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Artist: George Benson Album: Love Remembers Label: Warner Bros. Year: 1993 Style: Crossover Jazz Format: MP3@320 Time: 61:11 Size: 111Mb
By the time George Benson released Love Remembers for Warner in 1993, he had basically accomplished everything a musician could ever dream of: he has played with a who's who of jazz greats, scored big as both a jazz and an R&B artist, won numerous Grammys, and had his name become synonymous with two different radio formats: adult contemporary and smooth jazz. Long the bane of "serious" jazz critics, Benson didn't even need to think about it: he made music that communicated to millions from one record to the next — the man had a single or album somewhere on the charts ubiquitously from 1975 until the turn of the 20th century! This 12-track set listed a number of fine producers on its roster including Bob James, Stewart Levine, Gary Henry, Jimmy George, and David Gamson, in addition to the man himself . The set begins with the laid-back funky soul of Brian McKnight's "I'll Be Good to You." Benson's voice and Wah Wah Watson's guitar twin intro lines in trademark fashion before gliding right into the sensual lyric. The interesting thing here — besides the overwhelming infectiousness of the groove — is what a fine singer Benson had become by this time. With Ndugu Chandler on the kit, William Bryant on the Fender Rhodes, Bill Summers on percussion, and McKnight on backing vocals, the tune is unbeatable as an album opener — radio listeners thought so, too. "Got to Be There" is a romantic ballad with Benson in the guitar as well as vocal chairs, Melvin Davis holding down the big bank of keys, and Gary Henry handling the programmed loops and percussion samples. It's elegant, graceful and drenched in atmosphere. The old CTI gang gets together again on the Bob James produced instrumental "My Heart Is Dancing" by Omar Hakim. James Benson, Hubert Laws, Richard Tee, Randy Brecker, and Hakim team with relative newcomer Kirk Whalum on saxophone. It's an easy, mysterious groover with hip guitar work and horn charts. Another fine instrumental on the set is Whalum's "Willing to Fight," with James, bassist Will Lee, Hakim, Whalum and especially Benson all in fine form. This one got played like crazy on contemporary jazz radio stations at the time, and despite the dated sound of its production, holds up beautifully as a composition. Benson turns in another inspired vocal performance on "Lovin' on Borrowed Time," a mid-tempo soul tune written by Benson and John F. Hammond. A real surprise is the second from last cut, a cover of Ronnie Foster's "Lost in Love," with Phil Upchurch guesting on rhythm guitar and the composer on keyboards along with Paulinho Da Costa on percussion. A shimmering buckle shiner of a track, its groove is drenched in melody with Foster's keys hovering right around Benson's lead lines with Upchurch painting the backdrop with gorgeous chord fills. Love Remembers is certainly a solid high mark for Benson in the '90s, and anyone interested in Benson's brand of pop will be delighted with it.
Artist: Al Hirt Album: Swingin' Dixie at Dan's Pier 600 in New Orleans Label: Audio Fidelity Year: 1958 Format: FLAC (cue+log) Time: 0.52:20 Size: 100x3 +25 Mb
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The first of four Al Hirt Audiophile albums recorded during the same year, this LP finds the trumpeter in prime form before he started making commercial hit records. With trombonist Bob Havens and clarinetist Harold Cooper completing the frontline, Hirt runs through an exciting set of Dixieland. This version of "Saints" is quite unusual, for Hirt and his fellow horn players start off trading four-bar phrases and gradually cut it in half again and again until they are trading off every beat. Other highlights include "Tiger Rag," "Fidgety Feet" and "Hindustan." An excellent example of Hirt's Dixieland playing, but unfortunately, all of his Audiofidelity releases are long out of print. ~ Scott Yanow, AMG
Artist: Freddie Hubbard Album: Mistral Label: Liberty LT 110 JP Year: 1980 Format, bitrate: mp3, 320 kb/s Time: ~43 min Size: 104,23MB (+ covers 300dpi front/back)
Freddie Hubbard waxed many high-caliber yet shamefully forgotten records for Columbia from 1974 to 1979. Remarkably, none of them sold particularly well - which is why he was dropped by the label in 1980 - and today, too few are to be found on CD. Mistral, recorded in September 1980, is the first studio album the trumpeter recorded after leaving Columbia and in many ways continues heading down the path he charted while there. Maybe that's why this excellent album is also a footnote buried deep in the trumpeter's legacy. It's never been issued on CD either. Recorded for the Japanese label East World (and later issued in the US by Liberty, an EMI label hardly known for issuing jazz), there is a slick West Coast feeling to this album that's as endearing as it is enjoyable. Perhaps it is the addition of legendary West Coast alto saxist Art Pepper into a mix that finds pianist George Cables, bassist Stanley Clarke and drummer Peter Erskine in the rhythm section. All the tunes have a relaxed, laid-back feeling (what Scott Yanow snidely refers to as "no one sounds like they're sweating"), even on the up-tempo "Bring It Back Home." While there is a casual air of familiarity in the program, all involved sound as if they are enjoying themselves and each other's company.. . .
