Artists: Zoot Sims & Eddie "Lockjaw" Davis
     Album: The Tenor Giants Featuring Oscar Peterson
     Year: 1975
     Label: Pablo
     Format, bitrate: MP3@320 kbit/s
     Time: 57:48
     Size: 132 MB

     Вечерняя прогулка по Европе вместе с Oscar Peterson, Zoot Sims & Eddie "Lockjaw" Davis. Niels Pedersen и Louie Bellson также присоединятся к этой весёлой компании. Франция, Швейцария, Германия, Бельгия, Швеция...

     Artist: Ralph Towner
     Album: Blue Sun
     Label: EMC
     Year: 1982
     Release: Feb 27, 2001
     Format, bitrate: MP4 - Apple Lossless
     Time: 46min
     Size: 220Mb




This record (along with "Solo Concert") is Ralph's musical highpoint, in an impressive career as a jazz guitarist. Blue Sun is not really jazz, at least not as I understand the term. It is more like the composed works of Pat Metheny (Secret Story) or Steve Tibbetts (Safe Journey) without the percussion. This record sounds like a series of duets between guitar and synthesizer/horn. Playful and melodic on most tracks, it also moves into a quiet, reflective place where single notes seem to fall into a pool of deep silence. ~ Blue Sun (Audio CD)

     Artist: Blue Man Group
     Album: The Complex
     Label: Lava/Atlantic
     Year: 2003
     Format, bitrate - mp3, 320 kb/s
     Size: 106 mb
     AMG rating


After devoting more than 15 years to building their unique fusion of edgy performance and advanced yet home-brewed technologies, the Blue Man Group moves aggressively toward the mainstream with The Complex. "Mainstream" is, of course, a flexible notion, so what passes as commercial for these guys is a lot more adventurous than most of the era's ear candy. These tracks adhere to clear song structures, with guest vocalists singing actual lyrics on original as well as cover material; a zombie-like cameo by Dave Matthews on "Sing Along" offers the wryest surprises. But an unmistakable imprint endures in the eclectic sonic references and, above all, thundering stage-oriented rhythms. The core members of the group play traditional instruments -- in this case, ranging from standard-issue electric guitar to Hungarian cimbalom, heard most clearly in the opening seconds of "Above" -- as well as their invented gear whose contributions to the din are, frankly, neither critical nor easy to discern. On their version of the disco classic "I Feel Love," for instance, the 16th-note pulse created via sequencer for the Donna Summer original is mimicked by the device they call the Tube, giving rise to the question of whether using something new to do what someone else did with old stuff 20-plus years earlier is worth the effort. But this is, of course, beside the point: Although its inspirations, musical and conceptual, trace as far back as Kraftwerk, The Complex serves as a reminder that modern devices and glistening production values can be applied to the most primal creative instincts, if utilized by the right blue hands. ~ Robert L. Doerschuk, All Music Guide

     Artist: Drums and Tuba
     Album: Box Fetish
     Label: T.E.C. Tones
     Year: 1996
     Format, bitrate: mp3, 192 kb/s
     Size: 62.87 mb
     Time: 46:53

     Как-то очень давно я, просматривая видео на You Tube, наткнулся на очень необычного тубиста, который показывал как он с помощью аналоговых и цифровых примочек создает один целые композиции в реальном времени. Я и раньше видел воочию такие фокусы, так как мне посчастливилось участвовать в одном фестивальном турне по России с удивительным скрипачом Дидье Локвудом. Он ОДИН, без ансамбля и "минусовок" творил на сцене фантастические композиции, опять же с помощью аналогово-цифровых преобразователей. У него в арсенале был целый чемодан "примочек" с которыми он лихо справлялся.
     Так вот, вернусь к Брайану Вольфу. Этот тубист из США, демонстрировал свой видео курс, как можно с помощью "примочек" создать композицию, не записывая заранее "минусовку". Это повергло меня в восторг и параллельно в ступор. Один в поле не воин - подумал я.
И действительно... Брайан Вольф является несменным участником неординарного проекта Drums and Tuba (США), правда с ними еще и гитарист играет, но барабаны и туба - это костяк этого проекта. Пришлось поискать хотя бы один альбом, для полного восприятия этого жанра, электро-прогрессивный рок и иногда индастрил. Я нашел альбом 2001 Vinyl Killer. ...

     Artist: Drums and Tuba
     Album: Vinyl Killer
     Label: Righteous Babe
     Year: 2001
     Format, bitrate: mp3 192 kb/s
     Size: 79.19 mb
     Time: 58:45

     Brian Wolff - оригинальный тубист. На этой записи он в составе ТРИО, а вообще этот фантастический тубист, использует ряд цифровы преобразователей, лупов, октаверов для тубы. Тубист необычный - на любителя.

