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Jazz Blues Club » Articles for April 2009 Year
John Coltrane - The Believer Music » Jazz » BeBop » Hard-bop
John Coltrane - The Believer
Artist - John Coltrane
Album - The Believer
Label - OJC/Prestige
Years - 1957, 1958; release - 1996
Quality - MP3@320 kbps
Size - 92,2 mb
Total time - 44:43

Reissued as an individual compact disc through the OJC imprint, The Believer is also available on CD as part of John Coltrane's huge Prestige box set, Fearless Leader. However, the original LP as included in the box set only contains half an hour of music, and is here supplemented by two bonus tracks of over seven minutes each, "Filidia" and "Paul's Pal," performed by the Ray Draper Quartet featuring Coltrane and originally included on an album released by the New Jazz label. On the first three (non-bonus) tracks, the masterful tenor saxophonist is joined by pianist Red Garland, bassist Paul Chambers, drummer Louis Hayes, and either Donald Byrd or a young Freddie Hubbard on trumpet. An interesting aspect to the set is that it is the first example of Coltrane being associated with pianist McCoy Tyner. Tyner is not on the date, but he contributed "The Believer," which Coltrane performs along with Calvin Massey's "Nakatini Serenade" and the Rodgers & Hammerstein ballad "Do I Love You Because You're Beautiful?"
Scott Yanow, AMG
Caribbean Jazz Project - Paraiso Jazz, Latin
Caribbean Jazz Project - Paraiso Artist: Caribbean Jazz Project
Album: Paraiso
Year: 2001
Label: Concord Records
Format: Mp3@192kbps
Size: 94 Mb
Time: 01:09:08

When Dave Samuels first formed the Caribbean Jazz Project with, at that time, Paquito D'Rivera and Andy Narell, it was an extension of his own studies in Latin jazz that had been part of his music -- both solo and with Spyro Gyra -- since the mid-'70s. After two albums with the first team, the Project was set aside for other gigs. During this time, Samuels kindled musical friendships with flutist Dave Valentin and guitarist Steve Khan, and Samuels got excited about the possibility of playing off of a traditional Latin instrument -- flute -- and the guitar, which wasn't. This current lineup released New Horizons in early 2000, and Paraiso is an exciting fusion of many different influences and styles. Most of these tunes are over seven minutes, allowing for a live dynamic without the trappings of airplay consideration. Samuels' "One Step Ahead" begins mystically with flute and soundscaping, then romps as a duet between vibes and flute -- backed by increasingly powerful percussion patterns and improvisations -- before Khan's crisp and subtle electric lines offer an irresistible power and edge. The slow dance "Naima" is a loving twist on a Coltrane tune, pepped up by a breezy extended flugelhorn solo by Ray Vega. Khan plays a subtle rhythm line behind a bouncy cha-cha groove and Valentin's cheery flute on "El Tacano." The Duke Ellington standard "Caravan" rolls along at a brisk pace, with Khan backing exciting melodic and improv passages by Samuels and Valentin. Samuels' "Jamboree" is smooth and silky, very much reminiscent of his work with Spyro Gyra -- but think flute in the lead instead of Jay Beckenstein's sax. Overall, this is another glorious celebration of the ways traditional and Latin jazz can meet on common ground. It's a disc that can be appreciated by hardcore fusion fans as well as Latin fans who just want to party.
- Jonathan Widran(AMG)
Jabbo Smith`s Rhythm Aces 1929-1938 Music » Jazz » Traditional Jazz
Jabbo Smith`s Rhythm Aces 1929-1938Artist: Jabbo Smith
Album: Jabbo Smiths Rhythm Aces 1929-1938
Label: Classics
Year: 1929-1938
Format, bitrate: mp3 160 kb/s
Time: 74:08
Size: 82,7 Mb
AMG Rating Jabbo Smith`s Rhythm Aces 1929-1938

