Artist: Lil' Ed & The Blues Imperials
     Album: Rattleshake
     Label: Alligator Records
     Year: 2006
     Genre: Blues
     Tracks: 13
     Format: mp3, Bitrate: @ CBR 320 kbit/s
     File Size: 54 MB + 60 MB

     On their new Alligator album, Rattleshake, Lil' Ed's romping, sizzling guitar and his rough-hewn vocals, his half-brother James "Pookie" Young's thumping bass, Mike Garrett's feral rhythm guitar and Kelly Littleton's unpredictable yet bone-crunching drumming produce a modern blues firestorm steeped in tradition.
     Produced by Alligator president Bruce Iglauer and Williams, Rattleshake features 13 houserocking songs, and captures all of Lil' Ed and The Blues Imperials' legendary live energy on disc. The variety on the CD, from stomping, houserocking slide workouts, to deep, slow blues, to blues-ified country, makes this the most rewarding and soul-satisfying album the band has ever recorded.

     Artist : Wayne Shorter
     Album: Beyond the Sound Barrier
     Label: Verve
     Year: 2005
     Genre: Jazz, Post-Bop
     Format, bitrate: MP3@320 Kbps
     Time: 60 min
     Size: 136 Mb

     Что тут сказать? Компиляция живых выступлений квартета 2002-2004 годов. Имена всем известны. Всеми любимы. Кем-то-больше, кем-то меньше. Мне самому, лично, особенно любим Perez. С удовольствием выставляю эту пластинку, так как сам очень люблю записи живых выступлений. Ну а здесь, автор, конечно же выбрал самое-самое из того, что им удалось сыграть в указанный промежуток времени.

Recorded live on three different continents (Europe, America, and Asia) from 2002-2004, Beyond the Sound Barrier finds Wayne Shorter leading the same acoustic-oriented post-bop quartet he led on his 2001 recording, Footprints Live!; the veteran tenor and soprano saxophonist is joined by pianist Danilo Pérez, bassist John Patitucci, and drummer Brian Blade. But if Beyond the Sound Barrier should be considered a sequel to Footprints Live!, it is far from a carbon copy. While Footprints Live! contained several Shorter pieces that have become jazz standards (including "Atlantis," "Footprints," and "Juju"), Beyond the Sound Barrier places more emphasis on new material. Half of the eight selections are new, and the rest of the CD ranges from Arthur Penn's "Smilin' Through" (the theme from the 1941 movie) to two pieces from Shorter's Joy Ryder album of 1988: "Over Shadow Hill Way" and that album's title track. No one will accuse Beyond the Sound Barrier of being standards-oriented, and the quartet doesn't go out of its way to be accessible; this is definitely one of Shorter's more cerebral releases. But the material is rewarding if one is broad-minded enough to appreciate Shorter and his younger colleagues at their most intellectual, and the audiences' enthusiastic applause -- not just polite applause, but enthusiastic applause -- indicates that they have no problem comprehending all the abstraction and angularity that is taking place. Beyond the Sound Barrier falls short of essential, but it's a solid demonstration of the fact that Shorter -- who was in his late sixties and early seventies when these performances were recorded -- wasn't afraid to be challenging and keep taking chances in the early 2000s. ~ Alex Henderson, All Music Guide

Artist: VA
Album: Весь этот JAZZ
Label: RDM
Genre Styles: Vocal Jazz, jazz,
Total time: 71 min
Quality: APE and mp3 (320 kb\s)

Продолжая "рыться" в в своих "закромах", нашел любопытный диск-приложение к журналу "Салон AV".
Радости!

Artist: Charlie Mariano
Album: Charlie Mariano
Label: Bethlehem
Quality: FLAC & MP3@320
Size: 214 MB & 85 MB
Time: 38:03

Charlie Mariano's career can easliy be divided into two. Early on he was a fixture in Boston, playing with Shorty Sherock (1948), Nat Pierce (1949-50) and his own groups. After gigging with a band co-led by Chubby Jackson and Bill Harris, Mariano toured with Stan Kenton's Orchestra (1953-55) which gave him a strong reputation. He moved to Los Angeles in 1956 (working with Shelly Manne and other West Coast jazz stars), returned to Boston to teach in 1958 at Berklee and the following year had a return stint with Kenton. After marrying Toshiko Akiyoshi, Mariano co-led a group with the pianist on and off up to 1967, living in Japan during part of the time and also working with Charles Mingus (1962-63).