Artist: Chick Corea Album: Children's Songs Label: ECM Year: 1983 Format, bitrate: Mp3, 192 kb/s vbr Time: 37:31 Size: 37,5 Mb (cover) AMG Rating: When one thinks of children's songs, "Old McDonald," "Mary Had a Little Lamb," "Itsy Bitsy Spider" or "Frere Jacques" come immediately to mind, but not for Chick Corea. These solo piano works are sophisticated instead of simplistic and cute, exhibiting the playful, innocent, wide-eyed aspect of our universal childhoods. Infusing his at times devilish, often bouncy and ultra-melodic sense of wonder and discovery, Corea's distinctive style and virtuosic techniques are hard to mistake for anyone else. Nineteen solo piano excursions comprise 20 separate ideas from Corea's fertile imagination, childlike in essence but mature in execution. It is as if he is wandering through various stages of birth, self-awareness, discovery, adolescence, and early teen pre-pubescence. There's a real sense of learning, growth, and true understanding progressively strewn through these pieces. Fans of Corea and Return to Forever will readily recognize three of these themes; the repeated, slightly dark construct of "No. 1," the quick waltz melody of "No. 3," and the playful, circular motif on "No. 6." They all have been previously employed by the pianist in his most famous melodic songs of the '70s. Offering the most contrast aside from his signature sounds is the Steve Reich minimalism of "No. 4," the one-note based "No. 14" parallel to the Christmas tune "Joy to the World," and the ominous suggestions in the waltz of "No. 15." Corea mixes up every piece stylistically, whether in a lilting, two fisted, stoic, delicate, spastic, quirky, ascending and descending or rumbling and rambling mood. The lone combo track "No. 16/17" progresses from one-note chords to dramatic rumination and impressive arpeggios, then merges into an eyelash winking, pretty innocence. He's surprisingly muted, quiet, and restrained during "No. 18," then flashes fast and furious on the utterly ingenious "No. 19." The finale, "No. 20," is set in a Baroque chamber trio with the great classical violinist Ida Kavafian leading the way, with Corea and cellist Fred Sherry blissfully following along. Very few pianists can carry off the original solo piano program that Corea tenders on this delightful collection that reminds all of us not only of our best moments of childhood, but those days that still reflect the inner child in our grown-up years. ~ Michael G. Nastos, AMG
Artist: Chick Corea& Origin Album: A Week at the Blue Note (6cd live) Label: Stretch Year: 1998 Format, bitrate: Mp3, 256 kb/s vbr Time: 6:48:39 Size: 673 Mb (full complete covers) AMG rating:
During an engagement at the Blue Note in New York, pianist Chick Corea had an opportunity to stretch out with his new group, Origin, a sextet also including Steve Wilson on alto, soprano, flute and clarinet, Bob Sheppard on tenor, bass clarinet, flute and soprano, trombonist Steve Davis, bassist Avishai Cohen, and drummer Adam Cruz. A single disc was released by Stretch late in 1998. This six-CD set has all of the other music recorded on January 1, 3 and 4, 1998 during a total of six sets. Although most of the songs are repeated along the way, none of this music duplicates the single CD. Origin is one of the strongest groups that Corea has ever had, a no-nonsense acoustic jazz sextet which, due to some inventive frameworks and very high creativity, really inspires the pianist to play at his best. On the extended program, there are five versions of Corea's brief theme ("Say It Again (Parts 1 & 2)"), three apiece of Corea's originals "Double