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For Administration
Jazz Blues Club » Articles for 11.05.2009
Various Artists - Jazz in Britain 1919-1950: Stylistic Turmoil Music » Jazz
Various Artists - Jazz in Britain 1919-1950: Stylistic TurmoilArtist: Various Artists
Album: Jazz in Britain 1919-1950: Stylistic Turmoil
Label: Proper Records UK
Year: 1919 - 1950
Release: 2005
Format, bitrate: MP3@320 kbps
Time: 74:14
Size: 90+29 Mb



This CD from four-disc collection by Proper is a solid overview of the music made in Great Britain in the first 30 years of jazz history. In LP replica sleeves is one of the most comprehensive surveys of the evolution of jazz music in the UK, as played by visiting luminaries from the USA as well as those who were inspired by the Americans but born and bred on home turf.
James Andrews - Satchmo of the Ghetto Music » Jazz
James Andrews - Satchmo of the GhettoArtist: James Andrews
Album: Satchmo of the Ghetto
Label: NYNO
Year: 1997
Release: 1998
Size: 271 MB (full scans)
Format: FLAC
Time: 43:25



A nice taste of Louis Armstrong-flavored New Orleans jazz that keeps Satchmo to the level of influence, avoiding any outright swipes. The music has a nicely laid-back feeling to it, making it sway nicely, and Andrews blows a nice trumpet, rather than a mean one - there are some pleasantly rough edges that provide engaging character. The NO r&b elements salted in throughout are a big plus, too - this is definitely music made for people who like to get up and dance.
- by Steven McDonald, AMG
New York Trio & Ken Peplowski - Stardust Music » Jazz » BeBop » Post-bop
New York Trio & Ken Peplowski - Stardust Artist: New York Trio & Ken Peplowski
Album: Stardust
Label: JP - Venus (Venus Hyper Magnum Sound VHCD-1026)
Year: 2009
Format, bitrate: FLAC, CUE, LOG, Artwork
Size: 414 MB
Time: 01:06:03


In the dawn of the 21st century, pianist Bill Charlap took the jazz world by storm with a series of rewarding albums for labels both in the U.S. and abroad. On Blues in the Night, he leads his New York Trio in a recording made for the Japanese label Venus, with veteran bassist Jay Leonhart and fellow young gun Bill Stewart joining him.
This CD is their new release with Ken Peplowski on Venus.


"Torrents.ru" & titopuente! (avx)
Jimmy Garrison – Biography & Discography Biography
Jimmy Garrison – Biography & Discography







, .

Biography and Discography of the famous bass player, most known as a John Coltrain's partner.
Bill Evans & Jim Hall - Undercurrent Music » Jazz » BeBop » Cool
Bill Evans & Jim Hall - UndercurrentArtists: Bill Evans & Jim Hall
Album: Undercurrent
Year: 1962, release: 1992
Label: Blue Note Records
Quality: MP3 CBR 192 kbit/s, FLAC
Size: 74 MB; (95.78 x 2)+615KB with covers
AMG Rating: Bill Evans & Jim Hall - Undercurrent

REPOST with additional FLAC links from Mr. canito


Undercurrent has long been considered one of the classic piano/guitar duo sessions, pairing Bill Evans with Jim Hall. These studio dates were a jump start for Evans' career, which he had placed on hold after the unexpected death of his bassist, Scott LaFaro, a few days following their historic Village Vanguard recordings were made. First reissued on CD in 1988, this 2002 edition features the same music, but remixed with gorgeous 24-bit sound and the songs re-sequenced into their original LP configuration, with the alternate takes and initially unissued tracks following them. An added bonus is the removal of the graphics from the striking cover photo, as well as the inclusion of a photo of Evans and Hall taken at one of the two sessions. The seamless way they swap between lead and supporting roles throughout gems such as the waltz-time "Skating in Central Park" adds to the overall appeal of the disc. Though the master take of "My Funny Valentine" has a smoother introduction, the alternate has more intriguing interplay between the two men. The other selections are every bit as masterful. Although Evans and Hall would later do a follow-up duo session for Verve, this memorable CD is the one to acquire first.
~ Ken Dryden, AMG
Van Morrison - Brown Eyed Girl Music » Blues
Van Morrison - Brown Eyed GirlArtist: Van Morrison
Album: Brown Eyed Girl
Label: Sony
Year: 2001
Format, bitrate: mp3, 320kb/s
Size: 163MB

