Artist: Charlie Mariano
     Album: Helen 12 Trees
     Label: BASF/MPS
     Year: 1976; release: 2008
     Format, bitrate: mp3, 128~320kbps
     Time: 33:35
     Size: 54mb


One of the headiest albums ever from reedman Charlie Mariano a far cry from the icy modernism of his work in the 50s! The set's recorded in a full-on MPS electric mode plenty of fusion touches in the mix, thanks to a lineup that includes Zbigniew Seifert on electric violin, Jan Hammer on keyboards, Jack Bruce on bass, John Marshall on drums, and Nippy Noya on added percussion! As with some of Mariano's later work, there's a bit of a world music influence going on here elements of Eastern styles mixed in with the jazz, especially on titles that feature Charlie on flute, soprano sax, or nagasawaram in addition to his more standard alto sax. The best tracks on the set are actually the ones that are a bit more laidback kind of spacey with nice changes from the core instrumentation, and a bit of the introspection that we always love from Charlie. Titles include "Charlotte", "Avoid The Year Of The Monkey", "Neverglades Pixie", "Helen Twelvetrees", "Sleep My Love", and "Parvati's Dance". (Amazing LP sleeve edition with full notes in English and German, new mastering, and even a paper wrap-around jacket over the gatefold sleeve!) © 1996-2009, Dusty Groove America, Inc.

     Artist: Duke Pearson
     Album: Prairie Dog
     Label:Koch Jazz
     Year: 1966
     Format, bitrate:mp3.224 kb/s
     Time: 34:41
     Size: 40,38 MB


This 1966 date by Duke Pearson with an octet was originally issued by Atlantic. Reissued by Collectables, this is Pearson in full soul-jazz mode, driven deeply by the blues, with an all-star band (not all members play on all tunes): drummer Mickey Roker; Harold Vick on soprano; James Spaulding on flute and alto; bassist Bob Cranshaw; trumpeter Johnny Coles; tenor George Coleman; guitarist Gene Bertoncini; and Pearson on piano and celeste. Most of these tunes start out delicately, almost like chamber jazz (nearly MJQ style), moving around on small melodic figures. "The Fakir" begins with a tender, gentle flute solo by Spaulding, and uproots itself by turning into a massive Latin-style groover based on the rhythmic middle of "My Favorite Things." "Prairie Dog" opens with the horns playing a slow, drawling blues that Pearson fills with his piano. It's a re-visioning of "I'm An Old Cowhand" morphed into a blues. Joe Henderson's "Soulin'" is exactly that: a strutting blues, where Coleman digs deep into the nasty edge of his horn, and Pearson's changes are short, choppy, percussive. The reading of "Angel Eyes" that closes the set is so utterly sophisticated in its arrangement, it's like Pearson telling the band to lay nothing all the time, as the melody floats in after a gorgeous little rhythmic pattern played by the section, it finds its charm in an airy counterpoint and with beautiful soloing from Bertoncini, Coles' muted trumpet, and Coleman. This is as fine as any date Pearson released for Atlantic, and grooves all the way through, seamlessly. ~ Thom Jurek, AMG

    Artist: Steve Kuhn
    Album: Non-Fiction
    Label: ECM
    Release: 1978
    Style: Post-Bop
    Format mp3, bitrate: 320
    Time: 39:19
    Size: 91,3 Mb
    AMG Rating:

An interesting set of inside/outside music with a bit more energy than the more stereotypical ECM set, this set of five originals is performed by pianist Steve Kuhn (who was really developing his own original sound around this time), Steve Slagle (heard on alto, soprano and flute), bassist Harvie Swartz, and drummer Bob Moses. This is a fine release that was soon overshadowed by Kuhn's collaborations with singer Sheila Jordan. - Scott Yanow at AMG

     ARTIST : Sun Ra and His Solar Arkestra
     ALBUM : Secrets Of The Sun
     YEAR:1962
     QUALITY:VBRKbps /44,1Hz/Joint-Stereo
     LABEL :ATAVISTIC
     SIZE: 62,1 MB
     PLAYTIME: 51:04 Min

