Artist: Matthew Gee
     Album: Jazz By Gee
     Label: OJC/Riverside
     Year: 1956, release: 1996
     Format, bitrate:mp3; 320Kb/s
     Size: 95 Mb





Trombonist Matthew Gee was primarily a section player and a valuable sideman, but as this CD reissue shows, he could have been a significant soloist too. The two sessions (Gee's only two as a leader) feature him in an unusual quintet with altoist Ernie Henry (the trombone-alto blend has a unique sound) and at the head of a septet also including trumpeter Kenny Dorham, tenorman Frank Foster, and baritonist Cecil Payne. The music is quite bop-oriented and mixes together standards with three swinging Gee originals. An underrated and generally overlooked gem by a forgotten trombonist. ~ Scott Yanow, All Music Guide

     Artist:Mighty Aphrodite Jazz Band
     Album:Live in Arizona
     Label: Mighty Aphrodite Jazz Band MAJB 002
     Year: 2007
     Format, bitrate: MP3 192
     Time:61:02
     Size: 85 MB


The band has six members currently living in Vancouver, Seattle, San Francisco and New York. Bria came up with the band name and the original design of the band logo. Jocelyn Curry, (Emily's Mother,) is the one who created the logo we have today.

All the band members met and recorded their debut album, Meet The MAJB, in Burnaby, BC Canada in August 0f 2005. The Arizona Classic Jazz Festival was the very first festival they performed at. The band has since gone on to perform at 23 festivals, on two cruises, in three countries, six states and recorded three albums. ~ Bria Skonberg and Claire McKenna.

     Artist: Albert Ayler
     Album: Spiritual Unity
     Label:Esp Disk Ltd
     Year: 1964 , release: 2005
     Format, bitrate: mp3; 320 Kb/s
     Size: 66 Mb
     AMG Rating:

Spiritual Unity was the album that pushed Albert Ayler to the forefront of jazz's avant-garde, and the first jazz album ever released by Bernard Stollman's seminal ESP label. It was really the first available document of Ayler's music that matched him with a group of truly sympathetic musicians, and the results are a magnificently pure distillation of his aesthetic. Bassist Gary Peacock's full-toned, free-flowing ideas and drummer Sunny Murray's shifting, stream-of-consciousness rhythms (which rely heavily on shimmering cymbal work) are crucial in throwing the constraints off of Ayler's playing. Yet as liberated and ferociously primitive as Ayler sounds, the group isn't an unhinged mess -- all the members listen to the subtler nuances in one another's playing, pushing and responding where appropriate. Their collective improvisation is remarkably unified -- and as for the other half of the album's title, Ayler conjures otherworldly visions of the spiritual realm with a gospel-derived fervor. Titles like "The Wizard," "Spirits," and "Ghosts" (his signature tune, introduced here in two versions) make it clear that Ayler's arsenal of vocal-like effects -- screams, squeals, wails, honks, and the widest vibrato ever heard on a jazz record -- were sonic expressions of a wildly intense longing for transcendence. With singable melodies based on traditional folk songs and standard scales, Ayler took the simplest musical forms and imbued them with a shockingly visceral power -- in a way, not unlike the best rock & roll, which probably accounted for the controversy his approach generated. To paraphrase one of Ayler's most famous quotes, this music was about feelings, not notes, and on Spiritual Unity that philosophy finds its most concise, concentrated expression. A landmark recording that's essential to any basic understanding of free jazz. ~ Steve Huey, All Music Guide

     Artist: Jan Garbarek Group
     Album: Dresden: In Concert
     Year: 2007, release: 2009
     Label: ECM
     Quality: mp3 CBR 320
     Size: 144+140 MB
     AMG Rating




It's hard to believe that after recording as a leader for 40 years, Dresden: In Concert is Jan Garbarek's first-ever live album. He has recorded sparely in 21st century thus far, but he has toured regularly. For those who think that Garbarek abandoned jazz some time ago, this will be a shock. Dresden is an engaged, kinetic, double-disc, two-hour performance of his quartet playing in the modern jazz idiom and using all of its tenets -- from complex harmonics and rhythmic invention to extended lyric improvisation -- to create a tour de force that honors all the music he holds dear.>>>

     Artist - Lionel Hampton And His All Stars
     Album - Live In Concert
     Label - OJS/ZYX
     Year - 1947, release - 2006
     Quality - MP3@320 kbps
     Size - 89,7 mb
     Total time - 41:32



Taken from the same concert that produced Lionel Hampton's famous "Stardust" solo, this second album actually has more Hamp (he dominates all six selections) but never reaches the heights of "Stardust." There are some fine moments from trumpeter Charlie Shavers, altoist Willie Smith, pianist Milt Buckner and bassist Slam Stewart on such familiar material as "Perdido," "Hamp's Boogie Woogie" and "Flying Home," making it a worthwhile release. ~ Scott Yanow, All Music Guide