Irrepressibly hot music, vintage Brunswick jazz, most of it dating from 1929, that year so filled with raucous creativity. Brace yourself for the grand interplay between Jabbo Smith's cornet and New Orleans clarinetist Omer Simeon. Banjo Ikey Robinson adds an entire dimension of his own, while pianist Cass Simpson solos with great dignity. Poor Cass ended up in a mental institution just a few years later following his sudden attempt to murder Frankie "Half-Pint" Jaxon. Here, under apparently more harmonious circumstances, Simpson creates the best solos he would ever put on to records. Hayes Alvis does wonderful things with his tuba, firmly nudging the band along through the "Little Willie Blues," "Sleepy Time Blues" and a succession of similarly solid numbers. Jabbo's band cooked a bit like Louis Armstrong's (whose didn't?) but also with some of its own mischief that sounded like nobody else's business. Comparisons could also be drawn with Henry "Red" Allen, both as horn player and vocalist. As 1929 progressed, Simpson shuffled off to meet with destiny and was replaced by Earl Frazier. Omer Simeon gradually augmented himself with alto and tenor saxophones, while Jabbo crossed over at times to the trombone. George James briefly filled in for Omer Simeon on June 9 then disappeared forever. Millard Robbins made noises in a deep clef using the bass saxophone, a seemingly strange choice in an ensemble anchored by tuba. Then, speaking of tubas, on August 8, Hayes Alvis was thrown from the saddle by Lawson Buford, who handled the big horn thereafter. Unfortunately, Jabbo Smith's Rhythm Aces made only a few more sides in 1929. The chronology, in fact, leaps to February 1938, when Jabbo led an eight-piece orchestra in devising four sides for the Decca label. "Rhythm in Spain" is a swinging thing, peculiarly arranged with periodic machine gun snare drum intrusions and hot solos that fit into the '30s small-group bag. The other three titles from this session are pumped full of sentimentality, with Putney Dandridge-styled vocals by an older and already more weathered Jabbo. "More Rain, More Rest" is the hottest of these. The ensemble is nicely bolstered by the presence of several saxophonists, who sound smooth in unison and tough as soloists. But how different it all feels from those Rhythm Aces' sides of 1929! There's no going back, except to listen.
~ arwulf arwulf, AMG
Legends of Acid Jazz : "Hammond Heros" Jazz, Modern Jazz
Legends of Acid Jazz : "Hammond Heros"Artist: VA
Album: Legends of Acid Jazz, Hammond Heroes
Label: Prestige Records
Year: 1967
Release: 1998
Bitrate: mp3, 320 kbps
Time: 71:11
Size: 162 MB

Very good compilation of 13 soul-jazz cuts from the Prestige vaults featuring the Hammond B-3 organ, recorded between 1959 and 1967. Some of the names (Shirley Scott, Jack McDuff, Richard Groove Holmes) are pretty well known to fans of the style, but others are not. It's also a useful disc because it has key sides on which McDuff, Larry Young, John Patton, and others were playing as sidemen to non-keyboardist leaders, and thus might be overlooked by collectors of the style. Willis Jackson's "Pool Shark" (with Carl Wilson on organ) and Trudy Pitts' ebullient run through "Take Five" are real groovers; Richard "Groove" Holmes' "Misty" was a Top Fifty pop hit and one of the few soul-jazz singles to hit the charts.
Jack Kerouac - Blues And Haikus Music » Jazz » BeBop » Post-bop
Jack Kerouac - Blues And Haikus Artist: Jack Kerouac
Album: Blues And Haikus
Label: Hanover
Year: 1959
Format, bitrate: MP3@320kbps
Size: 97 MB
AMG Raiting: Jack Kerouac - Blues And Haikus