     Flavoring their respective instruments with liberal amounts of electronic effects, loops, and delays, the New York City trio Drums & Tuba creates an instrumental palette of sounds that includes funk, fusion, rock, ambient, and other modern dance strains. As on previous works, the group in no way limits itself to traditional styles of arrangement. This freedom is what allows the band (joined by keyboardists Manny Handerson and Things Fingerton on occasion) to stretch out and cover an impressive amount of ground across 13 tracks (and they could have gone even further). Drummer Tony Nozero sets up the moody, whirling "Topolino" with looped rim shots that sound vaguely North African. Brian Wolff lays gentle tuba and trumpet over top, yielding the set's finest and most serene composition. Guitarist Neal McKeeby shines on "The Sauce Maker," playing a simple, yet effective slide melody over his own chords that comes off as a sort of post-rock version of Santo & Johnny's "Sleepwalk." The group can riff on James Brown and Morcheeba with equal ease. A light-handed production by vocal supporter Ani DiFranco and Andrew "Goat Boy" Gilchrist ensures that Vinyl Killer's charms and oddities shine through clearly. ~ John Duffy, All Music Guide

     Artists: Benny Carter & Dizzy Gilespie
     Album: Benny Carter,Dizzy Gillespie, Inc
     Recording: April 27, 1976
     Label: Original Jazz Classics
     Releases 1992
     Format, bitrate: mp3@320 kbit/s
     Time: 51:57
     Size: 120 MB



Although they were from different musical generations (Benny Carter was born ten years before Dizzy Gillespie), it is little wonder that the swing altoist and the bop trumpeter could match up so well on this sextet session; they were quite compatible. Surprisingly, the material they chose to perform could have been better (there is only one Carter composition among the six songs) but on "Broadway" and "A Night in Tunisia," the two veteran hornmen (along with pianist Tommy Flanagan and guitarist Joe Pass) sound at their best. ~ Scott Yanow, All Music Guide

     Artist: Larry Young
     Album: Mother Ship
     Label: Blue Note
     Year: 1969
     Release: 1980
     Format, bitrate: MP3, 192kb/s
     Time: 41:17
     Size: 61MB
     AMG Rating:




     Organist Larry Young's final Blue Note album, Mother Ship, was not released until 1980. Teamed up with tenor saxophonist Herbert Morgan, the great trumpeter Lee Morgan, and drummer Eddie Gladden, Young performs five of his originals, which range from the funky "Street Scene" and the samba "Love Drops" to a spacy "Trip Merchant" and the complex "Visions." This highly original set does not deserve to be so obscure.      ~ Scott Yanow, All Music Guide

     Artist: Les McCann
     Album: Plays The Truth
     Label: Pacific Jazz
     Year: 1960
     Format: MP3, bitrate: 320 kb/s (vinyl rip)
     Time: 39:45
     Size: 87 Mb

LES McCANN'S DEBUT ALBUM. 'NUFF SAID.

     Artist: Bobby Hutcherson
     Album: Components
     Year: rec. June 14, 1965/rel.1994
     Label: Blue Note Japan, Limited Edition
     Format: MP3@320 Kb/s
     Genre:Jazz/Modal Music/Post-Bop
     Time: 41:09
     Size: 88.4 Mb

     



This is part of Blue Note's Limited Edition Connoisseur series.

Bobby Hutcherson's COMPONENTS is essentially two distinctly separate discs in one. The first half of the session is a very traditional hardbop date that showcases Hutcherson's inventive compositions with masterful solos from he and his men. The second half is made up of four compositions from frequent Hutcherson sideman, drummer Joe Chambers. These pieces are full-fledged avant-garde works featuring dramatic group improvisation and grand swathes of color and texture. In all, these two juxtaposed styles offer the listener a highly enjoyable aural experience.
Chambers is featured prominently on the punchy title track and starts the first half of the session with a bang. The graceful ballad "Tranquility" follows with a deeply passionate solo from Hutcherson and delicate work from pianist Herbie Hancock. The familiar Hutcherson composition, "Little B's Poem," is also included and is given a spirited reading here. After the bluesy "West 22nd Street Theme," the second half begins with Chambers' mysterious "Movement," a swirling epic featuring orchestral percussion and colorful work by James Spaulding on flute. "Juba Dance" and "Air" also feature colorful dissonance and creative free improvisation by all. The final "Pastoral," however, is a beautiful vibraphone feature that lives up to its bucolic title.

