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Jazz Blues Club » Articles for 06.12.2009
1975: Miles Davis - Pangaea Music » Jazz » Fusion » Jazz-Rock
1975: Miles Davis - Pangaea
Artist: Miles Davis
Album: Pangaea
Label: Columbia
Year: 1975
Genre: Fusion, Jazz-Rock, Jazz-Funk
Format, bitrate: mp3, 320
Time: 88:08
Size: 191 mb (91 mb/100 mb)
AMG Rating: 1975: Miles Davis - Pangaea

This is the second of two performances from February 1975 at the Osaka Festival Hall in Japan. This is the evening show; the Columbia release Agharta was the afternoon show. Pangaea is comprised either as a double LP or double CD of two tracks, "Zimbabwe" and "Gondwana." Each is divided into two parts. The band here is comprised of Sonny Fortune on saxophones, Pete Cosey (who also played synth) and Reggie Lucas on guitars, Michael Henderson on bass, Al Foster on drums, James Mtume on percussion, and Davis on trumpet and organ. The band, no doubt inspired by their amazing performance earlier in the day, comes out swinging, and I mean like Muhammad Ali, not Benny Goodman. This is a take-no-prisoners set. Davis seems to be pushing an agenda of "What the hell is melody and harmony? And bring on the funk — and while you're at it, Pete, play the hell outta that guitar. More drums!" If there is anything that's consistent in this free-for-all, as everybody interacts with everyone else in an almighty dirty groove & roll while improv is at an all-time high, it's the rhythmic, or should we emphasize "polyrhythmic," invention. Mtume and Foster are monstrous in moving this murky jam session along ("Zimbabwe" is one set, and "Gondwana" is the second of the evening) some surreal lines. When Cosey's not ripping the pickups out of his guitar, he's adding his hands to various percussion instruments in the pursuit of the all-powerful Miles Davis' inflected voodoo funk. And while it's true that this set is as relentless as the Agharta issue, it's not quite as successful, though it's plenty satisfying. The reason is simple: the dynamic and dramatic tensions of the afternoon session could never have been replicated, they were based on all conditions being right. Here, while the moods and textures are carried and the flow is quite free, the dramatic tension is not as present; the mood is not quite so dark. And while the playing of certain individuals here may be better than it is on Agharta, the band's playing isn't quite at that level. That said, this is still an essential Miles Davis live record and will melt your mind just as easily as Agharta. People would complain on this tour that Davis played with his back to the audience a lot — Lester Bangs went so far as to say he hated his guts for it. But if you were this focused on creating a noise so hideously beautiful from thin air, you might not have time to socialize either.
~ Thom Jurek, All Music Guide
Hank Jones & Tommy Flanagan - I'm All Smiles Music
Hank Jones & Tommy Flanagan - I'm All Smiles
Artist: Hank Jones & Tommy Flanagan
Album: I'm All Smiles (live)
Label: Universal Distribution/MPS / Polydor International
Year: 1983; release:
Genre: Jazz/Hard-Bop
Format mp3, bitrate: 320 kb/s
Time: 47:13
Size: 106 Mb
AMG Rating: Hank Jones & Tommy Flanagan - I'm All Smiles

Although Tommy Flanagan tended to refer to two-piano dates as a gimmick, that's hardly the case during this superb 1983 concert in Germany with Hank Jones. The two pianists have the kind of feel for one another's playing that avoids the crash of egos and instead inspires the give and take necessary for each performance to reach its full potential. Immediately, the two veterans captivate their audience with a stunning aggressive improvisation upon Charlie Parker's "Relaxin' at Camarillo," then immediately quiet them with a soft, lyrical interpretation of the gorgeous ballad "In a Sentimental Mood." They're clearly having a lot of fun during their upbeat waltz through the popular ballad "Someday My Prince Will Come." The rest of the concert is every bit as fulfilling, with an inspired treatment of "Rockin' in Rhythm" getting the nod as the highlight of a memorable evening. - Ken Dryden at AMG
2009: James Carter & John Medeski - Heaven On Earth (Live At The Blue Note) Music » Soul » Soul-Jazz

