Artist:Tower Of Power
     Album: Great American Soulbook
     Label: TOP RECORDS
     Year: 2009
     Format, bitrate: MP3, CBR 320 kbps
     Size: 132MB

     
   Tower of Power have openly admitted resistance toward covering any hit R&B classics, preferring to play their original brand of funky soul and dance music with a horn-fired edge over their four decades on the scene. But they have finally acquiesced, reluctantly but with growing confidence during this session, in producing a tribute to the many solid singers who appeared in the charts during the '60s and '70s with these renditions of tunes familiar to Top 40 AM radio listeners. Special guest singers range from Sam Moore of Sam & Dave fame to young pop songstress Joss Stone, the veteran British lounge crooner Tom Jones, and rocker Huey Lewis, not to mention TOP frontman Larry Braggs. Philly and Motown music, love songs, retro-soul, and a little disco are included in this collection that is, for the most part, faithfully reproduced. A Sam & Dave hit penned by Isaac Hayes, "I Thank You" is soulfully rendered by Jones, while Moore digs in on Otis Redding's "Mr. Pitiful," both the most authentic highlights of the album. Lewis is quite convincing in his blue-eyed soul role during Wilson Pickett's shuffle swing "634-5789," offering the premise that he could pull off a whole album of this stuff. Braggs cops Stevie Wonder's style during "You Met Your Match," while he and an overamped Stone combine on the more heavily funky and contemporized version of Marvin Gaye and Kim Weston's "It Takes Two." Aretha Franklin's "Since You've Been Gone," sporting the refrain "Why'd you have to do it" with a backup chorus, is as true to the original as any other version. A James Brown medley unfortunately does not come close to the Godfather of Soul, and there are some sappy renditions of such numbers as Billy Paul's "Me & Mrs. Jones," Charles Wright & the Watts 103rd Street Rhythm Band's "Loveland," and the Gaye/Tammi Terrell hit "Your Precious Love" with Braggs and Stone. "Heaven Must Be Missing an Angel," originally done by Tavares, is simply soupy and far too slick, and the Bill Withers song "Who Is He (And What Is He to You)?" is a revisited disco throwaway. Missing from these songs are the extended, powerful horn charts that made Tower of Power famous, with only a modicum of interaction and with little punch to add to the flavor of these charts. Perhaps a second volume might yield better results than the overtly commercialized collection that is presented here. Not bad -- just not great.
   ~ Michael G. Nastos, AMG

   Artist: The Quincy Jones Big Band
   Album: Classics, Vol.3
   Label: A&M Records
   Year: 1986
   Total Time: 71:59
   Format: Flac + MP3@320
   Size: 413 MB

   This collection was released during the time of A&M's 25th anniversary. Also at the time CD technology was still a new thing. That might explain the near-scientific title. Two of Jones' more quirky arrangements, "Gula Matari" and the "Sanford and Son Theme," show up here. In a surprise move, Jones' graceful and apt cover of Stevie Wonder's "You've Got It Bad Girl" makes this compilation. While Jones' vocals can be best described as thin, his lack of vocal gifts also play well in the mix on the cover of "What's Going On." Not surprisingly Classics, Vol. 3 has a lot from Jones' last A&M effort, the multi-platinum, Grammy-winning The Dude. The best tracks from that effort, "Razzamatazz" and "Betcha' Wouldn't Hurt Me," feature vocals from his finest female vocalist, Patti Austin. The never-a-hit and flat-out bad "Things Could Be Worse for Me" is the only thing that doesn't belong here. This set wasn't meant to be an essential overview and it does miss tracks like "Manteca," "Theme From the Anderson Tapes," and the phenomenal "Tell Me Bedtime Story." While Classics, Vol. 3 does indulge in quite a few bogus edits, too, this does balance 12 years of hits extremely well.
   

