader by bassist Milt Hinton a crucially important player on his instrument, and an important force behind countless sessions of his generation! The album's a nicely laidback one the kind that lets you get to hear Milt's bass work up front in the mix, a good thing, since it could often be buried in larger arrangements on other albums that he's appeared on. The group's a quartet with Milt on bass, AJ Sciacca (Tony Scott) on clarinet, Dick Katz on piano, and Osie Johnson on drums and titles include "Pick N Pat", "Katz's Meow", "Upstairs With Milt", "Mean To Me", "Ebony Silhouette", and "Cantus Firmus". CD also includes an alternate take of "Milt To The Hilt". 1996-2015, Dusty Groove, Inc.
1964/1966: Humphrey Lyttelton & His Band With Buck Clayton - Live At The Dancing Slipper Nottingham Music » Jazz » Swing
1964/1966: Humphrey Lyttelton & His Band With Buck Clayton - Live At The Dancing Slipper Nottingham
Artists: Humphrey Lyttelton & His Band With Buck Clayton
Album: Live At The Dancing Slipper Nottingham 2CD
Label: Calligraph Records
Years: 1964/1966; release: 2011
Quality: MP3@320 kbps
Size: D1 - 126 mb; CD2 - 136 mb
Total time: CD1 - 57:12; CD2 - 61:55

Amongst all of Humphrey Lyttelton's recorded music not previously available on CD or LP, none has been looked forward to by his followers as much as these sessions with trumpeter Buck Clayton in Nottingham from 1966. Humph's excellent band also includes Tony Coe, Dave Green and Chris Pyne, whilst Joe Temperley plays baritone saxophone on the 3 bonus tracks recorded at the same venue in 1964.

"Sessions" is the right word for this album - not "dance" or "recital". For the music here, intended for the former and as trenchant as the latter, holds some of the finest improvised jazz of its period. These are truly banquets of music. Throughout their tours the two men climbed to new peaks of inspiration and the band flew with them.

Buck Clayton had a unique combination of sensitivity and fire in his playing which raised him above contemporaries like Roy Eldridge and Harry Edison. He was the most consistently excellent trumpeter of them all and was a craftsman of the trumpet who was imbued with Louis Armstrong's sense of drama. The open horn climaxes he built in his closing choruses were, as with Armstrong, the masterful work of a giant at ease.
~ propermusic.com
1936: Benny Goodman - The NBC Broadcasts from Chicago's Congress Hotel- Vol.3 Music » Jazz » Big Band
1936: Benny Goodman - The NBC Broadcasts from Chicago's Congress Hotel-  Vol.3
Artist: Benny Goodman
Album: The NBC Broadcasts from Chicago's Congress Hotel-Vol.3
Label: Circle Records CD-CCD-173
Year: 1936(1998)
Format, bitrate: Mp3, 320 kBit/s
Time: 46:17
Size: 114.4MB
AMG rating: 1936: Benny Goodman - The NBC Broadcasts from Chicago's Congress Hotel-  Vol.3

The third of three CDs that reissue the Benny Goodman Orchestra's broadcasts from the Congress Hotel in Chicago has some of the best music in the series. The Goodman big band would soon be heading for New York and even greater fame; it was definitely on the rise. The February 10 broadcast has several Helen Ward vocals (including her new hit "Goody, Goody"), a feature for trumpeter Nate Kazebier ("Troublesome Trumpet") and a one-time performance by a combo out of the orchestra, a Dixielandish version of "I'm Gonna Sit Right Down and Write Myself a Letter." The February 17 date has more Ward singing (including another version of "Goody, Goody") and instrumental renditions of "Star Dust," "Sandman," and "Rosetta." High quality swing music that was reasonably well-recorded for the period.
~ Scott Yanow, All Music Guide
2014: Steve Turre Spiritman Music » Jazz » BeBop » Post-bop
2014: Steve Turre  Spiritman
Artist: Steve Turre
Album: Spiritman
Label: Smoke Sessions Records
Year: 2014; release: 2015
Quality: MP3@320 kbps
Size: 162 mb
Total time: 72:03