"Brown Eyed Girl" is a song by Northern Irish singer-songwriter Van Morrison. Written and recorded in 1967 by Van Morrison and produced by Bang Records chief Bert Berns, it was first released in May 1967 on the album Blowin' Your Mind!. When released as a single, it rose to number eight on the Cashbox charts, and reached number ten on the Billboard Hot 100. It featured the Sweet Inspirations singing back-up vocals and is widely-considered to be Van Morrison's signature song.
This song would prove to be the impetus for Morrison's whole career as a solo artist. It was to be his first single after leaving his position as lead singer for the Belfast formed band Them and would lead to his relocation to the United States and an eventual contract with Warner Bros. Records, where he would record his career-defining album, Astral Weeks.
Paul Williams included "Brown Eyed Girl" in his book Rock and Roll: The 100 Best Singles, writing that:
I was going to say this is a song about sex, and it is, and a song about youth and growing up, and memory, and it's also — very much and very wonderfully — a song about singing.
Morrison's original recording of "Brown Eyed Girl" remains widely familiar today, as the uncensored version is regularly played by many "oldies" and "classic rock" radio stations. It is listed as the #4 most played song by DJs in both 2006 and 2007. In 2005, Van Morrison received a Million-Air certificate by BMI as a "Top European Writer" for reaching 7 million US radio and television airplays for "Brown Eyed Girl" and again in 2007, Morrison was awarded another Million-Air certificate by BMI for 8 million air plays of "Brown Eyed Girl". The only song with more airplays by a top European writer was "Every Breath You Take" by The Police with 9 million.
It is listed by RIAA as one of The 365 Top Selling Songs of the 20th Century.

Wikipedia
Bobby McFerrin & Chick Corea - Play Music » Jazz » Vocal Jazz
Bobby McFerrin & Chick Corea - PlayArtists: Bobby McFerrin & Chick Corea
Album: Play
Label: Blue Note
Year: 1992
Time: 49:53
Format: FLAC
Size: (95.78 x 2)+41.52MB (with covers)


Bobby McFerrin's vocal virtuosity pyrotechnical prowess and eclectic musical forays have won him pop-icon status for his silly-yet-infectious Number One hit "Don't Worry Be Happy" and accolades in the jazz world for, among other recordings, his sublime, flute-sound-alike version of Monk's "Round Midnight." The fact that he's one of the masters of solo vocal improvisation – in any genre – is old news. But McFerrin is an equally accomplished conceptual and collaborative artist – and both of his new duet albums bear eloquent witness to this fact.

Play, his album of jazz standards with pianist Chick Corea, of Return to Forever fame, opens with an expansive ten-minute version of Corea's own "Spain," on which McFerrin "oohs" a haunting introduction before jumping into several arpeggiated scat choruses that span three octaves. The tune gets downright orgasmic, however, when McFerrin anchors Corea's polyrhythmic solo by "playing" the register-jumping Latin bass line with his voice. On Kenny Dorham's "Blue Bossa," he scats at an even more breakneck tempo, this time in his superhuman upper register. The album's sole sore point is McFerrin's hyperbolic introduction to the ballad "Autumn Leaves."
Hush, McFerrin's duet album with classical cellist Yo-Yo Ma, is a more structured effort than Play – the exception being McFerrin's East Indian-inspired tune "Grace" and his country & western-style "Hoedown!," in which both musicians spontaneously romp and improvise. As McFerrin and Corea do, McFerrin and Ma trade the roles of soloist and accompanist – on Bach's "Ave Maria," Ma plays the melody and McFerrin miraculously vocalizes all of the song's bass and counterpoint parts (with the help of his flawless circular breathing, not multitracking). On Rimsky-Korsakov's "Flight of the Bumblebee," however, both maestros "play" the frenetic melody in airtight unison.
McFerrin's mischievous note-for-note sparring with Corea and Ma makes his two new albums both a pleasure and a challenge. Hush and Play document Bobby McFerrin's magic at its very best.

