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For Administration
Jazz Blues Club » Articles for 12.05.2009
Dexter Gordon - Dexter Blows Hot and Cool Music » Jazz » BeBop » Hard-bop
Dexter Gordon -  Dexter Blows Hot and CoolArtist: Dexter Gordon
Album: Dexter Blows Hot and Cool
Year: 1955
Label: Boplicity
Format, bitrate: Mp3, 320 kbps
Size: 78Mb

Little was heard of tenor saxophonist Dexter Gordon on-record during the 1950s; in fact this somewhat obscure LP @Savoy, in one of their reissue programs, also released these performances) was one of Gordon's only three appearances on record (two as a leader) during 1953-1959. He fronts a quintet with pianist Carl Perkins, bassist Leroy Vinnegar, drummer Chuck Thompson, and the forgotten trumpeter Jim Robinson, and sounds pretty strong on the straight-ahead material. Few surprises occur but this collector's item from a dark period in Dexter Gordon's life has its share of fine music.

~ Scott Yanow, AMG
Andrew Hill - Time Lines Post-bop, Modern Jazz
Andrew Hill - Time LinesArtist: Andrew Hill
Album: Time Lines
Label: Blue Note
Year: 2005
Release: 2006
Format: MP3@320 & FLAC (tracks) + cue
Time: 65 mins
Size: 150mb & 361mb (+3% recovery)

Andrew Hill has been, in the gentlest of cases, an idiosyncratic player, composer, and bandleader. But often, reviews of his work have been quite strident and refer to him as an iconoclast. That's okay; some critics thought of Monk and Herbie Nichols that way, too. Time Lines has Hill back -- for the third time in his long career -- with Blue Note, the label that gave birth to his enduring classics like Black Fire and Judgment!. But Hill is still every bit the creative and technically gifted musician he was back in the day; perhaps more so. His band features seasoned veteran Charles Tolliver on trumpet, saxophonist Greg Tardy (who also triples on clarinet and bass clarinet, and beautifully, to say the least), and a rhythm section composed of bassist John Herbert and drummer Eric McPherson. The tunes reflect Hill's ranging interests as a composer, and they are demanding in that listeners must locate themselves within them, and yet must also meet the composer's criteria. None of these compositions are brief. They are almost all in the eight- to nine-minute range. Check the opener, "Malachi," dedicated to Art Ensemble of Chicago bassist Malachi Favors. Hill's chords lay down a series of colors, slowly, purposefully, without artifice or idiomatic device; he calls the other players in a few at a time before letting them drop out while his piano meanders through the emotions he finds in his own harmonic inventions. In other places, such as on the South African-tinged title track, one can hear the song-like structures of Abdullah Ibrahim, but the knottiness of Hill's own conceptual melodic sense moves somewhere else. He intercepts, interjects, and dictates the lengths of solos. All the while he explores the edges of each tune, finding new chords to color the melody he's playing with his right hand. "Ry Round 1" has some interesting front line play between the horns, as Hill plays chordal counterpoint to accent the swing in the tune. Tardy's bass clarinet playing on "For Emilio" is utterly lovely and engaging, and his solo in the middle is bright -- full of nuance and color. He is a master of the instrument, and while he's accompanied beautifully by Herbert, he is continually inviting the rest of the band in to track the lyric. As usual, Hill plays all around the lyric -- through it, on top of it, and underneath it -- bringing out its subtleties in the process. Hill's gift lies in his ability to employ the tradition exactly as he means to, yet he also seems to look for the mystery inherent in the improvisation and the dialogue of musicians with one another. The balladic genius in "Whitsuntide" is all the more so because, in various places, such as in Tardy's tenor solo, the tune threatens to break out into something else and Hill responds by giving him large modal chords to play off of, but then leads him back. Time Lines is yet another landmark in one of the most astonishing careers in the history of jazz.