Steve Turre, one of the world's preeminent jazz innovators releases, "Spiritman", his debut recording for Smoke Sessions Records. It's something of a back-to-basics project for Turre who says, It's the first record I've done in a long time that really focuses on my trombone playing. It also employs an ideal foil in saxophonist Bruce Williams whose timbre on soprano and alto is a perfect match for the trombone. "Spiritman" features several of Turre's new compositions including "Trayvon's Blues" a poignant, moving, jazz tone poem; "Bu" the record opener dedicated to his mentor Art Blakey; "Funky Thing" written for the Saturday Night Live Band; and "Nangadef" written for Senegalese percussionist Abdou Mboup and featuring Chembo Corniel on congas. His spirited rendition of Miles Davis' All Blues begins with his own mystical "Spiritman" played on shells. It's a piece he performed to open the UN's International Jazz Day concert in Osaka, Japan in 2014. This All Blues introduction is also the first recording of a newly developed technique where Turre plays into a piano with the pedal down and the strings open. The shell's sound vibrates the open strings creating an ethereal, mystical, but acoustic sound. The rest of the band, Xavier Davis, Gerald Cannon, and Willie Jones III, know just what Turre wants and needs from a rhythm section and they help deliver this unforgettable music that also includes swinging standards and classic ballads. It's music designed to make you feel better. As Turre explains in his thoughts about this recording and music in general, Music is about giving and about searching. Without spirit, music is just notes. It's a philosophy of life and music that continues to produce inspired results.
~ jazzmessengers.com
1970: Lou Donaldson - The Scorpion-Live At The Cadillac Club Music » Soul » Funk-Jazz
1970: Lou Donaldson - The Scorpion-Live  At The Cadillac Club
Artist: Lou Donaldson
Album: The Scorpion-Live At The Cadillac Club
Label: Blue Note
Year: 1970
Format: flac
Time: 34,12
Size: 299,5 mb (with scans)
REPOST with new links from Mr. hungaropitecus

This previously unreleased live set, which has been issued on Blue Note's Rare Groove Series, will bore anyone who listens closely. The repertoire is dominated by lengthy funk grooves that are quite danceable but never develop beyond the obvious. Altoist Lou Donaldson was using a baritone horn at the time that gave him a generic and unappealing tone, the obscure trumpeter Fred Ballard does his best to no avail and the enthusiastic rhythm section (guitarist Melvin Sparks, organist Leon Spencer, Jr., and drummer Idris Muhammad) keeps the grooves repetitious. Bob Porter's liner notes (which colorfully give readers the history of Newark jazz of the past 30 years) are superlative but, even with the inclusion of a fast blues, musically nothing much happens.
~ Scott Yanow, All Music Guide
1935-1942: Bob Crosby - Jazz Greats, Volume 33: Bob Crosby: The Dixieland Band Dixieland, Classic Jazz
1935-1942: Bob Crosby - Jazz Greats, Volume 33: Bob Crosby: The Dixieland Band
Artist: Bob Crosby
Album: Jazz Greats, Volume 33: Bob Crosby: The Dixieland Band
Label: Marshall Cavendish Partworks Limited
Years: 1935-1942; release: 1997
Quality: MP3@320 kbps
Size: 133 mb
Total time: 63:12

Although his career lasted into the 1950s, George Robert "Bob" Crosby enjoyed his greatest popularity and made his best recordings during the mid- to late '30s as the leader of a swinging jazz orchestra and a solid little traditional jazz group called the Bobcats. Between them, the two ensembles cooked up large quantities of Dixieland swing and big-band dance music sprinkled with jazzy pop vocals. If his big brother Bing made a mint as the most popular singer of their generation, Bob surely struck gold as far as instrumental talent was concerned. His skilled soloists included trumpeter Yank Lawson; clarinetist Irving Fazola; saxophonist Eddie Miller; pianists Jess Stacy, Bob Zurke, and Joe Sullivan; singing guitarist Nappy Lamare; and singing, whistling bassist Bob Haggart. These are only a few of the reasons to track down a copy of Living Era's Stomp Off, Let's Go!, a collection of Bob Crosby classics recorded during the years 1935-1942. Further enticements exist here in the charming personae of guest vocalists Connee Boswell and Judy Garland. ~ arwulf arwulf, All Music Guide
1942-50,1963: Lionel Hampton - Hamp: The Legendare Decca Rrecordings of Lionel Hampton Swing, Mainstream
1942-50,1963: Lionel Hampton - Hamp: The Legendare Decca Rrecordings of Lionel Hampton
Artist: Lionel Hampton
Album: Hamp: The Legendare Decca Rrecordings of Lionel Hampton
Label: Decca (1942-1950,1963)
Year: 1996 (PolyGram, Verve)
Quality: mp3/320 kbps
Size: CD1 160MB + CD2 158MB + Covers 48MB
Total Time: 02:11:17

