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Artist: Hank Jones Album: Just for Fun Label: Galaxy (LP) Release: 1977 Format/Bitrate: MP3/320 Size: 87.9 MB AMG Rating:
A superior transitional player whose two-handed style looks toward both swing and bop, Jones is mostly featured on this set in a trio with bassist Ray Brown and drummer Shelly Manne, although three numbers also welcome guitarist Howard Roberts... the fine interplay between the musicians and the concise and purposeful solos uplift the tunes.. (AMG)
Mintzer has been nominated for thirteen Grammy Awards both for his solo work and big band recordings (Art of the Big Band, Departure, Homage to Count Basie, One Music, and Only in New York) and his work with the Yellowjackets (Blue Hats, Club Nocturne, Dreamland, Greenhouse, Like a River, Live Wires, Mint Jam, Runferyerlife, Time Squared). Homage to Count Basie won the Grammy in the best large ensemble category for the 44th Annual Grammy Awards, 2001
Artist: Stan Getz Album: Stan Getz and the Cool Sounds Year: 1957 Label: Verve Format: MP3 @320 kbps Size: 77 mb (RS.com) AMG Rating: 4 stars
Stan Getz plays with five different lineups on the recordings from 1954 and 1955 featured on Stan Getz and the Cool Sounds. The cool-toned, mellow tenor saxophonist starts off with four tracks accompanied by pianist Lou Levy, bassist Leroy Vinnegar, and drummer Shelly Manne, with the easygoing swinger "Our Love Is Here to Stay" taking top honors. Valve trombonist Bob Brookmeyer is added to the mix for two quintet selections, both of which feature pianist John Williams anchoring two different rhythm sections. The very hot "Flamingo" finds Getz and Brookmeyer alternating choruses and engaging in intricate counterpoint, while Brookmeyer's "Rustic Hop" cooks at an even higher temperature, with both players inspiring one another to the top of their respective games. Pianist Jimmy Rowles, drummer Max Roach, and bassist Bobby Whitlock back Getz in a swinging take of "Nobody Else But Me" and the overlooked chestnut "Down by the Sycamore Tree." Trumpeter Tony Fruscella, who died far too young, takes Brookmeyer's place in two works written by the underrated trumpeter and composer Phil Sunkel, the mid-tempo "Blue Bells" and the boogie-woogie-flavored "Roundup Time." [The album was reissued on CD in 2002.] - AMG
The acoustic piano trio is a crowded specialism — but now and again a group such as Tord Gustavsen’s springs to success from nowhere. Here’s a delightful Italian trio led by the pianist and composer Paolo Paliaga whose melodic, romantic playing recalls the Keith Jarrett group that created My Song. The most immediate piece, the irresistible groove of Balkan Air, is propelled by the lyrical double bass of Dino Contenti. But generally they are more contemplative, setting up a series of intimate instrumental conversations. Not everything works: Duende, despite a dramatic bass solo, sounds like a group improvisation that never quite focuses. Still, I was alternating listening to Meltemi with Brad Mehldau’s House on Hill, and I know which I’ll be taking on holiday. ~ ACT
Artist: Freddie Hubbard Album: Straight Life Label: CTI / Columbia Year: 1970, release 1997 Format, bitrate: MP3@320 kbit/s Time: 0.36:23 Size: 83 MB AMG Rating:
Recorded between trumpeter Freddie Hubbard's better-known classics Red Clay and First Light, Straight Life is actually arguably Hubbard's greatest recording. Hubbard, joined by an all-star group that includes tenor saxophonist Joe Henderson, keyboardist Herbie Hancock, guitarist George Benson, bassist Ron Carter, and drummer Jack DeJohnette, is frequently astounding on "Straight Life" (check out that introduction) and "Mr. Clean," constructing classic solos. The very memorable set is rounded off by the trumpeter's duet with Benson on a lyrical version of the ballad "Here's That Rainy Day." This exciting CD is essential for all serious jazz collections. ~ Review by Scott Yanow, AMG.
