Artist: Ella Fitzgerald
     Album: Love Letters From Ella
     Label: Concord
     Release: 2007
     Format/Bitrate: MP3/320
     Time: 40 minutes
     Size: 92 MB


     "Just don't give up on trying to do what you really want to do. Where there is love and inspiration, I don't think you can go wrong." ~ Ella Fitzgerald

     Ella would have been 90 years old in 2007, and to celebrate, a collection of never-before-released love songs was released to honor the legend. Many of these tracks find Ella backed up by the London Symphony Orchestra, while others find her dueting with Count Basie. No matter who else appears on the track, ...(From CD notes)

     Artists: Ансамбль современной музыки Три"О"
     Album: Три Отверстия
     Year: 1989
     Label: Мелодия
     Format, bitrate: MP3 (vinyl-rip) 320 kbps
     Time: 34:34
     Size: 80,7 Mb

     Первый состав знаменитого пректа Три "О" Сергея Летова (существующего по сей день).

     Artist: Humphrey Lyttelton
     Album: The Best Of Lyttelton (Original Issue)
     Label: E.M.I. Records Ltd.
     Date: 13 September 1994
     Format, bitrate: MP3@224 kbit/s VBR
     Styles: Dixieland, Mainstream Jazz, Traditional Jazz

     In the late 1940s and early 1950s Lyttelton was prominent in the British revival of traditional jazz forms from New Orleans, recording with Sidney Bechet in 1949. To do so he had to break with the Musicians' Union restrictive practices which forbade working with jazz musicians from the United States. In 1956, he had his only hit, with the Joe Meek-produced recording of "Bad Penny Blues", which was in the UK Singles Chart for six weeks. As the trad jazz movement (not quite the same thing as revivalism) developed, Lyttelton moved to a mainstream approach favoured by American musicians such as trumpeter Buck Clayton; they recorded together in the early 1960s and Clayton considered himself and Lyttelton to be brothers.
     By now his repertoire had expanded, including not only lesser known Ellington pieces, but even "The Champ" from Dizzy Gillespie's band book. The Lyttelton band — he saw himself primarily as a leader — helped develop the careers of many now prominent British musicians, including Tony Coe and Alan Barnes.

     Artist: Sekhe Gong Semara Ratih
     Album: Gong Semara Dana
     Label: JVC
     Genre: World
     Quality: FLAC
     Size: 328 MB
     Time: 59:15

     Artist: Barney Wilen
     Album: Barney
     Label: RCA
     Quality: FLAC
     Size: 360 MB
     Time: 1:12:33

     Basically a tenor player, Wilen made his name when Miles Davis chose him to play in a group he was fronting in Europe in 1957. But Wilen had already garnered a reputation with visiting Americans for a considerably accomplished technique and a real mastery of hard-bop forms.

     Artist: Bobby Hutcherson
     Album: Montara
     Quality: mp3@320Kbps
     Size: 77 MB (covers)
     Label: Blue Note
     Total time: 34:18

