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Artist: Chicken Shack Album: Unlucky Boy Year: 1973 Label: Indigo Records Quality: mp3@320 kbps Size: 121 mb
Originally released in 1973, but reissued with four extra tracks as part of Sanctuary's Blues Masters series in 2003, Chicken Shack's Unlucky Boy finds guitarist/vocalist/songwriter and band founder Stan Webb in fine form. Only drummer Paul Hancox remains from the uneven Imagination Lady, and indeed the horn-oriented approach here is much different than the plodding Led Zeppelin-isms of the previous disc. Webb contributes six originals, and even though they are derivative of Savoy Brown (a band he joined for the Boogie Brothers album just a year later), his approach here is much more subtle and controlled than on his last effort. Chris Mercer's saxes, often double tracked to sound like a horn section, bring a tough R&B to the mix, and drummer Hancox is a controlled powerhouse. Webb also reigns in his impulse to overextend guitar solos so prevalent on Imagination Lady, whipping off tight, controlled leads instead. Producer Neil Slaven contributes honest, witty, and often self-deprecating liner notes that help explain why two of these songs suffer from poor mixes (basically, he had consumed various substances and couldn't salvage the songs after the fact). Strings on "As Time Goes Passing By," (also included in a shorter single version) are a nice touch and bring a bit of class to the proceedings while maintaining the R&B slant of the disc. Two unedited studio jams make the cut as "Stan the Man" and the seven-minute "Jammin' with the Ash," both featuring pianist Tony Ashton, who really lets loose on the latter. Things get stripped down for an unusually delicate version of Lonnie Johnson's "Too Late to Cry" with just strummed guitar and bass. The opening trio of Webb-penned tunes shows some of his best songwriting with the instrumental "Prudence's Party" a terrific capsule of Webb's stinging, gritty guitar style. The album sounds dated but harkens back to a particular time in British blues that is charming in its anything goes attitude. That helps make this one of Stan Webb's more consistent and successful offerings.
Artists - Clifford Brown, Max Roach Album - Study In Brown Audio CD: October 25, 1990 Original Release Date: February 23, 1955 Label: Polygram Records Quality: flac+cue+log+art Size: 189 MB Time: 39:58
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This CD reissue features the 1955 version of the Clifford Brown/Max Roach Quintet, a group also including tenor-saxophonist Harold Land, pianist Richie Powell and bassist George Morrow. One of the premiere early hard bop units, this band had unlimited potential. Highlights of this set are "Cherokee" (during which trumpeter Brownie is brilliant), "Swingin"' and "Sandu." All of the group's recordings (which have been included in the Clifford Brown ten-CD box set) are well worth acquiring. ~ Scott Yanow, All Music Guide
Artist - Charlie Haden Album - Liberation Music Orchestra Label - Impulse! Year - 1969 Quality - MP3@256 kbps + 320 Kb/s Size - 96 mb Total Time - 51:16
A fascinating reissue that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work. Also of particular note in a particularly talented crew is guitarist Sam Brown, the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la Quince Brigada," a 21-minute marathon. Reissue producer Michael Cuscuna has done his best with the mastering here, but listeners will note a roughness to the sound -- one that is in keeping with the album's tone and attitude. ~ Steven McDonald, All Music Guide
Artist: Mick Taylor Album: A Stone's Throw Release 2000 Time: 00:57:25 Genre: Slide guitar blues Format, bitrate: mp3, 192 kb/s Size: 82 Mb
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Former Stone and John Mayall alumnus cuts loose on this 1999 session in the company of English stalwarts Max Middleton and Rabbit Bundrick. Taylor is a more than capable vocalist, and his playing as always walks the fine line between blues and rock bombast. Most revealing is the laid-back "Never Fall in Love Again," a wistful change of pace from the stronger electric side of this very rock-oriented blues album. Other highlights include "Lost in the Desert," "Late at Night," and "Blind Willie McTell." ~ Cub Koda, All Music Guide
Artist: Ella Fitzgerald Album: Ella Fitzgerald 1954 - 1955 The Chronogical Years: 1954 -1955 Original Release Date: 2008 Label: Classics France Genre: Jazz Vocal Format, bitrate: MP3/320 kbps Size: part 1: 76.3 MB, part 2: 57.7 MB