2009: James Carter & John Medeski - Heaven On Earth (Live At The Blue Note)
Artists: James Carter & John Medeski
Album: Heaven On Earth (Live At The Blue Note)
Label: Half Note
Year: 2009
Quality: MP3@320 kbps
Size:151 MB

One of the most off-beat albums we've ever heard from saxophonist James Carter a really unusual album done in collaboration with organist John Medeski! Although Carter's groove is usually traditional, Medeski's presence gives the album lots of fresh twists and turns kind of a reworked version of the older soul jazz modes that Carter normally gives a nod to especially in his organ-based records moved through the more complex rhythmic sensibilities of Medeski, and augmented by Christian McBride on bass, Adam Rogers on guitar, and Joey Baron on drums. Carter's horn is as sharp as ever and he plays tenor, soprano, and baritone sax on the date on titles that include "Slam's Mishap", "Diminishing", "Heaven On Earth", "Street Of Dreams", "Infiniment", and "Blue Leo" all done in nice long takes! 1996-2009, Dusty Groove America, Inc.
1961: Sonny Clark - Leapin' and Lopin' Music » Jazz » BeBop » Hard-bop
1961: Sonny Clark - Leapin' and Lopin'Artist: Sonny Clark
Album: Leapin' and Lopin'
Label: Blue Note
Release Date: 1961, CD 1987
Format: MP3@320 kb/s
Size: 127 MB
Time: 56:01
AMG Rating :1961: Sonny Clark - Leapin' and Lopin'

REPOST with new links from Mr. Equalizer

Sonny Clark's fifth Blue Note recording as a leader is generally regarded as his best, especially considering he composed four of the seven tracks, and they all bear his stamp of originality. What is also evident is that he is shaping the sounds of his quintet rather than dominating the proceedings as he did on other previous dates. Tenor saxophonist Charlie Rouse and trumpeter Tommy Turrentine play very little harmony on the date, but their in-tune unison lines are singularly distinctive, while bassist Butch Warren and a young drummer Billy Higgins keep the rhythmic coals burning with a steady glowing red heat. Among the classic tunes is the definitive hard bop opener "Somethin' Special" which lives up to its title in a most bright and happy manner, with Clark merrily comping chords. "Melody for C" is similarly cheerful, measured, and vivid in melodic coloration, the CD containing a slightly longer alternate take. "Zellmar's Delight," not included on the original LP, finally has the tenor and trumpet playing harmony during a tricky, progressive melody, not at all conventional, which is perhaps why it was initially omitted. The showstopper is "Voodoo," the ultimate yin/yang, dark, late night, sly and slinky jazz tune contrasted by Clark's tinkling piano riffs. Warren wrote the exciting hard bopper "Eric Walks" reminiscent of a Dizzy Gillespie tune, while Turrentine's "Midnight Mambo" mixes metaphors of Afro-Cuban music with unusual off-minor phrases and the stoic playing of Rouse. Tenor saxophonist Ike Quebec plays a cameo sans the other horns on the soulful ballad "Deep in a Dream," exhibiting a vocal quality on his instrument, making one wonder if any other sessions with this group were done on the side. Top to bottom Leapin' and Lopin' is a definitive recording for Clark, and really for all time in the mainstream jazz idiom. ~ Michael G. Nastos, All Music Guide
1945-1953: Dinah Washington - My Devotion 2CD Music » Jazz » Vocal Jazz
1945-1953: Dinah Washington - My Devotion  2CD
Artist: Dinah Washington
Album: My Devotion 2CD
Label: TIM
Genre: Vocal Jazz, Jump Blues
Years: 1945-1953, release: 2001
Quality: MP3@320 kbps
Size: 134+114 mb
Total time: 62:15+54:04

This 2CD compilation released as a joint venture by Mercury, Blue Note and Roulette, covers a lot of ground from 1945 to 1953, but then, so did Dinah Washington. She sang down and dirty blues, lush ballads, romantic standards, sophisticated R&B, swinging jazz, and even country, and this comlet gives a taste of each style. A third-generation blues singer who matched the interpretive brilliance of Billie Holiday and the vocal sweetness of Ella Fitzgerald very early in her career, Dinah Washington needed precious little time to hone her art. While still a teenager, she recorded her first hit, "Evil Gal Blues," with Lionel Hampton's band, and was recording as a solo act by 1946. During the next five years she steadily broadened her interests past classic female blues to embrace swing, traditional pop, jive no jazz-based genre lay beyond her grasp.
1975: Miles Davis - Agharta Music » Jazz » Fusion » Jazz-Rock
1975: Miles Davis - AghartaArtist: Miles Davis
Album: Agharta
Label: Columbia
Year: 1975
Format, bitrate: mp3, 320
Time: 97:34
Size: 213 mb (99 mb/113 mb)
AMG Rating: 1975: Miles Davis - Agharta

Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis -- saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume -- was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here. The music on Agharta, a total of three tunes spread over two CDs and four LP sides, contains the "Prelude," which clocks in at over a half-hour. There is "Maiysha" from Get up With It and the Agharta "Interlude," which segues into the "Theme From Jack Johnson." The music here is almost totally devoid of melody and harmony, and is steeped into a steamy amalgam of riffs shot through and through with crossing polyrhythms, creating a deep voodoo funk groove for the soloists to inhabit for long periods of time as they solo and interact with one another. Davis' band leading at this time was never more exacting or free. The sense of dynamics created by the stop-start accents and the moods, textures, and colors brought out by this particular interaction of musicians is unparalleled in Davis' live work -- yeah, that includes the Coltrane and Bill Evans bands, but they're like apples and oranges anyway. ...
2001: Bill Wyman's Rhythm Kings - Double Bill Music » Blues » Rhythm-n-Blues
2001: Bill Wyman's Rhythm Kings - Double BillArtist - Bill Wyman's Rhythm Kings
Album - Double Bill
Label: Koch Records
Year - 2001
Quality - mp3@320 kbps
Size - 144 mB
Total time - 48:18+42:26

On 2001's Double Bill, Bill Wyman uses two well-packed discs to prove again what he had always previously managed to make clear on a single LP: He's a monster bass player and a mediocre (at best) singer who relies on his many famous friends to help him out. The friends this time range from George Harrison (who adds slide guitar to the somnambulant blues "Love Letters") to vocal jazz legend Keely Smith, tragically underused on too few backing vocal parts. The 24 tracks on Double Bill sound like the work of a perfectly competent band working at some nondescript House of Blues-type pseudo-juke joint, the kind of place where the music is as inauthentic and geared toward inoffensiveness as the food. Double Bill isn't really a bad album -- it's frankly too boring for that -- but it's frustrating when one considers what the principals could be doing with themselves. ~ Stewart Mason, All Music Guide
Hank Jones & Frank Wess - Hank and Frank Music
Hank Jones & Frank Wess - Hank and Frank
Artist: Hank Jones & Frank Wess
Album: Hank and Frank
Label: Lineage Records
Year: 2003 ; release: 2006
Genre: Jazz/Bop
Format mp3, bitrate: 320 kb/s vbr
Time: 53;16
Size: 86,2 Mb
AMG Rating: Hank Jones & Frank Wess - Hank and Frank

Pianist Hank Jones and Frank Wess (doubling on tenor and flute) first recorded together in the mid-'50s. A half-century later, they are both still in their musical prime. On this straight-ahead date, they are joined quite ably by the fine guitar soloist Ilya Lushtak, bassist John Webber, and veteran drummer Mickey Roker. The quintet performs three Wess originals, Jones' lowdown blues "A Hankerin'," and five jazz standards. Few surprises occur, but it does not matter because all of the musicians play at a high level and good vibes dominate during this timeless set.
- Scott Yanow at AMG
1958-1959: Duke Ellington & Johnny Hodges: Side By Side Music » Jazz » Mainstream
1958-1959: Duke Ellington & Johnny Hodges: Side By Side
Artists: Duke Ellington & Johnny Hodges
Album: Side By Side
Years: 1958/1959, release - 1989
Label: Verve
Quality: MP3/ 320kb/s
Size: 99,2 mb
Total time - 45:50
REPOST with a new link