The second career began with the formation of his early fusion group Osmosis in 1967. Known at the time as a strong bop altoist with a sound of his own developed out of the Charlie Parker style, Mariano began to open his music up to the influences of folk music from other cultures, pop and rock. He taught again at Berklee, traveled to India and the Far East and in the early '70s settled in Europe. Among the groups Mariano has worked with have been Pork Pie (which also featured Philip Catherine), the United Jazz and Rock Ensemble and Eberhard Weber's Colours. Charlie Mariano's airy tones on soprano and the nagaswaram (an Indian instrument a little like an oboe) fit right in on some new agey ECM sessions and he also recorded as a leader through the years for Imperial, Prestige, Bethlehem, World Pacific, Candid (with Toshiko Akiyoshi in 1960), Regina, Atlantic, Catalyst, MPS, CMP, Leo and Calig among others. ~ Scott Yanow, All Music Guide

Artist: Georgie Fame
Album: Walking Wounded
Quality: Ape (428 MB) + mp3@320Kbps (170 MB) with scans
Year: 1995 (Recorded live at Ronnie Scott's in November)
Label: Go Jazz (1998)
Total time: 72:40

At least once a year, usually just before the holiday season, Georgie Fame takes up residency at Ronnie Scott’s 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 wasn’t 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 Britain’s 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 Fame’s 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. ~ by Ben Sidran (from liner notes)

Artist: Johnny B. Moore
Album: Acoustic Blue Chicago
Label: Blue Chicago
Year: 1999
Genre: Blues
Format, bitrate: MP3@320 kbit/s
Time: 52:32
Size: 127 MB

This home-styled live recording features Chicago veterans Johnny B. Moore and Willie Kent, plus guest spots for Lester Davenport and Bonnie Lee. ~ Earl Simmons, All Music Guide

Artist: Hadouk Trio
Album: Now
Label: Melodie
Released Year: 2002
Genre: Jazz
Format/Bitrate: Flac
Size: 99614 KB + 99614 KB + 99614 KB + 72197 KB

Hadouk Now, issued in 2002, in maybe the best studio album of the group.

France's Hadouk Trio channeled musical elements from across the globe to create a uniquely mystical and evocative sound somewhere between jazz and world pop. The Hadouk Trio was led by Paris-born multi-instrumentalist Didier Malherbe, previously known for co-founding with Soft Machine alum Daevid Allen the famed psych-prog outfit Gong. Malherbe remained with Gong for close to a decade, shepherding the band through myriad personnel and creative changes before exiting in 1978. Throughout his travels Malherbe collected exotic instruments from the far corners of the earth, and after a series of short-lived experimental rock ensembles and a 1980 solo jazz-rock LP, Bloom, in 1994 he embraced world music by forming Hadouk with multi-instrumentalist Loy Ehrlich, a specialist in the hajouj, the African three-stringed bass that, along with the Armenian double-reed instrument the doudouk, gave the project its name. Mahlerbe and Ehrlich initially recorded and toured as a duo, issuing their self-titled debut LP in 1999. With the follow-up, Shamanimal, their ranks swelled to a trio with the addition of American percussionist Steve Shehan, a veteran with stints behind Bob Dylan and Paul Simon on his résumé. Hadouk Now followed in 2002, and two years later the Hadouk Trio issued its first concert LP, Live at Fip. The 2006 release Utopies includes three songs featuring the American trumpeter Jon Hassell. ~ Jason Ankeny, All Music Guide

Artist: Tito Puente
Album: El Timbal
Years: 1949-1951
Label: Concord Jazz
Genre: Mambo
Format, bitrate: mp3 320 kbps mono
Size: 175 MB
Total time: 75:04

