Artist: Willie Bobo
     Album: Bobo Motion
     Year: 1967 (2008)
     Label: Verve
     Format, bitrate: MP3@320kbit/s; FLAC
     Time: 26:07
     Size: 58.3MB; 156 mb



   Timbale titan Willie Bobo, who had worked with Mongo Santamaria and Cal Tjader before going solo, is best known for mid-1960s classics such as "Spanish Grease," where he served up Latin jazz and funky grooves that would be hailed as "acid jazz "inspirations decades later. BOBO MOTION, originally released on Verve in 1967 when Bobo was at his peak, is very much in the vein of his best-known material. Laying into jazz versions of everything from Santana's "Evil Ways" to the Ritchie Valens hit "La Bamba" with sly syncopation and appropriately greasy grooves, Bobo stirs up a percolating pot of percussion-led tracks, and even does a little singing along the way.
   Cduniverse.com

   Artists: Muddy Waters, Johnny Winter, James Cotton
   Album: Breakin' It Up & Breakin' It Down
   Label: Legacy Recordings
   Release: 2007
   Format, bitrate: mp3, 224 kbps
   Time: 59 min
   Size: 95.2 MB


   In March 1977, Muddy Waters, Johnny Winter, and James Cotton did a concert tour together in support of Waters' then-recent Hard Again LP, on which Winter had played guitar (as well as produced) and Cotton had played harmonica. This CD, not released until about 30 years later, has an hour of music drawn from three different shows on the tour. It might have been spurred by a Muddy Waters album, but in fact Waters, Winter, and Cotton all took vocals sometimes alone, and sometimes on the same song on stage, and these 11 songs feature the vocals of each of the three in about equal measure. Often these kind of touring combinations are too many cooks in the kitchen, or, if not quite that, at least more fun to attend than to listen to on tape. The latter could be said of the material on this disc, which is really just okay, not great, and not even among the best recordings that have been issued of Waters in the mid-'70s. It's still solid and decent, including some Waters classics ("Can't Be Satisfied," "Got My Mojo Workin'," "Trouble No More"), Cotton originals, and covers of staples by Jackie Brenston ("Rocket 88"), John Lee Hooker ("I Done Got Over It"), J.B. Lenoir ("Mama Talk to Your Daughter"), Lowell Fulson ("Love Her with a Feeling"), and Elmore James ("Dust My Broom"), as well as the famed jump blues "Caledonia." It's undeniable, however, that Waters was, even at this relatively advanced age, by far the most commanding singer of the trio. The songs on which his vocals are prominent (especially "Can't Be Satisfied" and "Trouble No More") kind of dwarf the ones on which his singing is absent or secondary, making the cuts that emphasize Cotton and Winter seem rather workmanlike in comparison. Nevertheless, the sound is good, and the band filled out competently with sidemen (particularly Pinetop Perkins on piano), making this a satisfactory listen for serious blues collectors, though a little superfluous for most fans.
   ~ Richie Unterberger, AMG

   Artist: Miles Davis & John Coltrane
   Album: Konserthuset, Stockholm, March 22, 1960
   Label: Giants Of Jazz
   Year: 1960
   Time: 70:49
   Format: FLAC
   Size: (95.78 x 4)+59MB (Covers)

    Artist: Various Artists
    Album: Round Midnight - Part Two
    Label: bootleg
    Year: 1954 - 2008
    Release: 2009
    Format bitrate: Mp3, 192 kb/s
    Time: 17:20:34
    Size: 1,61 Gb
    Bubu's Rating:

   One month ago, when I started this project dedicated to the most famous song in the Jazz Universe, Thelonious Monk’s ”Round Midnight”, consisting in evaluating and gathering as many as possible versions of this song with different artists, at All Music Guide were listed 2195 renditions. Now they are 2217. This shows how popular this song is among listeners and how challenging for the artists is, that makes them to interpret and record it over and over again. Due to the interest shown in the club to the first part of this project, 42 visitors in two weeks, I decided to come up with a second part, this time being concentrated on artists that boarded this song and not so much on variants (due to the immensity of the material available). I also want to mention that, during the process of searching some versions with important artists, that were missing from my collection, I rediscovered the great interest of the artists for Monk’s repertoire. There must be thousands of albums with interpretation of Thelonious Sphere Monk’s compositions. It would take a lifetime only to search and gather them, to try to listen to them would be impossible,
   The second part of Round Midnight collections comprises 171 versions of the song with 160 different artists from all kinds genres and styles of music: from jazz to blues, rock, pop a.s.o. (these interpretations are all different from the first part of the collection)
   If you find this collection interesting and you want some more information and some more tracks, you can access the first part of the collection HERE
   Bubu’s wishing you a pleasant audition and HATTS OFF TO THE GREAT MONK!