Topping off a wealth of full-band recordings, the various stars of Ellington's great outfit recorded many combo sides under their own names. And while not on the same sophisticated level of classic Ellingtonia, the late-'30s material cut by Johnny Hodges, Cootie Williams, and Rex Stewart is packed with tasty solo work and some of the finest examples of early small-group swing. These later examples from 1958-1959 feature Hodges backed by both Ellington and Billy Strayhorn on piano and such non-Duke luminaries as Ben Webster, Roy Eldridge, Harry "Sweets" Edison, and Jo Jones. Like its companion album, Back to Back, Side by Side has a loose, jam session feel, with all the soloists stretching out. Hodges is in top form throughout, while Edison and Webster man their spots just fine. Highlights include the sveltely swinging "Going Up" and Hodges' bluesy closer, "You Need to Rock." A must for fans of vintage combo swing. ~ Stephen Cook, All Music Guide
1984: Roomful of Blues - Dressed Up to Get Messed Up Music » Blues » Jump Blues
1984: Roomful of Blues - Dressed Up to Get Messed Up Artist - Roomful of Blues
Album - Dressed Up to Get Messed Up
Label - Varrick/Rounder Records
Year -1984, release - 1986
Quality - mp3@320 kbps
Size - 82 mB
Total time - 37:18

" "!
"Dressed Up to Get Messed Up" is a rockin' collection of funky big band blues with lots of wailing horns, hot guitar licks and driving rhythyms...
1991: Kenny Kirkland - Kenny Kirkland Music » Jazz » BeBop » Post-bop
1991: Kenny Kirkland - Kenny KirklandArtist: Kenny Kirkland
Album: Kenny Kirkland
Label: GRP
Year: 1991
Format: FLAC; Quality: Lossless / mp3, 320kb/s
Size: 407 MB, 137MB
AMG Rating: 1991: Kenny Kirkland - Kenny Kirkland1991: Kenny Kirkland - Kenny Kirkland

Repost with a new link (mp3) from mr. nardis61

Keyboardist Kenny Kirkland's long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is "Mr. J.C." (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell's "Celia" (taken as a duet with percussionist Don Alias), the struttin' "Steepian Faith," a driving rendition of Ornette Coleman's "When Will the Blues Leave" that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter's "Ana Maria" and Thelonious Monk's "Criss Cross." This highly recommended CD has more than its share of brilliant moments. ~ Scott Yanow, All Music Guide
Oscar Peterson - Songbooks: The Jerome Kern Songbook Music
Oscar Peterson - Songbooks: The Jerome Kern Songbook
Artist: Oscar Peterson
Album: Songbooks: The Jerome Kern Songbook
Label: Notnow
Year: 1953; release: 2009
Genre: mainstream jazz
Format mp3, bitrate: 320 kb/s
Time: 34:15
Size: 83 Mb (full covers)
Bubu's Rating : Oscar Peterson - Songbooks: The Jerome Kern SongbookOscar Peterson - Songbooks: The Jerome Kern SongbookOscar Peterson - Songbooks: The Jerome Kern SongbookOscar Peterson - Songbooks: The Jerome Kern SongbookOscar Peterson - Songbooks: The Jerome Kern Songbook


The works of Jerome Kern have always proved to hold endless possibilities for jazzmen and Oscar's trio tackles a dozen numbers that make up The Jerome Kem Songbook' (1953) treats them with suitable respect. The interest here lies as much with the personnel as the music, for drummer Ed Thigpen was now in the process of forming a potent partnership with Brown which would back the pianist on some of his most famous recordings in later years.
Billy Higgins, Ray Drummond & Hank Jones - The Essence Music
Billy Higgins, Ray Drummond & Hank Jones - The Essence
Artist: Billy Higgins, Ray Drummond & Hank Jones
Album: The Essence
Label: DMP
Year: 1990; release: 1991
Genre: Jazz?Bop
Format mp3, bitrate: 320 kb/s
Time: 54:50
Size: 129 Mb (covers)
AMG Rating: Billy Higgins, Ray Drummond & Hank Jones - The Essence

Although bassist Ray Drummond is the leader of this trio set, he shares the spotlight quite evenly with pianist Hank Jones and drummer Billy Higgins. Drummond contributed two originals (including a tribute piece to Higgins) but otherwise the repertoire is comprised of jazz standards including "Things Ain't What They Used to Be," "Whisper Not," "Love Walked In" and "Imagination." Jones in particular is in excellent form on the fine modern mainstream set. - Scott Yanow at AMG
Hank Jones, Christian McBride & Jimmy Cobb - West of 5th Music
Hank Jones, Christian McBride & Jimmy Cobb - West of 5th
Artist: Hank Jones, Christian McBride & Jimmy Cobb
Album: West of 5th
Label: Chesky
Year: ; release: 2006
Genre: Mainstream Jazz
Format mp3, bitrate: 320 kb/s
Time: 1:02:12
Size: 150 Mb (covers)
AMG Rating: Hank Jones, Christian McBride & Jimmy Cobb - West of 5th