~ Thom Jurek, AMG
Steve Lacy & Don Cherry - Evidence Music » Jazz » Modern Jazz » Avantgarde
Steve Lacy & Don Cherry - Evidence Artists: Steve Lacy & Don Cherry
Album: Evidence
Label: New Jazz/OJC
Year: 1961
Release: 1992
Format bitrate: Mp3, 256 kb/s vbr
Time: 33:25
Size: 45,9 Mb
AMG Rating: Steve Lacy & Don Cherry - Evidence

Soprano saxophonist Steve Lacy continued his early exploration of Thelonious Monk's compositions on this 1961 Prestige date, Evidence. Lacy worked extensively with Monk, absorbing the pianist's intricate music and adding his individualist soprano saxophone mark to it. On this date, he employs the equally impressive Don Cherry on trumpet, who was playing with the Ornette Coleman quartet at the time, drummer Billy Higgins, who played with both Coleman and Monk, and bassist Carl Brown. Cherry proved capable of playing outside the jagged lines he formulated with Coleman, being just as complimentary and exciting in Monk's arena with Lacy. Out of the six tracks, four are Monk's compositions while the remaining are lesser known Ellington numbers: "The Mystery Song" and "Something to Live For" (co-written with Billy Strayhorn).
~ Al Campbell, AMG
Jaco Pastorius Big Band - Word of Mouth Revisited Jazz, Post-bop, Fusion
Jaco Pastorius Big Band - Word of Mouth RevisitedArtist: Jaco Pastorius Big Band
Album: Word of Mouth Revisited
Label: Heads Up International
Year: 2003
Time: 72 mins
Format: MP3@320 & FLAC (image) + cue + log
Size: 171mb & 479mb, 3% recovery
Jaco Pastorius Big Band - Word of Mouth Revisited Jaco Pastorius Big Band - Word of Mouth Revisited

The thirteen tracks on Word of Mouth Revisited cover, as a tribute, much of Jaco Pastorius prolific and diverse career that began in the 1970s, when he made his solo debut, through to the late 80s. Along the way he worked with Peter Graves, Pat Metheney, Joni Mitchell and Weather Report and other well known names. A five-year stint with the Peter Graves Orchestra gave him an opportunity to write, arrange and otherwise expand the role and potential of the electric bass. As Christian McBride says, If you play the electric bass you have come through Jaco. He made innovations on the instrument that had never been made before him, if you want to make a true statement. Nobody has ever innovated on that instrument like Jaco Pastorius.
Pastorius died in September, 1987. Word of Mouth Revisited, recorded earlier this year is a tribute recorded to his legacy featuring the re-christened Jaco Pastorius Big Band. The fourteen-piece ensemble is under the direction of Pastorius old friend Peter Graves and features guest appearances by nine of the most talented electric bass players on the contemporary jazz scene – Victor Bailey, Richard Bona, Jeff Carswell, Jimmy Haslip, Christain McBride, Marcus Miller, David Pastorius, Gerald Veasley and Victor Wooten. Pastorius is featured here on Herbie Hancocks Wiggle Waggle – his bass part being extracted from a live concert recorded several years ago. Other early recordings were also extracted to make up the eight Jaco Speaks tracks.
The pre-release publicity described this album as, Inspired by the music and spirit of Jaco Pastorius, Word of Mouth Revisited is possibly the most impressive line-up of bass virtuosity ever assembled to date. I certainly agree and not only that the standard of the accompanying musicians is of the highest calibre.

