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Artist: Jack Dejohnette Album: Festival Label: Musica Jazz Years 1976-1997 Quality: MP3;320 kbps Size:150 mb Time: 73:16 Includes .rar file with scans
At his best, Jack DeJohnette is one of the most consistently inventive jazz percussionists extant. DeJohnette's style is wide-ranging, yet while capable of playing convincingly in any modern idiom, he always maintains a well-defined voice. DeJohnette has a remarkably fluid relationship to pulse. His time is excellent; even as he pushes, pulls, and generally obscures the beat beyond recognition, a powerful sense of swing is ever-present. His tonal palette is huge as well; no drummer pays closer attention to the sounds that come out of his kit than DeJohnette. He possesses a comprehensive musicality rare among jazz drummers.
Artist: David Goloschokin Album: Selected Label: St Petersburg Jazz Philharmonia Year: 2004 Genre: Jazz, Mainstream Format, bitrate: MP3@320 kbps Time: 70:33 Size: 159.7 Mb
At the Height of the Jazz Summer 2004.
“Particularly important “dates for the diary” are the sixtieth birthday celebration for People’s Artist of Russia David Goloschokin… At the very start of this summer the head of the St Petersburg Jazz Philharmonia gave the sophisticated public two gifts at once: he released a new album — David Goloschokin. Selected Works, featuring twelve compositions, and presented a concert programme of the best numbers performed at the Philharmonia in its fifteen years of existence. The album contains both unarguable jazz classics by such composers as Juan Tizol and Hoagy Carmichael, Johnny Green and Victor Young, and also five of Goloschokin’s own compositions, including Lilac Hour, On the Sunny Side of Nevsky and Things are still the same with me that have become “standards” in this country. At the concert David played the violin, the flugelhorn and the vibraphone. He accompanied the vocalist Ella Trafova on percussion, but the culminating moment of the programme was his piano solo in the highly popular standard When the Gypsy Violin Cries that marries an American jazz motif with the jumbled St Petersburg wanderings of Alexander Blok.” ~ Georgy Vasiutochkin
Artist: Mose Allison Album: The Mose Chronicles - Live in London vol.1 Label: Blue Note Year: 2000 Release: 2001 Quality: mp3@320 kbps Size: 136 mb
Few if any white performers have captured the soul, heart, and emotion of the blues better than Jack Teagarden and Mose Allison. Allison has the added distinction of singing songs with words that sometimes remind the listener of situations where those words would have come in real handy if thought of at the time. Volume One -- hopefully the first of many -- was recorded over a three-day period at a gig at the Pizza Express in London, England. The play list is made up of songs Allison likes to sing, whether he composed them or they were written by others. "You Call It Jogging" and "What's Your Movie" have shown up on other Allison recordings for Blue Note, and "Middle Class White Boy" was the title of one of his most popular albums. All of these compositions, with their often sardonic lyrics, tell stories real people can relate to. There's no pie in the sky, wide-eyed romanticism in Allisons material. Some songs have a hopeful outlook -- some would call it wishful thinking -- such as "Ever Since the World Ended" (when "there was no more difference between black and white"). He acknowledges the influence of Nat "King" Cole with a song Cole used to sing with his trio, "Meet Me at No Special Place." Even after all these years, Allison still has that imitable style, a mixture of blues and country delivered in a soft understated manner, and always swinging. Still another feature of an Allison performance is that one must be ready and willing to be surprised. For example, "You Are My Sunshine" is done in an unusually slow tempo and possesses a somber, regretful spirit replete with arpeggios and Allison dramatically pounding the keys. He indulges in some pianistic flights of fancy on "Entruption." The members of the trio are in total sync with Allisons way of doing things. Roy Babbington's bass and especially Mark Taylor's drums chip in with accents at just the right places, italicizing the impressions Allison is creating. A Mose Allison album requires close listening to catch the meaning of the message and to appreciate the good humor of Allison's playing and singing. This is not background music, and is strongly recommended. ~ Dave Nathan, All Music Guide.
