Artist: John Di Martino Romantic Jazz Trio
     Album: Jazz Mozart
     Label: TOKUMA JAPAN COMM.
     Year: 2008; release : 01/06/2009
     Format, bitrate: mp3, 320 kbps
     Time: 00:53:22
     Size: 120 Mb

Популярные произведения Вольфганга Амадея Моцарта в джазовой интерпретации трио Джона ди Мартино.
"John di Martino is a melodic and harmonic magician who birings a large helping of unique wonderfulness to a musical journey"-Todd Barkan

"...one of the jazz scene's finest, a pianist who is just as comfortable with bop as he is with Afro-Cuban rhythms and salsa." - Time Out New York "...one of the most musically honest young musicians I know. John di Martino's middle name should be 'taste,' for he conveys that quality whether he is in a solo or a supportive role, both in jazz and Latin music." - Ray Barretto Track Listing 1. The Fire of Passion - Piano Concerto #24 in C minor K491 2. My Heart Needs To Know - Piano Concerto #27 in B flat major K595 3. I've Lost Her - The Marriage Of Figaro K492 4. Soft, Like The Petals Of A Rose - Piano Concerto #21 in C major K467 5. Dance Of The Wind - Symphony #40 in G minor K55 6. The Willows Song - Concerto for Clarinet and Orchestra in A major K622 7. Lacrymosa - Requiem K696 8. Arc Of Love - Piano Concerto #23 in A major K488 ~ Editorial Reviews

     Artist: James Brown
     Album: The Singles, Vol. 7 2CD
     Label: Hip-O Select
     Years: 1970-72, release: 2009
     Quality: mp3/vbr
     Size: 62.40 МБ & 60.11 МБ

Killer funk from the prime early 70s years of James Brown -- that time when it seemed that each new single pushed the boundaries of funk even farther than before! The set follows Brown's last few years with King into his monumental time with Polydor -- a really groundbreaking batch of work that set the world on fire even more than Brown's best grooves of the 60s -- cuts that are harder-edged, harder-hitting, and harder-jamming than anything anyone would have imagined a few years before -- thanks to help from an ever-improving lineup of the JBs who jam so much that some tracks extend past a "part 2", into parts 3 and 4! Like other volumes in this amazing series, the set presents full details on each track -- plus some great historical details and even some vintage photos -- all of which make the 2CD package essential to have, even if you own some of these original 45s. Plus, there's some rare mixes here, promo versions, and even a "Fight Against Drug Abuse" radio announcement -- nestled alongside classics like "Sex Machine (parts 1 & 2)", "Super Bad (parts 1 & 2)", "Soul Power (parts 1, 2, & 3)", "Escape-ism (parts 1, 2, & 3)", "My Brother (parts 1 & 2)", "I'm A Greedy Man (parts 1 & 2)", "Get Up Get Into It Get Involved (parts 1 & 2)", "Hey America (voc, inst)", "Santa Claus Is Definitely Here To Stay (voc, inst)", "Hot Pants (parts 1, 2, & 3)", "Talking Loud & Saying Nothing (parts 1 & 2)", and "My Part/Make It Funky (parts 1, 2, 3, & 4)" -- plus "Just Won't Do Right" by Lyn Collins. © 1996-2010, Dusty Groove America, Inc.

     Artist: Milt Buckner
     Album: Mighty High
     Label: Argo LP 660
     Release Date: December 02, 1959
     Genre: Jazz
     Format, bitrate: mp3/320 kbps
     Size: 84 MB
     AMG Rating


     Understatement was always Milt Buckner's strong suit, and Mighty High plays beautifully to those strengths, pairing the organist with guitarist Kenny Burrell, bassist Joe Benjamin, alto saxophonist Jimmy Campbell, and drummer Maurice Sinclair to create a collection of short, simple, and sweet jazz tunes energized by the wonderful rapport of the assembled players. Unlike fellow Hammond B-3 maestros like Jimmy Smith, Buckner clearly savors the group dynamic, eschewing theatrics in favor of brief yet effective solos that never attract attention away from the groove. The music crackles with collaborative energy, drawing its strength from numbers. ~ Jason Ankeny, All Music Guide

     Artists: Cannonball Adderley /Charles Lloyd
     Video album: Jazz Casual: Cannonball Adderley/Charles Lloyd
     Year: 1961
     Label: Koch Jazz's Ralph Gleason's Jazz Casual series
     Quality: AVI File - 700mb