Veteran pianist Hank Jones is hardly slowing down at the age of 87, as heard on this beautifully recorded session in early 2006. With drummer Jimmy Cobb (who sticks to brushes) and Christian McBride rounding out his potent trio, Jones keeps old warhorses like "On Green Dolphin Street" fresh, giving ample space to his partner and adding a humorous detour into Billy Strayhorn's "Rain Check." Other highlights include his elegant treatment of his late brother Thad's timeless ballad "A Child Is Born" and a hard driving take of Charlie Parker's "Confirmation." McBride shows depth beyond his years with strong accompaniment and swinging solos. This Hybrid Super Audio CD, recorded without any gimmickry such as remixing or compression, enables the listener to enjoy these intimate performances as if sitting in the studio with the players. Highly recommended! - Ken Dryden at AMG
2002: Claude Williamson Trio - South of the Border, West of the Sun Music » Jazz » Mainstream
2002: Claude Williamson Trio - South of the Border, West of the Sun

Artist: Claude Williamson
Album: South of the Border, West of the Sun
Year: rec.Dec 15, 1992/rel. 2002
Label: Venus records /Japan, Limited edition with bonus
Format: MP3@320Kb/s
Time: 64:25
Size: 138.78 Mb

REPOST to my friends in JBC! Please enjoy, link available for registered users also!

A superior bop pianist influenced by Bud Powell, Claude Williamson has been busy playing on the West Coast since the 1950s. The older brother of trumpeter Stu Williamson, Claude started on piano when he was seven and had ten years of classical piano lessons, also studying at the New England Conservatory. Williamson's first major musical job was with Charlie Barnet's orchestra in 1947. This was followed by stints with Red Norvo (1948), Barnet's bebop big band of 1949, and June Christy (1950-51). In the 1950s, Williamson worked regularly with Bud Shank, Howard Rumsey's Lighthouse All-stars, with his own trios, and as a studio musician. He spent most of the 1960s and '70s in the studios, although he returned to jazz in the 1980s with his improvising style virtually unchanged. Claude Williamson -- who has led sessions for Capitol (1954-1955), Bethlehem, Criterion, Contract (1961-1962), Sea Breeze (1977), Interplay, Discovery, Fresh Sound, and a few Japanese labels -- recorded a memorable tribute to Bud Powell for V.S.O.P. in 1995. He currently plays regularly in the Los Angeles area. ~ Scott Yanow, All Music Guide

Claude Williamson.
1963: Duke Ellington's Jazz Violin Session Music » Jazz » Mainstream
1963: Duke Ellington's Jazz Violin Session
Artist: Duke Ellington
Album: Jazz Violin Session
Label: Wounded Bird Records
Year: 1963, release - 2004
Quality: MP3@320 kbps
Size: 100mb
Total time - 46:54
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This small group session was recorded in 1963 for Atlantic, and originally issued in 1976, two years after Duke Ellington's death. It showcases a small group that features string players in the front line. Ray Nance, the Duke's own violinist, is here as is the legendary Stephane Grappelli and violist Svend Asmussen. The rest of the players include tenor man Paul Gonsalves, drummer Sam Woodyard, bassist Ernie Shepard, alto saxist Russell Procope, and trombonist Buster Cooper. Ellington plays piano no all but two tunes where Billy Strayhorn replaced him. The program is a collection of Ellington and Strayhorn standards from "Blues in C" and "Take the 'A' Train," to "Don't Get Around Much Anymore," "Cotton Tail," and the wonderful "Limbo Jazz." The soloist and group interplay are gentle, swinging, and utterly and completely graceful and elegant. There is a lighthearted tenderness in this set that borders on sentimentality without ever going there. And the feeling is loose, relaxed, and full of warmth throughout. ~ Thom Jurek, All Music Guide
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