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In the spring of 1958, just a few weeks after cutting Poetry for the Beat Generation, producer Bob Thiele suggested making a second album quite a daring notion, considering that the first album would prove so controversial that it wouldn't reach the public for a year and Jack Kerouac agreed. Instead of pianist Steve Allen, however, Kerouac insisted that he be accompanied this time by two good friends, tenor saxmen Al Cohn and Zoot Sims. With Cohn doubling on piano, the resulting Blues and Haikus is a stunning duet between speaker and saxmen, working spontaneously in this peculiar mix of jazz and voice, in which the saxmen do get their solo spots around Kerouac's work. There's much more of a sense on this album of a conscious interaction here between Kerouac and his accompanists, and the album is more arch but also more intense and more imposing than its predecessor. [Reissued as part of Rhino's Jack Kerouac Collection with 16 minutes of outtakes.
~ Bruce Eder, AMG
Jeremy Monteiro & Friends - The Girl from Ipanema Music » Jazz » Vocal Jazz
Jeremy Monteiro & Friends  - The Girl from IpanemaArtist: Jeremy Monteiro
Album: The Girl from Ipanema & Friends with Special Guest Star Eden Atwood
Label: Sangaji MSMCD 012
Quality: FLAC & MP3@320
Size: 301 MB & 122 MB
Time: 53:59

Eden Atwood, the Memphis-born and Montana-raised daughter of the late composer and arranger Hubbard Atwood, is a throwback to an era when lyrics were something to be savored and caressed. Hence, she has a soft spot for the torch song and the big ballad. Fortunately, she also has the requisite vocal equipment to deliver them.
The first thing you notice about Atwood is her youth and cheeky self-confidence. Yet she is trapped in a time warp of sorts. Although clearly, in both attitude and mannerisms, a woman of the '90s -- and a child of the rock generation -- her musical instincts and reference points belong to another era. She has said that she is "incredibly happy" listening to the music of the big bands. "Then the minute I walk outside, it's 1992!" Atwood has managed to evoke the music of that earlier period while developing within the jazz genre her own distinctive style.
At the age of 22, Eden has produced a record that celebrates beginnings. This is only fitting since she, too, is at the cusp of what one expects will be a full and satisfying career. "No One Ever Tells You" is a work of hope and optimism but also one of exquisite pain that, under its sunny veneer, masks a surprisingly melancholy heart. Listen to the plaintive vocals of "Ballad of the Sad Young Men" and try not to be impressed by the artist's sensitive delivery.
Dexter Gordon - The Resurgence Of Dexter Gordon Music » Jazz » BeBop » Hard-bop
Dexter Gordon - The Resurgence Of Dexter GordonArtist: Dexter Gordon
Album: The Resurgence Of Dexter Gordon
Label: Jazzland
Year: 1960
Quality: mp3@320 + all covers
Size: 95 mb
AMG rating Dexter Gordon - The Resurgence Of Dexter Gordon

As the title The Resurgence of Dexter Gordon (1960) suggests, the tenor sax master resurfaced from his chronic bouts of addiction in an attempt to revive his on-again/off-again recording career. Truth be told, Gordon was actually on parole from Chino State Penitentiary and co-starring in a local Los Angeles production of The Connection -- a play ironically enough about the victims of heroin dependence. Julian "Cannonball" Adderley was able to talk the tenor into participating in a no-strings-attached studio date. Gordon (tenor sax), alongside Martin Banks (trumpet), Richard Boone (trombone), Charles "Dolo" Coker (piano), Charles Green (bass), and Larry Marable (drums) convened under the watchful eyes and ears of legendary producer Wally Heider in mid-October 1960 to document the half-dozen selections featured here. Not surprisingly -- especially under the circumstances -- Gordon only supplies a third of the contents with the remainder of the excellent material courtesy of pianist Coker. The piercing, penetrating melody of the Gordon-penned "Home Run" gets things underway as the horns' boppin' call-and-response sets the pace for the solos to follow. Coker's contributions are uniformly strong, and the frenetic energy of "Dolo" -- the keyboardist's nickname -- gives Gordon something substantive to dig into. And he does just that with all the assured litheness that ultimately defined Dexter Gordon's musical phoenix. After reeling off ribbons of sonic inspiration, Coker keeps up with him tickling the 88s with an enviable panache while maintaining the full-throttled pace. The bouncy blues of "Lovely Lisa" and the exotic syncopation fused within "Affair in Havana" place Gordon's sax in prominent proximity to Banks and Boone for a brass-lovers treat. The tunes are complex and provide insight into Gordon's flawless improvisational prowess. Gordon's other composition is the evocative ballad "Jodi." His lines are robust yet retain a moody and searching mystique. The subtleties become more clearly revealed when contrasted to Coker's comparatively personable interlude. "Field Day" closes the effort on a lighthearted and uptempo note. Boone getting his chops in early, followed by Gordon and then the highly underutilized Banks, who saves his best work for the end of the album. All told, The Resurgence of Dexter Gordon uncovers the immeasurable talents of an artist whose musical journey passes a critical crossroads on this project.
~ Lindsay Planer, All Music Guide
Stanley Clarke - The Toys Of Men Fusion, Modern Jazz
Stanley Clarke - The Toys Of MenArtist: Stanley Clarke
Album: The Toys Of Men
Year: 2007
Label: Heads Up
Format/Bitrate: Mp3, 192 kbps
Time: 58:20
Size: 143,6 MB