Secrets of the Sun consists of sessions recorded by drummer Tommy "Bugs" Hunter in 1962 at the Choreographer's Workshop in New York City, the Arkestra's regular rehearsal studio. Since they had only recently moved to New York (some decided to stay in Chicago), these are small-group Arkestra recordings. This is an interesting transitional album because you can still hear echoes of the Chicago sound in some of the pieces, but the sound is growing beyond merely "exotic," with percussion playing an increasingly larger role and the pieces starting to sound more amorphous. "The Friendly Galaxy" has the same sort of mysterious vibe as "Ancient Aetheopia," with nice trumpet and piano work as well as John Gilmore on bass clarinet (which he plays on a couple cuts). "Solar Differentials" has a similar but weirder feel because the horns change to "Space Bird Sounds" and Art Jenkins adds some of his distinctive "Space Voice." "Space Aura" is built on a great horn riff, while both Gilmore (again on bass clarinet) and Sun Ra both shine on a stripped-down version of "Love in Outer Space." Things head a bit more out for the last couple tracks, where percussion and reverb start to dominate the sound, as they would on several of the Choreographer Workshop recordings. This is an interesting album for Ra fans because it's such a small band and shows how new ideas were taking hold in the music, not to mention Gilmore's use of bass clarinet, which he stopped playing completely sometime in the '60s. ~ Sean Westergaard, AMG

    Artist: McCoy Tyner
    Album: Looking Out
    Label: Columbia Records
    Release: 1982
    Style: Post-Bop
    Format mp3, bitrate: 320 kb/s
    Time: 39:02
    Size: 89,6

Pianist McCoy Tyner's second Columbia LP's was a bit of a misfire. A surprisingly commercial effort with the vocals of Phyllis Hyman and unnecessary contributions by guitarist Carlos Santana and (on "I'll Be Around") the synthesizer of Denzil Miller along with unidentified strings and horns, the music is quite forgettable. Tyner plays well and with as much passion as usual but one can clearly sense that not all of the musicians were recording the music at the same time for they rarely react to each other's presence. One of the great pianist's weaker efforts. - Scott Yanow at AMG

     John Mayall - Boogie Woogie Man (2001)
     Year: 2001
     Bitrate: 256 K/s 44100Hz Joint Stereo
     Total time: 49:25
     Total Size: 96.8 MB

     Limited release, website only


REPOST with new link from Mr.tzolelan

Artist: Rosemary Clooney
Album: Do You Miss New York?
Label: Concord Records
Year: 1993
Format, bitrate: mp3 320kbps
Size:113 Mb





As is usual for Rosemary Clooney's very consistent string of Concord albums, this is a jazz-oriented set with the highly appealing singer interpreting veteran standards from the '30s and '40s plus a couple of newer songs (Dave Frishberg's "Do You Miss New York?" and "I Wish You Love"). ~ Scott Yanow, AMG

     Artist - Joe Bushkin
     Album - Joe Bushkin in Concert Town Hall
     Label - Collectables Records
     Year - 1963, release - 2006
     Quality - MP3@320 kbps
     Size - 86,5 mb
     Total time - 39:14





Originally released by Reprise Records in 1963, this live date from pianist Joe Bushkin at Town Hall features nine laid-back interpretations of standards, including "I Can't Get Started," "They Can't Take That Away From Me," "One for My Baby," and "The Song Is Ended." Bushkin is backed by Chuck Wayne on guitar, Milt Hinton on bass, and Ed Shaughnessy on percussion. This disc is recommended more as romantic background music than jazz. ~ Al Campbell, All Music Guide

    Artist: McCoy Tyner
    Album: Dimensions
    Label: Elektra
    Release: 1984
    Style: Post-Bop
    Format mp3, bitrate: 224 kb/s vbr (vinyl rip)
    Time: 43:05
    Size: 60,1 Mb
    AMG Rating:

On this long out of print LP from the defunct Elektra Musician label, (reissued on CD by Collectables in 2005), pianist McCoy Tyner is featured in one of his strongest groups, a quintet with altoist Gary Bartz, violinist John Blake, bassist John Lee, and drummer Wilby Fletcher. A transitional set between Tyner's adventurous Milestone albums and his later repertoire (which falls in the tradition but still sounds quite original), this album has two standards ("Prelude to a Kiss" and "Just in Time"); Bartz's tribute to Thelonious Monk ("Uncle Bubba"); and one original apiece by Tyner, Blake, and Lee. Excellent music. - Scott Yanow at AMG

     Artist - Dave Brubeck
     Album - Jazz Red Hot And Cool
     Genre - Jazz, Cool
     Label - Columbia
     Year - 1953/54, release - 2001
     Quality - MP3@320kb/s
     Size - 71,4mb
     Total time - 57:13

     Биографии: Dave Brubeck, Paul Desmond

REPOST with additional links on depositefiles from Gkjoflm!