     With the possible exception of Grover Washington's Feels So Good, no other album captured the spirit of jazz in 1975 like Bobby Hutcherson's Montara. Recorded in his hometown of L.A., Montara is the very sound of groove jazz coming out of fusion, and Latin jazz's tough salsa rhythms coming home to roost in something more warm and effluvial that would meet the populace where it was changing and mellowing out rather than making it sit up and take notice. That said, Montara is, like the Washington record, a masterpiece of the genre even though it isn't celebrated in the same way. Featuring a stellar cast of musicians -- among them Willie Bobo, Blue Mitchell, Bobby Matos, Ernie Watts, Harvey Mason, Plas Johnson, Fred Jackson, Larry Nash, and Chuck Domanico -- Montara is a portrait of Hutcherson's complex gift of subtlety and virtuosity. Whether it's the funky Weather Report dance of "Camel Rise," with Nash's electric piano and the horns weaving around one another in a soulful samba melody, the sweet soulful groove of the title track, where Hutcherson's solo lilts to the point of actually singing, the killer Cuban salsa of "La Malanga," done in complete minor-key frenzy (all the while without losing the easy, slippery grace of soul-jazz), the shimmering echoplexed electric piano and vibes interplay on "Love Song," or the steaming, burning gasoline orgy of Hutcherson's read of Santana's "Oye Como Va," with a killer flute line by Watts winding its way through a knotty bassline and multi-part percussion, the effect is the same: blissed-out moving and grooving for a summer day. Hutcherson's chameleon-like ability to shape-shift is truly remarkable as a sideman and especially as a leader. He never overplays, his charts are tight, and he always creates a band vibe. Almost all of his solo recordings reflect the strengths of the ensemble rather than his strengths as a soloist. Montara is one of the great feel-good jazz albums of the 1970s, one of the great Latin jazz albums of the 1970s, and one of the great groove jazz records. Seek it out without hesitation. - by Thom Jurek, AMG

     Artist: Count Basie
     Album: First Class Jazz
     Release: 2006
     Label: EMI Music (Belgium)
     Genre: Jazz (Big Band, Swing)
     Format, bitrate: mp3, 320 kb/s
     Size: 77,9 + 92,7 MB

     First Class Jazz is a boxset of 20 cd's with all the great jazz legends. All tracks were previously released on the labels Verve and Blue Note. It is compiled for a news paper "De Morgen" in Belgium. You can't buy them in the music store. This is the nineteenth release from the collection.

     Artist: Bud Shank
     Album: The Bud Shank Quartet
     Label: Pacific Jazz PJ-1215
     Quality: FLAC
     Size: 154 MB
     Time: 45:34

     Bud Shank began his career pigeonholed as a cool-schooler, but those who have listened to the altoist progress over the long haul know that he has become one of the hottest, most original players of the immediate post-Parker generation. Lumped in with the limpid-toned West Coast crowd in the '50s, Shank never ceased to evolve; in the '90s, he has more in common with Jackie McLean or Phil Woods than with Paul Desmond or Lee Konitz. Shank's keening, blithely melodic, and tonally expressive style is one of the more genuinely distinctive approaches to have grown out of the bebop idiom.

     Artist: Humphrey Lyttelton
     Album: The Classic Years
     Quality : mp3 224 bitrate
     Year : 01/Jan/2005
     Lable : Xtra
     Size:

     Humphrey Richard Adeane Lyttelton (23 May 1921 – 25 April 2008), also known as Humph, was an English jazz musician and broadcaster, and chairman of the BBC radio programme I'm Sorry I Haven't a Clue.[3] He was a cousin of the 10th Viscount Cobham and a great-nephew of the politician and sportsman Alfred Lyttelton, who was the first man to represent England at both football and cricket.
     In the late 1940s and early 1950s Lyttelton was prominent in the British revival of traditional jazz forms from New Orleans, recording with Sidney Bechet in 1949. To do so he had to break with the Musicians' Union restrictive practices which forbade working with jazz musicians from the United States. In 1956, he had his only hit, with the Joe Meek-produced recording of "Bad Penny Blues", which was in the UK Singles Chart for six weeks. As the trad jazz movement (not quite the same thing as revivalism) developed, Lyttelton moved to a mainstream approach favoured by American musicians such as trumpeter Buck Clayton; they recorded together in the early 1960s and Clayton considered himself and Lyttelton to be brothers.
     By now his repertoire had expanded, including not only lesser known Ellington pieces, but even "The Champ" from Dizzy Gillespie's band book. The Lyttelton band — he saw himself primarily as a leader — helped develop the careers of many now prominent British musicians, including Tony Coe and Alan Barnes.
     In 1968, at the request of NASA, Lyttelton went to the United States to play a selection of jazz numbers which were broadcast live to the crew of the Apollo 8 space craft.