~ GORDON CHAMBERS, rollingstone.com
Elemer Balazs Group - Hungarian Folksongs Music » Jazz » Modern Jazz
Elemer Balazs Group - Hungarian FolksongsArtist: Balazs Elemer Group
Album: Hungarian Folksong
Label: X-Produkcio
Format: FLAC
Time: 56:55
Size: 381 MB (full artwork)


We have gone beyond the [musical] genres. This statement no longer seems daring. Here at the dawn of the twenty-first century, global synthesis is no longer a prediction; it is insread the truth itself. An all-revealing proximity is experienced first of all in art and culture, and within that in music. The only problems with this phenomenon are the general public's difficulties of orientation difficulties and some vagueness in communication. However this fading of the borders between the genres opens up seemingly boundless new perspectives for the artists of our time involved in creative, mainly improvisational music. Many have become dizzy in the rapture of intellectual freedom; but for those who don't forget their roots, who don't deny their own natural inclinations, who don't live in greedy extravagance - the can now speak to and touch anyone by summoning cultures, times, peoples, colours and a rich supply of tools. The Balzs Elemr Group has won recognition in Hungary upon reflection of the thoughts mentioned above. On the basis of their first three records, they could be classified as a jazz or world jazz group, providing there is some significance to that.
~ Laszlo Matisz
Leo Parker - Let Me Tell You 'Bout It Music » Jazz » BeBop » Hard-bop
Leo Parker - Let Me Tell You 'Bout ItArtist: Leo Parker
Album: Let Me Tell You 'Bout It
Label: Blue Note
Year: 1961
Time: 38:11
Format: FLAC
Size: (95.78 x 2)+65.15MB With Covers
AMG Rating: Leo Parker - Let Me Tell You 'Bout It

Despite certain marketing strategies currently being used to sell iPods, the concept of an album made up of selections presented in specific sequence is far from obsolete. Leo Parker's 1961 Blue Note debut, Let Me Tell You 'Bout It, for example, is out again, this time as part of a series of monumental jazz recordings remastered by Rudy Van Gelder. While the two bonus tracks are nothing new, the overall running order of the titles has been rearranged, with "Glad Lad" placed as the opener. Even as this busily boiling bop exercise works as a sort of introductory spark plug, it makes for a completely different listening experience from previous issues, which placed the magnificent "Blue Leo" out in front. "Glad Lad" is one of many sequels to "Mad Lad," Parker's feature number when he recorded for the Apollo label in July 1947 with pianist Sir Charles Thompson. Like many bop structures, the melodic line is relatively simplistic but serves well as a foundation for extended improvisation. Opening the album with "Blue Leo" was theater of an entirely different sort. It's quite possible that Van Gelder has chosen to release the tracks following the exact order in which they were recorded. In any case, the logical transition remains from "Blue Leo" to "Let Me Tell You 'Bout It," a gospel-inflected soul waltz in the manner of Horace Silver. This vibe is revisited with gusto on "Low Brown," which luckily exists in an additional eight-and-a-half-minute version. "TCTB" is a sailing cruise based on the chord progressions to "Sweet Georgia Brown." The title's initials stand for "Taking Care of the Business." The interaction between tenor and baritone is extraordinary. This excellent little band was composed of individuals who were hardly known in 1961 and remain on the fringe of jazz, North America's great and perpetually marginalized music. Nevertheless, their collective professional background was impressive. Tenor saxophonist Bill Swindell came up through the orchestras of Lionel Hampton, Lucky Millinder, and Trummy Young. Trumpeter John Burks worked under Johnny Hodges, Louis Bellson, and Eddie "Cleanhead" Vinson. Bassist Stan Conover came up alongside Wilbur Ware and gigged with Arnett Cobb, Gene Ammons, and Eddie Harris. Purnell Rice drummed with Red Prysock, Hal Singer, and Dakota Staton. This was the quintet that backed Leo Parker on his second to last session as a leader, on September 9, 1961. Five months later, on February 11, 1962, Leo Parker died of a heart attack, two months short of his 37th birthday. Along with its successor, Rollin' with Leo, Let Me Tell You 'Bout It represents the fruitful culmination of an all too brief career.
~ arwulf arwulf, All Music Guide
Introducing Jane Fielding Music » Jazz » Vocal Jazz
Introducing Jane FieldingArtists: Jazz Trio for Voice, Piano and Bass
Album Title: Introducing Jane Fielding
Label: Toshiba EMI Japan
Year: 2003
Format, bitrate: mp3, 192
Total Size: 59.2MB