     Artist: J.J.Johnson
     Album: Blue Trombone + bonus
     Label: American Jazz Classics
     Year: rec. 1957/rel.2009
     Format: MP3 @ 320 Kb/s
     Time: 68:48
     AMG rating:

     Artist:Wes Montgomery
     Album: Movin' Wes
     Lable: Verve
     Year: 1964
     Genre: Jazz,Hard Bop
     Format mp33, bitrate: 320 kbps
     Size: 73,4 MB

     Wes Montgomery's debut for Verve, although better from a jazz standpoint than his later A&M releases, is certainly in the same vein. The emphasis is on his tone, his distinctive octaves, and his melody statements. Some of the material (such as "People" and "Matchmaker, Matchmaker") are pop tunes of the era and the brass orchestra (arranged by Johnny Pate) is purely in the background, but there are some worthy performances, chiefly the two-part "Movin' Wes," "Born to Be Blue," and "West Coast Blues."
-Scott Yanow,AMG

     Artist: Stan Getz And Chet Baker
     Album: The Stockholm Concerts
     Label: Polygram Records
     Year: 1983
     Release: 1999
     Genre: Jazz
     Format, bitrate: mp3, 192 Kbs
     Time: 55:17 + 58:26 + 58:53

     According to this set's annotator, Mike Hennessey, and Stan Getz's biographer, Donald Maggin, the circumstances surrounding the making of these 1983 recordings was unpleasant in the extreme. For various reasons, Getz was unhappy to be concertizing with Baker and forced him out before the 35-date tour was halfway finished. Before Baker left, however, the men played a pair of concerts in Stockholm, which were fortunately recorded for posterity. Fortunately not because Getz and Baker shared any special rapport that led to a classic performance, but because the resulting album gives listeners another example of how wonderful a player Chet Baker was, even after years of drug addiction and general dissolution. Getz is his typical self -- lyrical, facile almost to the point of glibness, but musical nevertheless. Baker, on the other hand, is as he ever was -- one of the most spontaneously creative, emotionally compelling voices in jazz. The band is good if unspectacular; drummer Victor Lewis was a particularly nice choice in that he could drive a band like this without overwhelming the rather brittle lead voices. And Getz is excellent; if you're a Getz fan, he's in fine form here, so you won't be disappointed. Baker, on the other hand, is superb; it's his inimitable musicality that ultimately makes this rather pricey three-disc set a bargain. Chris Kelsey, AMG

     Artist: Les Paul & Mary Ford
     Album: LES AND MARY
     Label: Capitol
     Genre:: Jazz/Blues
     Year: 1955
     Quality: 320 kb/s
     Size: 82 mb

     It was a confusing time to be in the record business in the mid-'50s, as this 16-selection album could be found as a single 12-inch LP, two 10-inch LPs, two 45 RPM double albums, four 45 RPM single albums, and it has been spotted on 78s too. Not only were the formats diversified, so was the repertoire -- to a degree extreme even for the free-thinking Les Paul. Alone and/or with Mary Ford, Paul plays with pop standards ("On the Sunny Side of the Street," "Just One of Those Things"), old jazz ("Twelfth Street Rag"), Berlin cabaret-vintage Kurt Weill ("Moritat" a.k.a. "Mack the Knife," which Paul at first tried to copyright under his own name as "Theme from Laughing Eyes"!), gospel ("Swing Low, Sweet Chariot"), Brazilian samba ("Tico Tico"), even a recent country hit like Hank Snow's "I'm Movin' On." Sometimes one gets the feeling that Paul and Ford were beginning to reach the limits of their hit formula, but the energy of "Tico" and Ford's spirited choral belting of "I'm Movin' On" have plenty of the old pizzazz. Richard S. Ginell, AMG

     Artist: Niels Lan Doky
     Title: Friendship
     Year: 1990
     Label: Milestone
     Quality: mp3@320kbps
     Size: 123MB
     Total Time: 54Min

     L5 Review:
Niels Lan Doky is a very good Danish pianist who played and recorded with many jazz greats as Niels-Henning Шrsted Pedersen,Thad Jones big band, Joe Henderson, Gary Peacock, Jack DeJohnette, Ray Brown, Randy and Michael Brecker and many more.
his style combines bop and modern styles (bop scales, modes, fourths etc.)In this album there are two groups. one recorded in Copenhagen and the 2nd recorded in NYC. the music is moving between the edges of jazz styles. from bop to modal jazz and also some jazz rock.Very good cd with great musicians that can make you feel the groove and solo so well.

