Artist: John Fahey
     Album: Death Chants, Breakdowns, and Military Waltzes
     Label: Takoma
     Year: 1963
     Format/bitrate: mp3 / 320 kbs
     Size: 85,2 MB

     Джон Фэй - один из моих любимых музыкантов, но найти его альбомы, а тем более собрать его обширную дискографию довольно таки проблематично. Какой-то промежуток времени, мне пришлось перекапывать просторы интернета - как результат - около двух десятков альбомов накопилось в моей коллекции. К сожалению, ни в lossless формате, а тем более фирменных дисков у меня нет. Но это не беда, ибо "вкусить" прекрасной музыки, хоть и в мп3 - возможно. По мере возможности, буду выкладывать все альбомы этого интереснейшего гитариста, которые у меня имеются. Вот один из них.

     Fahey recorded two entirely different versions of this record: one issued in 1963 and one mostly of re-recordings in 1967. The CD reissue of Death Chants, Breakdowns and Military Waltzes does Fahey fans a massive favor by combining both versions onto one disc. Preceded only by the super-rare original version of Blind Joe Death, the 1963 LP of Death Chants was the first Fahey album to gain reasonably wide distribution. It's a work that beautifully displays both Fahey's virtuosity on folk and blues guitar and a distinct composing voice that draws much from folk and blues traditions, but is not quite part of either school. Fahey's gift for making music that's tranquil and evocative, but also with enough odd angularity and minor melody to give it depth and ambiguity, is evident right from the start, and heard to best advantage on "When the Springtime Comes Again," "Some Summer Day," and the epic "America." Even on the pieces with more straight blues connections, Fahey achieves a full and reverberant quality that sets it off not just from the average country blues revivalists of the period, but from vintage country blues itself. He takes a journey into the avant-garde with "The Downfall of the Adelphi Rolling Grist Mill," a creepy duet with flute player Nancy McLean. On the re-recorded versions that comprised most of the 1967 version of Death Chants, the fidelity is clearer, and having improved his technique Fahey probably felt more satisfied with these renditions. But as often happens on remakes, it must be said that the originals have an intangibly more affecting, more mysterious quality that does not come through as strongly on the more carefully executed rehauls.
    ~ Richie Unterberger, AMG

     Artist: Paul Bley
     Album: Mr. Joy
     Label: Trip Jazz LP TLP 5587 (reissue of Limelight LP)
     Year: 1968
     Format, bitrate: mp3, 320 kbps
     Time: 41:32
     Size: 95.2 MB
     AMG Rating:

   My first posting here, a much-loved album from my own jazz blog. Apologies for any errors as I familiarize myself with the process.
   A caveat up front: this is ripped not from the original Limelight LP, but from a mid-1970's Trip reissue, which, like everything else I ever heard from that fly-by-night label (a division of Springboard International, Rahway, NJ) suffers from a lousy transfer from the original source and an even worse pressing. This half-hearted venture only makes me hungrier for a decently remastered reissue of this superb date.
   No, wait -- that's not true. This is way better than nothing at all. Listen and see.
   I ripped this some months ago and then waffled about offering it to the world until I read on another blog about the affordable virtues of a program called Click Repair, and, now, lo, I offer you this relatively without shame. Note that side one has not been split into individual tracks (hey, I've got a life, you know?). Yes, yes, you'll get all seven tracks, but you'll download only five files. As far as I've been able to determine, no one else anywhere has upped this yet, so be grateful for what you get.

