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jasapaal
 Into the Rhythm
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2009: Blue Note Trip DJ Maestro - My Music |
Music » Jazz » Mainstream |
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 Artist : VA Album : Blue Note Trip 8 Compiled By DJ Maestro Label : Blue Note / EMI Holland Release: 2009 Quality : VBR @ 194kbit Size : 202MB Total : 2 tracks (CUE) 2009 two CD set, the eighth installment in this popular series of classic Blue Note compilations. Recent volumes have been mixed by a diverse group of Jazz aficionados including Jazzanova, but Volume 8 sees the return of DJ Maestro, his first Blue Note Trip title in three years. Features 29 tracks including cuts from Buscemi, Les McCann, Cannonball Adderley, Jimmy McGriff, Soulive and many others. ~ Blue Note. |
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1978: Frank Rosolino & Raul de Souza - Ao Vivo Sao Paulo |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Frank Rosolino & Raul de Souza Album: Ao Vivo Sao Paulo 1978 Label: Loronix Year:1978 Format, bitrate: mp3@320 kb(s Time: ~31 min Sise: 71,25MB Amazing sound and a really interesting concert with Raul de Souza and Frank Rosolino performing together on a Brazilian Jazz Festival held in Sao Paulo in 1978. It is a great concert and they have the accompaniment of top-notch musicians. |
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2009: Christian McBride & Inside Straight - Kind Of Brown |
Music » Jazz » BeBop » Post-bop |
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 Artist: Christian McBride and Inside Straight Album: Kind Of Brown Label: Mack Avenue Year: 2009 Quality: VBR / 44100Hz / Joint Stereo Size: 82,1 MB AMG Rating:   One might assume that bassist Christian McBride's CD Kind of Brown would be a tribute to Ray Brown. Au contraire -- in fact, it would be appropriate for this recording to own up to the title Kind of Blue Note, because this music bears a strong resemblance to the late-'60s to mid-'70s recordings of the legendary Bobby Hutcherson-Harold Land quintet. That seminal post-bop ensemble defined the mid-period Blue Note label sound, and created resonant sonic signposts that remained unequaled, until now. A new discovery in vibraphonist Warren Wolf, Jr., teamed with veteran saxophonist Steve Wilson, the wonderful pianist Eric Reed, and drummer Carl Allen makes McBride's quintet dubbed Inside Straight into one of the more melodically tuneful and harmonically focused contemporary ensembles combining past tradition with a fresh new approach to this potent style of jazz. McBride is almost an equal in this company, putting aside his furious note playing for a more democratic role in this extraordinarily balanced small combo. The similarities to the Hutcherson-Land group are unmistakable, from the tick-tock rhythm and melodic line similar to Hutch and Herbie Hancock's classic composition "Blow Up" on "Brother Mister" to the steady swinger "Rainbow Wheel" and "Pursuit of Peace," with its probing basslines via McBride and perfectly fitted hand-in-glove melody and unison approach. The athletic and quirky "Stick and Move" is hard-charging bop at its best with Reed leading; soul-jazz is adopted during the waltz "Used 'ta Could" in parallel to the standard "Better Than Anything"; while "The Shade of the Cedar Tree" (for Cedar Walton) is again similar to what Walton and Hutcherson did with the Timeless All Stars, and close to Walton's tune "Hindsight." McBride's role as a leader is more pronounced on "Theme for Kareem," an ultra-tight, very hip tune that has potential standard written all over it. Wilson concentrates on alto sax, but plays a bit of soprano on the recording for the waltz-to-samba "Starbeam"; McBride restrains his inclination to play a multiplicity of notes; and Wolf proves to be a new artist to keep a close watch on in the next decade. While Christian McBride has been involved with many amazing recordings during his brief but substantive career, this might be his best batch yet. ~ Michael G. Nastos, All Music Guide |
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1979: Abdullah Ibrahim & Johnny Dyani - Echoes From Africa |
Jazz, Modern Jazz |
