Artist: Attila Zoller
     Album: Gypsy Cry (LP)
     Label: Emdryo Records
     Year: 1969
     Quality:mp3, 320 kb/s
     Size: 90.5 mb
     AMG Rating

     This might as well be called: the two sides of a guitar genius. Most tracks here show Zoller at his straight ahead best with some catchy originals (The Birds and the Bees, Wild Wild Wes) while other tracks are a showcase for his avantgarde leanings (Meet in Berlin) and his Hungarian roots (Gypsy Cry). Herbie Hancock on acoustic and electric piano feels obviously at home in all settings.
     Here's what Zoller had to say about the album:
     "In '70, I recorded Gypsy Cry (1969) on Embryo label. It was on Atlantic, actually, with the Herbie Mann production label. And they called that series "Embryo," which recorded about five other artists, including Ron Carter and Arnie Lawrence. He had a whole bunch of them. (Mann) recorded musicians who used to work with him. He bought Miroslav Vitous' tape because he found out that some of the tapes had disappeared. So they bought the whole thing and just put it on a shelf.
     Herbie Hancock played piano on The Gypsy Cry. At that time, Herbie Hancock was struggling. The drummer was Sonny Brown, and now he's disappeared and I don't know where he is. Reggie Workman was on bass. Also, Victor Gaskin was on too because I wanted two dates. It was two different kinds of music I played on the album. I played one part avant garde stuff and another part of popular stuff. The dates were on Tuesday and Thursday. The first date had standard type of styles, and the second had Hungarian folk-type motifs. They were all original compositions, of course, but I own that Hungarian style. We tacked on this free Jazz playing. We had started to do that. Ornette Coleman, you know, turned everybody on to this free type of playing. So anyway, we played that type of thing and regular Jazz. That's why I had two bass players. Reggie is better at the free stuff. "

     Artist: Hampton Hawes
     Album: Live At The Jazz Showcase In Chicago
     Label: Enja
     Year: 1973
     Quality: mp3, 320 kb/s
     Size: 147 mb



Hampton Hawes went through a period of inconsistency during the early '70s with his ill-advised addition of electric keyboards, but this is happily an all-acoustic live set from the Jazz Showcase in Chicago. Joined by a formidable rhythm section consisting of bassist Cecil McBee and drummer Roy Haynes, Hawes launches this second volume with an extended medley of a driving hard bop rendition of Charlie Parker's blues "Bluebird" and his own "Blue Hamp," never running out of ideas even though this track is over 26 minutes long. His interpretation of "My Funny Valentine" is initially hesitant, but packs an emotional punch as it develops. It's a shame he didn't extend his rather abbreviated performance of the lively "Carson Blues," which was evidently intended as a set closer. The only misfire of the date is his "Walking Around the Town," an original featuring Hawes' rather awkward vocals. ~ Ken Dryden, All Music Guide

     Artist - Wilbur DeParis And His "New" New Orleans Jazz
     Album - Marchin' and Swingin'
     Label - Atlantic
     Year - 1952, release - 1956
     Quality - MP3@320 kbps
     Size - 104 mb
     Total time - 49:36



The first recording by trombonist Wilbur DeParis' "New New Orleans Jazz Band" (although it was actually released after their 1955 session) is full of fresh and lively Dixieland. Deparis and his all-stars (cornetist Sidney Deparis, clarinetist Omer Simeon, pianist Don Kirkpatrick, banjoist Eddie Gibbs, bassist Harold Jackson and drummer Freddie Moore) play a wide variety of material which includes the leader's colorful "Martinique," "Under the Double Eagle," Rachmaninoff's "Prelude in C Sharp Minor," a couple of Jelly Roll Morton tunes and "When the Saints Go Marching In"; the second part of the latter is taken at a blistering tempo. The Deparis band was one of the most consistently inventive Dixieland-oriented groups of the 1950s, so it is very unfortunate that its valuable Atlantic LPs are all long out-of-print. ~ Scott Yanow, All Music Guide

     Artist: Oscar Peterson
     Album: Oscar Peterson Plays "Porgy and Bess"
     Year: , release October 12, 1959
     Label: Polygram Records
     Genre: Jazz
     Format:Mp3 @ 224 kbs
     Size: approx.66MB


     Оскара Петерсона не может быть много!