     Artist: Koko Taylor
     Album: Queen of the Blues
     Year: 1975
     Release: 1990
     Label: Alligator Records
     Format, bitrate: MP3, 320 kbps, FLAC
     Size: 84.3 MB

REPOST with aditional links for lossless from Mr. pal47

   Generally speaking, nobody but nobody should attempt to cover Chester Burnett, the mighty Howlin' Wolf. But the tough and gritty rendition of Wolf's "Evil" which opens this set shows that it can be done, and it is no surprise that it is Koko Taylor who comes as close as anyone to making one of Wolf's songs her own.
   You can pick up any of Koko Taylor's Alligator albums and expect a good time, and this is not the least of them.
   1985's "Queen of the Blues" anticipated a trend, if you will, featuring numerous guest stars. Frank "Son" Seals, Albert Collins and Lonnie Brooks play guitar on one song each, and they're all terrific, and harpist James Cotton lends his considerable talents to "Queen Bee" and the aforementioned Howlin' Wolf-cover.
   But Taylor's regular combo is just as good, actually. Her excellent lead guitarist and occational producer Criss Johnson has delivered the goods for 35 years now, the rhythm section of Johnny B. Gayden and Ray Allison is rock-solid, and the late "Professor" Eddie Lusk plays terrific blues-n-boogie piano on songs like "Flamin' Mamie", the swinging "Beer Bottle Boogie" and the slow burner "I Cried Like A Baby". . . .

    Artist: Various Artists
    Album: Blue Note A Story Of Jazz: Round Midnight Vol.3 (3cd compilation)
    Label: EMI Italy
    Release: 2008
    Format, bitrate: Mp3, 320 kb/s
    Time: 3:13:43
    Size: 454 Mb (full covers)
    Bubu's Rating: ****


      DEDICATED TO MISS ZUZIKI!


   A wonderful and most rewarding musical jazz trip through the most popular songs of the 60s and 70s, taken by celebrated Blue Note artists and more. You’ll find here songs composed by The Beatles, The Doors, Pink Floyd, Bee Gees, Carole King, Mamas & Papas, Crosby, Stills, Nash & Young, Cream, Sting, Hendrix, a.s.o. played in a very    tasteful, professional    and attractive jazz transcription and interpretation. The choice of artists is very diverse and the recordings span in time over four decades and are taken mainly from the Blue Note Records catalogue and from other record companies like EMI, Capitol, etc.
If you have a problem with someone who loves music generally and pretends not enjoying jazz, this is the perfect place to start from. Also a very good present to anyone in any case.
            Just sit back, relax, listen and enjoy. - Bubu Hans

     Artist: N.P.G. (New Power Generation) Orchestra
     Album: Kamasutra
     Year: 1995
     Release: 1998
     Label: NPG Records
     Format, bitrate: MP3, 192 kb/s
     Size: 56 MB
     Time: 41:03

     ...Kamasutra is an instrumental album by The NPG Orchestra released in 1998, a pseudonym of Prince. The album was written to be played during Prince's wedding to Mayte in 1996. All the tracks are instrumentals, ranging from classical music, jazz and experimentations with various sounds. For example, the track "Cutz" uses the sound of scissors snipping as its basis. One of the tracks, "The Plan" was previewed in an excerpt on the 1996 3-CD set Emancipation...
   Boxxet.com

     Artist: Milt Jackson
     Album: The Prophet Speaks
     Label: Quest Records (9 45591-2)
     Year: 1994
     Format, bitrate: mp3, 320 kbps
     Time: 01:13:16
     Size: 95,8 MB + 60,5 MB
     AMG Rating:



     48 years after he first made a major impression on a Dizzy Gillespie recording date, vibraphonist Milt Jackson proves that he was still at the top of his form on this CD. The straight-ahead date finds his quartet (with pianist Cedar Walton, bassist John Clayton and drummer Billy Higgins) welcoming guests Joshua Redman (whose tenor is on six of the dozen selections) and singer Joe Williams, who helps out on three songs. Redman easily fits into the role that other tenors such as Teddy Edwards and Jimmy Heath have had with Jackson, taking concise solos while allowing the great vibist to be the lead in most of the ensembles. Joe Williams is fine during his three spots, but it is the apparently ageless Milt Jackson who is the main star during this enjoyable set.
   -Scott Yanow

     Artist: Gennady Golshtein, David Goloschekin, Jana Radion, St.Petersburg's Saxophones
     Album: Doomed To Be Happy
     Film Director: Jury Zanin
     Year: 2007
     Time: 83:11 + 82:08
     Format: AVI
     Size: 2,05Gb + 2,05Gb


     Хочу поделиться с Вами сокровищем. Я не про этот замечательный, с душой снятый фильм режиссера Юрия Занина, а про чудеснейшую музыку и аранжировки Геннадия Львовича Гольштейна, про великолепное исполнение этих мелодий блестящими музыкантами, про сказочную атмосферу концертов уникального оркестра "Саксофоны Санкт-Петербурга", которую невозможно передать никакими средствами...