Artists: John Lee Hooker with the Groundhogs Album: Hooker & the Hogs Label: Castle Us Year: 1965 Genre: Rhythm'n Blues Format: mp3/ CBR 320 kbps, 44.1kHz, Stereo Size: 77,1 Mb
McPhee and the Groundhogs' most important musical legacy, this 1996 reissue of Hooker & The Hogs has an unusual history. Tony McPhee and the Groundhogs first played with John Lee Hooker in June of 1964, when John Mayall & the Bluesbreakers were unable to fulfill a commitment to back Hooker on the final week of his British tour. The Groundhogs were deputized on the spot and played their first show with him at the Twisted Wheel in Manchester. At the end of the week, Hooker told McPhee how much he liked working with his band and agreed to use the Groundhogs as his backing band on his next visit to England. Hooker was back in May and June of 1965, and not only used them as his band but recorded this album with the Groundhogs. The band was Tony McPhee on guitar, Peter Cruickshank on bass, Dave Boorman on drums, and Tom Parker on keyboards -- some of the stuff here may have surfaced elsewhere, on the Interchord label (as Don't Want Nobody) with brass dubbed on, but this release consists of the undubbed recordings. The sound is raw, tight, and raunchy, some of the best band-backed recordings of Hooker's career. He's notoriously difficult to play support for because of the spontaneity of his work, but these guys keep up and then some, adding engaging flourishes and grace notes. Hooker is in excellent voice, and his material is as strong as any album in his output, rough, dark, and moody. The ominous, surging "Little Dreamer" is worth the price of admission all by itself. The 11 tracks with the Groundhogs are rounded out with four Hooker solo bonus tracks, which are even louder and more savage than the Groundhogs' stuff, though a little noisy (like that ever mattered with The Hook). ~ Bruce Eder
Artists - Itzhak Perlman & Andre Previn Label- Angel Classics/EMI Year - 1981, release - 1992 Quality - MP3@320 kbps Size - 86,1 mb Total time - 42:45
Perhaps Previn and Perlman figured that it would be a breeze to turn out a sequel to the surprisingly successful A Different Kind of Blues, but the bloom was definitely off the rose the second time around. The same ingredients are in place -- eight new Previn compositions with written-out solos for Perlman, and the rhythm section of Jim Hall, Red Mitchell and Shelly Manne. But the freshness of the earlier album is largely missing; the tunes aren't as good, the tempos often drag, the playing in general sounds routine and even arch. Even Perlman himself seems bored at times with his lines, his holiday drawing to a close and perhaps anxious to get back to playing concertos and encores. This would be, in any case, the final roundup for the Previn/Perlman jazz act and also, sadly, the last time that Previn would play with his old buddies Mitchell and Manne. ~ Richard S. Ginell, All Music Guide
Artist: Lars Danielsson Album: Libera Me Released: 2004 Label: ACT Quality: mp3 CBR 320 Size: 137 MB
Âåëèêîëåïíûé øâåäñêèé äæàçîâûé áàñèñò. Î÷åíü ëèðè÷íàÿ è êðàñèâàÿ, è â òî æå âðåìÿ ïîëíàÿ ìîùíîé ýíåðãèè ìàíåðà èãðû.