A very nice two-disc set indeed, with a wonderful cross section of Hampton's career, with the focus rightfully on the pre-1950 stage, with the final few cuts taking Hampton as far as a 1963 club date with trumpeter Charlie Teagarden. The music here is often delicate, spun from silver, and it's doubtful you'll find a better compilation of jazz vibraphone work. One fascinating highlight: Hampton's 15-minute version of "Stardust."
~ Steven McDonald, All Music Guide.
1980: Arnett Cobb & Guy Lafitte - The Definitive Black & Blue Sessions: Tenor Abrupt Music » Jazz » Mainstream
1980: Arnett Cobb & Guy Lafitte - The Definitive Black & Blue Sessions: Tenor Abrupt
Artists: Arnett Cobb & Guy Lafitte
Album: The Definitive Black & Blue Sessions: Tenor Abrupt
Label: Black & Blue
Year: 1980; release: 2003
Quality: MP3@320 kbps
Size: 164 mb
Total time: 73:11

As part of The Definitive Black & Blue Sessions series, tenor saxophonist Arnett Cobb is spotlighted on ten digitally remastered tracks, recorded live in France on March 16 and 29, 1980. Cobb recorded several records for Black & Blue, but this straight-ahead live session is special. Paired up with tenor associate Guy Lafitte, Roland Hanna on piano, Jimmy Woode on bass, and Eddie Locke on drums, Cobb is still in excellent form even though this was recorded late in his career. Among the previously unreleased tracks are "Oue Reste-T-Il de Nos Amours," "Make Someone Happy," "The Nearness of You," and "Blues in Deauville."
~ Al Campbell, All Music Guide
1980: Jimmy Smith - The Cat Strikes Again Music » Soul » Soul-Jazz
1980: Jimmy Smith  - The Cat Strikes Again
Artist: Jimmy Smith
Album: The Cat Strikes Again
Label: Inner City Records
Year: 1980; release: 2009
Quality: MP3@320 kbps
Size: 101 mb
Total time: 47:20

"The Cat Strikes Again" is an obscure later album by Jimmy Smith, released in 1980 on the Inner City label and later leased to Laserlight for CD release in 1991 (out of print and also using a different album cover than the original). "The Cat Strikes Again" is a natural extension of Jimmy Smith's already established experimentation with funk, disco and R&B genre, but he focuses more on the trend of tighter jazz funk that he began in the late 70s through the Mercury albums "It's Necessary", "Sit on It" (not released on CD). To be able to progress further into this new territory, his arranger and conductor Lalo Schifrin plays as key role to make this happen. "The Cat Strikes Again" is a tight and polished studio session with Jimmy Smith, who picks the ivories with taste, skills and authority like we expect from him, but unfortunately on this album playing on a less than impressive Wersi Saturn W3T organ, advertised and marketed as full scale portable entertainment and jazz organ with physical drawbars and a full pedal set as the only similarities to a Hammond B-3 organ. Jimmy Smith loved to tell the story of his brief collaboration for the bucks with the German Wersi Organ Company; through advertising, playing and demonstrating the Wersi Saturn W3T during the day on the international music trade fairs, and secretly played Hammond B-3 on the evenings in jazz clubs. The evening secrets didn't last for long, on this background he was 'driven' back to the U.S. from a cursed company by the 'German organ mafia' to quote Smith (always with a smile).

"The Cat Strikes Again" has an impressive line-up of studio musicians, which at the time worked very closely with Lalo Schifrin on various albums and studio sessions; John Bolivar (flute), John Bolivar (saxophone), Ronnie Foster (piano), Grady Tate (drums), Oscar Brashear (trumpet and flugelhorn), Ray Brown (bass), Dennis Budimir (guitar), Paulinho Da Costa (percussion), Chuck Domanico (el guitar/bass), Gary Herbig (flute), Gary Herbig (saxophone), Jerry Hey (trumpet and flugelhorn), Howard Roberts (guitar), Alan Kaplan (trombone), Mary Time (guitar). The tracks run from straighter soul jazz organ numbers to more pumped-up ones that feel like 70s soundtrack work by Lalo Schifrin -- no surprises, since Schifrin contributed five tracks to the set with titles include "Wersi Time", "Free Ride", "The Big Brawl", and "The Cat Strikes Again". A few highlights to pick from this album; "Lonely Shepard" is a beautiful laid-back funky ballad and "In Search of Truth", written by the organist himself, Smith brings us back to basic down-to-earth blues with no horns, just plenty of organ licks and fierce solo lines.