     Artist: Herbie Hancock
     Album: Colecao Folha: Classicos do Jazz Vol. 2
     Label: Mediafashion
     Release: 30-09-2007
     Genre: Jazz, Fusion, Modal Jazz
     Format, bitrate: MP3/VBR
     Time: 0.48:00
     Size: 69.3 Mb

     Второй диск из серии "Colecao Folha: Classicos do Jazz"

     The collection, published by the Brazilian newspaper Folha de Sao Paulo from Sep 30th, 2007 to Feb 3rd, 2008, consists on 20 books (which tell the story of the featured artists), plus 20 CD (re-released albums or compilations).

     Artist: Nat King Cole
     Album: Colecao Folha: Classicos do Jazz Vol. 1
     Label: Mediafashion
     Release: 30-09-2007
     Format, bitrate: MP3/VBR
     Time: 00:49:27
     Size: 59.6 Mb

     Первый диск из серии "Colecao Folha: Classicos do Jazz"

     The collection, published by the Brazilian newspaper "Folha de Sao Paulo" from Sep 30th, 2007 to Feb 3rd, 2008, consists on 20 books (which tell the story of the featured artists), plus 20 CD (re-released albums or compilations).

    Artist: The Paul Butterfield Blue Band
    Album: The Resurrection of Pigboy Crabshow
    Label: Elektra
    Release: 1968
    Styles: Electric Chicago Blues/Harmonica Blues
    Format, bitrate: Mp3 256 kb/s
    Time: 45:27
    Size: 63,2 Mb (cover)
    AMG Rating:

            WOODSTOCK - 40 YEARS ANNIVERSARY
                    DAY FOUR

The 1968 edition of the Paul Butterfield Blues Band featured a larger ensemble with a horn section, allowing for a jazzier feeling while retaining its Chicago blues core. They also adopted the psychedelic flower power stance of the era, as evidenced by a few selections, the rather oblique title, and the stunning pastiche art work on the cover...

    Artist: The Paul Butterfield Blue Band
    Album: East-West
    Label: Elektra
    Release: 1966
    Style: harmonica blues/chicago blues
    Format, bitrate: Mp3 256 kb/s
    Time: 44:47
    Size: 83,7 Mb (covers)
   
            WOODSTOCK - 40 YEARS ANNIVERSARY
                    DAY FOUR
The second Butterfield album had an even greater effect on music history, paving the way for experimentation that is still being explored today. This came in the form of an extended blues-rock solo (some 13 minutes) — a real fusion of jazz and blues inspired by the Indian raga. This groundbreaking instrumental was the first of its kind and marks the root from which the acid rock tradition emerged. - Jeff Tarmarkin & Michael Erlewine at AMG

    Artist: The Paul Butterfield Blue Band
    Album: The Paul Butterfield Blue Band
    Label: Elektra
    Release: 1965
    Style: harmonica blues/chicago blues
    Format, bitrate: Mp3 192 kb/s
    Time: 38:15
    Size: 54,4 Mb (covers)
    AMG Rating:

            WOODSTOCK - 40 YEARS ANNIVERSARY
                    DAY FOUR

Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ...

     Artist: Bobby Hutcherson
     Albums: Medina / Spiral
     Label: Blue Note
     Years: 1969/1968; Release: 1998
     Format, bitrate: MP3@128; FLAC
     Size: 61.90 MB; 430.62 MB

     A most welcome CD reissue, Medina/Spiral pairs two accomplished sessions by the Bobby Hutcherson-Harold Land quintet from 1968 and 1969 (neither was officially released until 1979-80), which marked the first two times the official lineup of Hutcherson, tenor saxophonist/flautist Land, pianist Stanley Cowell, bassist Reggie Johnson, and drummer Joe Chambers all recorded together as a unit. In one sense, it's understandable why this music stayed on the shelf for over a decade: it didn't fit the late-'60s zeitgeist. It had nothing to do with fusion, and it wasn't aggressively far-out like much of the avant-garde had gotten. Yet, on the other hand, it isn't so understandable -- the music was quite good, often excellent, and the quintet had a knack for making sophisticated, mainstream-leaning modal post-bop sound surprisingly soulful. Granted, these albums may have been a shade less distinctive than Hutcherson's earliest sessions, but the levels of composition and execution remained top-notch. Every composition is by a group member -- Hutcherson has three, Cowell and Chambers four apiece, with Land contributing one. Soulful yet firmly modern, this group was solid from top to bottom, and with Total Eclipse out of print, Medina/Spiral is the best available introduction to their underappreciated work. [One track from the original Spiral LP, "Jasper," was left off this reissue; however, since it was an outtake from Dialogue, it didn't really fit to begin with, and was more at home as a bonus track on Blue Note's CD reissue of that album.] AMG Steve Huey

     Artist: Cheryl Bentyne
     Album: Let Me Off Uptown
     Label: Telarc
     Year: 2005; Release: 2005
     Format, bitrate: MP3, VBR 320 Kbps
     Time: 48:25
     Size: 77 MB
     AMG Rating:

     JazzTimes (p.102) - "[S]he travels a serpentine path through bop, ballads and blues, serving up a varied bag of treats that extends from the gorgeously seductive 'Whisper Not' to the bourbon-soaked urbanity of 'Waiter, Make Mine Blues'."