      Artist: Take 6
      Album: I Will Always Love You
      Year: 1995
      Label: Reprise
      Time: 11:19
      Format: FLAC + MP3 320kb/s CBR
      Size: 74,6 MB & 25,9 MB

      Artist: Bill Bruford
      Album: If Summer Had Its Ghosts
      Label: Discipline
      Year: 1992
      Format, rate: mp3, 320kbs
      Size: 121MB
      Time: 49:06
      AMG Rating

      On If Summer Had Its Ghosts, a primarily acoustic trio recording, drummer Bill Bruford, bassist Eddie Gуmez, and pianist/guitarist Ralph Towner create some lush, wondrous, spontaneous and melodic music. It has jazz roots, improvisational branches, and elfin extensions. There's no gimmickry or pretension, although Bruford does add some sampled colors, and Towner overdubs his instruments as well as throwing in a pinch of electronic keyboards. What you basically hear is Bruford's newest and freshest music, interpreted and extrapolated upon by three virtuosos in mellifluous interactive conversation. At their most swinging, as on the lively, four/four, tick-tock, light rimshot, mid-tempo swing of the title track, they are telepathic, with Towner effortlessly switching from acoustic 12-string to piano and Gуmez laying down soulful, full, deep bass punctuations. In a more ethnocentric bag, Bruford samples mbira for the folk-ish "Thistledown," Indonesian bells for the minimalistic, dancing "Splendor Among Shadows," and clay pots for "Silent Pool"; Towner emulates Peruvian wooden pan flutes on his synth for "The Ballad of Vilcabamba," replete with ostinato bass and quiet electronic handclaps. The drummer pays homage to Joe Morello's classic five/four "Take Five" drum solo on "Some Other Time" (not the standard) with an accent on the fourth beat, while slowly grooving in six/eight on the ballad "Forgiveness." "Never the Same Way Once" (an old Shelly Manne adage) is the showstopper, a time-shifting, bluesy, swing to bop and back again rhythm with the spritely Chick Corea-like piano-guitar melody that is completely unpredictable and delightful. It reflects an easygoing, loose, carefree attitude that defines this entire session. If summer really does have its ghosts, they would evoke echoes of spring, full of renewal, hope, and joyful anticipation. It is that spirit with which this music is made, and it is some of greatest music, collectively or otherwise, that these three have conjured in their lengthy, storied careers.
   ~ Michael G. Nastos, AMG

   Artist: Astrud Gilberto
   Album: Beach Samba
   Label: Verve
   Year: 1967
   Format, Bitrate: mp3/192
   Size: 84.9MB



   One of Gilberto's less impressive '60s Verve outings, primarily due to the more pop-oriented song selection. Much of this is just standard pleasant Gilberto: offhand vocals and a sumptuous Brazil pop-cum-U.S. orchestration feel (Ron Carter and Toots Thielemans are among the sidemen). And some of the pop choices work well, particularly Tim Hardin's gorgeous "Misty Roses." No vocals or arrangements, however, could save the criminally wrong-headed military march of "A Banda (Parade)," or the exasperatingly coochie-coochie duet between Gilberto and her six-year-old son on the Lovin' Spoonful's "You Didn't Have to Be So Nice." Which makes it all the more surprising when the next and concluding track, "Nao Bate O Corocao," has Gilberto cutting loose with confident, sassy scats, as she rarely did before or since. The CD reissue improves matters by adding five bonus cuts from A Certain Smile a Certain Sadness, recorded in 1966 in more authentically bossa nova-style arrangements, anchored by organist Walter Wanderley.
   ~ Richie Unterberger, AMG

      Artist: Don Sebesky Orchestra
      Album: I Remember Bill: Tribute to Bill Evans
      Label: RCA
      Year: 1998
      Format, bitrate: MP3@256 kbit/s + 320 kbit/s
      Time: 77:40
      Size: 45 MB & 151 MB
      AMG Rating:




           One more recognition to Bill Evans legacy. Sebeskyґs arrangements for Bill Evans material, and two of his own originals, with the help of his friends Joe Lovano, Lee Konitz, Toots Thielemans, John Pizzareli, Eddie Daniels, Larry Coryell, New York Voices. Bass and drums with Evanґs personnel: Eddie Gomes, Marty Morell, Marc Johnson and John LaBarbera

    Artist: Mahavishnu Orchestra
    Album: Mahavishnu
    Label: Warner Bros.
    Release: 1984
    Format/Bitrate: Mp3@320
    Size: 96,3 MB
    Time: 42:05