Recorded during three different stays at New York's Basin Street, Jazz: Red, Hot and Cool is making its first appearance in the U.S. on CD. It documents -- with the addition of two additional performances that were previously unissued -- the original Brubeck quartet in its final years. In 1956 Joe Morello would replace Joe Dodge, and in 1958 Eugene Wright would take over the bass chair from Bob Bates. What strikes the listener about this band, is a having been seasoned for five years when the first of these performances were recorded, the Brubeck quartet was far more immersed in the blues than anyone -- at least the critics of the time -- had given them credit for. Paul Desmond's alto tone had yet to take on the dry martini velvety texture that became his trademark, and Brubeck was not yet inserting the totality of his classical ideas about the extrapolation of dissonance from consonance and its resulting harmonic theory that was built on an elaborate contrapuntal system. These ideas, that were introduced to him by the French composer and instructor Darius Milhaud and the music of Shostakovich and Stravinsky would later result in the wildly inventive tonal identity expressed in his compositions on Jazz Impressions of Eurasia, Jazz Impressions of New York, and even Time Out. On this set, while Brubeck is playing with large augmented chords and without the use of arpeggios, his strident melodic sense keeps him rooted in the American vernacular musically. There is the gorgeous, post-bop blues in "Lover," and the Gershwin-esque balladic structure employed in "Little Girl Blue." Desmond, for his part was a constant, the most rock steady part of the band. His solos were the epitome of melodic improvisation even then. His break on "Fare the Well, Annabelle," carries the melody and harmony in its venturing. Brubeck, never content to just comp, offers Desmond a few additions on the diminished seventh and he goes for them stitching his counterpoint through them, taking the tune's body into an entirely new intervallic mode. Brubeck's solo quotes Mozart's "Eine Kleine Nacht Musik," Pachelbel's "Canon," and variations on a classical theme from the Orient -- Korea, in fact, which was provocative, given the time. The beautiful reading given here of "Love Walked In" is worthy of note because it features the band at its most intimate, hunkered down inside the tune's melody, reworking it to close it off even more from undue influence while re-creating its harmonic architecture. And then there's "The Duke," offered to Gil Evans, a simple stroll through the blues with a nod to both Gershwin and Rogers & Hart. As the band launches into "Indiana" the classic quartet flourish becomes evident; the rhythm section keeps it all steady no matter what happens, and, in Desmond's solo, crossing rhythmic patterns, full time signatures, and meter at lightning speed, this was no mean feat. The two added performances "Taking a Chance on Love" and "Closing Time Blues" were recorded a month after the previous four in August of 1955. Both of them display Brubeck's now trademark two-part counterpoint and Desmond's "in flight" manner of response. They are worthy additions to a record that was already wonderful for its inspiration and the way in which it displayed the band's innovative energy that was unique to live situations. ~ Thom Jurek, All Music Guide

Artist: Ska Cubano
Album: Ay Caramba!
Label: JVC Music Japan / CasinoSounds
Year: 2006 (Release 2007)
Format, MP3 / 320 Kbps
Size: 117 Mb

Leave it to a British band to combine Latin rhythms, Jamaican mento, and ska beats, all dressed in retro zoot suits. The group is fronted by Cuban vocalist Ben Billy and London-born singer Nathan "Natty Bo" Lerner, with Jamaican trumpeter Eddie "Tan Tan" Thornton, Japanese saxophonist Megumi Mesaku, and Havana bassist Ray Crespo. For the most part, the music is a surprising melange of Beny More-type vocals and upbeat ska rhythms made famous by The Skatalites, as evidenced by the snappy instrumental "Jezebel," the hypnotizing mid-tempo "Soy Campesino," and the humorous title track. Also included are the Colombian cumbia "Tungarara" and Miguelito Valdes' "Babalu." Before purists attach the gimmick flag to the ensemble's second CD, they should please note that a few of the creators of ska were born in Cuba, and since African descendants are the prime creators of Caribbean music, this effort represents a reunion of kindred rhythms. --Eugene Holley, Jr., Amazon.com

Artist: David Sanborn
Title: Sanborn
Label: Warner Bros. Records
Release: 1976
Format / Bitrate: M4A / 256Kbs
Size: 78.2 Mb.
Time: 40:00