Tito Puente's early mambo band is well featured on 25 selections reissued for this CD. In general, the music is not all that jazz-oriented (the horns do not solo), and the emphasis is on danceable rhythms, shouting ensembles and the vocals of Vicentico Valdez and Bobby Escoto. So rather than being Afro-Cuban jazz, Tito Puente's music was leaning much more toward spirited Latin dance music during the era. However, the exciting percussion and catchy melodies make this collection of strong musical interest (in addition to its historic value). ~ Scott Yanow, All Music Guide
Ernest Anthony Puente, Jr., Tito Puente (Эрнесто Антонио "Тито" Пуэнте) получил признание во всем мире за свой вклад в развитие Латинской музыки как глава музыкальных коллективов, композитор, аранжировщик, перкуссионист, и наставник. Под именем "El Rey del Timbal" и "King of Mambo" он записал более 100 альбомов, опубликовал более 400 произведений, получил 5 наград Грэмми. Хотя он играл и записывал джаз и сальсу, Puente один из немногих музыкантов, которые заслуживают эпитета "легендарный", в основном за свое мастерство в области мамбо.

Artist: VA
Album: JAZZ (Stereo & Video) (1998)
Genre Styles: Vocal Jazz, jazz
Total time: 52:26
Quality: APE and mp3 (320 kb\s)


Недавно решил "перетрясти" свой музыкальны архив и в результате обнаружил несколько старых, ну очень качественных, сборников-приложений к разным музыкальным и околомузыкальным журналам, как в данном случае СД-приложение к журналу "Stereo & Video" за 1998.
Имена музыкантов на СД, надеюсь, всем известны и комментировть их творчество не имеет смысла.
Радости! :)

     Artist: Jimmy Smith
     Album: Standards
     Label: Blue Note
     Year: 1957 - 1959 (Release 1998)
     Format, Quality: MP3@320kb/s
     Size 76,2 + 74,6 mb



Standards is a 12-track collection that is culled from the sessions that resulted in the House Party and Home Cookin' albums, both of which featured Jimmy Smith in a trio with guitarist Kenny Burrell and drummer Donald Bailey. All of the songs are familiar standards along the lines of "Bye Bye Blackbird," "I'm Just a Lucky So and So," "September Song," "Mood Indigo" and "It Might As Well Be Spring," and seven of the tracks are previously unreleased. Throughout the album, the trio is relaxed and laidback, resulting in a warm, inviting collection of standards. It's among Smith's mellowest recordings, and it's all the better for it. ~ Stephen Thomas Erlewine, AMG

   Artist: Horace Parlan
   Album: Speakin' My Piece
   Label: Blue Note
   Quality: FLAC & MP3@320
   Size: 256 MB & 89 MB
   Time: 39:27

   Horace Parlan had a gift for relaxed, swinging hard bop which placed his piano in a central, yet unassuming role. Speakin' My Piece is one of the first albums to find Parlan getting all the ingridients right, from his own subtle playing to soliciting fine contributions of his backing band. Stanley Turrentine, in fact, turns out to be an excellent complement to Parlan, playing in a similarly tasteful style. Five of the six numbers are band originals, and each number is quite similar — bluesy, gently swinging hard bop. No one pushes too hard on Speakin' My Piece, preferring to create an intimate atmosphere with milder numbers and performances. Such an approach gives each muscian — Parlan, Turrentine, bassist George Tucker, drummer Al Harewood — a chance to shine with lyrical, melodic solos and/or sympathetic support, resulting in a charmingly low-key session.
      Stephen Thomas Erlewine, AMG

Artist: Elvin Jones
Album: Dear John C.
Label: GRP/Impulse
Quality: APE; MP3@320 kbps
Size: 219mb; 100 mb
Total time: 42:22

Drummer Elvin Jones may have been breaking down new rhythmic boundaries at the time with John Coltrane's Quartet but his own sessions as a leader were not all that innovative. This quartet set with altoist Charlie Mariano, bassist Richard Davis and either Roland Hanna or Hank Jones on piano is an example of how the avant-garde of the era was starting to influence the more mainstream players. The music is in general safe but enjoyable with the virtuosic bassist Richard Davis often taking solo honors on what was in reality a modern bop date. ~Scott Yanow, AMG

     Artist: Kenny Drew
     Album:Trippin'
     Release: 1984
     Label:Baystate (LP)
     Format/Bitrate:MP3/320
     Size:105MB




     Всем приятного прослушивания...