In the 1960s, San Francisco Chronicle music critic, Ralph J. Gleason, hosted a thirty minute program entitled "Jazz Casual" for National Educational Television (the precursor to the Public Broadcasting System) featuring a variety of musicians. Koch Jazz has reprised these recordings using two thirty-minute sets including interviews by Mr. Gleason.
"Jazz Casual" continues to prove as an informal forum to introduce audiences to different forms of jazz and blues. Without audiences to react or much time to stretch out on tunes, the performances can feel a bit arid. Even though Mr. Gleason's short interviews sound like a flat-toned Mr. Science of the era, he does manage to warm up the bands to make them feel comfortable in these abbreviated concerts.

In the initial set performed in October 1961, the Cannonball Adderley Quintet starts with strong rendition of Joe Zwainul's "Scotch and Water" followed by a very informative exchange about the variations of the blues. Adderley proves be an easy interview and an articulate, down-home educator of the relationship of the blues and contemporary jazz. It is followed by another blues piece, "Arriving Soon," that is thoroughly delightful and perfectly responds to Adderley's mini-lecture. It's rough at times followed with some exquisite passages. "Unit Seven" is yet another slant of the on the basic twelve-bar blues format. The short lessons of Adderley perfectly set up and, lest I say, educates the listener to the pieces.
The second set, performed by the Charles Lloyd Quartet in June 1968, is a marked contrast to Adderley's Quintet. The Quartet isn't as user-friendly. There are no interviews explaining and introducing the music. The Quartet seems perfectly at ease just to play their cutting edge pieces. Gleason is nowhere to be found. They eschew the patter. They are in their own world, but almost as if they are turning their backs to the audience. However, this does not at all take away from the music. The Quintet educates in its own take-it-or- leave-it approach. Further askew from the blues, the music veers on the avant-garde. It is simple and complex, lush and dissonant. While "Love Ship" is passionately beautiful, the triumph of the set is the twenty minute "Tagore/Passin' Thru." It is a radical piece that begins with Keith Jarrett strumming piano strings seems to be the beginning of a weird Indian raga bent on chaos and disorientation with insistent percussion provided by DeJohnette and McClure. The piece eventually culminates with a melancholic, nervy saxophone duet between Lloyd and Jarrett. As they begin their third piece, they are cut off after nearly two minutes. Their thirty-minute allotment is over. The show is over. Cut to the credits. But, you just know the band must have continued for another extended run. They are just getting started. Recommended. ~ Ken Dryden, All Music Guide

   Artist: Houston Person
   Album: In a Sentimental Mood
   Year: 2000
   Label: High Note
   Genre: Jazz Standards
   Format, bitrate: MP3@320 kb/s
   Time: 57:58
   Size: 135 MB





   Houston Person is an excellent, underrated tenor saxophonist with a full, rich tone and a knack for well-constructed, tasteful, but never boring solos. That said, he's occasionally guilty of giving the people what they want, releasing smooth and conservative albums that are perfectly enjoyable to listen to, but somewhat beneath what he's capable of. 2000's In a Sentimental Mood is exactly that; this collection of standards features some excellent performances of classic ballads, but it's all so polite that it's hard to see the set as anything more than better-than-average background music.

     Artist: Jack Wilkins
     Album: Mexico
     Year: 1992
     Label: CTI
     Quality: 320kbs; FLAC
     Total Time: 50:03
     Total Size110 mb; 260 mb (with scans)


Jack Wilkins is an excellent guitarist deserving of wider recognition. This 1992 CTI release might get overlooked by hard bop fans because of producer Creed Taylor's tendency to either over-produce a session or turn it into commercial pabulum, but this out of print CD is worth acquiring. "Dailey Double," written by pianist Albert Dailey, is an up-tempo blues with a Latin kick. The guitarist's lyricism comes to the forefront during a brisk reading of "You Must Believe in Spring" and a rather brief "My Foolish Heart," featuring the leader on solo acoustic guitar. Phil Woods makes a guest appearance on Wilkins' swirling bop composition "Captain Blued" and also bassist Harvie Swartz's "Opal," stealing the spotlight on both tracks. Chick Corea's "Captain Marvel" is a miniature that features Wilkins with guest guitarist Carl Barry. A very enjoyable outing. ~ Ken Dryden, AMG