~ Jack Ashby,
Duke Ellington - Harlem Music » Jazz
Duke Ellington - Harlem

Artist: Duke Ellington
Album: Harlem
Label: Pablo
Year: 1991
Release: 1964
Format, bitrate: MP3@320 kbps
Time: 49:40
Size: 116.8 Mb

Duke Ellington - Harlem

Before the band hit the stage, the Duke must've said, "Let's blow these cats out of the concert hall!" Recorded live in March 1964 in Stockholm (and never previously released), the band attacks its repertoire with an almost manic abandon. Check out the opener, entitled "The Opener": Paul Gonsalves plays a solo that sounds like Ornette Coleman, while the band plays at a tempo that would exhaust most so-called "punk rock" bands! "Blow by Blow" is another wailer, and "Caravan" becomes an ominous almost-tango. The Duke reserves elegance and restraint ("Satin Doll"--lovely but powerful)--but not by much! Was he listening to rock and roll at the time, or just drinking a lot of coffee? We may never know--just get this album, if you're an Ellington fan, or a fan of hard-swinging modern big bands.
Wynonie Harris -1945-1947 Jazz, Swing, Blues, Rhythm-n-Blues
Wynonie Harris -1945-1947Artist: Wynonie Harris
Album: 1945-1947
Label: Classics
Year: 1945 - 1947
Genre: Jump Blues lol
Format/bitrate: mp3, 320 kb/s
Size: 110 mb

Happy Birthday, Teds!

, Wynonie Harris. , AMG !

Even if you're not primarily a blues fan, you might want to check out this CD, which has plenty of fine instrumental work on it.
1957: Art Blakey & The Jazz Messengers - Midnight Session Hard-bop, Blakey Art
1957: Art Blakey & The Jazz Messengers - Midnight SessionArtist: Art Blakey & The Jazz Messengers
Album: Midnight Session
Year: 1957
Label: Savoy
Format, bitrate: Mp3, 320 kbps
Size: 74,25 Mb

"The 1957 edition of The Jazz Messengers heard throughout this enjoyable LP features altoist Jackie McLean, trumpeter Bill Hardman, pianist Sam Dockery, bassist Spanky DeBrest and leader/drummer Art Blakey. Already at this early stage, the band was the epitome of hard bop and just beginning to become an influential force. Although none of these six selections (three by tuba player Ray Draper) would become standards, the music is consistently excellent and typically hard swinging."
What's different about this album is that only one title was composed by a short-time ex-messenger, Gigi Gryce, while the remaining titles were written by a buddy of the two horn players, Ray Draper, and by the great Mal Waldron, who back in that time was one of the Prestige house players/composers/organisers, who seemed to write tunes as often as others eat and drink and sleep...

Scott Yanow, AMG
Blues Company - More Blues, Ballads and Assorted Love Songs Music » Blues
Blues Company - More Blues, Ballads and Assorted Love Songs
Artist: Blues Company
Album: More Blues, Ballads and Assorted Love Songs
Label: Inakustik
Year: 2008
Format: FLAC
Size: 455 MB

Happy birthday, Teds! This one's for you.

Germany's Blues Company is neither a hodgepodge of rank beginners nor - to borrow business lingo - a group of new business starters. Rather, they are a team of artists who have made their mark; musicians with experience and know-how aplenty. In a nutshell, Blues Company stands for German's longest-running and most successful blues band. 'More Blues, Ballads & Assorted Love Songs' is their second 'best of' collection featuring some of their best material. For old fans, some of these jams are performed live with a horn section, released here for the first time. For new heads, this is a fantastic way to get up to speed on the amazing Blues Company.
Joao Gilberto - The Legendary Joao Gilberto Music » Jazz » Latin » Bossa Nova
Joao Gilberto - The Legendary Joao GilbertoArtist: Joao Gilberto
Album: The Legendary Joao Gilberto
Label: World Pacific
Year: 1958-1961
Release: 1990
Time: CD1- 36:17, CD2- 39:35
Format: FLAC
Size: (95.78 x 4)+46.5MB (with covers)
AMG Rating: Joao Gilberto - The Legendary Joao Gilberto

