Genre: Blues/Jazz/Classical
Original Release Date: 2003
Label: Naim Records
Quality\Size: APE (362 mb = Image + Cue + Covers) and mp3 (156 mb - 320kb\sec)

Еще один интересный сборничек звукозаписывающей компании NAIM (cлужит также для оценки качества стереосистем).

   Artist: Stan Getz
   Title: Greatest Jazz Concerts (Autumn Leaves)
   Genre: Jazz Instrument, Tenor Sax
   Year: 2001
   Label: TIM
   Total Time: 61:12
   Format, bitrate: EAC(WAV)+CUE+LOG or 320Kb/s

   One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself and to his credit he never stopped evolving.
      Scott Yanow, AMG.

     Artist: John Coltrane
     Album: The Stardust Session
     Label: Prestige
     Year: 1958, release 1975
     Format, bitrate: MP3@320 kbit/s
     Time: 1.09:31
     Size: 159 MB
     AMG Rating:

     Вашему вниманию предлагается компиляция прекрасных произведений Джона Колтрейна, которые в разное время выходили на фирме Prestige...

     Artist: Art Farmer
     Album: Brass Shout/Aztec Suite
     Year: rec. 1959/rel.2008
     Label: Blue Note/Connoisseur cd series
     Format: MP 3 @ 320 Kb/s
     Time: 66:46
     Size: 90.5+56.4 Mb

     Artist: Coleman Hawkins
     Album: All Stars ft. Joe Thomas & Vic Dickenson
     Label: Swingville Records / OJC
     Year: 1960, release 1996
     Format: bitrate: MP3@320 kbit/s
     Time: 0.43:35
     Size: 97 MB

     One of the most valuable series Prestige conceived was the one spotlighting Coleman Hawkins, daddy of the tenor saxophone, whether on the parent label or either of its offspring, Moodsville and Swingville. At the time some of the so-called "mainstream" giants were being neglected and Prestige wanted to make sure this didn't happen to Hawk. That the All Stars include trumpeter Joe Thomas, trombonist Vic Dickenson, and compatible modern-mainstreamer Tommy Flanagan does no harm to this concept and the music it represents. The two Johnny Hodges/Duke Ellington numbers add to the flavor. -- album liner notes.

     Artist: Art Blakey
     Album: My Ideal: Live At Bubba's
     Release: 2001
     Year: 1980
     Label: TIM
     Total Time: 52:16
     Format: EAC+CUE+LOG
     Covers: Yes




     By anybody’s yardstick it was a double celebration - Art Blakey’s 61st birthday and the night when Bubba’s came of age as a jazz club after four years of struggling toward this moment: the first Bubba’s live album....

   Artist: Billie Holiday
   Album: Sings Her Favorite Blues Songs
   Genre: Vocal Jazz / Blues
   Year: 2006
   Label: Disky
   Total Time: 1:03:51 (h:m:s)
   Format: EAC(WAV)+CUE+LOG

   With her spirit shining through on every recording, Holiday's technical expertise also excelled in comparison to the great majority of her contemporaries. Often bored by the tired old Tin Pan Alley songs she was forced to record early in her career, Holiday fooled around with the beat and the melody, phrasing behind the beat and often rejuvenating the standard melody with harmonies borrowed from her favorite horn players, Armstrong and Lester Young. (She often said she tried to sing like a horn.) Her notorious private life — a series of abusive relationships, substance addictions, and periods of depression — undoubtedly assisted her legendary status, but Holiday's best performances ("Lover Man," "Don't Explain," "Strange Fruit," her own composition "God Bless the Child") remain among the most sensitive and accomplished vocal performances ever recorded. More than technical ability, more than purity of voice, what made Billie Holiday one of the best vocalists of the century — easily the equal of Ella Fitzgerald or Frank Sinatra — was her relentlessly individualist temperament, a quality that colored every one of her endlessly nuanced performances.   John Bush, AMG.

   Artist: Billie Holiday
   Album: Singin’ Her Greatest Songs
   Genre: Vocal Jazz
   Year: 2007
   Label: Disky
   Format, bitrate: EAC(WAV)+CUE+LOG

   The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. Almost fifty years after her death, it's difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, "I always wanted Bessie's big sound and Pops' feeling"), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.
   John Bush, AMG.

Artist - Duke Ellington
Album - Studio Sessions Chicago 1956 Vol.1
Label - Saja Records
Year - 1956, release - 1987
Quality - MP3@320 kbps
Size - 119 mb
Total time - 54:42



The first of ten CDs of previously unreleased material recorded privately by Ellington between engagements, all of which was eventually reissued first on LMR and then Saja/Atlantic. Each of the sets has its interesting moments, offering previously unknown compositions and performances. Volume One, recorded in Chicago during March and December 1956, has plenty of spots for Clark Terry, Ray Nance, Johnny Hodges and Paul Gonsalves among the orchestra's many great soloists. ~ Scott Yanow, All Music Guide

   Artist: Omara Portuondo
   Album: Flor De Amor
   Year: 2004
   Label: World Circuit (BMG Spain)
   Genre: Salsa, Buena Vista Social Club
   Format, bitrate: MP3@320kbs/s
   Time: 49,35
   Size: 95,7 МБ + 15,3 МБ
   All Music Guide Rating:


   Flor de Amor is the second World Circuit outing for Cuban diva Omara Portuondo, whose debut for the label topped the world music charts in 2000. This time out, Portuondo and producers Nick Gold, Jerry Boys, and Alй Siqueira assemble a sultry, steamy, and extremely elegant collection of love songs that are steeped in the popular Cuban bolero, rhumba, ritmo, guajira, and mambo traditions, but there is also the airiness of Brazilian pop music in the tunes produced by Siqueira. The players are from three generations of Cuban studio musicians, and include Barbarito Torres, Orlando "Cachaito" Lopez, Manuel Galbбn, Roberto Fonseca, Carlos Emilio, and dozens of others, with a few Anglo players and singers as well. This is one of the most elegant recordings to come from the Buena Vista Social Club set. The album opens with the ethereal "Tabъ."

Artist: Scott Hamilton
Album: Concord Jazz Heritage
Label: Concord Jazz
Year: 1998
Quality: mp3 @ 320
Size: 81 + 77 mb
Playing Time: 01:09:08


Since tenor saxophonist Scott Hamilton has recorded over 60 albums as both leader and sideman for the Concord label, starting in 1974, there is no way that a single disc (including this 1998 sampler) could possibly do more than hint at his prolific catalog. On the other hand, Hamilton's swing style is virtually unchanged since his early days, so one can get a good idea of his approach from listening to this CD, which has a dozen selections from as many releases. Most of the tenor's more notable collaborations are represented here, with appearances by cornetist Warren Vache (on "You're Getting to Be a Habit With Me"), baritonist Gerry Mulligan, cornetist Ruby Braff ("A Sailboat In the Moonlight"), pianist Gene Harris, and tenorman Flip Phillips (but surprisingly not pianist Dave McKenna). There is also a cut apiece from an orchestra date and a meeting with organist Mike LeDonne. Fine music, but mainstream tenor collectors will want much more by Scott Hamilton. ~ Scott Yanow