     Artist: Dusko Goykovich
     Album: Bebop City
     Label: Enya
     Release: 1995
     Format, bitrate: mp3, 320 kbit/s
     Size: 97 + 56 MB
     AMG Rating:



     Отличный альбом, о музыке которого лучше всего говорит его название...

     Artist - Charles Mingus
     Album - Tijuana Moods (with bonus disk)
     Label - RCA Victor
     Year - 1957, release - 2001
     Quality - MP3@320 kbps
     Size - 134 mb
     Total time - 95:41
     AMG Rating :

     Inspired by a trip to Tijuana, Tijuana Moods was recorded in 1957 but was sat on by RCA until its release in 1962. Bassist/composer Charles Mingus at the time said that this was his greatest recording, and it certainly ranks near the top. The original version (which was usually edited together from a few different takes) consisted of just five performances. In the '80s, it doubled in size with the release of two versions of each of the songs. In 2001, it reappeared as a double CD with 22 performances and also as a 12-track edition from RCA Victor. It has often been said that Mingus forced and pressured his sidemen to play above their potential, and that is certainly true of this project. Altoist Shafi Hadi (who doubles on tenor) is in blazing form on "Ysabel's Table Dance," while trumpeter Clarence Shaw (who was praised by Mingus for his short lyrical solo on "Flamingo") sounds quite haunting on "Los Mariachis." Trombonist Jimmy Knepper and drummer Dannie Richmond made other great recordings, but they are in particularly superior form throughout this session, as is the obscure pianist Bill Triglia. Completing the band is Ysabel Morel on vocals and Frankie Dunlop on castanets. While "Dizzy's Moods" is based on "Woody'N You," and "Flamingo" is given a fresh treatment, the other three songs are quite original, with "Tijuana Gift Shop" having a catchy, dissonant riff that sticks in one's mind. The passionate playing, exciting ensembles, and high-quality compositions make this a real gem. This stirring music belongs in every jazz collection, for it does represent one of Charles Mingus' finest hours. [The LP was re-released with bonus tracks in 2001.]

     Artist: Paquito D'Rivera
     Album: Havana Cafe
     Label: Chesky Records
     Year: 1992
     Format, bitrate: MP3@320
     Time: 58:36
     Size: 114MB
     AMG Rating:

     "Havana Cafe" was my introduction to Paquito D'Rivera's music in a small band setting. On this set D'Rivera plays alto and soprano sax, plus clarinet backed up by piano, guitar, bass, drums and percussion. The title track by musical director Danilo Perez opens the recording with a funky riff from the low end of the piano before breaking into a bright and upbeat melody; D'Rivera's alto sax solo is appropriately buoyant throughout. Guitarist Ed Cherry contributes "Jean Pauline", a smoothly grooving cha cha, and guitarist Fareed Haque brings his own "The Search", an exploratory piece of music. Two short tracks show off D'Rivera's considerable compositional skills: "Improvalsation", a duet for acoustic guitar and clarinet, and "Contradanza", a solo clarinet piece. These two works blur the lines between jazz, Latin and chamber music so effectively that trying to classify the them into any genre is futile. The highlight of "Havana Cafe" is the track "Who's Smoking?" a quick-paced bop number written by D'Rivera and featuring some excellent soloing from Ed Cherry. Although "Who's Smoking?" is dedicated to James Moody, D'Rivera is the one doing the smoking - his alto work on this track is, well, smoking. This is a killer set.
    ~ Amazon.com

