Artists: Count Basie & Dizzy Gillespie
     Album: The Gifted Ones
     Year: 1977
     Quality: MP3@320kb/s
     Size: 80,9 MБ
     Time: 41:01

     Биографии: Count Basie, Dizzy Gillespie, Ray Brown

     А здесь прямо не знаешь кого слушать, все хороши!
     И Рэй Браун прекрасно дополняет картину...
     У кого еще нет этого альбома, обязательно ознакомьтесь.

REPOST with additional link from peer57

     Artist - The Jazzinvaders
     Album - Blow!
     Label - Social Beats
     320 kbps - frontcover
     Size - 123,3 mb
     Total time - 52:01

     And after two years, one of the best nu jazz fusion bands to present his new record.
     The Jazzinvaders started in 2005 as a project by Phil Martin and two members of the legendary Dutch jazz group The Houdini’s, Rolf Delfos and Erwin Hoorweg. They first started working together during a session at the famous Amsterdam Bimhuis, where Phil Martin blended his beats with the jazz sound of the Houdini’s. This resulted in the birth of Jazzinvaders, a mix of hardbop jazz with heavy bossa and latinjazz grooves.
Big Band! Enjoy (and dance... ).


     Club credibility comes from years of inspiration and hard work, and Phil Martin, the creative captain of the Jazzinvaders knows exactly how to get there. From his musical vision, the Jazzinvaders have already reached and touched so many musical lovers globally, from those who dare to go beyond the everyday club scenes, to those who look beyond the spectrum of jazz aficionados. Today, the Jazzinvaders are spreading their message even stronger.

     Artist: Howard McGhee
     Album: Dusty Blue
     Label: Bethlehem
     Date of release: 1961
     Quality: FLAC & MP3@320
     Size: 214 MB & 79 MB
     Time: 35:29

     The 1950s had largely been a waste for Howard McGhee, as drug addiction had taken its toll on his playing. But he is in good form for this 1961 studio session for Bethlehem, leading a septet with baritone saxophonist Pepper Adams, trombonist Bennie Green and tenor saxophonist Roland Alexander, with a top notch rhythm section of Tommy Flanagan, Ron Carter and Walter Bolden an added bonus. His delicious muted horn is the centerpiece of the lightly swinging take of "The Sound of Music" and strolling rendition of the normally bittersweet "Cottage For Sale," while he's on open horn for a snappy take of Cole Porter's "I Concentrate On You." McGhee's explosive side comes out in bop favorites like "Groovin' High," yet he is just as powerful playing long notes in the lush ballad "With Malice Toward None." McGhee's originals are all enjoyable, though none caught on with other jazz musicians.

     Artists: Count Basie w. Ella Fitzgerald
     Album - Live in Tilburg, Holland
     Label - Jazz Band
     Year - 1971
     Quality - MP3@160 kbps
     Size - 84,87 mb

     The names of Ella Fitzgerald and Count Basie have been professionally linked since the thirties when the embryonic Basic band played at the Savoy Ballroom in Harlem opposite the resident Chick Webb band, which featured vocalist Ella Fitzgerald. During the ensuing years, in fact right up to the time of Basic's death in April 1984, both singer and orchestra regularly appeared together in most musical media throughout the world and the Tilburg concert is a typical example ol that stimulating combination.
     Opening her set, Ella swings effortlessly through Sl. Louis Blues, with the great Basie band riffing behind. This is followed by an up tempo treatment of the moody ballad from 1932 Willow Weep For Me. Keeping a very aware ear on the contemporary music of the day Ella offers a neat arrangement of the Carpenter's big sixties hit Close To You and Mas Que Nada which acknowledges the popular bossa nova influence of the period. Gentle memories of the Ella/Gershwin Songbook recordings are recalled with They Can't Take Thai Away From Me which is in complete contrast to the driving riffs of Ellington's Things Ain't What They Used To Be and the latin rhythms of Manleca. Neal Hefti's composition for the Basic band of 1957 Li'l Darlin is given an up tempo treatment by Ella, in stark contrast to the usual slow but controlled swing when performed by the Basie band - admirably demonstrated later on this disc. The final number C Jam Blues features eleven choruses of Basie piano encouraged by Ella who eventually scats along with the trombone of Al Grey bringing that part of the evening to a joyous conclusion.
     The Basie portion of the programme, recorded a couple of years prior to the Ella concert, combines old favourites -Splanky, April In Paris and Li'l Darlin' - along with some of the then more recent additions to the band's library notably by arranger composer Ernie Wilkins - Good Time Blues and Basie. All the characteristics of a typical Basie ensemble are on display here. A rock solid rhythm section with combuslive ensemble playing featuring first class soloists, especially among the saxophones. From the great days of Hershal Evans and Lester Young the Count always heavily featured the tenor-saxophone and two contrasting stylists are spotlighted. Eddie 'Lockjaw' Davis with his exciting 'abrasive' sound, solos on Bye Bye Blackbird while Eric Dixon expresses a warm full tone in Splanky. Dixon's regular double flute, shines in Cute a neat piece of lightness which also has some crisp brush work from j drummer Harold Jones, one of the most satisfactory percussionists to occupy that elite position in jazz history, a member of the Basie rhythm section. One other soloist of note is trumpeter Sonny Cohn for his precisely crafted work in LH Darlin'.
     Some of these Basie band tracks have appeared before on I vinyl and those issues mistakenly attributed the date as April 12, 1969 due to some faded writing on the master tape box. The corrected date makes sense as the Basie band were appearing in Florida before and after the Bahamas engagement, only a short commuter flight away.