It is difficult to overstate or overhype the importance of this CD, for it exhaustively documents the starting point of bossa nova in Brazil prior to the global craze. The building blocks are solidly in place -- Joao Gilberto's highly distinctive, pioneering acoustic guitar rhythms, his precisely enunciated vocals (recorded not too closely for a change!), the stripped-down samba-based percussion, Antonio Carlos Jobim's extraordinary songs, and most tellingly on many tracks, Jobim's spare, often-copied backdrops and countermelodies for strings, winds and horns that are so much a part of his compositions. We can eavesdrop on the exact beginning of the bossa nova movement with the 1958 single containing Jobim's "Chega De Saudade" and Gilberto's "Bim Bom"; one can easily see why this quietly revolutionary record hit the Brazilian music scene like a silent cruise missile. Moreover, the second single was "Desafinado," a fully formed masterpiece long before it became an international hit, with Gilberto producing a precision-cut gem of vocal pinpointing. Along with the singles, there are three albums of material squeezed onto one CD, 38 tracks in all, of which only a dozen surfaced in the U.S. on LP at the time. In addition to Jobim's songs, there are plenty of first-rate contributions by Gilberto, Dorival Caymmi, Ary Barroso, Carlos Lyra, and other writers. And perhaps most importantly, besides being historically indispensible and an extraordinary deal for the consumer, this music is an absolute pleasure to hear.
~ Richard S. Ginell, AMG
Blind Faith - Blind Faith Music, Rock music
Blind Faith - Blind FaithArtist: Blind Faith
Album: Blind Faith
Label: Polygram Records
Year: 1969
Format, bitrate: mp3, 320 kbps
Time: 49 min, 21 sec.
Size: 117 mb


, Teds'a (- ? ) - - Blind Faith .
, ( ) .
, !

Blind Faith - Blind Faith
The Art Farmer Quartet - Perception Music » Jazz » BeBop » Hard-bop
The Art Farmer Quartet - Perception
Artist: Art Farmer
Album: Perception
Label: Chess
Year: 1961, release - 2003 (Japanese Import)
Quality: MP3@320 kbps
Size: 49,4 mb
Total time: 28:27


This 1964 release of a 1961 date with pianist Harold Mabern, drummer Ron McCurdy, and bassist Tommy Williams is a breezy affair, a stark contrast to the hard bop that was still pervasive at that time. Farmer had fully developed his sensual and lyrical style by this time, and was making records with Benny Golson when he led this date. The set features two fine originals, which are notable because Farmer didn't compose much: the elegant and spring-like "Punsu" and "Kayin," a breezy West Coast affair. Farmer had given up the trumpet completely by this time and concentrated all of his efforts on the flgelhorn. Its large, warm tone and rounded sound fit perfectly with Farmer's penchant for the exploration of melodic modes within a given tune. On "Lullaby of the Leaves," Farmer's lead into the melody prefigures his solo by moving both off key and off beat to shape a large conical center in the tune. On Ray Bryant's "Tonk," Farmer swings out of the blues and into a shimmering solo all around a triplet figure in B flat. Mabern does far more than comp his way through the changes here, extending his chord voicings to let Farmer fall inside the cracks and nest. This is a gorgeous record, full of light and airiness; it showcases the depth rather than the breadth of Farmer's contribution.
~ Thom Jurek, AMG
Terry & Hubbard & Gillespie & Peterson - The Alternate Blues Music » Jazz
Terry & Hubbard & Gillespie & Peterson - The Alternate Blues Artist: Clark Terry, Freddie Hubbard, Dizzy Gillespie and Oscar Peterson
Album: The Alternate Blues
Label: Original Jazz Classics
Year: 1980
Format/Bitrate: MP3/320

Sonny Red - Out Of The Blue Music » Jazz » BeBop » Hard-bop
Sonny Red - Out Of The BlueArtist: Sonny Red
Album: Out Of The Blue
Label: Blue Note
Year: 1959
Time: 42:54
Format: FLAC
Size: (95.78 x 2)+69.56MB (with covers)
Time: 72:10
AMG Rating: Sonny Red - Out Of The Blue