Artist:Paul Quinichette
Album:On The Sunny Side
Label: OJC/Prestige
Year:1957
Quality:Mp3 320+covers+5%recovery
Size:122Mb

Yet another example of the informal creativity of the Prestige jam session format, in this case bringing together the Lester Young'd tenor stylings of "Vice-President" Paul Quinichette with two Bird-like alto men, John Jenkins and Sonny Red, and the J.J. Johnson-inspired trombone of Curtis Fuller.
Jenkins (from Chicago) and Red and Fuller (from Detroit) were newly arrived in New York in 1957, the year this session was taped. The fresh combination helped revitalize Quinichette, whose career was flagging at the time. Pianist Mal Waldron supplied three originals on which everyone plays and the number from which the album derives its title--Jimmy McHugh's "On the Sunny Side of the Street"--is mellowed out by Quinichette and Jenkins as the only horns. Jenkins is not currently active and Quinichette and Sonny Red are dead. On this jam their music is very much alive.

This CD reissue adds a previously unreleased version of "My Funny Valentine" to the original four-song program. The swing-based tenor Paul Quinichette is heard with a more modern group of players than usual: trombonist Curtis Fuller, both Sonny Red and John Jenkins on altos, pianist Mal Waldron, bassist Doug Watkins and drummer Ed Thigpen. Waldron's three originals (highlighted by "Cool-Lypso") allow plenty of room for swinging, and Quinichette (who also performs "On the Sunny Side of the Street") sounds comfortable interacting with the younger musicians. An enjoyable and underrated release. ~ Scott Yanow, AMG

Artist: Perez Prado
Album: Voodoo Suite
Label: RCA
Genre: swing, latin
Quality: FLAC & MP3@320
Size: 168 MB & 84 MB
Time: 37:59

Though The Voodoo Suite, with its larger-than-life orchestra -- six saxophones, three trombones, seven drummers, six trumpets, and more -- was equal parts a Latin dance band and a jazz orchestra, its tight charts by Shorty Rogers made it a dramatic beast to wrestle and a sublime one to listen to. For all the critics who had discussed Prado in the derogatory, The Voodoo Suite gave them something to listen to, because here was the first popular attempt at the marriage of Cuban, African, and jazz elementals ever attempted in a work that was essentially for the general populace a mood record. The loping horn arrangements, bluesy solos, and hypnotic drumming took it outside the realm of mood music and placed it squarely into the camp of progressive big band jazz. To prove it was no fluke, the original album was rounded out with the other tracks that appear here from another session: "St. James Infirmary," "In the Mood," "I Can't Get Started," and others which burned the Latin jazz flame just as bright. ~ Thom Jurek, All Music Guide

Artist:Mal Waldron and David Friesen
Album:Encounters
Label:Muse
Year:1984
Quality Mp3 320 +5%recovery
Size:95 Mb

Longtime fans of Mal Waldron will find his duo session with bassist David Friesen to be of a very different character. The pianist's solo and trio recordings are typically intense, very moody performances, but his touch is much lighter in his partnership with Friesen. The two play as equals with Waldron often fading somewhat into the background during Friesen's solo in "If I Were a Bell." "Encounters" is evidently a free-form duo improvisation in the studio and full of surprising twists. The bassist's unaccompanied "My Toby," dedicated to his youngest son, finds him utilizing a delay to make it sound like he overdubbed a second line. Friesen switches to playing shakuhachi (a delicate Japanese wind instrument) for "Night Wind," a soft work with an obviously Far Eastern flavor. The piano-bass duet of the standard "Imagination" is played at a very slow tempo with an almost reverent touch. The finale, "Outside's Inside Too," is a solo feature for Waldron that sounds as if it was improvised on the spot. Long out of print, this album is definitely worth acquiring.

Artist: Houston Pearson
Album:Blue Odyssey
Label:Prestige
Year:1968
Quality:Mp3 320+covers+5%recovery
Size:97Mb

Much to the chagrin of many critics the late 1960s was a heyday of sorts for Soul Jazz. The number of cats dipping their paws into the sweet nectar of the style would never again reach such denominations as it did during the close of the decade. Person, a saxophonist with both soulful touch and a bluesy sensibility balanced a tough tenor tone with a healthy supplication to the almighty beat. As each of the disc's tracks generously demonstrates his reverence for a groove never came at the cost of creativity and Person with Walton enlisted as ad hoc musical director devises a program that stretches his sidemen's faculties while still adhering to a finger-popping affability.

