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 Into the Rhythm
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Michel Legrand - I Love Paris |
Music » Jazz » Mainstream |
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 Artist: Michel Legrand & His Orchestra Album: I Love Paris Label: Master Sound/Legacy Year: 1954 Release:1994 Format, bitrate: mp3, 320 Kbps Size: MP3 83 Mb/Scans 17 Mb (5% recovery) Time: 39:40 AMG Rating:  Michel Legrand was only 22 when he created this best-selling theme album, a selection of Paris-centered standards from both sides of the Atlantic, scored for his own slightly jazzy orchestral ensemble. It's probably one of the few easy listening records (or any album until much later) where the work was meant to be listened to as a whole: Legrand blends 16 songs together into a sort of suite, beginning with church bells chiming in the square, then taking off on a musical journey around the city. The arrangements are heavy on the strings and accordion and not, as the label now touts, Miles Davis, who is not very discernible if there at all. (Davis certainly took part later in "Legrand Jazz"). Considering that the young Legrand cut this album as a quick way to make money, the resulting success (and the doors that it opened for him) are remarkable. ~ Ted Mills, AMG |
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Oscar Peterson - Hallelujah Time |
Music » Jazz » Mainstream |
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 Artist: Oscar Peterson Album: Hallelujah Time Label: Moon Records Year: 1964 & 1970 Release: 1993 Format: Mp3, 320kbps Time: 56:09 Size: 93.4 MB Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson's distinctive playing formed during the mid- to late '40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his career; certainly it can be said that Peterson played 100 notes when other pianists might have used ten, but all 100 usually fit, and there is nothing wrong with showing off technique when it serves the music... Scott Yanow, AMG |
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Hiromi Uehara & Chick Corea - Duet |
Music » Jazz » Fusion |
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 Artist: Hiromi Uehara & Chick Corea Album: Duet Label: Concord Records Year: 2009 Format, bitrate: MP3, 320 Kbps Time: 49:18 + 65:02 Size: 113Mb + 157Mb & 266 MbREPOST with additional Rapidshare.com links and info from Mr. Bubu Hans Duet captures the two pianists in an engagement at Tokyo's Blue Note club in September of 2007, and finds them repeatedly achieving ecstatic heights of ingenuity and inventiveness. At first blush the opening tracks might feel too quiet as an introduction to the Sturm und Drang of this dynamic pairing, but if the anticipated energy, the bounding, rampaging, red-eyed thunder-and-lightning this partnership promises to deliver is not immediately evident as the first of two discs opens with Bill Evans' "Very Early" and Antonio Carlos Jobim's "How Insensitive," don't touch that dial...
Once these two get their hands warm on "Déjà Vu," the first of Hiromi's contributed compositions, they ignite things with a respectfully deconstructed version of "Fool on the Hill" that hews neatly to the lilting Lennon/McCartney melody line and harmonies right up until the closing three bars, when Corea unexpectedly plucks a few portentous notes inside the piano. The cubist conflagration long-time Corea fans perennially yearn for then flares dramatically on a joyful, abstracted version of his enduring "Humpty Dumpty," ending with his throwing down fistfuls of Cecil Taylor-esque tennis-ball chords, and his protégé enthusiastically throwing them right back. When he next engages Hiromi in some gravity-defying rhythmning on Thelonious Monk's "Bolivar Blues," the first disc's final track, it is plain she's in a mood to play. . . . |
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Artie Shaw - More Last Recordings |
Music » Jazz » BeBop » Cool |