REPOST with new link from Mr.Bubu Hans

     Artists: Swingle Singers
     Album: American Look
     Label: Philips / Universal
     Year: 1969, release: 2005
     Format, bitrate: MP3@320 kbit/s
     Time: 0.29:54
     Size: 68 MB

     На этом альбоме известная вокальная группа перемешала все музыкальные стили - здесь можно найти американские народные танцы, патриотические песни, духовные песнопения и, конечно же, "Порги и Бесс". Большинство исполняемых мелодий вам прекрасно знакомы, а качество исполнения прославленного коллектива заслуживает всяческих похвал, тем более, что сделана запись в годы высшего творческого подъёма музыкантов...

    Artist: Sha Na Na
    Album: Rock & Roll is Here to Stay! / Hot Soxf
    Label: Buddha Records
    Release: 2002
    Style: Doo Wop
    Format, bitrate: Mp3 192 kb/s
    Time: 44:24
    Size: 61,4 Mb

            WOODSTOCK - 40 YEARS ANNIVERSARY
                    DAY FOUR

Sha Na Na parlayed their straight-ahead '50s rock & roll revivalism into a successful touring career, even if they were never as popular on record as they were live. The group's image and style were unabashedly anachronistic, as they covered '50s pop and doo wop standards, slicked their hair back in the greaser fashion, and dressed in flamboyant '50s costumes...

    Artist: Country Joe & the Fish
    Album: I Feel Like I'm Fixing To Die
    Label: Vanguard Records
    Release: 1967
    Style: Psychedelic Rock
    Format, bitrate: mp3 256 kb/s
    Time: 44:56
    Size: 86,0 Mb (covers)
    AMG Rating:
            WOODSTOCK - 40 YEARS ANNIVERSARY
                    DAY THREE
The Fish's second album is quite similar to their first in its organ-heavy psychedelia with Eastern-influenced melodic lines, but markedly inferior to the debut, and much more of a period piece. There's more spaciness and less comic energy here, and while the bandmembers were undoubtedly serious in their explorations, some of these songs are simply silly in their cosmic naïveté. To be crueler, there is no other album that exemplifies so strongly the kind of San Francisco psychedelia that Frank Zappa skewered on his classic We're Only in It for the Money. The weeping, minor-key melodies, liquid guitar lines, and earnestly self-absorbed quests to explore the inner psyche — it's almost as if they put themselves up as a dartboard for the Mothers to savage. For all that, the best songs are good; "Who Am I" and "Thursday" are touching psychedelic ballads. But more notably, the title cut — whose brash energy is atypical of the album — was a classic antiwar satire that became one of the decade's most famous protest songs, and the group's most famous track. - Richie Unterberger at AMG

    Artist: The Grease Band
    Album: The Grease Band
    Label: DCC records
    Release: 1971
    Style: blues - rock
    Format, bitrate: Mp3 320 kb/s
    Time: 43:42
    Size: 108 Mb (covers)
    AMG Rating:

            WOODSTOCK - 40 YEARS ANNIVERSARY
                    DAY THREE
Faded old-world flowers adorn both sides of the cover with a big strip of black grease disturbing the lovely imagery on the back. Beginning with Arthur Crudup's "My Baby Left Me," like that other band of famous backup players, the Section, how can this be anything but very musical? Guitarist/vocalist Henry McCullough's "Mistake No Doubt" has eerie backing vocals and is suitably well done, as is his "Let It Be Gone," and though this is far from commercial, it is important to have this document of the guys who made magic behind Joe Cocker in 1969 and Marianne Faithfull in the mid-'70s...