   John McLaughlin resurrected the esteemed old Mahavishnu Orchestra for his mid-'80s quintet, even getting old mate Billy Cobham to fill the drum slot on the band's first album. But this is an entirely different conception than any of the '70s Mahavishnu outfits. The sound is cooler, less strident, more thoroughly dominated by advanced electronic textures -- including a sleekly elegant digital guitar played through a Synclavier. Instead of a violin, Bill Evans contributes some swirling and sometimes bop-flavored work on saxes, and McLaughlin gets mobile but not overly combustible support from keyboardist Mitch Forman and bassist Jonas Hellborg. The homages continue; the opening of "Nostalgia" is exactly that, a throwback to "In a Silent Way" as filtered through digital gear. While this is undeniably prog-minded, beautifully played electric music, it is not terribly absorbing; the quality of the material and the intensity level aren't too high.
   - Richard S. Ginell (AMG)

   Artist: Thelonious Monk Quartet
   Album: Live at Tivolis Koncertsal, Copenhagen
   Label: bootleg
   Year: 1964
   Format, bitrate: Mp3, 224 kb/s vbr
   Time: 1:25:21
   Size: 120,0 Mb (covers)

   Tivoli Gardens is a famous amusement park and pleasure garden in Copenhagen, Denmark. The park opened on August 15, 1843 and, except for Dyrehavsbakken in nearby Klampenborg, it is the oldest amusement park in the world.
   Tivoli Concert Hall is in the heart of Tivoli, and was originally built in 1902 in Moorish style by Richard Bergmann and Tivoli director Knud Arne Petersen.. In 1944, during the German occupation of Denmark, it was blown up as a revenge action against the Danish resistance movement.
   The current version of the concert hall was built 1954 - 1956 after the drawings of Frits Schlegel and Hans Hansen.
   In the 60s Monk toured Europe massively. This wonderful set, taken from a Radio
   FM broadcast features Thelonious Monk together with his quartet live at Tivolis Koncertsal, Copenhagen, Denmark on February 21 1964 and features Monk’s usual playlist. The sound is almost acceptable. A recording advised for collectors, completists and diehard fans only.
    Bubu Hans

   Artist: Rick Vito & The Lucky Devils
   Album: In Concert: Ohne Filter
   Year: 2003
   Format: DVD
   Size: 4,44Gb
   Audio: AC3 5.1 - PCM

      Description
   Recorded in Germany on April 25th, 2000
   Rick Vito knows a thing or two about guitar playing, having been a professional musician who has been on many recordings over the year. This video showcases Rick stretching out with his own band, The Lucky Devils, performing a dozen songs ranging from renditions of Otis Rush's blues "Homework", to jazzy rock & blues shuffles, and providing the great guitar licks that make the songs come to life. As a guitarist Rick Vito is one of the best.The video & sound quality is top notch. There isn't a bad song, if you like a bluesy style, reminiscent of The Fabulous Thunderbirds. I found it very enjoyable to listen to. I also liked his personal guitar, quite different than most guitarist's. A personal favorite on the disc is a tribute rendition of Fleetwood Mac's original guitarist & legend Peter Green's "Another Woman." But I also liked the Chuck Berry style rocker "Wouldn't Lay My Guitar Down",and "Long Black Car" and "Blues Town." This is a nice collection of songs, in an easygoing concert, with you in the front row,watching one of the best guitarists doing his thing. How can anyone complain about that?

   Artist: Don Sebesky
    Album: Joyful Noise: A Tribute to Duke Ellingtone
    Label: RCA Victor
    Year: 1999
    Format, bitrate: Mp3, 320 Kbps
    Time: 68:22
    Size: 131 MB