The 15th installment in the complete studio recordings of Ella Fitzgerald as reissued in the Classics Chronological Series contains 22 titles cut between March 30, 1954, and August 5, 1955, marking the tail end of her contractual obligations as a Decca recording artist. Ella's involvement with Decca extended a full 20 years back to her initial recording session with the Chick Webb Orchestra in June 1935; by January of 1956 she would be working with Norman Granz (who had already been recording her in live performance with his Jazz at the Philharmonic package), inaugurating one of the great longstanding singer/producer collaborations in the entire history of recorded jazz. Drawing upon material originally made available on the LPs Sweet and Hot, Songs in a Mellow Mood, The First Lady of Song, Lullabies of Birdland and Songs from "Pete Kelly's Blues" (a motion picture in which Ella appeared cast as a jazz singer), this patchwork compilation opens with three songs that close out one of the delightful sessions that she shared with pianist Ellis Larkins during the spring of 1954. The next two titles come from a date that was typical of Decca's approach to artists and repertoire, for here Ella and a sextet including tenor saxophonist Sam Taylor, pianist Hank Jones, and organist Bill Doggett were pitted against a standard issue '50s pop vocal choir. Other ensembles heard on this disc were conducted or supervised by Benny Carter, Sy Oliver, André Previn, Dick Hyman, and Toots Camarata. Altogether, it's a fine portrait of Ella Fitzgerald in one of her primes, and an effective appetizer for the next chapter in her musical biography. ~ arwulf arwulf, AMG
Artist: William Galison & Madeleine Peyroux Album: Got You On My Mind Label: Walkin up Music Year: 2004 Genre: Jazz/Blues vocal Format, bitrate: mp3-320 Size: 90.7 mB
Remember Madeleine Peyroux? Sure you do -- she came out with a great debut record, Dreamland, back in 1996 and was heralded as the second coming of Billie Holiday. The fact that Peyroux was a 22-year-old white woman from Georgia only added to the media frenzy that surrounded her first effort. She was written up in Time magazine and sold more than 100,000 copies of her record with virtually no radio support. Still don't remember? Maybe that's because Peyroux seemed to literally drop off the planet immediately following that initial splash. No more records; no interviews -- she was gone, apparently back to her roots as a street busker….The CD, produced by Galison, features an array of talent, including Bob Dylan's bassist Tony Garnier and Saturday Night Live drummer Sean Pelton. Even Carly Simon gets in on the act, doing the voice of the scorpion on Galison's witty, woe-is-me number, "Shoulda Known". While Peyroux is a known commodity, it is Galison who is the revelation, playing no less than seven instruments throughout the record and proving himself to be a more-than-capable singer in his own right. He plays chromatic harmonica with both restraint and passion, even turning John Lennon's "Jealous Guy" into a subtlety emotive ballad (with only two lines even sung). His "Rag for Madi" -- featuring the jazz clarinet of Brad Terry -- is delightful in its simplicity. And that's a good part of what makes this record so delightful: it's done with a light touch, both musically and vocally. No dense overdubs, no swirling strings. In fact, many of the performances on Got You on My Mind were first takes, giving the record a crisp, unfettered sound. While Peyroux's distinctive, bluesy voice doesn't quite work with a straightforward pop number like "Heaven Help Us All", it's a minor misstep in what is an original-sounding, utterly engaging record. And for fans of Ms. Peyroux, totally worth the wait. \by Nicole Pensiero\
Artist: Ella Fitzgerald Album: Ella Fitzgerald 1953 - 1954 The Chronogical Years: 1953 -1954 Original Release Date: 2006 Label: Classics France Genre: Jazz Vocal Format, bitrate: MP3/320 kbps Size: part 1: 76.3 MB, part 2: 62.3 MB