Artists - Steve Lacy & Mal Waldron Album - Hot House Label - Novus Year - 1990, release - 1991 Quality - MP3@320 kbps Size - 125 mb Total time - 55:03
AMG - raiting
Lacy and Waldron are so far removed from the young, glib, photogenic, hyper-technical jazz school alumni that dominate the contemporary scene, they might as well be playing a different music altogether...which they are, actually. Although on this album they draw from the same repertoire plundered by the likes of Roy Hargrove and Eric Reed, Lacy and Waldron come to it in a radically different way. There's nothing studied or canned about their interpretations, no mere recitations of memorized licks -- Lacy and Waldron come to old, familiar tunes by such composers as Ellington and Dameron as if they're playing them for the first time. Their playing lacks the superficial gloss that has almost inexplicably become the standard by which jazz seems to be measured these days. Instead, they imbue their art with the passion, spur of the moment inspiration, and general good humor that characterized jazz from its beginnings until the 1980s (when the Berklee grads and men in suits took over). Lacy is the most purely lyrical improviser in jazz, with the possible exception of Lee Konitz. Like Konitz, Lacy and Waldron seemingly have a phobia about repeating themselves. Though certain gestures recur during the course of their improvisations, those gestures (the raw materials of improvisation) are smaller than those used by younger, less resourceful players. It's as if, instead of building a house made out of prefabricated materials, Lacy and Waldron cut down the trees, split the logs, plane the wood, and nail the boards together one by one. Of course, a Lacy/Waldron house is unlikely to look as slick as one of those prefab jobs, but it will be a much nicer place in which to live. And it's a heckuva a lot more likely to weather the test of time... ~ Chris Kelsey, AMG
Artist: Adam Rogers Album: Time And The Infinite Year: 2007 Label: Criss Cross Quality: MP3;128kbps Size: 54MB Total Time: 58min.
All About Music article: While Adam Rogers is no stranger to the standards songbook, the guitarist three releases as a leader have focused almost entirely on his challenging yet accessible compositions. They?€™ve also utilized the same personnel. Art of the Invisible (Criss Cross, 2001) introduced a guitar/piano/bass/drums quartet that would, with the addition of saxophone, flesh out to a consistent quintet for Allegory (Criss Cross, 2002) and Apparitions (Criss Cross, 2005). Time and the Infinite pares things back to a trio, and while there are still four Rogers compositions, the majority of the disc is focused on workouts of standards from Cole Porter, Charlie Parker, George Gershwin and others. But anyone who knows Rogers knows that even the most well-worn tune is going to be approached with invention. While Rogers never loses site of the core of tunes like Night and Day and I Loves You Porgy, his re-harmonization and addition of metric complexities keep them modern and relevant.
Bassist Scott Colley is back, but for this date Rogers has recruited drummer Bill Stewart—one of the most melodic and flexible drummers on the contemporary scene. It a winning combination that allows for the fiery burn of Night and Day, where Rogers adds an additional ?¾ bar to lend some tension, and a knotty ending vamp that provides Stewart with a challenging foundation for his solo. The requisite swing of Charlie Parker Cherylis placed slightly off-kilter by making it a thirteen-bar blues, while the bossa approach of the Vincent Youmans classic Without a Song is more straightforward, relying instead on Rogers? focused sense of solo construction to create an ongoing sense of tension and release.
The greater responsibility of being the only chordal instrument is no problem for Rogers. His solos adhere to the changes either through the inherent implication of melodic development or through interjection of chordal movement while building detailed and often remarkably deft linear phrases. For the most part Rogers relies on a warm hollow body electric tone, though he adds some textural diversity with a nylon string acoustic guitar on the standard Young and Foolish and his own Latin-tinged Esteban and title track.