This intriguing set features the compositions and bass playing of Lars Danielsson. The music is beautifully recorded, often sparse (à la ECM) and thoughtful. The instrumentation varies from track-to-track even if the mood tends to stay quiet and reflective. Soprano-saxophonist David Liebman is featured on "Libera Me," singer Caecilie Norby has a guest pop vocal on "Newborne Broken," and the Danish Radio Concert Orchestra is heard with their huge string section on a few numbers, sometimes sounding a little sleepy. Other than a few spots for Nils Petter Molvaer's introspective trumpet, most of the other solos are by bassist Danielsson. This melodic set works well as both background music and for close listening although it develops slowly. ~ Scott Yanow, All Music Guide
Artist: Stan Getz Album: At the Shrine Label: Norgran Year: 1954 Quality: FLAC & MP3@320 Size: 291 MB & 158 MB Time: 70:55
Tenor Stan Getz and valve-trombonist Bob Brookmeyer made a mutually beneficial team. Although they had not played together all that much in 1954 (Brookmeyer had left Getz's band earlier in the year to join the Gerry Mulligan Quartet), the strong musical communication between the two horns during this CD reissue is obvious. Eight of the ten selections are from a live concert (with pianist John Williams, bassist Bill Anthony and drummer Art Mardigan) while the final two numbers (on what was originally a pair of LPs) were cut in the studio the following day with the same personnel except that Frank Isola was on drums. Highlights of this cool-toned bop music (which, in addition to the solos, has many exciting ensembles) include "Lover Man," "Pernod," "Tasty Pudding" and "It Don't Mean a Thing." Scott Yanow, AMG
Artist: Oscar Peterson Album: Compact Jazz Label: Polygram Records Year: 1987, release 1990 Genre: jazz Format, bitrate: Mp3 192 kb/s Time: 57:36 Size: 79,2 Mb AMG Rating: ****
Taken from sessions for the Mercury label co-opted by Verve, this 11-tune set has pianist Oscar Peterson in exclusively small-group settings, mostly trios. Trumpeter Clark Terry joins in for the Peterson original "Roundalay" and a spirited "Mack the Knife." There's one other O.P. composition, the pensive "Wheatland," with the rest being a solid fare of standards, ballads, and blues. You expect Peterson to cut loose once in a while, and he does on a rip-roaring take of "If I Were a Bell." A compacted slice of his huge discography for sure -- there are larger collections from this mid-'60s time frame, and better single albums -- but these are good picks during what was a fruitful period for the great Canadian jazzman. ~ by Michael G. Nastos at All Music Guide
Artist: Jing Chi Album: Jing Chi Release Date: February 12, 2002 Label: Tone Center Style: Jazz-Fusion Format/bitrate: MP3 320
No, this isn't a sister project to Wang Chung, it's actually a blistering and very trippy jazz fusion blast by three old vets who've been shedding over the years in Robben Ford's band. The cover of the disc features psychedelic art and the trio's names — drummer Vinnie Colaiuta, guitarist Ford, and bassist Jimmy Haslip — in alphabetical order so that listeners don't mistake any one of them for the leader. It's just an intense ensemble disc that draws from feisty blues-rock (dig the blistering free-for-all opener, "The Hong Kong Incident") to cooler atmospheric experiments (the seductive, laid-back "Stan Key.") There are a lot of influences from '60s rock, cult music, Miles Davis' Bitches Brew, down-home funky Delta blues, and a little James Brown kickin' soul as well. The wah-wah-driven, floating atmospheres of "Tengoku" lets listeners know that while these cats can blow heavy, they're happy at times just to kick back and get deep into nostalgia. Ford's balance of intense playing and strong melodicism is effective in keeping people who like good songwriting in the loop at times when it would be just as easy to just jam and forget about any structure. He also adds a decent vocal to "Going Nowhere," which is anchored in Haslip's hypnotic lines. Less effective is Haslip's robotic attempt to be like Sting on the vocal part of the all-atmospheric "In My Dream." That tune is the only real drawback to a very inventive disc of so many moods and such powerful playing. Jonathan Widran, AMG
During 1960-63, Johnny Griffin and Eddie "Lockjaw" Davis teamed up in a two-tenor quintet, inspiring each other to play at their most intense and swinging on a nightly basis. After the band's breakup, Griffin and Davis occasionally had reunions that found them playing as heatedly as ever. This 1998 CD, which released a particularly exciting encounter at Copenhagen's Montmartre in 1984 for the first time, has what might have been their last matchup since Lockjaw passed away two years later. With pianist Harry Pickens, bassist Curtis Lundy and drummer Kenny Washington keeping the momentum moving, the two tough tenors battle it out on a variety of basic material, including "Blues Up and Down" (which has a colorful chorus of conversational commentary by the two tenors before their solos), "Funky Fluke" and "Lester Leaps In." Throughout the heated bebop date, Griffin and Davis are heard at the peak of their powers, and the results are quite memorable.