The 14th installment in the Classics Ella Fitzgerald chronology examines a trail of Decca recordings made between February 13, 1953, and March 30, 1954. Aside from a pair of sentimental numbers sweetened by the Ray Charles Singers, Fitzgerald spent most of the year 1953 making records with Sy Oliver's orchestra. "Somebody Bad Stole de Wedding Bell" is yet another chapter in Fitzgerald's ongoing involvement with West Indian or calypso-styled repertoire; earlier Caribbean manifestations were "Stone Cold Dead in the Market" and "My Bonnie Lies Over the Ocean." Ella closed out the year by recording with a string-laden orchestra led by John Scott Trotter, then famous for his work with Bing Crosby. Her next three studio sessions occurred toward the end of March 1954. The first of these involved the dreaded Gordon Jenkins string orchestra and chorus. Although few singers could have withstood the avalanche of refined white sugar represented by Jenkins and his soporific ensemble, Fitzgerald stood her ground and sounded great. At the beginning of the following week she made her second collaborative series of recordings with pianist Ellis Larkins; their first studio duets had taken place in September of 1950 (see Classics 1195). These beautiful performances benefit from the sort of professional autonomy and artistic integrity that Ella Fitzgerald would soon enjoy after ditching Decca and signing on with Norman Granz. ~ arwulf arwulf, All Music Guide
Although McCoy Tyner has never been well known for playing with guitarists, there have been precedents. Technically on the electric mandolin and amplified guitar, John Abercrombie was part of the 4 X 4 sessions, acoustic guitarist Earl Klugh was a participant on the Inner Voices recording, Ted Dunbar was in the group for Asante, and Carlos Santana joined Tyner for the ill-conceived album Looking Out. Tyner prominently accompanied Grant Green for legendary Blue Note label classics. So this may not be a new thing, but certainly something the great pianist has been removed from in general terms. Guitars pairs Tyner and his reunited bulletproof trio of bassist Ron Carter and drummer Jack DeJohnette with contemporary performers Marc Ribot, John Scofield, banjoist Béla Fleck, Derek Trucks, and Bill Frisell. The results are mixed no matter which string player you favor, with Tyner's role as a legend surely intimidating any of his disciples to a degree. But for these recordings, the sound and feeling of the end product is clearly decipherable. Ribot especially seems out of place, resorting to power chords during "Passion Dance," but rebounding on the soulful version of "500 Miles" and rallying on the peaceful but electrified "Improvisation 1." With Derek Trucks, Tyner's basic "Slapback Blues" is treated as the title suggests, while the 3/4 "Greensleeves" is typical, but the raga approach that Trucks emphasizes in his band would have been a welcome choice. Scofield is clearly the most comfortable with Tyner, swinging easily through "Mr. P.C." and playfully skirting away from the line of "Blues on the Corner." On his three tracks, Fleck is surprisingly the most compatible, working with a deep modal Middle Eastern feel on "Tradewinds," flying fleet and much quicker than the pianist during "Amberjack," and evoking "My Favorite Things" in a quaint mood. The two pieces with Frisell merge together as one in an homage to the world guitarist Boubacar Traore, with "Boubacar" meditative before the rhythm section explodes, then the loose "Baba Drame" works as an extension. Whereas Tyner's playing these days is beyond reproach, and the contributions of Carter and DeJohnette are always welcome, there's an aura of true amity on most of the tracks, but an imbalanced awkwardness on others. An accompanying DVD with various camera angles provides perspective and insight into how this music was created, but also where Tyner's giant visage might dwarf some of these plectrists, and not others. It's an interesting slice in time, but not a definitive recording in Tyner's legendary and lengthy musical career. ~ Michael G. Nastos; AMG
Artist: Etta James Album: Tell Mama: The Complete Muscle Shoals Sessions Label: Muscle Shoals Released: 1968 Size: 120 mb Format/Bitrate: mp3, 320 kb/s
"I don't know who that girl is, but she's one of the finest singers I've ever heard". - Nat "King" Cole
While in this album, "Tell Mama", believability, heart and soul are central to the fire that Miss James kindles, she is no slouch at technique. The years of training and experience have taught her to mix abandon with control, qualities not often seen together to such a high degree in one singer. Morry Roth, linear notes
Etta James - an American blues, soul, R&B, rock & roll, gospel and jazz singer and songwriter - was born today! Happy Birthday!