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 Artist - Artie Shaw Album - The Final Sessions, More Last Recordings Label - Music Masters Style - cool, bop Year - 1954, release - 1993 Quality - MP3@320 kbps Size: 111+110 mb Total time: 51:53+51:39 AMG Rating:  Áëåñòÿùèå, äîâîëüíî ðåäêèå çàïèñè âûäàþùåãîñÿ êëàðíåòèñòà ñ ìàëûì ñîñòàâîì. The second two-CD set of recordings by Shaw's final Gramercy Five is comparable to the first. He would give up his clarinet permanently shortly after this band broke up, but the musical evidence shows that he was still very much in his prime and growing as an improviser, making his retirement a tragedy for jazz. With pianist Hank Jones, vibraphonist Joe Roland and guitarist Tal Farlow contributing strong solos and inspiration for Shaw, this cool bop music (which even has updated performances of "Begin the Beguine," "Frenesi" and "Stardust" that owe surprisingly little to the original hit versions) is quite enjoyable and creative. ~ Scott Yanow, All Music Guide |
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Etta James - Matriarh of the Blues |
Music » Blues » Blues woman |
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 Artist: Etta James Album: Matriarch of the Blues Year: 2000 Label: Private Music Format, bitrate: mp3, 320 Kbps Time: 01:04:25 Size: 142 Mb Sandwiched between trad jazz excursions Blue Gardenia and Heart Of A Woman came Matriarh Of The Blues, a millennial outing featuring Etta James unleashing her powerful growl on a wide-ranging mix of soul and rock & roll covers. Half.com ...She comes into the harbor like a stately galleon, her sails full of warm wind... Mojo (09/01/2001) 4 out of 5 - ...A big woman with a big voice to match....for real nostalgia the lady cannot be beaten. Muzik (05/01/2001) |
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Tony Allen - Secret Agent |
Music » Soul » Funk-Jazz |
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 Artist: Tony Allen Album: Secret Agent Label: World Circuit Year: 2009 Format, bitrate: mp3, 256 kbps Time: 49 min Size: 102 MB Allen was the principal wheel in the engine room of Fela Kuti's monumental Afrobeat, a driving yet relaxed kit-drummer for the ages.
British pop fans will be more familiar with him from his role alongside Albarn and Simonon in The Good, The Bad & The Queen. But Secret Agent sees him reverting to home turf. It's a magisterial display, as you'd expect: the shuffle and its variants, teeming with ancilliary accents but straight-ahead propulsive in its fundamental intent. Be warned: the odd American inflection may offend purists. ~ Nick Coleman |
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Chick Corea & London Philharmonic Orchestra - Corea Concerto |
Music » Jazz » Fusion |
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 Artist: Chick Corea & London Philharmonic Orchestra Album: Corea Concerto (live) Label: Sony Release: 1999 Format, bitrate: Mp3, 192 kb/s Time: 54:14 Size: 75,1 Mb AMG Rating: "Spain" is probably Chick Corea's best-known composition. Written in 1971, it was first introduced by his Return to Forever band and played frequently by many other Corea-led groups, including his 1988 Akoustic Band trio. Here it appears again — and arguably, for all time — in a powerful, extended form through the efforts of the London Philharmonic Orchestra, conductor Steven Mercurio, Corea, and five other members of the group Origin. Combining the sounds of Spain, Cuba, Brazil, Argentina, and New York with a whiff of Gershwin and Ravel full of whispers and thunder, Corea's arrangement won the 2000 Grammy. "Spain" is divided into a nine-minute introduction, 11 minutes of theme statement and improvisation, and a magnificent conclusion, weaving classical and jazz elements together in the tune's ultimate fulfillment. The second Corea composition on this CD, his "Piano Concerto No. 1," was supposedly modeled after the style of Mozart, although Wolfgang never had this much fire and passion. With Corea on piano, Origin veterans Avishai Cohen on double bass and Jeff Ballard on drums fronting the Philharmonic, the concerto contains over 30 minutes of musical textures, with beautifully melodic piano interludes and a recurring Latin pulse. This is the kind of intricate, multi-layered CD that sparkles brighter with each hearing; the "Spain" arrangement alone is worth the price of admission. All told, it's more evidence of Corea's restless and brilliant talent; fans who've followed his winding artistic path for decades may well see this CD as a clear monument, if not a peak. ~ Judith Schlesinger, AMG |
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Brother Jack McDuff - The Natural Thing |
Hard-bop, Soul-Jazz |