    Artist: John Mayall
    Album: Blues For The Lost Days
    Label: Jive Records
    Year: 1997
    Format, bitrate: Mp3, 320 kb/s
    Time: 51:01
    Size: 123 Mb (full covers)

   Blues for the Lost boasts an intriguing concept, as it captures John Mayall reminiscing about all the friends, family, heroes, lovers, and places he has loved and lost over the years. The album is startling in its unvarnished autobiographical approach, but the concept doesn't work nearly as well as it should. Most of Mayall's songs meander into mawkish nostalgia, and the laid-back, cool blues never makes such sentiments compelling. Lead guitarist Buddy Whittington contributes a few good solos, but most of the record is sadly unengaging.
   Thom Owens, AMG

ФИАЛКИ по СРЕДАМ (выпуск двадцать четвёртый)

     Artist: Sergio & Eduardo Abreu
     Album: Os Violoes de Sergio & Eduardo Abreu
     Label: CBS
     Year: 1971
     Format, bitrate: mp3, 320 kbps
     Time: 47 min, 46 sec
     Size: 114 mb.

        Итак, друзья мои, снова наступила пора послушать классическую музыку.
   Мой сегодняшний пост адресован всем, кому понравился предыдущий выпуск "фиалок..." Для Вас опять играют братья Абреу. На этот раз Вашему вниманию представляются произведения различных композиторов - от Иоганна Себастьяна Баха до Мануэля де Фальи.
   Итак...

     Artists: VA
     Album: More Crucial Guitar Blues
     Label: Alligator Records
     Year: 2007
     Format, bitrate: mp3, 320 kb/s
     Size: 105 mb
     Time: 47:13



     A sampler of artists who have done work for Alligator Records, More Crucial Guitar Blues is brimming with more roaring blues guitar leads than you can shake a stick at, although whether any of them is truly "crucial" in the long run could be a matter of debate. This set cooks, though, from start to finish, with Michael Burks' "One More Chance," Albert Collins' "Get to Gettin'," Long John Hunter's funky "Stop What You're Doing" and W.C. Clark's skipping and gleeful "Okie Dokee Stomp" being particular highlights.
    ~ Steve Leggett, All Music Guide

    Artist: John Mayall
    Album: Stories
    Label: Red Int / Red Ink
    Year: 2002
    Format, bitrate: Mp3, 320kb/s
    Time: 1:07:21
    Size: 129 Mb (full covers)
    AMG Rating:

   John Mayall, 69 years of age at the time of this recording, is at the very least irrepressible. He and his many versions of the Bluesbreakers have hit the road every year for decades, and the five years leading up to the release of Stories offer a flurry of activity that hasn't been seen from him since the 1970s. The Bluesbreakers lineup here has been with him since Spinning Coin, and includes Joe Yuele on drums, guitarist Buddy Whittington, Hank Van Sickle on bass, and Tom Canning on keyboards. Like the young hip-hop kids who self reference ubiquitously, Mayall writes more songs about blues music or playing the blues than virtually any musician in history, and Stories seems to be a series of narrative songs that are, for the most part, about various blues giants of the past, such as a reminiscence about seeing Little Walter in "Southside Story" or a paean to Leadbelly in "Oh, Leadbelly," various blues myths such as "I Thought I Heard the Devil" and "The Witching Hour," or exhortations for young people to take up the blues mantle ("Kids Got the Blues"). There are other tracks, however, like the excellent political minor-key shuffle "Dirty Water" — no, not that one. The best track on the album is a country-style Bo Diddley shuffle called "Feels Just Like Home," the only love song on the record and it's a stunner. The production is crisp, perhaps a little too, and the playing is inspired. Mayall's harmonica playing is as fine as ever, and if there is one complaint about the last few records, it's the overplaying of Whittington, who is a stunning guitar player in the modern style. Mayall reins him in a bit here (though not enough) and as a result the songs — because Mayall is a fine writer — come shining through the instrumental prowess. This is a worthy inclusion in one of the most prolific and consistent catalogs in blues-rock history.
    ~ Thom Jurek, AMG

     Artist: Junko Onishi Trio
     Album: Play, Piano, Play
     Label: Somethin' Else TOCJ 5583
     Year: 1996
     Format, bitrate: FLAC & MP3@320
     Size: 390 MB & 139 MB
     Time: 61:50


     Junko Onishi (大西 順子 ,Onishi Junko?, born April 16, 1967 in Kyoto) is a Japanese jazz pianist; she plays in the post-bop genre.
     After studying at Berklee she moved to New York City, where she played with Joe Henderson, Betty Carter, Kenny Garrett, and Mingus Dynasty. She has also worked with Jackie McLean, Holly Cole, and Billy Higgins, among many others, and recorded eight CDs for Blue Note as a leader.
     Although she lists Duke Ellington, Thelonious Monk, and Ornette Coleman as her primary influences, her playing is also reminiscent of McCoy Tyner and contemporaries such as Kenny Kirkland and Mulgrew Miller (check out her solo on "Ja-Hed" from "Live at the Blue Note Tokyo" with alto saxophonist Kenny Garrett).
     She appears in the 1997 documentary Blue Note: A Story Of Modern Jazz playing the song "Trinity" ("Quick") from her album Play, Piano, Play: Junko Onishi Trio in Europe.
   Wikipedia.org