Artist - Maynard Ferguson Album - Si! Si! / Maynard '64 Label - Roulette Jazz Genre - swing, bop Years: 1962,1964, release - 1991 Quality - MP3@320 kbps Size - 137 mb Total time - 60:38 AMG Raiting:
This single-CD reissues the contents of two former LPs by the Maynard Ferguson Orchestra: Si! Si! and Maynard '64. These 16 performances have been reissued by Mosaic in a ten-CD box set but those listeners who do not have that set should get this one. In addition to the high-note trumpet master, the boppish performances feature such soloists as altoist Lanny Morgan, the tenors of Willie Maiden and Don Menza and pianist Mike Abene. The arrangements (by Ernie Wilkins, Marty Paich, Don Sebesky, Don Rader, Maiden, Abene and Menza) took advantage of the band's many strengths and the result is a solid set (actually two) of swinging music. ~ Scott Yanow, All Music Guide
Artist: Antonio Carlos Jobim Album: Stone Flower Label: Sony / CTI Original Year: March 16-May 22, 1970 Release Date: March 5, 2002 Genre: Bossa Nova Format/Bitrate: MP3/320 kbit/s Size: 100 mb
Jobim has been described as the Gershwin of Brazilian music, which is an apt title for a man who contributed so many original songs to the jazz repertoire, adding a few standards along the way. Those who were inspired to follow his work after ”The Girl From Ipanema” may have picked up Wave, his most well-known solo record, but may have overlooked Stone Flower, a markedly better effort. The drippy strings on the former record brought out the quiet romanticism of the melodies, but makes the album sound dated today. Stone Flower marks a fresher approach, using musicians from the CTI stable, but don’t be misled by the personnel into thinking that Jobim has wandered into soul jazz. The quietly sensual melodies and beguiling bossa nova rhythms are as bewitching as ever, with Laws, Carter, and Green added sensual textures in the background. The title track says it all: Jobim on electric piano, heavily reverbed as if it was recorded underwater, with violin and trombone providing a warm tropical breeze overhead. No one could write bossa nova tunes as well as Jobim, and the songs on Stone Flower easily rank with his best work. Stone Flower is a fantastic record of quiet intensity. (David Rickert)
REPOST! One of the most influential popular composers of the 20th century, a Grammy Award-winning Brazilian songwriter, arranger, singer, pianist, guitarist, a Man and the Bossa - Tom Jobim - was born today January 25, 1927!