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 Artist: "Brother" Jack McDuff Album: The Natural Thing Label: Cadet/Argo Year: 1968 Release 1998 Format, bitrate: mp3, 320 Kbps Time: 37:01 Size: 79.41 Mb AMG Rating:  È åùå îäèí àëüáîì âåëèêîëåïíîãî Hammond-èñïîëíèòåëÿ , íåñêîëüêî áîëåå äæàçîâûé, åñëè ìîæíî òàê ñêàçàòü,÷åì â÷åðà ïðåäñòàâëåííûé ìíîþ. Hammond B-3 groovemeister "Brother" Jack McDuff carried on with his timeless patented boogaloo jazz on The Natural Thing from 1968, but is unfortunately drowned out by the overpowering punchy crunching horn charts of arranger Richard Evans. For that reason, this isn't one of McDuff's strongest dates, but it does contain enjoyable moments sans horns (especially "Funky Guru") guaranteed to please collectors of soulful funky organ. Originally recorded in Chicago for the Cadet label, this session is currently available only as a Japanese MCA import. - Al Campbell |
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Nancy Wilson - R.S.V.P. (Rare Songs, Very Personal) |
Music » Jazz » Vocal Jazz |
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 Artist: Nancy Wilson Album: R.S.V.P. (Rare Songs, Very Personal) Label: Manchester Craftsmen's Guild Year: 2004 Format, bitrate: MP3@320 Time: 51:05 Size: 92MB Nancy Wilson's R.S.V.P. (Rare Songs, Very Personal) is her duets album, but unlike other recent releases by singers in this format, which feature two vocalists (and often oddly matched ones, at that), most of the pairings here are with instrumentalists like George Shearing, Toots Thielemans, Phil Woods, and Gary Burton, which means this remains very much Wilson's baby, dominated by her hushed and elegant vocals. Only two tracks feature other vocalists, one of which, a saccharine cover of Marvin Gaye's "Why Did I Choose You" sung with Kenny Lattimore, is worth a plea to the gods to let Gaye return to this veil of tears and give Wilson a worthy singing partner. Less pop than her recent outings, R.S.V.P. is mostly made up of ballads, highlighted by a wonderful version of Gordon Jenkins' "Goodbye" and the elegant, late-night regret of "Blame It on My Youth" which closes out the set, although Wilson steps up and swings on at least one track, the vibrant "Day In, Day Out." This might not be the greatest album of her half-century-long career, but it isn't an embarrassment, either (which can't always be said about some of the other duet projects major vocalists have released in recent years), and it shows that Wilson can still wring every last emotion on earth out of a ballad — then return to sing the second verse. ~ Steve Leggett , AMG |
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Alex Skolnick Trio - Transformation |
Music » Jazz » Fusion |
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 Artist: Alex Skolnick Trio Album: Transformation Label: Magnatude Year: 2004 Format, bitrate: mp3, 320 kbps Time: 0:61:52 Size: 133mB Alex Skolnick made his name as a six-string guitar slinger in the Bay Area thrash legends Testament. Apparently fed up with metal, he quit the band, went to music school, and hooked up with a couple of jazzers (Nathan Peck on double bass and Matt Zebroski on drums), with the idea of doing exploratory fusion-jazz, using the heavy metal songbook for standards (and inspiration) and not the "regular" (or, it could be argued, "over-covered") classic jazz songbook. This, their second album, features radically reworked versions of Judas Priest, Pink Floyd, Scorpions, Iron Maiden, Deep Purple, and Ronnie James Dio, evenly balanced with some original compositions. And while this album is very well played, with excellent performances from all involved (especially Zebroski's work on "IMV/The Trooper" and Skolnick's guitar on "Money"), the album as a whole comes off much like works by the Bad Plus, that is, a well-executed gimmick. That may turn some listeners off, but how many dyed-in-the-wool metal fans are going to tolerate even one minute of what Spinal Tap termed a "jazz odyssey"? And how many dyed-in-the-wool jazz fans are going to seek out the original version of Priest's "Electric Eye" to do a comparison with the version here? Probably not too many. If you're somehow either one of these two extremes, this album will probably work for you, both in the background and on the headphones. James Mason, AMG |
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Wake Up and Sing! |
Music » Old Gramophone |
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 Artist: VA Album: Wake Up and Sing! / Ïðîñíèñü è ïîé! Year: 1964, 1966-1973, 1977 Release: 2007 Label: Ìåëîäèÿ Format, bitrate: MP3@320 Time: 47:20 Size: 111,74 MB(+5% recovery) Â ïîïîëíåíèå êëóáíîé êîëëåêöèè ñîâåòñêîé ýñòðàäû.