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Jim Hall - These Rooms (1988) Music » Jazz » BeBop » Cool
Jim Hall - These Rooms (1988) Artist: Jim Hall Trio with Tom Harrell
Album: These Rooms
Label: Denon
Year: 1988
Quality: FLAC
Size: 308 Mb
Time: 01:07:23

This 1988 studio date is one of the overlooked treasures in the considerable discography of Jazz guitarist Jim Hall. It is easy to understand why artists like Art Farmer and Paul Desmond omitted a pianist after hearing a release such as this one, because it would only clutter Hall's soft yet complete accompaniment. Joined by Tom Harrell (heard mostly on flugelhorn), bassist Steve LaSpina, and drummer Joey Baron, this CD is a delight from start to finish. The interaction of the musicians makes it sound like they have been a working unit for years.
Lacy, Mangelberg, Lewis, Reijseger, Bennink - Monk Project Music » Jazz » BeBop
Lacy, Mangelberg, Lewis, Reijseger, Bennink - Monk ProjectArtist: Lacy, Mangelberg, Lewis, Reijseger, Bennink
Album: Monk Project (Camden Jazz Festival)
Label: bootleg
Year: 1987
Format, bitrate: Mp3, 256 kb/s vbr
Time: 1:44:27
Size: 153 Mb

Steve Lacy had several projects dedicated to the great jazz composer and personality Thelonious Monk. Together with his quintet here he performs two sets dedicated to Monk. The cherry on the cake is an interview on Radio One (BBC) with the late Lacy between the sets, interview in which Steve shares with us funny and wonderful memories about Monk.The concert took place in the outskirts of London town at The Show Theatre as a part of The Camden Jazz Festival in 1987 Wonderful recording taken from a FM broadcast, recommended for all jazz lovers.
- Bubu Hans
Kilimanjaro - Kilimanjaro Music » Soul
Kilimanjaro - KilimanjaroArtist: Kilimanjaro
Album: Kilimanjaro
Label: Philo
Year: 1979 [ Rip LP Record]
Genre: New Age
Format: FLAC (cue+log)
Time: 42:57
Size: 95.8x2 + 51.5 Mb

The Kilimanjaro story dates back to 1977, when guitarist Paul Asbell assembled a tight-knit quartet of like-minded players to experiment with the eclectic, jazz-based compositions he had written. Bassist Tony Markellis was first onboard,and was quickly joined by drummer Bill Kinzie and keyboardist Chas Eller; rehearsals were held, gigs were booked, and word-of-mouth spread quickly about northern Vermont's new supergroup. The musical chemistry between the 4 musicians was instantaneous and infectious, and led quickly to a shared goal- to create original, jazz-based music featuring ear-catching melodic development, R&B and latin-flavored rhythmic drive, and soulfully virtuosic instrumental solos. By early 1978, Kilimanjaro had charted a path for its music that remains essentially unchanged, more than 30 years later. This album by quartet Kilimanjaro was released in 1979 on Philo Records. Happy listening!
Richard Galliano - Spleen Music » Jazz
Richard Galliano - Spleen Artist: Richard Galliano
Album: Spleen
Year: 1999
Style: Tango | Jazz
Label: Dreyfus
Quality: MP3 CBR 256 kbps, Covers
Time: 38:12
Size: 70 MB