     Artists: Eric Dolphy , Misha Mengelberg
     Album: Epistrophy
     Label: ICP 015 Holland
     Year: 1964-1972
     Genre: Jazz
     Format, bitrate: mp3@320kb/s (LP-rip)
     Time: ~22 min
     Size: 53,44MB


This is "Epistrophy" by Eric Dolphy with Misha Mengelberg, Han Bennink, and Jacques Schols, a private release on the ICP label from Holland. This issues a 17+ minute take of "Epistrophy" that is a fascinating extended glimpse into this European band that is not offered on the "Last Date" release. Tape quality is not the greatest, but the musical value is high...great to hear Dolphy stretch out like this! Rare! Side two is maybe a bit towards EX as a few crackles are evident, but this is a duet between Misha and his parrot (copying Dolphy!).

Cover design and layout (reproduced above) by Sipke Huismans.

     Artist: Willie "The Lion" Smith
     Album: Willie 'The Lion' Smith And His Cubs 1935-1937
     Label: Timeless
     Year: 2005 [Orig.Rec.: 1935-37]
     Format, bitrate: MP3@256 kbps
     Time: 68:25
     Size: 128 Mb



     "Lion's style is a strange mixture of counterpoint, chromatic harmony and arabesque-like figures as refreshing to the ear as spring water to the lips." ~ Billy Strayhorn

     Performing from the 1910s through the 1960s, Willie "The Lion" Smith was one of the great Harlem stride pianists, a contemporary of James P. Johnson and Fats Waller, and a man who understood the importance of style. An irrepressible raconteur, he delivered his pianistic and personal charms in worldwide performance until well into his late 60s.

     Artist: Louis Prima & Keely Smith
     Album:Live From Las Vegas
     Year: rel. Apr 26, 2005
     Label: Capitol
     Format: MP3@320 Kb/s
     Time: 60:22
     Size: 127.64 Mb
     AMG rating:

    Artist: Richie Beirach
    Album: Romantic Rhapsody
    Label: Venus Jazz
    Release: 2003
    Style: Post_Bop
    Format mp3, bitrate: 320 kb/s
    Time: 1:01:25
    Size: 140 Mb
    AMG Rating:
    Bubu's Rating:

Even after numerous recordings as a leader over his long career, pianist Richie Beirach remains deserving of wider recognition. These 2000 studio sessions with bassist George Mraz and Jack DeJohnette, recorded for the Japanese Venus label, represent some of his best work, in which both his classical training and the influence of Bill Evans are readily apparent, particularly in his dreamy interpretation of "Blue in Green." Beirach finds fresh approaches to several standards, adding a gorgeous, pastoral introduction to an extended workout of "Old Folks," and bringing out the lyricism of the forgotten chestnut "Young and Foolish." The pianist's improvisation upon Chopin's "Prelude No. 20 in C Minor" springs forth with a wealth of ideas. Beirach's two originals are also stunning, including the dramatic, unpredictable "Hudba" and "The Last Rhapsody." - Ken Dryden at AMG

    Artist: Richie Beirach
    Album: Eon
    Label: Universal
    Release: 1976
    Style: Avant-Garde Jazz
    Format mp3, bitrate: 320 kb/s (vinyl rip)
    Time: 37:16
    Size: 87,4 Mb
    Bubu's Rating: 4 stars

Richie Beirach's well-programmed set begins with an intense reworking of Miles Davis' "Nardis." The introductory rhythm vamp, through its numerous reappearances, functions as an idee fixe, thereby allowing Beirach to fragment the tune's melodic and harmonic components so that space and the piano's overtonal timbres interact (along with melody and harmony) as co-equal musical elements. Dave Liebman's "Places" was a poignant solo essay capturing echoes and images of bittersweet remembrances. Throughout, Beirach was ably assisted by the excellent musicianship of his colleagues from Lookout Farm, bassist Frank Tusa and percussionist Jeff Williams. - Chuck Berg at AMG

    Artist: Richie Beirach
    Album: Live at Maybeck Recital Hall, Vol. 19
    Label: Concord Jazz
    Release: 1993
    Style: Avant-Garde Jazz
    Format mp3, bitrate: 256 kb/s
    Time: 56:06
    Size: 108 Mb
    AMG Rating:

Armed mostly with a brace of standards yet willing to do unpredictable things with them, Richie Beirach turns in one of the more thankfully idiosyncratic editions of the Maybeck Recital Hall Series (this is Vol. 19). This format allows Beirach to exploit his romantic credentials with only a nominal interest in the usual bop formulas, and he throws in a few startling unorthodox glissandos here and there to shake everyone up. Very often, he works compellingly with repetitions in the left hand; the prime examples of this include an "On Green Dolphin Street," and based mostly on the same stabbing syncopation on two notes in the left hand, a lovely now-and-then literal rendition of Bill Evans' take on "Some Other Time," and a sauntering semiboogie interpretation of "All Blues." There is also a unified stream-of-consciousness medley that opens with "Over the Rainbow" and winds up on "In the Wee Small Hours of the Morning," as well as a really unorthodox "'Round Midnight" with a few humorous surprises. A most absorbing recital, cleanly recorded. - Richard S. Ginell at AMG