In summary, "The Cat Strikes Again" is not an essential album in the Jimmy Smith discography, but it does tell an interesting story about a man trying to keep alive the interest for the jazz organ sound through adopting to the contemporary music styles dominating the market, despite the fact of the fast declining interest for the Hammond organ sound in the '70s and early `80's. Whether "The Cat Strikes Again" album succeeded to keep up the interest for the funkier jazz organ at the time, can only be judged by the listener. If you are an avid Jimmy Smith collector, just go for it. Just curious on Jimmy Smith albums, stay away since you have tons of far better Blue Note, Verve and Milestone albums to choose from.
~ Terje Biringvad, Amazon.com
1965: Dexter Gordon - Clubhouse Music » Jazz » BeBop » Hard-bop
1965: Dexter Gordon - Clubhouse

Artist: Dexter Gordon
Album: Clubhouse
Label: Blue Note
Year: 1965; Release: 2007
Format, bitrate:mp3,320
Time: 38m39s
Size:92,9 mb
Repost with a new link

Although tenor saxophonist Dexter Gordon had moved to Europe in 1962, he made a return visit to the U.S. in 1965 that resulted in both this album and Gettin' Around. Gordon teams up with trumpeter Freddie Hubbard, pianist Barry Harris, bassist Bob Cranshaw and drummer Billy Higgins for three of his originals, two obscurities, and a standard that ended up being the date's most memorable performance: "I'm a Fool to Want You." It is excellent music, ~ Scott Yanow, All Music Guide
1996: The Dukes Of Dixieland - Barnburners Music » Jazz » Traditional Jazz » Dixieland

1996: The Dukes Of Dixieland - Barnburners
Artist: The Dukes Of Dixieland
Album:Barnburners[b]
Label: Leisure Jazz MD-1070-2
Year: 1996; release: 2001
Format, bitrate: MP3; 320 kb/s
Time: 59:49
Size: 140.6 Mb

More recently, a revamped version of the Dukes Earl Bonie replaced Laughlin on clarinet and Jamie Wight took over for McDermott on piano recorded "BarnBurners." While the playing is lively once again, the overall program does not jell as consistenlty as on "Riverboat Dixieland;" with 17 cuts, "BarnBurners" might have benefited from judicious editing.
After a big intro by Taylor who, at every pause, gives his snare drum a workout Clark and the others speed through the appropriately named opener, "Running Wild." Smith turns in a nicely muted trombone in "Hindustan" and Bonie shows off his clarinet tone in "Avalon." However, the vocals that appear periodically are mostly a distraction; Taylor's boogie-woogie "Big Bend in the River" is also out of place.But, mostly, the Dukes demonstrate that they still have much to offer Dixieland.
1976: Billy Butler - Don`t Be That Way Music » Soul » Soul-Jazz
1976: Billy Butler - Don`t Be That Way
Artist: Billy Butler
Album: Don`t Be That Way
Label: Black and Blue
Year: 1976; Release: 2001
Format, bitrate: Mp3, 320 kBit/s
Time: 68m 11s
Size: 156 mb

I`m sorry I`m still not getting the full site to publish properly. I would be grateful if you could assist. Thanks, good luck with the site and PLEASE keep it going!!

Billy Butler (December 15, 1925 – March 20, 1991) was an American soul jazz guitarist born in Philadelphia.

He played with The Harlemaires, Tommy Flanagan, tenor saxophonist Floyd "Candy" Johnson, Houston Person, organist Harry "Doc" Bagby, Benny Goodman, Dizzy Gillespie, Jimmy Smith, David "Fathead" Newman, Eddie "Lockjaw" Davis, Bill Doggett, King Curtis, Sammy Price, William (Wild Bill) Davison, Dinah Washington, Panama Francis, Johnny Hodges, Norris Turney, Al Casey, Jackie Williams and others.