Çàïèñè: 1964, 1966-1973, 1977 ãã. |
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1979-1988: Chet Baker in Europe |
Cool, Baker Chet |
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 Artist: Chet Baker Album: Chet Baker in Europe Label: Nieswand Verlag b&w bwcd 001 Year: 1979 - 1988 Release: 1993 Format, bitrate: mp3, 320 kbps Time: 54:24 Size: 123 MB From 1975 until his death in 1988 Chet Baker chose to live in Europe, traveling ceaselessly from one corner of the continent to another, often driving by himself his sport car, his life in a suitcase.
In 1977 he recorded the classic "You can't go home again". What did it mean to Chet? "My desire is no too strong to go back (to the U.S.A.). Oklahoma is really a cultural waste land, and most of the states around it. People are listening to the most terrible kind of music in the world, hillbilly and rockabilly and all that crap. For a good time, to have to go out on the weekend and drink beer and have a fist fight is not my idea.... it's the rifle on the pick-up back window mentality..." |
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Arrigo Barnabé - Clara Crocodilo |
Music » Rock music |
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 Artist: Arrigo Barnabé & Banda Sabor de Veneno Album: Clara Crocodilo Label: Eldorado Year: 1980 Release: 1999 Format, bitrate: MP3, 256 Kbps Time: 41m04s Size: 69454 KB This work began to be composed in the 70's, trying to approximate classical contemporary music, popular music, and texts, from comic books to radiophonics emissions. I first recorded this material in 1980, in a more primitive way, when I was beggining my career. So I have never been really satisfied with the results. I always planed to make a new recording of it. So,we recorded it alive at SESC IPIRANGA's theater in february (26,27 and 28) 1999. I would like to call your atention for: track 1 - "Aventuras em um Drive In" (Drive In Adventures)-Aside excellent vocals, remarcable performing of quartet with Mário Campos (eletr. bass) Azael Rodrigues (drums ) Luís Waack ( eletr. guitar and Paulo Braga ( acoustic piano). Also excellent sax solo by Ubaldo Versolato. track 2 - " A procura do orgasmo total" ( Looking for total orgasm)- beautiful Cello by Raiff Dantas Barreto. Track 3- "Num antro sujo" (In a dirty cave)- I would like to quote aside with Ana Amélia's vocal performance, the string quartet in middle section, with Maria Vischnia and Betina Stegamann ( violins ) Marcelo Jaffé ( viola) and Raiff Dantas Barreto ( cello).Also impulsive trombone by Roney Stella. track 4- "No cemitério" (In cemetery)- Amazing vocal interpretation by Ana Amélia.Also drums(Azael Rodrigues) and acoustic piano ( Paulo Braga) duo improvisation. . . . |
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Chick Corea - Solo Piano: Standards |
Music » Jazz » BeBop » Post-bop |
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 Artist: Chick Corea Album: Solo Piano: Standards (compilation) Label: Stretch Year: 2000 Format, bitrate: Mp3, 256 kb/s Time: 1:17:57 Size: 139 Mb AMG Rating: Part two of Corea's solo piano series features standard tunes. There is a preponderance of Thelonious Monk music: "Monk's Dream," "Blue Monk," "Ask Me Now," and "'Round Midnight." Bud Powell, another piano legend whose music Corea has recorded and studied closely over the years, is represented by "Dusk in Sandi" and "Oblivion." The more universally familiar selections are "But Beautiful," "Thinking of You," "Yesterdays," "It Could Happen to You," "So in Love," "How Deep Is the Ocean," and "Brazil." Corea knows this music intimately and is uniquely able to mine each selection for fresh insights and possibilities. There are few pianists alive who equal Corea in stature and influence, and this beautiful concert recording reminds us of his continuing importance as an interpreter of jazz tradition. ~ David R. Adler, All Music Guide |
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