     Artist - Count Basie
     Album - The Best Of Count Basie The Roulette Years
     Label - Roulette
     Years - 1958 - 1960 (Release 1991)
     Tracks - 20
     Total time - 74:57
     Format, bitrate - MP3, 320kb/s
     Files - 85,8 + 83,9 (with covers and track list)

    

Eight years after Count Basie's death, Capitol Records released this handy 20-song collection of his most notable tracks from the years 1957-1962 that he spent on Roulette Records. The collection opens with the most fruitful component of his relationship with the label, his recordings of Neal Hefti's material and arrangements, beginning with the swinging "Kid From Red Bank" off of The Atomic Mr. Basie, and also includes "The Late Late Show" from The Complete Atomic Basie, but it ranges far beyond that, to Basie's smooth 1960 re-recording of "Jive at Five" and material from the tail-end of his association with Roulette, such as "Lullaby Of Birdland." The selections are confined to the best representative tracks of the band by itself -- none of Basie's work as an accompanist to Tony Bennett or any other singers is here -- and that's an entertaining and enlightening body of work, cool ("Cute") and hot ("Topsy"); the Hefti material is the strongest here, but composers ranging from Basie himself and flatist Frank Wess (whose "Segue in C" is a highlight here), as well as arranger Quincy Jones, get their best heard as well. Two CDs might be more appropriate for a more comprehensive collection, that 04.would include a broader selection of the hundreds of tracks that Basie left behind, and the more recent Atomic Swing CD has better sound, but this mid-priced CD collection is a good introduction for the novice. ~ Bruce Eder, All Music Guide

Artist: Count Basie, Quincy Jones
Album: Li'l Ol' Groovemaker
Label:Verve
Year: 1962
Quality: 320 kbps + covers
Size: 85 mb

Quincy Jones makes no secret of the fact that Basic's is his favorite band. Of the leader himself he says, with characteristic candor, "I love him and what he stands for."
The originals and arrangements he has written here are thoroughly expressive of that affection, and their interpretation suggests that the sentiment was warmly reciprocated.
Count Basie is, of course, the zealous guardian of a tradition, the tradition of the blues-swinging big band, and Quincy's understanding and appre-ciation of it are among the marvels of jazz today. For when Basie set out from Kansas City to con-quer the world in 1936, Quincy was three years old. So whenever the future of big bands seems especially dismal, it is well to remember that there are younger champions like Quincy, talented and full of enthusiasm, who are just not going to permit the death of any such enjoyable American institu-tion as the big jazz group of brass, reeds and rhythm. Where Quincy is unique, however, is in his seemingly intuitive grasp of what might be called historic principles.

Artist: Freddie Roach
Album: Mo' Greens Please
Label: Blue Note Japan
Quality: FLAC & MP3@320
Size: 231 MB & 85 MB
Time: 38:11

Housed in one of Blue Note house graphic designer Reid Miles' most delightful covers -- a powder-blue image featuring a nattily-dressed Freddie Roach receiving a heaping helping of the soul food in question -- the outstanding Mo' Greens Please serves as a stepping stone between the more studied soul-jazz of the organist's label debut Down to Earth and the looser, deeper grooves of the following Good Move! In his liner notes, Roach credits contemporary dance crazes like the Twist, the Hully Gully, and the Bird for inspiring the tempos and moods of Mo' Greens Please's ten cuts, while the titular promises of moments like "Party Time," "Nada Bossa," and the blistering "Blues in the Front Room" serve further notice of the eclectic menu in store. Though the product of two separate studio sessions, the first featuring the great Kenny Burrell on guitar, for all its stylistic detours the album hangs together beautifully -- each of the players is at the top of his respective game, and in particular Roach attacks the organ with all the passion and flair of his most incendiary outings. ~ Jason Ankeny, All Music Guide