Artist: Ella Fitzgerald Album: Ella Fitzgerald 1952 The Chronogical Year: 1952 Original Release Date: 2003 Label: Classics 1328 Genre: Jazz Vocal Format, bitrate: MP3@320 kbps Time: 0.56:34 Size: 130 MB
The 13th installment in the Classics Ella Fitzgerald chronology documents her recording activity during a period extending from early January to late November 1952. The two opening tracks constitute a veritable scat fest with accompaniment by the Ray Charles Singers and a small band anchored by organist Bill Doggett and pianist Hank Jones. The next nine titles document Fitzgerald's continuing collaborations with bandleader Sy Oliver. Matt Dennis' ballad "Angel Eyes" is rendered beautifully, even if it is nestled among silly titles like "Goody Goody," "A Guy Is a Guy," and "Ding-Dong Boogie," a rowdy novelty better suited for Teresa Brewer; it benefits greatly from a gutbucket sax solo by Sam "The Man" Taylor. -->>
Artists: Led Zeppelin Album: When We Were Kings (Earl's Court Arena May 25th 1975) Label: Empress Valley (bootleg) Year: 1975, release 2003 Genre: blues rock Format, bitrate: Mp3 320 kb/s Time: 3:54:00 Size: 547 Mb (4 CD); Covers: 6 Bubu's rating:
Led Zeppelin was an English rock band that formed in September 1968. Led Zeppelin consisted of Jimmy Page, Robert Plant, John Bonham, and John Paul Jones. With their heavy, guitar-driven sound, Led Zeppelin are regarded as one of the first heavy metal bands. Their rock-infused interpretation of the blues also incorporated rockabilly, reggae, soul, funk, jazz, classical, Celtic, Indian, Arabic, folk, pop, Latin and country. The band did not release the popular songs from their albums as singles in Britain, as they preferred to develop the concept of album-oriented rock. Over 25 years after disbanding following Bonham's 1980 death, Led Zeppelin continue to be held in high regard for their rtistic achievements, commercial success, and broad influence. The band have sold more than 300 million albums worldwide, including 109.5 million sales in the United States. Led Zeppelin are ranked No. 1 on VH1's list of the 100 greatest artists of hard rock. -->>
Artist: Mal Waldron Album: Mal - 4 Label: New Jazz Quality: FLAC; MP3@320 kbps Size: 218 MB & 99 MB Total time: 0.43:43
It seems strange that this, pianist Mal Waldron's seventh session as a leader, was his first with a group as small as his trio. With the assistance of bassist Addison Farmer and drummer Kenny Dennis, Waldron performs four standards and three of his moody originals. His sometimes-brooding style was already quite recognizable and his inventive use of repetition was quite impressive. This recording gives listeners a definitive look at the early style of Mal Waldron. ~ Scott Yanow, All Music Guide
Artist: Red Garland Title: Red Alone Label: Prestige / Moodsville Year: 1960, release 2004 Genre: Jazz, Piano Jazz Format, bitrate: MP3/320 kbps Time: 43:01 Size: 98 MB
Red Garland recorded 16 ballads during this single 1960 session for Prestige's Moodsville subsidiary label, half of which appear on this CD reissue, with the remainder being heard on Alone With the Blues. Although these selections were intended as mood music for lovers, Garland's imaginative arrangements keep things interesting. The pianist's strolling tempo of "When Your Lover Has Gone" suggests nostalgic reflection rather than melancholy from the typically slow performances by singers. His playful side comes out in "These Foolish Things," while the graceful runs in the upper keyboard are complemented by his rich block chords in "My Last Affair." The subtlety of his interpretation of "You Are Too Beautiful" and the delicate rendition of "The Nearness of You" are also memorable. But the obvious high point of this release is his stunning exploration of Duke Ellington's "I Got It Bad (And That Ain't Good)," which succeeds in conveying the powerful emotions of this ballad without a singer. This remarkable collection of standards should appeal to any fan of jazz piano. ~ Ken Dryden, All Music Guide
Artist: Ella Fitzgerald Album: Ella Fitzgerald 1951 The Chronogical Year: 1951 Original Release Date: 2002 Label: Classics 1261 Genre: Jazz Vocal Format, bitrate: MP3@320 kbps Time: 1.10:06 Size: 161 MB
Most of Ella Fitzgerald's recordings from 1951 (all of which are on this CD) are obscure and have rarely been reissued. "The First Lady of the American Song" turned 34 that year and was in peak form, as she would be throughout the decade. The music ranges from novelties ("Two Little Men In A Flying Saucer," and a cover of "Come On-A My House,") to worthy versions of "Love You Madly," "Smooth Sailing," and "Baby Doll." The settings range from tunes with Sy Oliver's Orchestra and occasional background singers, to a date with Hank Jones, and four lesser-known but delightful duets with Louis Armstrong: "Necessary Evil," "Oops," "Would You Like To Take A Walk," and "Who Walks In When I Walk Out." ~ Review by Scott Yanow, AMG.