Image," "Hand Me Down," and "Matrix" (a complex but swinging blues), two versions of "Molecules" and "Sifu," and one of "Soul Mates" and "Dreamless." In addition, the group reinvents "Bewitched, Bothered and Bewildered" three times, investigates "Bird Feathers" and "Tempus Fugit" twice, and digs into "It Could Happen to You," "Four," and three Thelonious Monk songs ("Blue Monk," "Straight No Chaser" and "Four in One") once apiece. Despite the repetition, the quality of the performances is so consistently high that true Chick Corea fans will have to get this limited-edition set. Certainly an unusual way to launch a new group! ~ Scott Yanow, All Music Guide
Artists: John Zorn Album: Music For Children Label: Tzadik Year: 1998 Format, bitrate: mp3, 320kbs Time: 49:16 Size: 120 Mb
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Neither as calm and serene as it could be, nor as frightening as one might expect, John Zorn's Music Romance, Vol. 1: Music for Children combines pieces of radically different moods -- a kind of musical pendulum swinging back and forth -- in a collection that, remarkably, hangs together fairly well. The title is mostly ironic. While the CD contains truly gentle songs like "SooKi's Lullaby," which is beautifully performed on music box by Anthony Coleman, the chamber piece "Music for Children," nearly as beautiful, contains intermittent percussive sounds that sound like nothing more than a good spanking. There are three Naked City pieces, performed by the Boston-based group Prelapse, which are as chaotic and insane as any of Zorn's other Naked City works (though it is easy to imagine them as the soundtrack for a hyperactive toddler running around a house, his face smeared with sick glee). Disjointed and sexualized dolls comprise the cover art -- a reminder of just how perverse childhood really is. The text pieces printed in the liner notes orbit around themes of imagination, nightmares, and lost innocence. The adventurous parents who actually play this music for their child may be horrified to discover how much the little baby genius actually likes it. For those who are childless or simply less brave, this volume provides fascinating candy for adult ears. ~ Stacia Proefrock, All Music Guide
Artist: Chick CoreaThe Trio Album: Live From The Country Club Label: Stretch/MCA Victor Year: 1982 Release: 1996 Format, bitrate: Mp3, 320 kb/s Time: 1:03:56 Size: 147 Mb Bubu's Rating: *****
The Trio (Corea, Vitous, Haynes) played for the very first time together in 1967 on Corea's album "Now He Sings, Now He Sobs". In 1981 The Trio reunited and recorded the excellent and well known studio double album for ECM under their name. After this, The Trio toured for a while. From this lesser known concerts we have here a very rare and hard to find Japan only CD issue, that makes justice after 14 years. The concert took place at the Country Club, Reseda, CA, 1982 in front of a small but very enthusiastic audience. Corea is backed here by the most solid and well tied trio that he had for a long time. The setlist is quite different from the studio album, some wellknown standards being inserted between the original compositions. The music is not only exuberant, inspired and complex but also uncompromising and spacey. The collaboration between the three musicians is close to perfection presenting a poignant and bright interpretation with dramatic and confident improvisations. Corea is in good mood and in perfect form, his playing on the grand piano is sparkly and magnificent. This is a wonderful, to be remembered recording is highly and warmly recommended to all jazz fans.