   The orchestration skills of Don Sebesky are known far and wide through jazz and non-jazz circles. As an arranger he has no peer, but tackling the music of Duke Ellington in this centennial year of Ellington's birth is a daunting task. Sebesky proves up to the challenge, turning a few of Ellington's tempos 180 degrees, lavishly building on well-established melodies, adding some flourishes of his own, and composing an Ellingtonian suite as a 100th birthday present. Sebesky assembled a 23-piece band with such prominent soloists as bassist Ron Carter, trombonist Bob Brookmeyer, saxophonist Phil Woods and trumpeter Tom Harrell. They further fortify Ellington's heightened emotional aesthetic and vegetable-soup-like delicious music. Never taking a safe path, Sebesky pumps up the midnight slow ballad "Mood Indigo" into a mid-tempo swing waltz, John Pizzarelli's guitar so what backtalking with the horns. A loping bass from Carter turns into a cowboy "Creole Love Call" with able solos from Woods and Harrell. The classic ballad "Chelsea Bridge" and "Take the Coltrane" are both fairly up swingers, the former with cleverly staggered phrases in the melody contrasting with the shouting horns, the latter where Sebesky uses upper register horns to state the basic, simple theme that was Coltrane's sound on this tune originally done by Trane and Duke. "Caravan" and "Satin Doll" are more typical rhythmically, Sebesky dropping orchestral layer upon layer on the camel's back for "Caravan," while the face of "Doll" is shadowed in thick rouge by Carter's bass way up in the mix, his lines running contrary to the band playing this well-known melody, lipstick traces provided by Woods, mascara dripping via Pizzarelli's coyish scatting and guitar licks. "Warm Valley" is as expansive a ballad as you'd expect from Sebesky; it's an organ of sheer beauty. The nineteen-plus-minute "Joyful Noise Suite" runs thorough a quoted and paraphrased melбnge of Ellington catch phrases, starting with a bah-bah-doo-bop theme, merging into slinky, spooky gossamer crescendos and decrescendos, ending in a wild, hard-charging frenzy, the passages named "Gladly-Sadly-Madly." The band swings out on a euphonium led "Koko." Of all the tributes to Ellington, this is the best, a magnum opus to the maestro from a man and his band who are well aware of his grandeur, plus how to play all the right notes. Highly recommended.
   ~ Michael G. Nastos, All Music Guide

   Artists - The Jazztet & John Lewis
   Album - The Jazztet & John Lewis
   Label - Argo
   Year - 1961
   Quality - MP3@320 kbps
   Size - 64 mb
   Total time - 33:36


   The idea of the Jazztet playing arrangements by John Lewis written especially for them is intriguing. According to Gene Lees' liner notes, Art Farmer first approached Lewis about writing something for the sextet, to which the composer replied that he'd rather score an entire record. Even though the Jazztet and Lewis' own group, the Modern Jazz Quartet, are dissimilar in many ways, the marriage is a successful one. Still a fairly new band at the time, the Jazztet had already undergone a total change in personnel, except for the two co-founders, Art Farmer and Benny Golson. Trombonist Tom McIntosh, pianist Cedar Walton, bassist Thomas Williams, and drummer Albert "Tootie" Heath round out the group. While the overall feeling is a little more conservative than typical recordings by the Jazztet, the free-flowing interpretation of "Django" (with a spirited solo by Golson) and the bluesy "2 Degrees East, 3 Degrees West" (showcasing Farmer's brilliant solo) are more than ample proof of the value of this Argo LP. Long out of print, it was finally reissued on CD in Japan.
   ~ Ken Dryden, All Music Guide

   Artist: Vlatko Stefanovski Trio
   Album: Thunder From The Blue Sky
   Year: 2008
   Quality: mp3@192 (DVD rip)
   Size: 102mb
   Time: 70:14




   Vlatko Stefanovski was born in 1957, and lives in Skopje capitol of Macedonia (FR Yugoslavia). Actually Vlatko Stefanovski is jazz guitarist. During over 30 years long career he played rock, fusion-jazz, ethno rock , theatre music, movie soundtracks and even some experiments with other artists . Probably this CD is missing part of his music life. He is well known for his incredible guitar technique. Just listen Vlatko's way playing traditional blues numbers including legendary Jan Akkerman.
   pguppgdn

   Artist: Ann Hampton Callaway
   Album: After Ours
   Label: DENON
   Release: 1997
   Quality: MP3 320 kbps
   Time: 63:65
   Size: 130 MB

   Ann Hampton Callaway is one of the top cabaret singers of the past decade. She has always been influenced a bit by jazz, and this 1997 release was her first full jazz recording. Callaway has a haunting voice and, as with most cabaret singers, a great respect for the lyrics she interprets; her singing on "The First Time Ever I Saw Your Face" is a bit eerie. Pianist Kenny Barron, Bob Mintzer on tenor and soprano, and trumpeter Randy Brecker all get a generous amount of solo space, while bassist Jay Leonhart and percussionist George Jinda are fine in support; considering the high quality of her sidemen, it is a major compliment to the singer to say that her vocals do not cause the set to sag or the listener to lose this interest. On "All Blues" and "Old Devil Moon" in particular, she shows the potential of becoming a significant jazz singer in the future if she sticks to this path. Strangely enough, an intriguing original blues (clocking in around four-and-a-half minutes) is included at the end of the program, but not mentioned on the back cover or in the liners. Recommended.
   - Review by Scott Yanow.