Artists: Evan Parker & Transatlantic Art Ensemble Album: Boustrophedon Label: ECM Year: 2008 Genre: Contemporary Classical / Free Jazz Format, bitrate: MP3@320 kbit/s Total time: 0.59:20 Size: 134,4 MB + Artwork
The Transatlantic Art Ensemble is an orchestra created by Roscoe Mitchell and Evan Parker. Its first production was released on ECM as Roscoe Mitchell's "Composition/Improvisation N° 1, 2 & 3". I listened to it several times and put it away, exhausted and disappointed. Now, the ensemble has released its companion CD, written and conducted by Evan Parker, called "Boustrophedon". The list of musicians is impressive : Evan Parker on soprano saxophone, Roscoe Mitchell on alto and soprano saxophone, Anders Svanoe on alto saxophone, John Rangecroft on clarinet, Neil Metcalfe on flute, Corey Wilkes on trumpet and flugelhorn, Nils Bultmann on viola, Philipp Wachsmann on violin, Marcio Mattos on cello, Craig Taborn on piano, Jaribu Shahid and Barry Guy on double-bass, Tani Tabbal and Paul Lytton on drums and percussion. This kind of release forces one to think about the nature of music and the nature of jazz. On the one hand, you can admire the fact that musicians keep looking for new ways to express themselves, with the possibility that you, me, as listeners will be able to enrich our aesthetic and emotional experience in the process. In the worst case, you're in for a bad trip and a purse a little lighter. On the other hand, the most burning questions I had when listening to this CD were: "What pretence or misplaced ambition drives wonderful improvisers in this direction?", or differently "Why do jazz musicians - or rock musicians - think that they can only be considered serious musicians once they've tried to move into classical territory, even modern classical music?", or "Why would you sacrifice the self-discovered gem of spontaneity, free form and emotional expressiveness on the altar of Art with a big A as described and defined by some high-brow intellectual critics?", or "Why would a musician with so much experience in the egoless interplay of jazz, be willing to rip the genre's heart out, to strip it from its soul, just in order to create some weird concoction of sounds which all together shout in unison : do you hear me, have you heard me, see what I can?" or "Why does a musician whose main aim has always been the unadultered joy of pure sound, light and free, indulge himself in a banquet too rich and too heavy...?".
This comprehensive CD contains Art Tatum's very first recording (a broadcast version of "Tiger Rag"), four selections in which he accompanies singer Adelaide Hall (along with a second pianist) and then his first 20 solo sides. To call his virtuosic piano style remarkable would be a major understatement; he has to be heard to be believed. His studio version of "Tiger Rag" may very well be his most incredible recording; he sounds like three pianists at once. ~ Review by Scott Yanow, AMG.
On My Russian Soul the Swede with Russian ancestors shows us another facet of her glamorous personality with her brilliant and expressive voice. For many years now, the great-grand daughter of Leo Tolstoy has been keen to explore her Russian musical roots. ”I had a conversation with Siggi Loch concerning that side of my music some time ago, but I didn't feel experienced enough for a project that big then. Russian music out of the classical genre has been adapted every now and then by jazz musicians - think of Ellington's 'Nutcracker Suite' - but never by a singer.”
Artist: Chuck Berry Album: The Latest and the Greatest/You Never Can Tell... Label: BGO Year: 1964 Genre: Rock'n Roll, Blues Format: mp3/ CBR 320 kbps, 44.1kHz, Stereo Size: 127,5 Mb
The value of this two-on-one CD from England's Beat Goes On Records is greater than the sum of its parts -- most of the important tracks here can be found on either the Chuck Berry box or one of the individual MCA-Chess CDs, but they sound infinitely better here, in new late-'90s transfers, than they do on MCA's mid-'80s digital editions. And "good" in this case means they're clean but mean, crisp but raunchy, not like the over-cleaned up versions off of the Chess Box's first disc. The notes are a bit vague as far as the origins of the two LPs are concerned -- they were patchwork creations from recent singles and old U.S. album tracks, done specifically for the British market by Pye Records -- but the sound makes up for those shortcomings. ~ Bruce Eder
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