Rogers own compositions, while distinguished by more adventuresome constructs, remain in context through the modernization he applies to the standards surrounding them. The title track is a through-composed piece that begins in Ralph Towner territory, but ultimately opens into a more abstract middle section with Colley beautiful arco delivering the spare but lengthy melody. Ides of March is even more intricate, all the more remarkable for the trio uncanny and natural ability to navigate through it.
Rogers previous Criss Cross releases have demonstrated significant growth. The change in context of Time and the Infinite, with its mix of original composition and fresh takes on familiar tunes, presents a new side to Rogers, but one that totally consistent with his existing body of work.
Artist: Scott Hamilton Album: Back In New York Year: 2005 Label: Concord Genre: Standards, Mainstream Jazz, Ballads Format, bitrate: MP3@320 kb/s Time: 01:08:26 Size: 153,00 MB(+5% recovery)
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Journeyman tenor saxophonist Scott Hamilton keeps things light and swinging on Back in New York. Bringing to mind a mix of Dexter Gordon and Ben Webster, Hamilton has always displayed an unerring classicist aesthetic, and this album is no exception. Featuring the deft rhythm section of pianist Bill Charlap, bassist Peter Washington, and drummer Kenny Washington, Back in New York is a template for what solid modern mainstream jazz should sound like. To these ends, Hamilton kicks things into gear with a sprightly take on "What Is This Thing Called Love," nudges his way through a tasty samba version of "Love Letters," and keeps thing warm and fuzzy on "This Is Always." ~ Matt Collar, All Music Guide
Artist: Emily Remler Album: East To Wes Released: 1988 Label: Concord Format:mp3 Quality: 192kbps Size:71MB Total time: 51:18
The late guitarist's last CD to be released before her premature death is her finest effort. Emily Remler's fluid technique brightens such seldom-heard numbers as Clifford Brown's "Daahoud" and her simplified arrangement of Claude Thornhill's lovely "Snowfall," as well as more relaxed tunes like "Sweet Georgia Fame." The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin "Smitty" Smith. Highly recommended. ~ Ken Dryden, All Music Guide
Artist: Bruce Forman Album: The Bash Recording Date: 11/2/82 Format: MP3 320 kbps (Vinyl Rip) Label: Muse Size: 84.0 MB
Good mid-'80s date by guitarist Bruce Forman, with pianist Albert Dailey, bassist Buster Williams, and drummer Eddie Gladden. Forman, a mainstream stylist solidly in the Jim Hall/Herb Ellis/Joe Pass school, plays with a precise, delicate mastery. ~ Ron Wynn, All Music Guide
Artist: Betty Carter Album: Feed the Fire Label: Verve Format: FLAC & mp3 (320k/s) Size: 378 & 169 MB (scans) Recorded live at Royal Festival Hall, London, UK Total time: 73:03
Taken from a live 1993 performance in London, Feed the Fire is an album filled with surprises. Betty Carter is known for her practice of featuring hot new up-and-coming musicians in her bands, but on this recording she is accompanied by established, world-class talent: Geri Allen, Dave Holland, and Jack DeJohnette. Dave Holland demonstrates why he is one of the greatest living bassists with his unerring sense of melody and pitch. Jack DeJohnette, an acknowledged master of the drums for 30 years, is nothing less than explosive, punctuating the solo statements of his bandmates with powerful flurries. Allen's touch is reminiscent of Keith Jarrett's at times, such as on her excellent solo on "Love Notes." Although Carter shares the spotlight unselfishly, her own contributions are clearly the focal point of Feed the Fire. On the fantastic title track, Allen sets up a percolating rhythmic figure, joined by Holland and DeJohnette. Then Carter enters, scatting her way through the changes, eschewing singing in the traditional sense. Her vocal improvisations are on par with any instrumentalists, a claim one cannot make about many singers. On ballads, such as the exquisite "Lover Man," Carter soars, caressing the melodies with a satin touch, dancing around the music with impeccable phrasing, dropping low into her register for punctuation. It is heady, hypnotizing stuff. Feed the Fire is an interesting album, with many wonderful moments, such as the unison ascending figures in "Sometimes I'm Happy" or the Carter/DeJohnette duet of "What Is This Tune?" However, it is not perfect, and tends to drag toward the end. Tracks go on for too long, and, as wonderful as Carter's singing is, and as compelling as it is to listen to the interaction of these four great musicians, the quality of the music itself tends to wander a bit. Nevertheless, it is a strong album, well worth searching out. ~ Daniel Gioffre, AMG