    Artist: B.B. King & Bobby "Blue" Bland
    Album: Together For The First Time
    Label: Dunhill Compact Classics
    Year: 1974; release: 1990
    Genre: Soul-Blues
    Format mp3, bitrate: 320 kb/s
    Time: 1:07:35
    Size: 124 Mb

If you enjoy the live blues scene, you'll love this piece. You can almost feel the ambiance of a dimly lit, smokey blues club. Poor yourself a mellow bourbon,light up a fine cigar and enoy a laid back evening with the legendary blues of Mr. B.B. King & Bobby Blue Bland. The bond of these two long time friends is obvious in their free-flowing dialog and makes for a comfortable evening of easy listening. This release has been somewhat overlooked throughout the years..... share it with your friends. - Loose Bruce at Amazon.com

     Artist: Nucleus
     Album: Elastic Rock/We'll Talk About It Later
     Year: 1970/71
     Format: FLAC + MP3 (320k/s)
     Size: 584 + 203 MB (full artwork)
     Label: BGO (Remastered, 1994)
     Total time: 41:25 + 45:40

Elastic Rock:
Essential debut and a defining moment of jazz-rock - this was recorded only a few months later than Miles Davis's Bitches Brew and obviously Ian Carr was very impressed (and a unconditional fan of Miles as he wrote two books about his life on top of other jazz encyclopediae) and he formed this band with amongst other Jenkins, Marshal and the chameleon of rock Chris Spedding after he left psych-blues group Pete Brown's Battered Ornaments. The sublime sleeve artwork, a cut-out gatefold that lets you peep into a red-hot lava stream opens up on a breathtaking landscape in a volcano park. After listening to side 1, most rock fans will wonder where the rock part went, as only the second part of Crude Blues was energetic enough to be named rock. But right from the opening track with the bowed double bass rumbling as if the earthquake was happening, to the very calm climates of Striaton and Taranaki, we are dealing with a fairly acoustic fusion much like the first two albums of Weather Report. Only the title track is really more upbeat as well as the second part of Crude Blues. Side 2 is definitely where things pick up, especially with Boogaloo and the self-explanatory Torrid Zone (bound to be a concert favourite) and then comes the hi-energy feel big enough to light a city. We can hear how Jenkins is paving hell with his delicate Fender Rhodes piano layers and Marshall being an extremely intuitive drummer. But the star here especially on the second part of the album is Chris Spedding (that's right Mr. Punk Motorcycle of '77 single fame) with a much understated but still flamboyant style. Smith, Carr and Jenkins also adding some aerial horns layers, making this debut album a classic, but much better is to come. - by Sean Trane, Progarchives, com.

We'll Talk About It Later:
Although Nucleus made an acclaimed performance at the Newport Jazz Festival in 1970, the U.K. proto-fusionists never became particularly popular in the States, with much of their recorded output only available as import releases. In fact, in certain quarters Nucleus is known primarily as a source of musicians who joined the latter-day Soft Machine, itself a group that never moved too far beyond cult status. Composer/keyboardist/reedman Karl Jenkins, drummer John Marshall, bassist Roy Babbington, and guitarist Allan Holdsworth all played with Nucleus at one time or another, and all had moved over to the Soft Machine lineup by the time the Softs (with Mike Ratledge the only original remaining member of the band) issued Bundles in 1975. Nucleus' second album, 1970's We'll Talk About It Later, might be of particular interest to fans of Bundles-era Soft Machine given the presence of "Song for the Bearded Lady," a Jenkins composition that later appeared in altered form on Bundles as "Hazard Profile," a vehicle for one of Holdsworth's most stunningly fleet-fingered solos on record. "Song for the Bearded Lady" kicks off We'll Talk About It Later with a fanfare and funky unison and counterpoint riffing that segue into a spacious groove and Ian Carr trumpet solo echoing the influence of electric Miles from the same time period. Chris Spedding was the band's guitarist here, and one shouldn't expect Holdsworth-style pyrotechnics from him; Spedding was a blues-rocker more than a jazzer and generally took a back seat to the soloing skills of Carr, Jenkins, and New Zealand saxophonist Brian Smith (whose duet with drummer Marshall at the conclusion of "Easter 1916" -- inspired by the Yeats poem about the Irish nationalist uprising in Dublin -- approaches the wildness of some of the era's most incendiary free jazz).