He also co-wrote, with Bill Doggett, the 1956 R&B hit "Honky Tonk". He was with the Doggett band from 1954 to 1964 and recorded many albums with the organist.
~ From Wikipedia, the free encyclopedia
1971: Festival Big Band Explosive! Music » Jazz » Big Band » Modern Big Band
1971: Festival Big Band  Explosive!
Artist: Festival Big Band
Album: Explosive!
Label: Sonorama
Year: 1971; release: 2009
Quality: MP3@320 kbps
Size: 110 mb
Total time: 47:52

The 'Sensational concert', 'fascinating big band', 'orchestral fireworks', 'one of the best orchestras ever heard in this country': the critics were unanimous in their praise of this music when it was performed at the Jazz Festival Loosdrecht in the summer of 1971 by seventeen top musicians from different countries under the leadership of Jerry van Rooyen.Fortunately, during the four days of rehearsals preceding the concert the same compositions were also recorded for later use. The complete results were aired on Radio One. Six months later all the recordings except one were released on an LP called "Explosive". The missing track is included on this CD.

Looking back after so many years producer Joop de Roo still remembers clearly that he got the idea for this event at the recording sessions in Hilversum for the album "Rita Reys meets Oliver Nelson" in l965: "The way this American bandleader and arranger managed to get the most out of an occasional group of musicians from different countries really impressed me very much. It must be possible to do something similar with a big band, I said to myself, with ideally a concert to top it off."
>>>
1955: Billy Byers The RCA Victor Jazz Workshop Swing, Mainstream
1955: Billy Byers  The RCA Victor Jazz Workshop
Artist: Billy Byers
Album: The RCA Victor Jazz Workshop
Label: RCA Victor
Year: 1955; release: 1960
Quality: MP3@320 kbps (LP-rip)
Size: 81,6 mb
Total time: 37:09
Rocktaran !

William Mitchell "Billy" Byers was an American jazz trombonist and arranger.When Jack Lewis assigned Billy an album in the RCA Victor Jan Workshop series, it was to be expected that operating within this challenging framework Billy would again show his ability to assume various guises. Accordingly, he is presented here in three provocatively contrasted settings: one featuring four strings, another in which he'* port of a trombone quartet along with trumpet, saxophone, baas and drums; and a third in which the instrumentation is more conventionalthree horns and three rhythm.

Alans Together, Billy's arrangement of the 1982 Dieta-Schwartz hit, makes attractive use of Joe Venuto's marimba and of the handsome blend of three 'cellos. The Tickler features the muted moods of Nick Travis* trumpet, Phil Funk's ch&lumeau-register clarinet and Billy's bone in some deft exchanges, with Mot Wechsler cushioning the gentle groove on celeste while Qsie Johnson and MOt Hinton sustain the rhythm. The only forte passages, in the first half of the last chorus, are that much more effective by virtue of the contrast they provide. The next two items, BtUy Bones and Otwif Water Torture (the latter named for the drip-drip effect of the groups of notes at intervals of a second) provide a dual surprise in that A1 Cohn, best known as a stalwart of the tenor tax, is heard in solos on baritone sax and clarinet respectively. I See a Million People, which singer-pianist Una Mae Carlisle wrote and introduced in 1941, is another fine vehicle for the string group and for Billy's ballad style. Back in Your Own Back Yard, a 1928 pop, ts unpretentiously scored for three hornsNick, altoist PhD, and BQlywho thereafter take off on their own.

The Funky Music Box Is very short and succinct, with canonic touches and Moe Wechslars celeste to bring the title to nostalgic life. The Greet Rationalization is one of Billy's most melodic and swinging originals with great, rational solos by Billy and Milt Hinton. Bandog is packed with surprises, from its Sunday-like string-suspended opening through its Saturday-night swinging midway to the pensive Monday-morning end. Miety Oeie has a funky, two-beat, serai-Dixieland quality, with MHtfa bass, Al's baritone and B.B.'s horn to the fore. Thou SweU, a hardy Rodgers and Hart relic from 1927, moves fast enough to allow plenty of solo latitude to Billy, Phil's alto, Nick's trumpet and Moe*s piano. You're Mine You, a beautiful Johnny Green composition, has the strings and Jerry Sanfino's flute backing Bfiiy in a superb example of kb ballad technique both as arranger and smooth-toned soloist.