Artist: Joe Lovano nonet Album: On This Day At The Vanguard Original Release Date: July 8, 2003 Label: Blue Note Records Size: 159 mb Quality: mp3@320 kbps
The Cleveland-born tenor saxophonist Joe Lovano has a big, full-throated sound that you can't learn in school. It only comes from years of gigging and working as a sideman and as a leader; he's released a number of critically-acclaimed records and played with a lot of superstars. But if you want to get Joe Lovano "unplugged," this is the CD to get. It his third recorded performance from New York's fabled Village Vanguard jazz club, at it features Lovano fronting a spirited nonet. The nine pieces combine the grand sound of the big band with the improvisational flexibility of a small combo. This group, which recorded on Lovano's studio release, 52nd Street Themes, features Boston's tenor sax phenom George Garzone, trumpeter Barry Ries, pianist John Hicks and drummer Lewis Nash. With Lovano's soulful and silken sax out in front, they breath new, post-bop life into Tadd Dameron's "Focus" and Good Bait," John Coltrane's "After the Rain," and Duke Ellington's lovely ballad, "My Little Brown Book." A florid reading of the pop song "Laura" and the avant-garde-oriented "One This Day," which was based on Coltrane's "Ascension" and composed in memory of the great drum master Billy Higgins, features and intesnse "horn discussion," and shows Joe Lovano's mastery of his instrument and the idiom we call jazz. -- Eugene Holley, Jr.
Artist: Terry GibbsDream Band (vol. 2) Album: The Sundown Session Label: Contemporary Year: 1959 Format, bitrate: Mp3 320 Kb/s Time: 46:40 Size: 97,2 mb
The legendary Terry Gibbs Dream Band, a notable unit that from 1959-62 made a few albums for Mercury and Verve, was well served by the five CDs of previously unreleased material released by Contemporary in the late 1980s. Vol. 2 has charts by Bill Holman, Al Cohn, Manny Albam, Lennie Niehaus and Med Flory on six swing-era songs and four later tunes, including Gibbs' "The Fat Man." Of the soloists featured during this live set, which also resulted in part of Vol. 3, vibraphonist Gibbs, trumpeter Conte Candoli, altoists Joe Maini and Charlie Kennedy, Bill Perkins on tenor and pianist Lou Levy are most notable. Recommended for fans of swinging big bands. ~ Review by Scott Yanow, AMG.
The plan for Led Zeppelin’s Jimmy Page, John Paul Jones and Jason Bonham to tour and record an album with a singer other than Robert Plant is ”completely over now,” Page’s manager Peter Mensch tells Music Radar (a spokesperson for Page’s management firm confirmed to Rolling Stone that the Plant-less reunion is off). In what could be considered a tirade, Mensch said, ”Led Zeppelin are over! If you didn’t see them in 2007, you missed them. It’s done. I can’t be any clearer than that.” Robert Plant, who will continue working with Raising Sand partner Alison Krauss, previously told fans it would two years before he’d even consider touring again with Zep, so Mensch’s announcement that the band is ”over” is distressing to those willing to be patient. Thankfully, however, it looks like Creed won’t be reuniting either as plans to draft Alter Bridge singer Myles Kennedy — or any singer for that matter — for Plant’s spot look dead as well. Mensch admits the band auditioned some new frontmen, but ”no one worked out.” ”That was it. The whole thing is completely over now,” Mensch added. ”There are absolutely no plans for them to continue. Zero. Frankly, I wish everybody would stop talking about it.” We would stop talking about it, but just yesterday Mensch was making headlines after telling BBC6 radio that the band planned to reunite with a new singer. ”They decided that if they could find a singer that they thought would fit their bill, whatever their bill was at this stage in their career, that they’d make a record and go on tour,” Mensch said. Still, Mensch might not exactly be in the loop, as he responded to Jimmy Page’s possible 2009 plans, ”Fuck if I know. I’m waiting to hear.” - Rolling Stone Magazine
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