     Artist: Erroll Garner
     Album: Magician & Gershwin and Kern
     Label: Telarc
     Years : 1964-1968,1974; release:1995
     Quality - MP3@320kb/s
     Size 162 mb
     Total time - 76:13



Two of Errol Garner's last albums, Magician and Gershwin and Kern, are reissued on this single CD. The pianist, heading trios or quartets, is in typically whimsical and hard-swinging form; he never did decline on record. The former session includes several of his originals plus versions of "Close to You" and "Watch What Happens" that manage to uplift those pop tunes; the latter date has consistently superior material. Garner's very spontaneous playing is as usual both unpredictable and quite accessible and these unedited performances were all first takes. No one ever really sounded like Erroll Garner and this highly enjoyable set of formerly rare material gives one a good example of his magical music. ~ Scott Yanow, All Music Guide
     




   

     Artist: Red Norvo
     Album: 1944-1945
     Label: Classics
     Size: 144 mb
     Format/bitrate: mp3, 320 kb/s

     Anyone who listens through the previous six volumes of Red Norvo on Classics will likely experience a visceral sense of excitement from 1943 onward as Norvo switches from xylophone to vibraphone and adopts a noticeably modern attitude toward the music. Norvo underwent a profound artistic transformation in 1944-1945, his many years of experience enabling him to settle into a new role as established recording artist and bandleader with an open-minded respect for young artists bearing new ideas. Norvo's remarkable skills as an improviser coupled with a willingness to participate in what music critics call the bop revolution often placed him squarely within the eye of the rapidly evolving cultural hurricane of modern music. This seventh album in the Norvo chronology delivers an unprecedented dosage of top-notch jazz, documenting the historical swing-to-bop phenomenon in 16 wonderful tracks. With five Keynote sides, two V-Discs, and an epochal meeting with Charlie Parker and Dizzy Gillespie, topped off by Norvo's Nonet/Quintet set at the fabulous 1945 Town Hall Jazz Concert, this is by far the best volume in the Classics chronology of his recorded works, and might very well be the greatest all-purpose Red Norvo album ever released to the public. arwulf arwulf, AMG

Тем, кто любит вибрафон, безусловно стоит прослушать этот занятный альбомчик виртуоза-вибрафониста Реда Норво. Обратите внимание на то, какие звезды принимали участие в записях!

     Artist: Helen Merrill,Gil Evans
     Album: Collaboration
     Label: Emarcy records
     Year: rec.Aug 18, 1987-Aug 26, 1987/rel.1988
     Format: MP3 @320 Kb/s
     Time: 44:01
     Size: 96,3 Mb
     AMG rating:

     Artist - Golden Gate Quartet
     Album - Complete Works in Chronological Order Vol. 1-6
     Genre - Spirituals, Gospels
     Label - Document
     Years - 1937-1952, release - 2000
     Quality - MP3 VBR (128,192)
     Size: 72,2+74,2+85,7+78,8+61,4+52,6Mb

     Исторические записи одного из самых известных госпел-квартетов, сделанные в классическом его составе.

REPOST!

     Artist: Herb Ellis
     Album: After You've Gone
     Label: Concord Jazz
     Year: Aug 1974; release: 1992
     Format, bitrate: mp3@320 kbit/s
     Time: 48:41
     Size: 120 Mb





     This set from the 1974 Concord Jazz Festival (which has been reissued on CD) is a follow-up to the studio record Soft Shoe and uses similar personnel: guitarist Herb Ellis, bassist Ray Brown, drummer Jake Hanna, trumpeter Harry "Sweets" Edison, tenor saxophonist Plas Johnson and, in a rare straight-ahead outing, pianist George Duke. Each of the musicians has their chance to be featured; Ellis and Brown play a duet version of "Detour Ahead," and Edison is quite lyrical on "Mood Indigo." This is a bright, swinging set that helped to launch the Concord label. ~ by Scott Yanow

     Artist: James Carter
     Album: Layin' in the cut
     Label: Atlantic
     Year: 2000
     Quality: flac
     Size: 87x4MB