At this writing Billy Byers taking French leave from the U. S. scene, com posing and arranging for Ray Ventura in Paris. After hearing his own first album I'm sure you wll join me in hoping he'll soon become homesick.
~ Leonard Feather, from liner notes.
1973: Lucky Thompson I Offer You Hard-bop, Post-bop
1973: Lucky Thompson  I Offer You
Artist: Lucky Thompson
Album: I Offer You
Label: Groove Merchant
Year: 1973; release: 1976
Quality: MP3@320 kbps (LP-rip)
Size: 84,1 mb
Total time: 38:20

An excellent album of mellow soulful tracks by Lucky Thompson with a sweet 70s groove that's quite different from most of his other recordings! The album's got a cool mellow feel with Lucky veering much more towards a CTI-ish electric mode than the style he used on most of his other earlier albums, which were in a soul jazz or hardbop style. Thompson plays both tenor and soprano sax sometimes with hints of a post-Coltrane influence, in lines that are nice and snakey! The group's great too with Cedar Walton on acoustic and electric piano, Sam Jones on bass, and Louis Hayes on drums all very soulful players that help bring a righteous sort of energy to the album! Titles include "Munsoon", "Sun Out", "Aliyah", and a good cover of "Moment Of Truth". 1996-2015, Dusty Groove, Inc.

After he stopped teaching in 1974, Lucky Thompson permanently dropped out of music. On what would be his final album, Thompson (along with keyboardist Cedar Walton, bassist Sam Jones, and drummer Louis Hayes) performs five mostly straight-ahead originals, "The Moment of Truth," and the standard "Cherokee." Thompson, switching between tenor and soprano, was still very much in his musical prime at the time of this LP but apparently soon became sick of the whole music business, a major loss to jazz. He plays quite well throughout the set.
~ Scott Yanow, All Music Guide
1996: Andrei Kondakov / Igor Butman / Eddie Gomez / Lenny White: Blues for 4 Music » Jazz » Fusion » Contemporary Jazz
1996: Andrei Kondakov / Igor Butman / Eddie Gomez / Lenny White: Blues for 4
Artists: Andrei Kondakov / Igor Butman / Eddie Gomez / Lenny White
Album: Blues for 4
Year: 1996; release: 2011
Label: Butman Music Records
Quality: MP3@320 kbps
Sise: 136 mb
Total time: 60:38

Russian music has a mile-wide streak of tragedy and sorrow running through it. If Americans hadn't invented it first, the blues could have been born on the banks of the Volga River, instead of the Mississippi. But it wasn't, so the closest thing to seeing how that might have turned out is Blues for 4, featuring a pair of Russian musicians, saxophonist Igor Butman with pianist Adrei Kondakov, along with American veterans, drummer Lenny White and the great bassist, Eddie Gomez. Recorded in 1996 and released in Russia on the Soyuz label, the album has now been re-released on Butman's own American imprint.

They nailed it. The compositions, all written by Kondakov, make for a terrific set of straight-ahead grooves, betraying no sign of their Cyrillic origins. By 1996, Butman had spent almost a decade in New York, steeping himself in the jazz world and circulating among the music's A- listers. Kondakov, still based in Russia, had been playing with a diverse, high quality selection of American and European players. By the time this record was cut their chops were down cold.

Opening with "Love and Hope" Butman's tenor work is creamy smooth, emotive, and engaging to hear. He perfectly combines terrific technical facility with an equally developed sense of taste and emotion. Switching to soprano for "Sundial," he deftly lays the soft melody over the rest of the band.

Of course, as the composer, Kondakov has a lot to say on this album. His playing, too, is smooth and well-considered, developing melodies with a combination of tight comping and expressive lead playingthe anchor of consistency for the album's overall feel. There is a lot of great piano playing, but the closing title track delivers it best: Kondakov using the full harmonic depth of the eighty-eight keys to lay down some heavyweight, two-handed blues chords with resultant room-filling sound.

The rhythm section is also first-rate and an integral part of this unit. "Lights of the Foggy Highway" opens with a Gomez vamp that repeats, retreats, and reemerges throughout the piece, as White drives a syncopated pattern under him.

In general, the recording quality is excellent, particularly on the horn and piano, perfectly complementing the music. The bass, though, is emphasized more than it should be, sounding boosted and over-ripe. In fact, during the title track, Gomez (or someone near him) bumps a microphone, sending a loud, startling thud through the speakers. Forewarned is forearmed.

A terrific album, where the music is tops and the performances are first-rate, Blues for 4 makes a strong case for the international universality of music.
~ Greg Simmons, All About Jazz
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