Richard Galliano brings us some wonderful smooth jazz grooves on this album. All featuring his beautiful accordion playing. This is the ideal album to chill-out to. His playing is so sensitive and minimal and is surely a lesson to all other accordion players! The backing band, is so smoothly produced and recorded, that listening to them is like swallowing honey! I bought this album without really being familiar with Richards work but this album has really made me want to explore more of his recordings. Spleen makes the ideal starting place for anyone who thinks they may be interested in Richard Galliano's Jazz accordion music. My advice to anyone who will listen is to get a copy right now!!!!!
Richard Galliano - New Musette Music » Jazz » Latin
Richard Galliano - New Musette Artist: Richard Galliano
Album: New Musette
Label: Label Bleu
Year: 1991
Quality: MP3 CBR 320 kbps; All Covers
Time: 00:57'
Size: 129.3 MB

He was born in Cannes on December 12, 1950. He studied piano and accordion with his father, Lucien Galliano, before pursuing his musical studies at the Nice Conservatory, presided at that time by organist Pierre Cochereau. He studied counterpoint, harmony, and trombone, graduating with a 1er Prix d' Excellence in 1969.
In 1973 he left the south of France for Paris. For several years he collaborated with Claude Nougaro, Barbara, Serge Reggiani, Charles Aznavour, Juliette Grco, Georges Moustaki and Zizi Jeanmaire. His duo performance with singer Allain Leprest for the album Voce A Mano won him the Grand Prix du Disque from the Acadmie Charles Cros. In the realm of French chanson we should also mention his musical encounters with the singer Catherine Ringer (of the group Rita Mitsouko) at the Cit de la Musique (Paris) and at the Antibes Jazz Festival in Juan-Les-Pins.
In 1983 Astor Piazzolla invited Richard Galliano to be the bandoneon soloist at the Comdie Franaise in his original music to accompany William Shakespeare's A Midsummer Night's Dream”, directed by Jorge Lavelli. It was the beginning of a long friendship between the two men that lasted until Piazzolla's death in 1992.
In 1991 Richard Galliano created the New Musette” style and recorded it with Philip Catherine (guitar), Pierre Michelot (bass) and Aldo Romano (drums) for the record label Label Bleu.
Martin Scorsese Presents: Celebration of Blues The Stars Singing Blues Blues, Music video
Martin Scorsese Presents: Celebration of Blues The Stars Singing BluesArtist: Various
Album: Martin Scorsese Presents: Celebration of Blues The Stars Singing Blues
Year: 2007
Format: DVD
Audio: Audio LPCM - AC3 5.1
Size: 4,27Gb

Concert live on the 7th february 2003, at the New York City's Radio City's Music Hall.
Renowned artists across music genres and generations commandeered the stage at New York City's Radio City Music Hall to pay tribute to their common heritage and passion: the blues. This once-in-a-lifetime salute benefit concert produced proceeds .that went to musical education. Antoine Fuqua directs and Martin Scorsese is the executive producer. Performers include B.B. King, India Aire, Natalie Cole, John Fogerty, Macy Gray, Buddy Guy, Neville Brothers, Bonnie Raitt, Steven Tyler & Joe Perry from Aerosmith, and more! This fil is rated PG-13. DVD features include 5 deleted scenes of performances by Tyler & Perry, Guy, and more!
A slice of musical history was created on February 7th, 2003, when a dazzling array of blues artists gathered at New York City's Radio City Music Hall. With luminaries such as B.B. King, Solomon Burke, Ruth Brown, Mavis Staples, Buddy Guy, and Dr. John among the lineup, this was always destined to be a night to remember. But the organizers were savvy enough to up the ante even further by integrating a comprehensive--albeit by their own admission, incomplete--history of the genre into the evening's festivities. Director Antoine Fuqua (KING ARTHUR) was there with a full crew to record the event, capturing moments of magic both on stage and behind the scenes for LIGHTNING IN A BOTTLE. Fuqua also splices in some of the archival footage that the organizers showed on the night, including many of the Radio City artists performing and speaking at a much younger age. The influence of the blues over popular music is vast, and so performers such as Aerosmith, Chuck D from Public Enemy, and David Johansen are brought on stage to vie with their counterparts from a more traditional strain of the genre. Poignant moments come thick and fast, with many of the musicians reminiscing about the old times, and realizing that this would probably be the last occasion on which they were all gathered in the same room. An inspiring historical document, Fuqua's film captures a dying breed of artists, but also points to their lasting legacy and influence which will indefinitely loom large over the music scene.
Ann Hampton Callaway - Biography Biography
Ann Hampton Callaway - Biography