Sonny Red, a fine altoist inspired by Charlie Parker and Jackie McLean, never really made it in jazz, and some of his recordings are rather uninspired. However, that does not hold true for his Blue Note album, which has been reissued on this 1996 CD along with five previously unissued selections. Red, who is joined by pianist Wynton Kelly, either Sam Jones or Paul Chambers on bass, and either Roy Brooks or Jimmy Cobb on drums, never sounded better on records. He performs mostly little-known standards (along with six of his originals) and displays a fair amount of originality and a great deal of potential that was never really fulfilled. Recommended.
~ Scott Yanow, All Music Guide
Zoot Sims - In A Sentimental Mood Music » Jazz » BeBop » Post-bop
Zoot Sims - In A Sentimental MoodArtist: Zoot Sims
Album: In A Sentimental Mood
Label: Sonet Records
Year: 1984
Format: FLAC+CUE+LOG+Covers
Size: 147 MB

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered.
Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother Ray Sims developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set.
After a period in the Army, Sims was with Goodman from 1946-47. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-49). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-56). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early 1960s and visited the Soviet Union with Benny Goodman in 1962. A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. Zoot started doubling on soprano quite effectively in the 1970s. Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo.

~ Scott Yanow, All Music Guide
One For All - Killer Joe Jazz, Hard-bop
One For All - Killer JoeArtist: One For All (Eric Alexander...)
Album: Killer Joe
Label: Venus records
Year: 2006
Release: 2008
Format, bitrate: WAV
Size: +- 450 Mb

Pure genius from a great lineup -- an assortment of players who've made quite a name recording sets like this one for the Japanese market! Tenorist Eric Alexander is very firmly in place on the set -- giving it the same gentle soul and well-crafted sound as his own great albums -- and other players include Jim Rotondi on trumpet, David Hazeltine on piano, Joe Farnsworth on drums, and Steve Davis on trombone. The horns in the frontline are beautifully poised throughout -- tightly crackling on the head arrangements, then breaking out in soulful solos -- in a way that reminds us a lot of some of the legendary work by the Benny Golson-Art Farmer Jazztet. It's no surprise that the group covers the Jazztet standard "Killer Joe" -- and the album also features great versions of Duke Pearson's "You Know I Care" and Ahmad Jamal's "Night Mist Blues" -- plus originals "Island" and "Hot Sake"
Dusty Groove America, Inc
Charlie Parker - The Complete Carnegie Hall Performances Jazz, BeBop
Charlie Parker - The Complete Carnegie Hall Performances
Artist: Charlie Parker
Album: The Complete Carnegie Hall Performances
Label: Definitive Records
Year: 1947, 1949, 1950, 1952, 1954
Release: 2007
Format, bitrate: Mp3, 320 kbps.
Time: 71:26 + 67:56 + 63:21 + 61:52 min.
Size: 482 MB

Charlie Parker's integral concerts at Carnegie Hall for the first time on a single collection. Contains three previously unissued tracks and many long unavailable recordings.
Covering a period from 1947 to 1954, the material Includes his last known live recording ever, which was also the next to last session of his life: three numbers played in 1954 in a quartet format, backed by three of the initial Modern Jazz Quartet stars, John Lewis, Percy Heath and Kenny Clarke.
As bonus tracks, the producers have selected three rarely heard and very interesting recordings. His only known live recordings with Machito, including the previously unissued tracks cut on February 11, 1949. Next, it is a sole selection recorded live at an unknown venue in New York, probably from a radio broadcast, featuring an extended quartet version of 'I Can't Get Started' with a long and juicy solo by the altoist.
Stefano Di Battista Jazz, Post-bop
Stefano Di BattistaArtist: Stefano Battista
Album: Stefano Battista
Label: Blue Note
Year: 2000
Format, bitrate: MP3, 320 kbps
Time: 60:55
Size: 97.4MB