Artist - Latcho Drom
Album - La Verdine
Label - Fremeaux
Genre - Gipsy swing
Year - 1996
Quality - MP3@320 kbps
Size - 123,7 mb
Time : 57’42

Hailing from Toulouse, the band is made up of a string bassist, violinist, and two acoustic guitarists: Jean-François Ruiz on rhythm and Christophe Lartilleux playing lead. The guitarists play classic jazz manouche instruments: Selmer, Favino, Dupont, and Casteluccia guitares italienne. Lartilleux, who is half gypsy, creates incisive, driving, innovative solos that propel the band to hard-swinging peaks. But the group isn’t merely a showpiece for its lead guitarist. All in all, this is one of the tightest bands I have heard in a long time, each musician accentuating the others with tasty rhythms and fills.

     Artist: Count Basie
     Album: April in Paris
     Label: Verve (LP)
     AMG Rating:
     Release: 1956
     Format/Bitrate: MP3/320
     Size: 89 MB

Artist: Joe Bonamassa
Album: LIVE From Nowhere In Particular
Label: Mascot
Year: August 25, 2008
Genre: Blues
Tracks: 14
Format: mp3, Bitrate: @ CBR 320
File Size: 53 MB + 53 MB + 55 MB + 56 MB


'Live From Nowhere In Particular' is the second live album from American blues singer/songwriter Joe Bonamassa. Produced by Kevin Shirley (Led Zeppelin, Aerosmith, Black Crowes) and spread across two CDs, the album includes tracks from Bonamassa's seven studio albums while showcasing the unique guitar playing and songwriting that has earned him numerous number one albums in Billboard's Blues Chart.

     Artist - Count Basie
     Album - Count Basie at Newport
     Producer: Norman Granz
     Orig Year: 1957
     Street Date: Feb 10, 2004
     Label: Verve
     Quality: MP3@320kbit/s
     Size: 131 MB
     Time: 57:01

       

     1957 год подарил нам ряд замечательных записей и сессий, например At Newport. Обратите внимание на состав (этого альбома и других At Newport '57), одни звезды. Вот перед вами еще одна запись тех времен, на этот раз с Count Basie и с зажигательной музыкой в его исполнении, это настоящий джаз с большой буквы!

REPOST! Today's mr. Basie's Birthday!

     
     Artist: Art Farmer with The Great Jazz Trio
     Album: Ambrosia
     Released: 1983
     Quality: MP3 CBR 256
     Size: 90 MB

REPOST! Today's mr. Farmer's Birthday!

Art Farmer - американский джазовый трубач, флюгельгорнист, один из выдающихся стилистов бибопа, импровизации которого отличались изысканным мелодизмом, родился 21 августа 1928 г.

ROMANE
SWING GUITARE sortie le 20/06/2001.
CD audio (4 décembre 2000)
Nombre de disques: 2
Format: Import MP3 256 kbps
Label: Iris
Size: 100431 KB (CD 1), 42705 KB (CD 2)

Nouvelle édition des deux premiers albums de Romane : SWING FOR NININE, enregistré en 1992 et QUINTET en 1994, ce double Cd témoigne des débuts prometteurs de ce guitariste aujourd’hui reconnu parmi les grands du jazz manouche.

Artist: The Houdini's
Album: Hybrid
Year: 1995
Label: Challenge Records
Quality: 320 kbps
Size: 130 mb

The Houdini's are a spirited European (Dutch) sextet that play straight-ahead their own way. Sometimes they are quite respectful (as on the one non-original selection of the set, Billy Strayhorn's "Chelsea Bridge") and at other times they are wild in a manner not dissimilar to the Mingus Big Band (as on "La Grange Rouge"). Their musicianship is solid, the players are versatile, and they invigorate the hard bop jazz tradition. Trumpeter Angelo Verploegen and tenor saxophonist Barend Middelhoff are the key stars of this enjoyable set, which includes the catchy, stretched-out blues "No More Yesterdays" (worthy of Cannonball Adderley) in two versions and a rendition of "Entrada" that makes the group sound a bit like Art Blakey's Jazz Messengers. An enjoyable outing.
AMG review by Scott Yanow

Artist: Paco de Lucнa
Album: La fabulosa guitarra de Paco de Lucнa
Label: Polygram International
Original Release Date: 1984
Genre: Flamenco
Format: Mp3 /256 kbps
Size 62187 KB

Here is a guitar only cd, that apparently is not listened to as much as many of Paco's latter recordings. If I am not mistaken Paco was about 19 years old when this was released. His early influnces are on this recording. This is more "traditional" Flamenco guitar playing than on his later recordings. The Bulerias for example uses more of the A-B flat chord changes than later Paco recordings of the same form. Nino Ricardo's influence is evident here. However Paco has a much tighter use of space and is more polished than Ricardo was. This is Pure Flamenco guitar at its peak.With plenty of duende. And in my opinion one of the best of the genre.