A vocalist who did several combo sessions in the mid and late '50s, though many of them were apparently unissued. Fielding worked with Lou Levy, Red Mitchell, Teddy Edwards, Paul Chambers, Leroy Vinnegar and Lawrence Marable, among others.
~ Ron Wynn, All Music Guide
Benny Golson - Pop+Jazz = Swing Music » Jazz » BeBop » Hard-bop
Benny Golson - Pop+Jazz = SwingArtist: Benny Golson
Album: Pop+Jazz=Swing
Label: Audio Fidelity (USA) AFSD 5978
Year: 1962
Format, bitrate: mp3, 320 kb/s (LP-rip)
Time: ~38 min
Size: 90,55MB


2009 digitally remastered two-fer containins a pair of albums arranged and conducted by Benny Golson: Just Jazz! and Pop + Jazz = Swing (both released in 1962). The original album "Just Jazz" featured Benny Golson's arrangements of well known standards performed by an all-star group including Bill Evans, Eric Dolphy and Wayne Shorter. Recorded in the early days of stereo experimentation, the second album here was first issued as "Triple Play Stereo: Pop + Jazz = Swing", featuring the Jazz group on the right channel, and a pop group playing the same song or a related tune on the left channel.

Many jazz fans have probably searched for this long out of print (except for a lousy bootleg CD reissued by Fresh Sound) record by Benny Golson because of the promising list of musicians present: Bill Evans, Wayne Shorter, Eric Dolphy, Freddie Hubbard, and Curtis Fuller, among others. But the disappointing fact is that these sessions have a rather tortured history. Initially after these small-group sessions were taped (not all of the musicians are on every track), an 11-piece pop orchestra was dubbed over the original recordings, playing the chord changes of the pieces on which each of the jazz compositions was based. This LP, Pop + Jazz = Swing on the Audiofidelity label, was a flop. Some time following Eric Dolphy's death in 1964, the original masters, minus the overdubbed pop orchestra, were released as Just Jazz! Here you will find the second of the original LP issued by Audio Fidelity.
Benny Golson - Just Jazz Music » Jazz » BeBop » Hard-bop
Benny Golson - Just JazzArtist: Benny Golson
Album: Just Jazz!
Label: Audio Fdelity (JP) ULS 1866V
Year: 1962
Format, bitrate: mp3, 320 kb/s (LP-rip)
Time: ~38 min
Size: 88,44MB


Many jazz fans have probably searched for this long out of print (except for a lousy bootleg CD reissued by Fresh Sound) record by Benny Golson because of the promising list of musicians present: Bill Evans, Wayne Shorter, Eric Dolphy, Freddie Hubbard, and Curtis Fuller, among others. But the disappointing fact is that these sessions have a rather tortured history. Initially after these small-group sessions were taped (not all of the musicians are on every track), an 11-piece pop orchestra was dubbed over the original recordings, playing the chord changes of the pieces on which each of the jazz compositions was based. This LP, Pop + Jazz = Swing on the Audiofidelity label, was evidently a total flop. Some time following Eric Dolphy's death in 1964, the original masters, minus the overdubbed pop orchestra, were released as Just Jazz! There are still several problems with this later issue. Golson's arrangements are rather conservative and stiff, with the rhythm section proving to be rather stifled; neither are many of the individual solos very risk-taking. Only Dolphy's alto sax solo on "If I Should Lose You" has stood the test of time very well. Another major annoyance is that the horns frequently seem to have too much reverb added, making it sound as if they were recorded out in a hall away from the rhythm section and then mixed in later. The lack of attention to the packaging of the album includes a very boring front cover, misspelled names of musicians, an incorrect or incomplete list of composers, and, finally, "Groovin' High" and "Quicksilver" have their titles swapped. Collectors will, no doubt, still seek out this LP in spite of its flaws, but at least they have been forewarned before paying a premium price for it.
Ken Dryden, AMG
Charlie Parker & Lennie Tristano - Complete Recordings Jazz, BeBop
Charlie Parker & Lennie Tristano - Complete RecordingsArtist: Charlie Parker - Lennie Tristano
Album: Complete Recordings
Label: DEFINITIVE RECORDS
Year: 1947, 1949, 1951
Release: 2006
Format, bitrate: Mp3, 320 kbps.
Time: 76:42
Size: 116 mb.

A fascinating corpus including all their existing collaborations, in duo, combo and big band formats. Most of these recordings are extremely rare and have been long unavailable on CD. Featuring Dizzy Gillespie, Fats Navarro, Ray Brown, Max Roach...
Jazz Factory, Amazon.com 2006
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