This album is one of David Sanborn's better early recordings. Although the record is perhaps best known for the altoist's version of Paul Simon's "I Do It For Your Love," Sanborn's playing on some of the other cuts (most notably "Mamacita" and "7th Avenue") finds him really stretching within the R&B/crossover genre. Only "Smile" (which has some mundane vocalizing) is a minus, and it is more than compensated for by Sanborn's passionate improvising elsewhere. Scott Yanow, AMG

Artist: Roy Hargrove Quintet
Album: With the Tenors of Our Time
Label: Polygram Records
Year:1993/1994
Genre:Jazz
Style:Straight-Ahead,Post-Bop
Format, bitrate: mp3,320 kbps,covers
Time:72:33
Size: 162mb

Trumpeter Roy Hargrove has the opportunity of a lifetime on this recording, sharing separate songs with five great tenors: Johnny Griffin, Joe Henderson, Branford Marsalis, Joshua Redman, and Stanley Turrentine. Everyone fares well, including Hargrove's group (Ron Blake on tenor and soprano, pianist Cyrus Chestnut, bassist Rodney Whitaker, and drummer Gregory Hutchinson). The young trumpeter (who is vying for Lee Morgan's unoccupied chair) keeps up with the saxophonists on this generally relaxed affair; recommended for hard bop fans.
~ Scott Yanow

Artist: Jaki Byard
Album: The Jaki Byard Experience
Label: Prestige/OJC
Year: 1968
Release: 1999
Genre: Jazz
Format, bitrate: mp3, 160~320kbps
Time: 36:15
Size: 55.5MB


Pianist Jaki Byard and the wondrous Roland Kirk (here switching between tenor, clarinet, and manzello) were two of the few jazz musicians who could play in literally every jazz style, from New Orleans to bop and free form. If only they had recorded a history-of-jazz album. Fortunately, they did meet up on a few occasions, including this brilliant quartet session with bassist Richard Davis and drummer Alan Dawson. They romp on Bud Powell's "Parisian Thoroughfare," Thelonious Monk's "Evidence," "Shine on Me," and "Teach Me Tonight." Byard duets with Davis on his own "Hazy Eve," but best of all is the pianist's duet with Kirk on "Memories of You." This set was also reissued as half of the Roland Kirk two-LP set Pre-Rahsaan. Scott Yanow, AMG

Artist: John Pizzarelli
Album: Meets The Beatles
Label: RCA
Release: 1998
Genre: Vocal Jazz
Format, bitrate: MP3, 256 kbps
Time: 46:02
Size: 83 MB



Beatles fans love to explain that the key to the successful partnership of John Lennon and Paul McCartney was their contrasting songwriting personalities -- Lennon was the tongue in cheek sardonic wit, McCartney the earnest balladeer. On John Pizzarelli Meets the Beatles, a sharply conceived tribute which sets the duo's classics in a jazz trio with big-band arrangements, the singer/guitarist hits the mark more often when he's taking on the Lennon persona. He approaches "Cant' Buy Me Love," "When I'm 64," and "Get Back" with a playful wink, jumping off his speedy melody lines and the rising brass sections for extended improvisational tradeoffs with pianist Ray Kennedy, and adding colorful touches like scatting and even ad libbing his own lyrical verses based on the originals. Likewise, he attacks the all-instrumental "Eleanor Rigby" with a jumpy, swinging aggression. Pizzarelli, however, becomes overly schmaltzy in presenting ballads like "You've Got to Hide Your Love Away" and "Long and Winding Road" too seriously, with maudlin, straightforward arrangements that grind the party to a halt. The one exception is the more percussive "Oh Darling," where his intense vocal helps the tune rise above the hotel lounge mentality. Jonathan Widran, All Music Guide

Artist: Keith Jarrett
Album: Hymns Spheres
Label: ECM Records GmbH
Year: 1976
Genre: Jazz
Quality: 320@kbps
Total Time: 89:90
Size: 83,2 Mb

Ladies and gentlemen! Keith Jarrett! This time in not absolutely habitual role. The grand piano is already mastered, we pass to body! It not the jazz tool? So you think, and Keith Jarrett — are not present. And it is rather convincing.
So, jazz improvisations on body in force of Baroque. I ask to love and favour.
I think that this disk is faster for the big fans of creativity of Kejta or for fans of non-standard decisions. Though, the academic interest to creative search too yet did not cancel.
Listen...