Blue Note's French division released Stefano Di Battista's debut, A Prima Vista, in 1998, but this self-titled disc is the alto and soprano saxophonist's first offering to be made available in the U.S. It comes on the heels of a high-profile guest appearance on Jacky Terrasson's A Paris... and, fittingly, Di Battista hired his friend Terrasson to be the pianist on his own record. Also present for the session are bassist Rosario Bonaccorso and drum legend Elvin Jones, with trumpeter Flavio Boltro sitting in on three tracks. Di Battista evinces a true melodic gift on pieces such as "Elvin's Song" and "Your Romance," but he's also capable of burning it up in a manner reminiscent of Kenny Garrett on "Nico's Dream" and "Adderley." (For those who suspect Elvin Jones' chops have lessened with age, the two latter cuts ought to dispel such notions.) There's a hint of Coltrane in Di Battista's soprano work, and on "Johnny's Time" he makes explicit his debt to the late altoist Johnny Hodges. In addition to the eight strong Di Battista originals, bassist Bonaccorso contributes a medium-slow line titled "Song for Flavia." Terrasson also brings in two charts of his own: "Little Red Ribbon" appeared on his 1999 album What It Is and is heard here as an affecting soprano sax/piano duo; and "Chicago 1987," a deliciously slow blues, closed Rendezvous, Terrasson's 1997 co-led effort with Cassandra Wilson. Terrasson in fact lends his telltale ingenuity to the entire session — don't miss his startling reference to Randy Weston's "Hi-Fly" during "Time for a Solo."
~ David R. Adler, AMG
Tete Montoliu - A Tot Jazz Vol. 1 & Vol. 2 BeBop, Hard-bop
Tete Montoliu - A Tot Jazz Vol. 1 & Vol. 2Artist: Tete Montoliu
Album: A Tot Jazz Vol. 1 & Vol. 2
Label: Fresh Sound
Year: 1965
Format, bitrate: MP3, 320 kbps
Time: 77:32
Size: 109MB

Tete Montoliu's abilities as a pianist are overlooked by many jazz fans because few of his recordings were readily available outside of Europe during his lifetime, though they are generally all worth hearing. This trio date with bassist Eric Peter and Peer Wyboris, two of his most frequent sidemen, was recorded in 1965 for the Spanish label Concentric and subsequently reissued on CD by Fresh Sound in 1993. His unusual approach to "Stella By Starlight" has many faces, including slow ballad, uptempo bop, and funky blues. Kenny Dorham's "Scandia Skies" is a spirited waltz that is gradually transformed into a showcase for Montoliu's formidable technique. He is at his most lyrical in his interpretation of J.J. Johnson's "Lament," while Charlie Parker's "Au Privave" showcases the artist at his most playful. Recommended.
~ Ken Dryden, AMG
Eric Alexander - My Favorite Things Jazz, Mainstream
Eric Alexander - My Favorite ThingsArtist: Eric Alexander
Album: My Favorite Things
Label: Tokuma Japan Comm.
Year: 2007
Release: 2009
Format: FLAC + CUE + LOG + covers
Size: 456 MB

This is another stellar release by Eric Alexander, this one on the Japanese Venus label. He has very familiar sidemen, David Haziltine on piano, John Webber bass, Joe Farnsworth on drums.There are no originals on this album, just a bunch of standards played with the big fat sound that Eric gets from his horn. While I love a great quintet or sextet , Alexander really excels in the quartet as his sound is so commanding to easily keep the listener enthralled. Hazeltine is also very sweet on this CD, inspired. Song selection as usual for Eric is great, nice mix of uptempo numbers like "lazy Bird" and ballads. The version of "My Favorite Things" makes me want to go camp out in a jazz club in hopes of hearing something similar. The best description of this album is one word, awesome! If he does not blow you away with "Lover Man" then you may he dead. Eric to me is like the Bill Charlap of the tenor sax.
Bud Powell - Bud plays Bird Music » Jazz » BeBop
Bud Powell - Bud plays BirdArtist: Bud Powell
Album: Bud plays Bird
Year: 1958
Label: Roulette
Format: APE & MP3 (320 Kb)
Time: 65:47
Size: 290 Mb (APE, Scans), 143 Mb (MP3, Scans)

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