     Artist: Illinois Jacquet
     Album: Bottoms Up (The Definitive Black&Blue Sessions)
     Year: 1974
     Label: Disques Black & Blue / Believe Digital
     Format, bitrate: MP3@320 kb/s
     Time: 01:12:41
     Size: 175,2 MB (+5% recovery)




     Ещё один альбом замечательного саксофониста в фонотеку Клуба. Обращаю внимание, что это не номерной альбом Иллинойса с одноимённым названием, вышедший на Prestige/OJC в 1968. Одинаковые только название и первая пьеса.

    Artist: Joe Pass
    Album: Norman Granz’ Jazz In Montreux: Presents Joe Pass ‘75
    Label: Eagle Eye Media
    Year: 1975
    Release: 2006
    Time: 79 minutes
    Format: Online-video

    With guitar in hand and nowhere to hide, the late great Joe Pass simply dazzled the Montreux audiences during these exclusive performances culled from the 1975 concerts. Famed jazz critic Nat Hentoff launches the proceedings with a prologue, citing quotes from other luminaries who provide testimonials to the guitarist’s historical prominence. Possessing remarkable technique and depth, Pass extended concepts put forth by many of the preceding jazz guitar greats. Armed with a hollow-body electric the artist displays his all-encompassing musical persona by effortlessly whirling through jazz standards, regardless of tempo and nuance.
    Here, the cameramen often zoom in on Pass’ fret board amid his wincing facial gestures. Despite some annoying glitches with the concert PA system, the artist relays his complex chord voicings interspersed with swinging, single note based improvisation and much more! Suited with a sport jacket and tie, Pass looms as a dignified artiste who rendered an amalgamation of softly executed; finger-style picking maneuvers. In addition, he fuses walking chord progressions and bluesy riffs into lyrically charged spins on ”Montreux Changes,” and ”Blues For Nina.” And with his luminous employment of dynamics and tonal shadings, the guitarist also blazes through toe-tapping bop/swing vibes with intricately designed phrasings, all tinged with a melodic edge. In sum, students and pros alike would be well-served to check out this newly issued gem by the guitarist who had few peers in the biz.
    ~ Glenn Astarita, www.ejazznews.com

     Artist: Philly Joe Jones
     Album: Showcase
     Recording Date: November, December 1959
     Label: Riverside/OJC
     Time: 38:02
     Size: 92mb (RS.com) with covers
     AMG rating





This is a particularly interesting hard bop-oriented set led by drummer Philly Joe Jones. Most unusual is "Gwen," a Jones ballad that has the leader on both piano and (via overdubbing) drums in a trio with bassist Jimmy Garrison. Otherwise, trumpeter Blue Mitchell, trombonist Julian Priester, tenor saxophonist Bill Barron, either Dolo Coker or Sonny Clark on piano, Garrison, and Jones form a sextet that performs modern tunes by Barron, Priester, and Jones, in addition to "I'll Never Be the Same" and Philly Joe's feature on "Gone" (based on the Miles Davis/Gil Evans interpretation of "Porgy and Bess"). A well-conceived, diverse, and recommended CD reissue. ~ Scott Yanow, All Music Guide

     Artist - Doc Cheatham
     Album - Hey Doc! The Definitive Black & Blue Sessions
     Label - Black & Blue
     Year - 1975, release - 2000
     Quality - MP3@320 kbps
     Size - 127 mb
     Total time - 58:51


Doc Cheatham maintained a strong sound on trumpet into his nineties; this series of French studio sessions dates from May 1975, just prior to his 70th birthday. The veteran is accompanied by veteran drummer J.C. Heard and pianist Sammy Price, while the rest of the supporting cast, including trombonist Gene Conners, alto saxophonist Ted Buckner, and bassist Carl Pruitt are less widely known but solid performers. The group's superb interplay is fascinating within the swinging opener, "Rosetta," while the mediocre quality of the piano tuning somewhat mars an otherwise enjoyable "Blues in My Heart." In addition to his fine trumpet playing throughout the CD, he sings in a warm, friendly voice during the tender ballad "If I Could Be With You" and a sprightly "What Can I Say After I Say I'm Sorry?" Fans of swing trumpet will definitely want to search for this rewarding CD. ~ Ken Dryden, All Music Guide