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 Artist: Abdullah Ibrahim & Johnny Dyani Album: Echoes From Africa Label: Enja Release: 1979 Format: MP3, 256 kbps Time: 31:58 Size: 58 MB This is a rather emotional duet set by pianist Abdullah Ibrahim and bassist Johnny Dyani, two masterful musicians from South Africa. Their often introspective music includes three originals (with one piece dedicated to McCoy Tyner) plus a nearly 17-minute improvisation based on a folk melody that also allows one to hear the voices of the two musicians. This moody music has an almost sacred credibility and is quite personal. ~ Scott Yanow, All Music Guide |
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Richie Beirach - Manhattan Reverie |
Music » Jazz |
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 Artist: Richie Beirach Album: Manhattan Reverie Label: Tokuma Release: 2006 Style: Post-Bop Format mp3, bitrate: 256 kb/s vbr Size: 108 Mb Bubu's Rating:  There's a bit of reverie here, but it's usually the swinging kind instead of the sleepy variety -- thanks to a well-formed groove from Richie Beirach on piano, George Mraz on bass, and Billy Hart on drums! The tunes certainly include a few ballads, but Richie usually takes them with a freely fresh sound that gets past any obvious standard-heavy cliches -- inspired, no doubt, by the inventive changes of Mraz and Hart, who seem to spur him on strongly, especially on the more upbeat tracks. Titles include "Manhattan Reverie", "Transition", "Veils", "Etude", "On Green Dolphin Street", and "Footprints". - Dusty Groove America, Inc. |
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Richie Beirach - Self Portraits |
Music » Jazz |
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 Artist: Richie Beirach Album: Self Portraits (compilation) Label: CMP Release: 1992 Style: Modern-Creative Format mp3, bitrate: 256 kb/s vbr Time: 47:22 Size:96,9 Mb (cover) AMG Rating:
Recently issued set of solo piano originals by Bierach, done in such a manner as to give autobiographical context to the session and also pacing and definition to the compositions. - Ron Wynn at AMG |
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Richie Beirach - Elegy for Bill Evans |
Music » Jazz |
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 Artist: Richie Beirach Album: Elegy for Bill Evans Label: SLP Release: 1981 Style: Post-Bop Format mp3, bitrate: 320 kb/s Time: 41:25 Size: 95,2 Mb AMG Rating: 
Richie Beirach was a friend of Bill Evans, so it was only natural that he would do a record dedicated to him following Evans' sad and sudden death in 1980. Beirach has a similar gift for interplay with his rhythm section, and the participation of bassist George Mraz and drummer Al Foster makes for a superb trio. Even though both the leader and the bassist professed a love for the work of the early Evans trio with Scott LaFaro and Paul Motian, if anything, this group suggests closer ties to Evans' later trio with Eddie Gomez and Marty Morell. Dave Brubeck's "In Your Own Sweet Way" has been a favorite of many musicians. Beirach chooses an uptempo approach, with its centerpiece being a long but effective bass solo by Mraz. "Blue in Green," first recorded on the historic Kind of Blue LP (with authorship individually claimed by both Miles Davis and Evans), starts in a fragile mode but quickly is diverted into a more abstract setting. Beirach sustains the melancholy mood of "Spring Is Here" during his solo, but turns it into a celebration as Mraz and Foster join him. "Peace Piece," Evans' brilliant improvisation based upon Leonard Bernstein's "Some Other Time," is an extended interpretation, played unaccompanied, as did Evans. Evans performed and recorded Miles Davis' "Nardis" on so many occasions that he is often given composer credit. Beirach's arrangement of this modal masterpiece finds a different way to build and release the tension that Evans brought to every performance. But Beirach seems to add a touch of humor with a well-disguised quote from the musical The King and I. Originally recorded for Trio in Japan, this album was only briefly available in the U.S. on Palo Alto before it abruptly ceased operations, so snap it up without hesitation if you run across it. - Ken Dryden at AMG |
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