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Ann Hampton Callaway (born May 30, 1958) is a multiplatinum-selling singer, composer, lyricist, pianist, and actress.
Ann Hampton Callaway - Easy Living Music » Jazz » Vocal Jazz
Ann Hampton Callaway - Easy LivingArtist: Ann Hampton Callaway
Album: Easy Living
Year: 1999
Release: 2005
Label: Sindrome
Quality: MP3 CBR 192 kbps
Time: 56:56
Size: 79 MB
AMG Rating Ann Hampton Callaway - Easy Living

This is Ann Hampton Callaway's seventh recording, Easy Living, is one of her very best. It's a program of well-known standards and fairly stock arrangements, but in the middle is her pristine, well-defined, flexible voice. She retains a lower-end range in her style that suggests only one singer: Sarah Vaughan. She's joined by several different rhythm sections and soloists, including pianists Benny Green (six cuts), Bill Charlap (five), and Kenny Barron (two); bassists Peter Washington or Neal Miner; drummers Clarence "Tootsie" Bean and Lewis Nash; percussionist Jim Saporito; saxophonists Andy Farber, Nelson Rangell, and Gerry Niewood; and on three selections, trumpeter Wynton Marsalis. A collection of love songs sung convincingly and with no frills, Callaway shows great depth in ballad singing. Hard evidence is presented in her takes of "Skylark" and "The Very Thought of You," with Charlap's glistening piano tones ringing bells for the singer and Farber's tenor sax replies. "'Round Midnight" is the penultimate interp with Barron's wistful piano and Marsalis' spare trumpet offering advice on ol' midnight. Callaway can swing well when she chooses; "Easy to Love" brings home her lower dulcet tones, while Farber's tenor cops a Stan Getz-Joe Henderson type plea bargain. Green's intro to "Nice Work If You Can Get It" has a "Giant Steps" quote before the singer digs into this lyric. She scats a little during the middle of the program, on the melody line, and the coda, of "Bluesette," and more in the improvised bridge during "It Had to Be You." Bossa nova is always a sidebar for singers, and Callaway uses this Brazilian rhythm on an interesting arrangement of "You Don't Know What Love Is" spiked with high drama, Saporito's Latin percussion, Barron's deft piano, and Niewood's flavorful tenor. The lone composition of the vocalist "Come Take My Hand" is also bossa, with Rangell's flute chirping on this definitive love anthem. Marsalis is also bolder on the stark ballad title track and a nice version of "In a Sentimental Mood," while it's the singer getting brash and daring in a lower tone than normal for perhaps the highlight "All of You," Green's piano matching the depths of Callaway's yearnings. It's not hyperbole to understand this is the perfect singer with a perfect voice that sounds so effortless, mature, and flowing. Though the others six recordings are just fine, this one really hits the spot, especially instrumentally. Callaway proves up to the challenge with every measure, phrase, and inflection.
Michael G. Nastos, AMG
Barney Kessel - It's A Blue World Music » Jazz » Mainstream
Barney Kessel - It's A Blue WorldArtist: Barney Kessel
Album: It's a blue world
Label: A jazz hour with
Year: 1968, 1969, 1973
Release: 1990
Quality: mp3@320 kbps + covers
Size: 138 mb