Artist - Charles Mingus Album - Mingus Plays Pianospontaneous compositions and improvisations Label - GRP/Impulse! Year - 1963, release - 1997 Quality - MP3@320 kbps Size - 99,2 mb Total time - 50:35
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Bassist Charles Mingus would never qualify as a virtuoso on the piano but his technique was reasonably impressive and his imagination quite brilliant. This unique solo piano CD (which was reissued in 1997) has a few standards ("Body and Soul," "Memories of You" and "I'm Getting Sentimental over You") along with some freely improvised originals, most of which are quite fascinating to hear, as if one were listening to Mingus think aloud.
Artist: Haze Greenfield Album: All About You Label: Black-Hawk Records Genre: new age music Year: 1985 Time: 47:54 Format: FLAC Size: (101 x 2)+98.5MB Covers
Greenfield, Hayes, saxophonist, composer, educator, producer; b. Poughkeepsie, NY, 8 July 1957. Hayes' father, Howard, a doctor who pioneered microscopic sinus surgery was born in 1924 in Brooklyn, NY, and mother Edith, a stage, film and TV actress was born in 1929. Hayes' brother Jim (born, 1955) is a sculpture and percussionist, and sister Nancy (born, 1952) is a prenatal and perinatal therapist.
Since the late '70's, Hayes has lived and been an active member of the New York City Jazz scene. Among his work as a sideman include long time associations with legendary jazz greats Jaki Byard, Rashied Ali, Paul Bley and Barry Altschul among others. Since the mid '80's as a leader, Hayes has recorded and produced several critically acclaimed CD's, All About You (1988), Five for the City (1990), Providence (1992) and Jazz-A-Ma-Tazz (1998). Hayes' bands have played throughout the US and toured Canada and Europe playing at major jazz festivals, clubs and live radio broadcasts. Critics have referred to his playing as "lucid, bright and shining, and at times pure genius," and calling Greenfield a "bold, audacious and incisive saxophonist who loves to take risks."[i]>>>
Artist: Dee Dee Bridgewater Album: In Montreux Label: Polydor Year: 1991 Format: FLAC & MP3 (320k/s) Time: 49:53 Size: 273 & 117 MB (full covers) AMG rating:
Dee Dee Bridgewater's move to France awhile back has resulted in her having a relatively low profile in jazz. This excellent live set should help restore her reputation. Whether it be a three-song Horace Silver medley, the warhorse "All of Me," Jobim's "How Insensitive," "Night in Tunisia" or the rarely performed "Strange Fruit," Bridgewater (who is backed by a French rhythm section) is in top form, singing with swing and sensitivity. ~ Scott Yanow, AMG
Artist: Ginger Baker Album: Do What You Like (2cd compilation) Label: Polygram Year: 1969 - 1972 Release: 1998 Format, bitrate: ape+cue Time: 157:31 Size: 904 Mb (covers)
FOR MR. TEDS!
Ginger Baker's Do What You Like is a new compilation and release of material recorded and released in the years between 1969 and 1972. A 2 disc set, it pulls together 4 long playing vinyl records, released originally in 3 separate albums. The first disc is Ginger Baker's Airforce. This 2 record set has been released on compact disc previously but has been long out of print in this format and much sought after by collectors. Captured live at the Royal Albert Hall in January of 1970, Airforce was Baker's REALLY BIG band he formed after the short-lived Blind Faith. He essentially took Blind Faith, sans the little-known guitarist Eric Clapton, and added some of the most talented musicians to ever come up through the English music scene. From Blind Faith came Steve Winwood and Rick Grech. From Traffic (along with Winwood) came Chris Wood. Denny Laine, who later joined Wings, takes over the guitar chores. Names like Graham Bond, Harold McNair, Phil Seamen add wonderful depth and capability. The whole mix just steams and chugs along, driven by the incredible drumming of Baker and Remi Kabaka. It is also perhaps the first mix of traditional African music into the rock and roll format--World Music before there ever was such a thing. The second disc is also a most pleasant listen. It takes Airforce, adds a few people, takes away a few people (notably Winwood and Wood) and attempts to do in the