   Artist: Caribbean Jazz Project
   Album: The Gathering
   Year: 2002
   Label: Concord Records
   Quality: Mp3@192kbps
   Size: 69 Mb
   Time: 50:35


   This combo, featuring vibraphone-marimba master Dave Samuels, Puerto Rican flutist Dave Valentin, and Argentine keyboardist Dario Eskenazi, whisks Afro-Latin rhythms into a zesty smooth-jazz sauce. And this CD, with percussionists Richie Flores and Roberto Quintero, is the group's most aggressive to date. Various grooves, such as the mambo, songo, samba, and the cha-cha, are sonically stamped with the impressive improvisations of the soloists. Special guest and founding CJP member Paquito D'Rivera's birdlike alto sax lines fly on the spirited rendition of Thelonious Monk's tricky tune "Bemsha Swing," which features melodic snippets of the Cuban classic, "Sanduga." On Oliver Nelson's bluesy "Stolen Moments," Samuels's improvisations evoke Cal Tjader's good vibes. On "See You in a Minute," Valentin pays tribute to the late Cuban flutist Jose Fajardo. Flores and Quintero work their drum magic on the folkloric "Masacoteando." All together, the CJP speaks all of the Latin musical languages, with the accent on swing.

      Artist: Pamela Joy
      Album: I Thought about You
      Year: 2007
      Label: NalyD NACD-3258
      Format: FLAC & MP3@320
      Size: 230 MB & 88 MB
      Time: 38:42

      Understated, velvety vocals are perfectly matched by the fine, subtle work of a stellar jazz trio in this collection of jazz standards. Pamela Joy and her trio manage to put their stamp on these songs by making tasteful choices every step of the way.

     It is undeniable that some voices were simply made for jazz, and Pamela Joy has one of those voices. Like some of the genre’s most beloved and beguiling singers, she combines a velvety sound with a gift for understatement.
      It’s that pleasing combination - a warm, intimate sound and cool, unpretentious style - that has won Pamela fans among a notoriously hard to please group: jazz musicians. They praise her hip approach to timing, her intimate way with lyrics, and her innate ability to swing with the best of them.
      A longtime San Francisco resident, Pamela Joy made her public singing debut in the San Francisco Cabaret Competition. Though new to the stage, she charmed the crowd and the judges, advancing through two rounds into the finals.

      Artist: Thelonious Monk
      Album: The Complete Prestige Recordings 3cd
      Label: Prestige
      Year: 1944 - 1954
      Release: 2000
      Format, bitrate: Mp3, 256 kb/s vbr
      Time: 3:06:47
      Size: 366,0 Mb (complete covers)
      AMG Rating:

      Thelonious Monk was only with Prestige from 1952-1954, which explains why Fantasy's The Complete Prestige Recordings contains only three CDs. But Monk's Prestige output is noteworthy and generally rewarding, if imperfect at times. Not everything on The Complete Prestige Recordings is essential, but for the serious Monk collector, its rewards are great. The set gets off to an interesting start with four 1944 recordings from a Coleman Hawkins session. The material originally came out on the small Joe Davis label, but these performances are historically important because they marked the first time Monk was recorded as a sideman, and the first time that Prestige founder Bob Weinstock was exposed to Monk. The set then fast forwards to Monk's Prestige period, when he led various trios and quintets and was employed as a sideman by Sonny Rollins and Miles Davis. All of disc three is devoted to 1954's historic Davis/Monk encounter; unfortunately, Davis and Monk's egos clashed, but that didn't prevent them from delivering memorable performances. The Complete Prestige Recordings isn't for casual listeners, but it has a lot more ups than downs, and is enthusiastically recommended to serious jazz collectors.
   by Alex Henderson at All Music Guide

     Artist: Thelonious Monk
     Album: The Early Thelonious Monk (compilation)
     Label: Moon Records
     Year: 1997
     Format, bitrate: Mp3, 320 kb/s
     Time: 1:11:28
     Size: 167 Mb (complete covers)






     This is the beginning. Thelonious Sphere Monk billed with different artists, some famous and most of them unknown. All recordings come from 1941 and all were made at "Minton's Playhouse" in New York City. The sound is fair considering the time when they were made. For collectors, completists & diehard fans only.
   - Bubu Hans

      Artist: SMV (Stanley Clarke, Marcus Miller & Victor Wooten)
      Album: Thunder
      Label: Heads Up International
      Year: 2008
      Format, bitrate: mp3@256kbps
      Time: 01:02:40
      Size: 114Mb