Artist: Willie Dixon
Album: The Original Wang Dang Doodle
Label: MCA
Release: 1995
Genre: Blues
Format, bitrate: mp3@320 kbit/s
Time: 45:53

Если утверждать, что блюз покоится на трех китах (возможны вариации), - при любом раскладе (IMHO) среди них есть место могучему Вилли.

      Artist - Art Tatum
      Album - The V-Discs
      Label - Black Lion
      Year - 1944 - 1946 (release 2000)
      Quality - MP3@192kb/s
      Size - 60,7 mb
      Total time - 46:54

     

This Black Lion CD mostly features the phenomenal Tatum playing solo during 1945-46, really digging into a variety of standards. A rare version of "Sweet Lorraine" (with bassist Oscar Pettiford and drummer Sid Catlett in 1944) and two numbers with his 1945 trio (featuring guitarist Tiny Grimes and bassist Slam Stewart) round out this excellent CD. ~ Scott Yanow, All Music Guide

Artist - Ronnie Foster
Album - Sweet Revival
Label - Blue Note
Year - 1972
Quality - MP3@320 kbps
Size - 112,2 mb (with covers)
Total time - 45:25

"Let me begin by saying that this is not the greatest jazz album you've ever heard." So states critic/DJ Harry Abraham in the liner notes on the back of Sweet Revival, Ronnie Foster's second album as a leader. Abraham was obviously trying to deflect criticism that this record is, in his words, "a commercial album that could have just as easily been titled 'Ronnie Foster Plays the Top 40 hits of the Seventies With Horns, Strings and Voices,'" but nothing he could write would make this album acceptable to jazz purists. Foster's fondness for funky soul-jazz would be enough to earn the disdain of some critics, but he compounds his problems by piling on contemporary funk, soul, and pop influences. Sweet, sweeping strings straight out of Philadelphia are all over Sweet Revival, as are wah-wah and fuzz guitars, slap bass, electric pianos, vocal choruses, and electric sitars. Half of the album is devoted to pop covers ("Back Stabbers," "Me and Mrs. Jones," "Alone Again (Naturally)"), with a couple of fusion numbers and originals thrown in for good measure. Certainly, this is the stuff that enrages jazzbos, and the album does sound like the soundtrack for a cut-rate blaxploitation flick, but that's part of its appeal. Fans of that sound will find much of the album appealing, even if the vocals can sound eerie (check out the heavily echoed intro to "Where Is the Love?") and the sitars sound silly. Although the album sounds dated, the grooves are funky, and Sweet Revival remains one of the most engaging records of groovy, jazzy funk-soul of its era. ~ Stephen Thomas Erlewine, All Music Guide

Artist - Nils Landgren
Album - Live in Montreux
Label - ACT
Year - 1998
Quality - mp3@320 kbps
Sise: 73,4+50,7 mb(with frontcover)

There are certain magic moments . . . The musicians go on stage, count off the first number, and all at once there is that special feeling of excitement in the room that turns a concert evening into an unforgettable experience. Thanksto the intelligence of an experienced producer who had the foresight to turn the tape machine on and then just let itrun, this fleeting moment of impulsive, fresh jazz and funk has been captured for our permanent pleasure. Siegfried Loch said of his newest surprise package that, "We had no intention of making a CD from this recording, but the concert was so unbelievable good that we had no other choice." Added Claude Nobs: " There was ABSOLUTE FUNK in the house tonight. "

Artists: Donald Byrd
& Pepper Adams
Album - In a Soulful Mood
Label - Music Club International
Year - 2005
Quality - mp3 320 kbps
Total Size: 98,37 MB (with all covers)

Donald Byrd and Pepper Adams began their jazz careers under similar circumstances at about the same time. Two years of military service, a musical education, and experience with established leaders prepared the trail. From Detroit, both found themselves in the center of New York’s late 1950s hard bop jazz scene. That fertile era produced some of our favorite recordings. It’s no surprise that Miles Davis was a big influence on Byrd’s development and that Harry Carney influenced Adams. The baritone saxophonist paid his dues with Stan Kenton, Maynard Ferguson, Chet Baker, and later with Mel Lewis. Trumpeter Byrd replaced Kenny Dorham in the Jazz Messengers’ lineup late in 1955.