studio what the previous incarnation had done so remarkably on stage. There are some amazing cuts here Let Me Ride and 12 Gates of the City being revelations to these ears and others that do not stand the test of time quite as well. It is hard, however, not to just crank up the volume so that you can hear EVERYTHING that is going on with this combo the music is so dense. Nice versions of Cream's Sweet Wine and Sunshine of Your Love (the latter never-before seeing the light of day until this release). The remainder of the disc is Baker's 1972 release Stratavarious. Wow!! Heavy African influences, with absolutely amazing drumming. This is the huge surprise of this set. I thought I knew Ginger Baker but this is just such a treat. This entire set is essential if you are a fan of Cream or Blind Faith or just enjoy the wonderful freedom that music had to explore in those halycon days of yore before tightly-formatted playlists took over FM just they way they had AM before that. ~ Ricalasno (Atlanta, GA), Amazon.com
Artist: Jim Pepper Album: Dakota Song Label: Enja Year: 1987 Release: 1987 Format: Flac Time: 59min Size: 310 MB
Jim Pepper will always be best remembered for his popular recording of "Witchi-Tai-To," a peyote chant put to music. Pepper, who is definitively profiled in the hour-long documentary Pepper's Pow Wow (available on video), infused advanced jazz with the influence of his Native American heritage. The son of a father who also played saxophone, Pepper early in life loved to tap dance. He largely taught himself both tenor and clarinet, developing a soulful sound and keeping his style open to both free expression and the influence of world music. Pepper grew up in Oklahoma and moved to New York in the mid-'60s. He was a major part of one of the first fusion groups, Free Spirits, which made a record for ABC/Paramount in 1967. Pepper, who played in the "Everything Is Everything" band in the late '60s, was encouraged by Ornette Coleman and Don Cherry to put more of his heritage into his music. Jim Pepper worked with Cherry, Dewey Redman, Charlie Haden's Liberation Music Orchestra, and his own bands. He recorded with Paul Motian and Bob Moses, and led a session apiece for Europa (1984) and Enja (1987). Pepper passed away at the age of 50 from lymphoma. ~ Scott Yanow, AMG
Between 1982 and 1984 Corea worked intensively with ECM. In 1985 after the collaboration ceased, the label issued this compilation as a conclusion. The record contains parts of all Corea's recordings of this period showing all his sides and facets. It ends with the most popular and celebrated Corea's composition "La Fiesta".
Founded in Munich by producer Manfred Eicher in 1969, ECM has recorded more than 1000 albums spanning many idioms. Establishing an early reputation with standard-setting jazz and improvised music albums – by Keith Jarrett, Paul Bley, Jan Garbarek, Chick Corea, Pat Metheny, the Art Ensemble of Chicago and others – ECM began to include contemporary composition in its programme in the late 1970s. In 1984 a sister label, ECM New Series, was launched to introduce the music of Arvo Pärt. ~ Official site
Artist: Amy Winehouse Album: Frank Label: Island Year: 2003 Format, bitrate: mp3, 192 kbps Time: 58:48 Size: 94,1 Mb
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Frank is the Ivor Novello Award-nominated debut album by English Soul/Jazz singer and songwriter Amy Winehouse, released by Island Records in October 2003 in the United Kingdom, and in the United States on 20 November 2007. It was nominated for two BRIT Awards and was short-listed for the Mercury Music Prize. The album spawned the singles "Stronger Than Me", "Take the Box", "In My Bed"/"You Sent Me Flying", and "Fuck Me Pumps"/"Help Yourself". The title is a reference to her hero Frank Sinatra and because the word Frank means honest and real. The album was included in the 2006 book 1001 Albums You Must Hear Before You Die, edited by Robert Dimery. Wikipedia.org