Bassist Scott LaFaro's death in the early summer of 1961, just 10 days after the Bill Evans Trio's triumphant Village Vanguard engagement was a devastating personal and musical, loss to the pianist, after which he took nearly a year off from recording or playing in public. It fell to another bassist, Chuck Israel, to bring Evans out and re-establish the Bill Evans Trio as a going concern. Possessed of a warm tone, Israels' essentially supportive playing with the Trio made for a studied contrast with the brashly virtuosic LaFaro, which was not necessarily a bad thing. As if to make up for lost time, the newly reconstituted trio recorded two albums' worth of material in June and May of 1962. MOONBEAMS is the "softer" of the two and introduced two graceful Evan's originals, "Re: Person I Knew" (an anagram of producer Orrin Keepnews's name) and the lyrical fugue "Very Early." While any of the early Riverside albums make an excellent introduction to Bill Evans, MOONBEAMS is perhaps the most exquisitely romantic of the bunch, much like Coltrane's BALLADS in this respect. -- Cduniverse.com:
Artist: Charles Mingus Album: East Coasting Year: 1957 Label: Bethlehem Archives/Avenue Jazz Time: 49:30 Format: MP3 @320kbps Size: 122 mb (RS.com, w/ 5% file recovery) Includes Covers + Scans AMG rating: 4 stars
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One of Charles Mingus's lesser-known band sessions, this set of five of his originals (plus the standard "Memories of You") features his usual sidemen of the period (trombonist Jimmy Knepper, trumpeter Clarence Shaw, Shafi Hadi on tenor and alto and drummer Dannie Richmond) along with pianist Bill Evans. The music stretches the boundaries of bop, is never predictable and, even if this is not one of Mingus's more acclaimed dates, it is well worth acquiring for the playing is quite stimulating. -- AMG
Artist: Art Farmer Album: The Summer Knows Released: 1976 Quality: mp3 CBR 320 Size: 80 MB
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This relaxed session features fluegelhornist Art Farmer in a quartet with pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins. The material (which includes such tunes as "Alfie," "When I Fall in Love" and "I Should Care") is given lyrical treatment by these masterful players on this ballad-dominated date. ~ Scott Yanow, All Music Guide
Artist: Laura Fygi Album: At Ronnie Scott's Year: 2003 Original Release Date: 2003 Label: Universal Int'l Genre: Jazz Vocal Format, bitrate: MP3@192 kb Size: 69.2 MB
This is the second live album of Laura since her first one 'Live' at Carre Theatre in Amsterdam back in 1998. This album of her concert at Ronnie Scott's recorded in March last year is the definitive "live" recording of this remarkable Godness in Jazz. It was recorded on the last night of the concert and it captured Laura at her best in live performance without any of the flaws.
Probably one of the more unusual recordings in Phil Woods' considerable discography, Greek Cooking features the alto saxophonist leading a tentet with a distinctly Greek flavor, including four Greek musicians. None of them have become household names in jazz, though oud player George Mgrdichian later sat in with the Dave Brubeck Quartet during a few concerts. While the addition of instruments like the dumbeg and buzukie add a new twist, the annoying fender bass and the material chosen make the LP sound rather dated. "A Taste of Honey" is given a modal-like arrangement and it's hard not to break into a broad grin when hearing the lively "Zorba the Greek." A musical curiosity that's been out-of-print for a long time, it should appeal to Woods' fans because of his ability to make the best of the material with his powerful, never dull playing. ~ Ken Dryden, All Music Guide