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Barney Kessel was truly everywhere as a musician. People who ”had never heard of him” , heard him play. If you were a fan of Ricky Nelson in the 1950's and 1960's you heard Barney Kessel's guitar. If you listened to the popular radio shows in the 1950's you heard his guitar. When you saw a movie in the 1950's or 1960's you probably heard his guitar. In fact, he may have been one of the most recorded musicians in the history of recorded music.
Steve Khan & Rob Mounsey - You Are Here Music » Jazz » Fusion
Steve Khan & Rob Mounsey - You Are HereArtist: Steve Khan & Rob Mounsey
Album: You Are Here
Label: SIAM
Year: 1998
Quality: mp3@192
Size: 107mb
Time: 73:35

Steve Khan and Rob Mounsey seem interested in putting us in a sort of trance on You Are Here, but often that's more the result of our vain search for a clear cut melody than by perfect design. The guitarist and keyboardist make an intriguing tandem as they play with different world rhythms (the cover art suggests a global unity theme at work) and draw their percussive keyboard meets acoustic string experimentations out to seven, eight and ten minutes. But only the sharply composed, fiery Latin jam "Platanos Maduros" (with synth steel pans and horns) and the Brazilian flavored shuflle "Viajar Y Viajar" (on which Mounsey's synth harmonica approximates Toots Thielemans on the legend's Brazilian projects) offer a memorable melody to go along with the bouncing percussion textures of Marc Quinones. Most of the other tunes have swaying beats, occasionally inspired soundscaping fills and synth riffs, but take a bit too long to develop. Glum pieces like "Pallbearers" come across like atmospheric noodling. Mounsey is a whiz with electronics, and he seems to have fun finding pockets for Khan to toss in a melodic line here and there. But his greatest contribution is his soaring voice, which adds desperately needed focus and humanity to "Fazendeiro" and the Latin pieces.

Jonathan Widran, All Music Guide
Joey DeFrancesco - Live: The Authorized Bootleg Hard-bop, Modern Jazz
Joey DeFrancesco - Live: The Authorized BootlegArtist: Joey DeFrancesco, George Coleman
Album: Live: The Authorized Bootleg
Label: Concord Records
Year: 2006
Release: 2007
Format: MP3@320 & FLAC
Time: 64 mins
Size: 147mb & 404mb (+3% recovery)

Recorded off the soundboard during a four-night stand at the famed Oakland, CA, jazz spot Yoshi's in April of 2006, Hammond B-3 boss Joey DeFrancesco laid it down with saxophonist George Coleman sitting in with his trio (which also includes guitarist Jake Langley and drummer Byron Landham). Even though these cuts are pieced together from all four nights rather than taken from one continuous performance, their raw and genuine excitement is not diminished a bit by editing. The set opens with DeFrancesco introducing Coleman. He begins to play while strolling to the mike, playing all the way along. When he arrives, he elegantly wraps up his prelude and the band steams into a smoking rendition of "Cherokee." Coleman's on fire yet fluid, wrapping the notes around the time signature and being on the dime throughout his solo. DeFrancesco's own solo is one of those rather amazing things that, 50 years after Jimmy Smith, you still can't wrap your head around: that this lightning-quick playing can be done on a Hammond! A long read of Lee Morgan's gorgeous "Ceora" is next, with DeFrancesco filling the pockets during Coleman's fine and empathetic solo, which engages the melody while simultaneously reinventing it. With the exception of "Cherokee" and "I'm in the Mood for Love" (with a guest vocal appearance by Colleen McNabb on the latter), which both come in at under seven minutes, the other cuts here all clock in at over ten, with "Ceora" being the longest at nearly 14. The other extended workouts include an exciting "On Green Dolphin Street," with Coleman doing his best playing on record since he appeared in Cedar Walton's Eastern Rebellion outfit. His reach for a modal frame in the solo is breathtakingly unexpected. Another pair of standards close out the set in "Little Girl Blue" and "Autumn Leaves." DeFrancesco is his typically dazzling, solidly rhythmic self, but Coleman is the true star of the evening, and it is obvious that the bandleader wants it that way. He was the one who heard these fine renditions, and in particular Coleman's stellar playing, and insisted the recording be released. This is one of first essential jazz purchases of 2007.
Thom Jurek, All Music Guide
George Coleman - Biography Biography
George Coleman - Biography

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