Julie London released nearly 25 albums for the successful label Liberty Records from 1955 to 1965, the best of which are represented on the CD two-fer Julie...At Home/Around Midnight. The success of her 1955 hit "Cry Me a River" put Liberty into overdrive and London responded by making some of the strongest records of her career. Her ability to interpret a song was at its strongest in the late '50s and early '60s, as is evidenced on 1959's intimate Julie...At Home and the sophisticated 1960 album Around Midnight. The two albums have a decidedly different feel (one late evening, the other being after hours). The first half (actually recorded in London's living room) is a warm and relaxed evening of romance and longing, beginning with her other signature song, "You'd Be So Nice to Come Home To." The latter half is decidedly cooler, both in mood and instrumentation, evoking a much darker and more nocturnal feel. The drowsy "Black Coffee" and lazy "Lush Life" typify the late-night feel of the album, leading right into "The Wee Small Hours of the Morning." This underrated collection of standards was re-released through EMI in 1996, and could stand alongside any of Johnny Hartman's romantic ballads and Chet Baker's cool recordings of the same era. ~ Zac Johnson, AMG
Artist: Bobby Timmons Album: The Best Of Bobby Timmons Label: Riverside Years:1960 - 1964 Release: 2004 Quality: mp3, 320 kb/s, FLAC Size: 135 mb; 402 mb, 17 mb (artwork) AMG Rating:
Pianist/composer Bobby Timmons is known today, if at all, as the composer of some of the most memorable, hummable, funky soul-jazz tunes on the planet and that achievement alone should have put him in the jazz hall of fame. Unfortunately, the soul-jazz tag doomed Timmons' reputation with critics who could only hear things through bop or avant-garde ears; their neglect contributed to a career slide that ended with his early death from alcoholism at only 38. As it happens, a good deal of what made Timmons tick can be summed up on one disc, which this item does unusually well. Timmons' irresistible soul-jazz standard "Moanin'" properly leads off the CD, chronologically and in terms of impact. It then flits back and forth between classic Timmons' tunes like "This Here," "Dat Dere," "Soul Time" and selected standards like "Old Devil Moon" and "Born to Be Blue." Most of the time, his preferred milieu was the piano trio, very often with Sam Jones (bass) and Jimmy Cobb (drums) keeping time, and trumpeter Blue Mitchell making the groups a quartet on two tracks. Though soul-jazz was the specialty of the house, Timmons also proved to be an adept bebopper in the Bud Powell tradition. In order to undermine the funky piano stereotype some more, we hear him on vibes as well as piano on "Someone to Watch Over Me," and the disc closes with another, one-of-a-kind take of "Moanin'" where Timmons plays what sounds like a clumsy theater organ. The compilers also insert four unaccompanied tracks to round out the picture - including "God Bless the Child," where Timmons tries, with limited success, to put in some little Tatum figurations into the mix and a fine, brief "Lush Life." ~ Richard S. Ginell, AMG
Artist: Chick Corea Album: Tap Step Label: Warner Bros Year: 1978 Format, bitrate: Mp3, 256 kb/s vbr Time: 41:36 Size: 61,9 Mb (cover)
This interesting collection finds Chick Corea playing seven then-new originals with a variety of musicians including flutist Hubert Laws, tenor saxophonist Joe Farrell, trumpeter Al Vizzutti, bassist Stanley Clarke and, on "Flamenco," tenor saxophonist Joe Henderson. The music is pleasing and spirited if not all that memorable; an average release from a hugely talented jazzman. ~ Scott Yanow , AMG
Artist - Illinois Jacquet Album - Banned In Boston Label - CBS Year - 1962, release - 1989 Quality - MP3/320kb/s Size - 75,1mb Total time - 35:13
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This album (whose artsy liner notes can barely be read) is a disappointment. One would think that teaming together tenor-saxophonist Illinois Jacquet and trumpeter Roy Eldridge, two combative and excitable soloists, would be ideal but few sparks occur. The material is dull, the arrangements (for the seven-to-nine piece groups) are run-of-the-mill and the performances are overly concise. Nothing happens.
~ Scott Yanow, All Music Guide
Although I'm referring to the AMG's review, I absolutely disagree with it. I consider this album to deserve a much higher rating!~ lex