     Artist: Tsuyoshi Yamamoto Trio
     Album: Misty
     Label: Three Blind Mice, Japan
     Year: 1974
     Format, bitrate: mp3, 128 kbps
     Size: 104 MB

     Imagine yourself listening to a piano trio, alone in the middle of the night as you sip your favorite drink Tsuyoshi Yamamoto Trio offers just such a mood. Yamamoto is highly musical and his expressions natural, neither overly technical nor overly serious, and his performance is relaxed and melodious. This album, now on SACD, is his second, after the debut of "Midnight Sugar" FIM 35, and it won the "Best Engineering Award" from the Jazz Disk Awards in 1974 when it was originally released on TBM Records, one of Japan's oldest and most prestigious jazz labels.
   WorldsRecords

     Artists - VA
     Album - Conception
     Label - OJC/Prestige
     Years: 1949-1951, release - 1992
     Quality - MP3@320 kbps
     Size - 83,3 mb
     Total time - 39:33


     A unique all-star set recorded in various combinations between 1949 and 1951, Conception is an underappreciated masterpiece of cerebral cool jazz. Although Miles Davis gets top billing, he appears on only half the album and then most often as a sideman with only occasional solos. Saxophonists Lee Konitz, Stan Getz, and Gerry Mulligan are the true stars of the album, with Konitz particularly shining. His two duets with guitarist Billy Bauer, a relaxed take on Victor Herbert's standard "Indian Summer" and his own "Duet for Saxophone and Guitar," are outstanding examples of cool jazz as the term was originally understood before it came to signify new age-leaning elevator music; Konitz's solos in "Indian Summer" disassemble the melody entirely while remaining accessibly tonal, and Bauer's filigree guitar lines stay clear of the uninspired comping of so many jazz guitarists while never sounding overly busy. Of the full-band pieces, Davis' solo spotlight on George Shearing's "Conception" finds the trumpeter in transition from the still soundscapes of the Birth of the Cool sessions to the more aggressive playing of his Riverside sets, and Stan Getz's two showcases, the originals "Prezervation" and "Intoit," feature the saxophonist in his early role as a committed Lester Young disciple, fronting a solid rhythm trio featuring the underrated pianist Al Haig. An excellent album featuring some outstanding and varied tracks, Conception is well worth seeking out.

     Artist: Walter Trout
     Album: Livin' Every Day
     Label: Ruf
     Year: 1999
     Format, bitrate: MP3, 320 kb/s
     Size: 158 m

REPOST with new links from Mr. pakospain

     "Living Every Day" is Walter Trout's (whom the BBC elected as the world 6th best guitar player) worldwide debut album on RUF RECORDS. His worldwide label-change to RUF was the consequence of the success of his last album, wich was his first release on RUF and his first official US-release: Walter Trout took his native country by storm. The L.A. Times comments: "Trout continues to set standarts". Walter Trout: "It was a great motivation to work on a new album that will be released and promoted worldwide. Especially the reactions that we had on our recent American tour was a dream-come-true. I think I wrote some of my strongest (and most personal) songs to date". Beside his superior guitar work - Walter's trademark - "Livin' Every Day" stands out against Walter's previous albums with the very personal lyrics (all printed in the booklet).
   Release Notes

     Artist: Stan Getz
     Album: Jazz Samba Avec Astrud & Joao Gilberto
     Year: 1994
     Release: 1998
     Label: Verve
     Format, bitrate: mp3, 320 kb/s
     Size: 150MB
  

     Artist: Miles Davis
     Album: Miles in Berlin
     Label: SONY
     Year: 1964
     Release: 2005
     Format, bitrate: mp3, 320kb/s
     Size: 119MB
     AMG Rating:

     Recorded live in Germany at the Berlin Philharmonic, Miles in Berlin represents the first recording of trumpeter Miles Davis with tenor saxophonist Wayne Shorter. For various reasons, saxophonists George Coleman and Sam Rivers had both come and gone as members of Davis' band. With the addition of Shorter in 1964, Davis had found the lineup of musicians that he would stick with until 1968 and produce some of the most influential albums of his career -- collected on The Miles Davis Quintet, 1965-68: The Complete Columbia Studio. Eventually known as the "second great quintet," most of the players here, including pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams, had been with Davis for just under a year. In that time, they had taken his traditional repertoire of standards and originals and reworked them with a more adventurous, edgy approach that flirted with the avant-garde. While there isn't a huge difference in the sound of this band or choice of songs from the group that recorded Seven Steps to Heaven or Miles Davis in Europe, there is a palpable sense of creative abandon in Davis' performance as well as synergy to the group sound that seems to foreshadow the innovative music to come.
   ~ Matt Collar, AMG