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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
Artist: Bud Shank Album: Quintet Label: Pacific Jazz PJ 1205 Year: 1954~56 Genre: Jazz Format, bitrate: mp3@320kb/s with front/back covers Time: ~ 46 min Size: 105,90 MB
Bud Shank has been an integral member of the international jazz scene for 60 years. A respected saxophonist, composer, and arranger, his soaring dynamic performances have enlivened countless concerts, festivals, nightclubs, and recording sessions. Shank first came to prominence in the big bands of Charlie Barnet and Stan Kenton during the late 1940s. In the 1950s the saxophonist began a long tenure with Howard Rumsey's Lighthouse All Stars, as well as work with his own quartet. A charter member of the "West Coast" jazz movement, Shank's cool but always strongly swinging sound has made him one of a handful of sax players with an instantly recognizable and always exciting sound. In addition to club and concert dates this period found the musician producing some 50 diverse albums.
Artist: Herbie Hancock Album: My Point of View Year: 1963 Label: Blue Note Quality: MP3 @320 kbps Time: 42:37 Size: 107 mb, with 5% file recovery AMG Rating:
In this 1963 recording session, pianist Herbie Hancock had a chance to work with a septet that could highlight his burgeoning skills as an arranger and composer. With Hancock's inventive sense of voicings already defined, it's a happy mix of inspired charts and spirited blowing that fuses the hard bop of trumpeter Donald Byrd and tenor saxophonist Hank Mobley with the bluesy approach of guitarist Grant Green and Hancock's own fluent soloing and incisive comping. Also notable is the explosive young drummer Tony Williams, who was already showing the distinctive fire that would soon ignite Miles Davis's band. The track "Blind Man, Blind Man" is a funky romp that clearly builds on Hancock's remarkable success with the earlier "Watermelon Man" and is a harbinger of the pop success he'd later enjoy with the Headhunters. - Amazon
Artist: Sonny Criss Album: The Complete Imperial Sessions Year: 1956 Label: Blue Note Number of Discs: 2 Quality: MP3 @320kbps Size: 246 mb, with Covers + 5% file recovery
This double disc reissue on Blue Note contains the three releases that alto saxophonist Sonny Criss did for Imperial: Jazz U.S.A., Go Man!, and Plays Cole Porter. These sessions were all recorded in 1956 at a time when Criss had honed his amazing bebop alto precision. These 34 performances contain only five of his originals and are surrounded by mainly standards. The bands consisted of solid lineups with Sonny Clark or Kenny Drew on piano; Barney Kessel on guitar; Leroy Vinnegar, Buddy Clark or Bill Woodson on bass; Larry Bunker on vibes; and Larance Marable or Chuck Thompson taking care of drumming duties. While Criss had a career that erratically spanned the '70s, these Imperial sessions (reissued in glorious mono) contained highly regarded performances of passionate blues, moving ballads, and energetic up- tempo pieces. - AMG
Artist: Tubby Hayes Album: 1969 London Broadcasts London BBC Radio 1 + 2 Quality: 256kbps Size: 109MB Total time: 100min.
Edward Brian "Tubby" Hayes (30 January 1935 in St Pancras, London, England – 8 June 1973. Hammersmith, London, England  ) was a British jazz multi-instrumentalist, best known for his tenor saxophone playing in groups with fellow sax player Ronnie Scott and with trumpeter Jimmy Deuchar.