      Get the subwoofers primed for this one. Three of jazz fusion's finest and most respected bassists -- Stanley Clarke, Marcus Miller, and Victor Wooten -- join forces for an hourlong frolic in the studio that's a fun, frisky, funky romp for the players and a potent showcase for an instrument often relegated to support status. Not here. On paper, it would seem unwieldy for three bass players, especially with the proficiency of this trio, to navigate their parts in the same song without the sound getting hopelessly cluttered. But it takes less than a minute into the opening track, which unexpectedly kicks off with full orchestration, for the concept to prove viable. One bass works the traditional low riff while the other two solo in harmony and trade licks with such ease and finesse that you wonder why someone didn't think of this collaboration earlier. Actually, someone did. Wooten came up with the idea but it took until the group worked together at the October 2006 Bass Player Live! event in N.Y.C. (where Clarke won the Bass Player Lifetime Achievement Award) for it to be discussed as a reality with the other two. Clarke was no stranger to playing with his fellow bottom dwellers, as he proved on his Night School DVD where he joined with about ten other bassists for an extended version of "School Days." Still, it's amazing how well these guys navigate their strummed, plucked, and thumped parts around each other without clashing. Horns, drums, loops, and keyboards (from guests Chick Corea and George Duke as well as Miller) flesh out the upper registers while Miller's clean, unfussy production also keeps things in order. Acoustic bowed bass and strings on "Milano" shift the sound away from the more rhythmic approach naturally favored on the majority of the tracks. The three amigos take on a Spanish spaghetti Western feel for "Los Tres Hermanos," a refreshing changeup that features some of the disc's most nimble playing and its prettiest melody. Some tunes will be familiar to jazz fans. "Tutu" was written by Miller for Miles Davis and Clarke's "Quiet Afternoon" gets referenced, as does his "Silly Putty," but these versions are quite different than the originals. All three musicians weave their lines together on the lovely ballad "Lil' Victa," with Clarke's high end sounding enough like a guitar to hold down the strong melodic line. The closing "Grits" is a hot slab of funky jazz that gives each a chance to solo over a sparse beat. Although their styles are relatively distinct, it would have been helpful if the liner notes described who was playing which part, especially for newcomers. Otherwise, this will thrill fusion fans -- and for bassists it's nothing less than a master class on the instrument from a handful of its most accomplished, eclectic, and veteran practitioners.
   Hal Horowitz, AMG

     Artist: McCoy Tyner with Stanley Clarke and Al Foster
     Album: McCoy Tyner with Stanley Clarke and Al Foster
     Year: 2000
     Label: Telarc
     Quality: MP3@160kbs
     Size: 75MB
     Time: 01:05:31

     No longer trying to push the envelope of innovation, Tyner settles down with a pair of experts and carves out a very nice, fairly orthodox piano trio album. This is Tyner reaffirming most of his strengths: the massive tone quality, the two-handed control over the entire keyboard, and the generally uplifting attitude conveyed through the shape of his melodic invention. He does so in a program of six originals, three standards, and one tune by Stanley Clarke, mixing modal tunes, blues, funk, ballads, and a mildly Caribbean ringer. Only once does he evoke memories of the classic John Coltrane Quartet -- not in "Trane-Like" but in "The Night Has a Thousand Eyes." Clarke takes a break from the film studios and turns in one of his rare sessions on acoustic double bass, producing solid, faultless, relatively conventional support. He doesn't leave the electric bass entirely at home, however; his funky side bumps through one of the two versions of "I Want to Tell You 'Bout That," and he exercises low-key, electric subtleties on his "In the Tradition Of" and "Caribe." Foster throws himself skillfully into every situation; he is at ease in all idioms. The sound is excellent, with each instrument, even Tyner's formidable piano, in perfect balance.
   Richard S. Ginell (AMG)

     Artist: Louis Armstrong & Duke Ellington
     Album: The Complete Louis Armstrong & Duke Ellington Sessions
     Year: 1961
     Release: 1990
     Format, bitrate: MP3@320 kbit/s vbr
     Time: 1.8:21
     Size: 65 + 64 MB

     Два величайших мастера встретились в студии...
     Биографии музыкантов можно найти на JazzBluesClub.com
     Louis Armstrong biography
     Duke Ellington biography