     Artist: Gary Burton & Chick Corea
     Album: Lyric Suite For Sextet
     Label: ECM
     Year: 1982
     Format, bitrate: Mp3, 160 kb/s
     Time: 39:34
     Size: 45,4 Mb

     Lyric Suite for Sextet reunites the Grammy-winning duo of vibraphonist Gary Burton and pianist Chick Corea, augmented this time by a string quartet. There's no denying the pair's technical proficiency creates some sparks, but the suite's abstruse melodies and discursive arrangements are daunting to follow. Like trying to catch a butterfly without a net, the opening "Overture" alights before listeners can pin it down, and what remains is a sensation of something sophisticated but ultimately elusive. The remaining sections are more spectres than songs, unwilling or unable to take a concrete form. A notable exception is "Brasilia," not coincidentally the one piece that favors melody over mathematics. Here and on "Dream" the strings are often out of the mix, allowing Burton and Corea to continue the relationship begun on albums like Duet. Similar to Frank Zappa's Jazz From Hell (which won a Grammy of its own in 1987, albeit in the rock category), Lyric Suite for Sextet may be too smart for its own good. No doubt Corea's work looked great on paper, but in performance it suggests the soundtrack to a PBS murder mystery (the apprehensive melodies and bittersweet subject matter are the main culprits here). If you enjoy jazz/classical hybrids, which are by their nature intellectual pursuits, than this music should pique your interest. However, better to think of this as a duet with some string support than a sextet of equal partners.
   ~ Dave Connolly, AMG

     Artists: Gary Burton & Chick Corea
     Album: In Concert Zurich October 28, 1979
     Label: ECM
     Year: 1979
     Format, bitrate: Mp3, 256 kb/s vbr
     Time: 1:01:16
     Size: 95,1 Mb (full covers)
     AMG Rating:

     During Chick Corea's freelance period after Return to Forever broke up and before he formed his Elektric Band, the pianist collaborated with many of his favorite musicians. This two-LP set contains eight duets with vibraphonist Gary Burton (highlighted by "Senor Mouse," "Bud Powell" and a remake of "Crystal Silence") along with one solo performance apiece by the two masterful musicians. The music is often introspective, but there are some exciting moments.
   ~ Scott Yanow, AMG

          Artist: Erroll Garner
          Album: I'm In The Mood For Love
          Label: Dreyfus
          Release: 2003
          Format/Bitrate: MP3/320
          Size: 149 MB

                 

     Artist: Booker Ervin
     Album: Freedom Book
     Label: Prestige/OJC
     Year: 1963
     Format: FLAC
     Size: 236MB
     Time: 39:43
     AMG Rating:

     In some ways tenor saxophonist Booker Ervin was the archetypal jazz player for the post-bop 1960s, combining the tradition of Texas sax with just the hint of edgy modernism, a sort of the Delta-meets-Morocco sound so accessible that it is easy to miss the chances Ervin took with his music. Although his career was short (cancer claimed him in the summer of 1970 when he was just shy of his 40th birthday), Ervin still managed to record some 20 albums as a frontman, most notably his "book" series, The Song Book, The Blues Book, The Space Book, and this fine session, The Freedom Book, which finds him working with a rhythm section of Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums. Recorded on December 3, 1963, The Freedom Book is a near perfect set of modern hard bop, ranging just far enough out there to feel fresh but retaining a strong lifeline to bop tradition. Highlights of the session include an impressive Ervin original, "A Lunar Tune," a fine version of Randy Weston's "Cry Me Not," the deliberately strident "Al's In," and another Ervin composition, the moving "A Day to Mourn," an emotionally charged ballad written after the assassination of JFK.ballad written after the assassination of JFK. [A bonus track, an interesting and brief treatment of Victor Young's "Stella by Starlight," a piece strongly associated with Charlie Parker, that was recorded at the Freedom Book session but originally released on the album Groovin' High, is included on the 2007 edition, further capping off a wonderful album.]
    ~ Steve Leggett, AMG