From the opening bars of the locomotive title track to the closing choruses of "Starburst" Person plans a trip well worth taking. Walton's "Holy Land" catches a sanctified groove and refuse to let go with earthy expositions from each of the horns and colorful rhapsodic fills from the pianist during the breaks. The sextet's version of "I Love You, Yes I Do" spotlights Person's gorgeous tone which references the full-bodied spirit of Gene Ammons while still remaining true to a highly personal sound. "Funky London," builds off its somewhat contradictory title into a smoking workout for Walton punctuated by a solid string snapping solo from Cranshaw. Fuller and Adams, two of the undisputed heavyweights of their respective instruments also take numerous and highly enjoyable opportunities to weigh in on the solo front. My only real complaint is that the disc comes up so short on running time. With Person and Walton at the helm these six players could have easily filled another forty minutes with high caliber grooves like these and it's a shame that the restrictions of the LP format prevented them from doing so. Or maybe the truncated nature of the session was simply a savvy marketing ploy on the part of Person designed to entice listeners into laying down the bread for his other Prestige records in search of more of the same. In the case of this listener, mission accomplished.

Artist: Curtis Fuller
Album:Soul Trombone
Label:Impulse
Year:1961
Quality:Mp3 320 + covers + 5% recovery
Size:95Mb

Curtis Fuller was very busy as a leader between his recording debut in 1957 and these 1961 sessions, which made up his first LP for Impulse and his eighteenth overall disc of his own. Not quite as adventurous on the trombone as J. J. Johnson, but Fuller more than holds his own leading a band including Freddie Hubbard, Jimmy Heath, Jymie Merritt and either Jimmy Cobb or G. T. Hogan on drums. The solos on this hard bop disc are superb, with Fuller giving his musicians plenty of room, while his own work is first rate. Three of the six pieces are originals and even if they never caught on, there is no filler present anywhere. This long unavailable LP was finally reissued on CD in Japan, almost four decades after its release

Artist: Miroslav Vitous
Album: Universal Syncopations
Year: 2003
Label: ECM
Size: 127 Mb
Quality: mp3@320 Kbps
Total time - 50:16

On his first jazz date as a leader since 1992, Czechoslovakian bassist and composer Miroslav Vitous comes out of the gate with a host of heavyweights on one of the more lyrically swinging dates in modern jazz. Vitous' engaged, pulsing, and deeply woody tone is featured in the company of John McLaughlin, Jan Garbarek, Chick Corea, and Jack DeJohnette. While the crystalline sound of Manfred Eicher's ECM is everywhere here, as is the open-ended speculative jazz that the label is renowned -- and ridiculed for -- Vitous offers some startlingly beautiful twists and turns with his ensemble. Vitous, who has been through every music, from jazz-rock fusion as a founding member of Weather Report to being a classical composer, decided to revisit the skeletal remains of his very first session for the label in 1969. Produced by Herbie Mann the disc was, from a musical standpoint, a contentious, utterly brilliant marriage of ideas both old and new. Bandmembers DeJohnette and McLaughlin were present on those sides as well. Universal Syncopations is by turns a return to not the old forms, but rather to the manner of illustrating harmonic concepts in a quintet setting that allows for a maximum space between ensemble players while turning notions of swing, counterpoint, and rhythmic invention on their heads. From the wooly, expressionistic "Tramp Blues," with Vitous vamping around the changes, to the wide-open legato guitar phrasing of McLauglin against the double time in Vitous' bass on "Univoyage," to the simmering undulations of Garbarek's saxophones on top of Corea's intricate melodies and right-hand runs on "Brazilan Waves," all of it propelled, not anchored, by the leader's rich tone and accented and punctuated by Garbarek's tight, loping saxophone lines. This is one of those recordings that feels familiar in tone, but is timeless in concept and execution. Universal Syncopations is one of the most gorgeous sounding and toughly played dates of the calendar year. ~ Thom Jurek, All Music Guide