     The second of James Carter's pair of 2000 releases shifts wildly, and perhaps trendily, toward electric funk, as the title cut proclaims within seconds. It's really a loose, collective electric jam session with all of the risks, occasional hot streaks, and passages of torpor that the term implies. Oddly enough, the tracks that really make it are those that are credited to only one composer: guitarist Jef Lee Johnson's stimulating Prime Time-like melee, "Terminal 8," that gathers momentum like a freight train; Carter's cooking "There's a Puddle" that explodes into a freeform burst on cue at the end; and Carter's "GP." The collectively credited pieces are the ones that tend to go nowhere, often desperately in need of editing or clear direction. At all times, though, Carter is a freewheeling dynamo on soprano and tenor saxes, not afraid to reach wildly to the outside even when the funk backgrounds are merely mild mannered. Carter draws from the New York City avant-garde scene for help: Marc Ribot is the other electric guitarist, Jamaaladeen Tacuma plays bass, and the volatile drummer G. Calvin Weston tries with partial success to mix things up. Carter says that he intends to pursue this direction in the future -- with hopefully less diffuse results. ~ Richard S. Ginell, All Music Guide

     Artist: Eric Dolphy
     Album: Stockholm Sessions
     Label: Enja
     Recording Date: Sep 25, 1961-Nov 19, 1961
     Size: 118 mb
     Format/bitrate: mp3, 320 kb/s

     The music on this CD (the original LP program plus a second version of "Sorino") is taken from a radio aircheck and a TV special, both originating from Stockholm. The remarkable Eric Dolphy (switching between alto, bass clarinet, and flute) performed two of his originals plus "Don't Blame Me" with a sympathetic quartet on the aircheck while the television show (does this film still exist?) features him in a quintet with trumpeter Idrees Sulieman playing three more originals, Mal Waldron's "Alone," and his unaccompanied bass clarinet feature "God Bless the Child." This innovative music can serve as a strong introduction of Eric Dolphy's talents to bebop fans who have not yet grasped the avant-garde. ~ Scott Yanow, AMG

     Artists: Dave Brubeck and Paul Desmond
     Video Album: Ralph Gleason's Jazz Casual: Dave Brubeck featuring Paul Desmond
     Studio: Rhino Home Video/Records
     Recorded 1961, 30 minutes, B&W
     (AVI) - DVD rip - Rhino Records 972591
     Size: 248 mb





In spite of a career spanning over five decades, which includes numerous television appearances, this 1961 broadcast is one of only a handful commercially issued featuring Dave Brubeck. Ralph Gleason produced the nationally syndicated TV series in the early 1960s, serving as host and conducting a brief interview with Brubeck following a brisk, if somewhat tame version of "Take Five." The 1961 videotape that served as source material for this VHS tape was in very good condition, so sound problems are relatively minor, except for some caused by the show's engineers, who were a little slow in adjusting levels at times. Brubeck is joined by his classic quartet: Paul Desmond, Eugene Wright, and Joe Morello. Also featured are "It's a Raggy Waltz," "Castillian Blues" (a nice feature for drummer Joe Morello), the rarely heard "Waltz Limp," and an abruptly truncated "Blue Rondo a la Turk" that fades suddenly as the program ends. Definitely of interest to fans of Dave Brubeck. ~ Ken Dryden, All Movie Guide Guide

     Artist: Julia Hulsmann Trio
     Album: The End Of A Summer
     Released: 2008
     Label: ECM
     Quality: mp3 CBR 320
     Size: 113 MB




     Avoiding blatant virtuosity, The End Of A Summer engages, instead, on a deeper, more subconscious level. Profoundly beautiful and possessing a telepathic interaction that can only come from years playing together, this may not be the Julia Hulsmann Trio's debut, but it will be a first encounter for many, and a fine one it is.

     Artist: Reuben Wilson
     Album: Got to Get Your Own
     Total Time : 35:00
     Recording Date : 1975(2008)
     Label : DUSTY GROOVE
     Format :CD/MP3 (320 Kb/s)
     File Size : 81.70 МБ


     On his only album for Chess' Cadet imprint, B-3 organist Reuben Wilson pulled the second of his now classic career change-ups. His first was on 1971's Set Us Free, his final album for Blue Note. On that date Wilson and producer George Butler brought in a female backing chorus, a large soul band, and arranger Wade Marcus for a driving set of psychedelic soul, hard funk, and rockist B-3 workouts. Wilson moved to Groove Merchant for a couple of years where he released two solid albums with producer Sonny Lester before coming to Cadet in 1975 for this ill-fated date. Chess was in dire financial straits by this time and was soon to close its doors; the album became a cutout almost immediately. It languished in the bins and in record stores and distribution warehouse basements until sample crazy beatheads and British DJs picked up on it in the late 1980s. Thom Jurek, AMG

     Artist:Eddie Metz, Jr. Trio
     Album:Bridging The Gap
     Label:Arbors ARRC 19374
     Year, release: 2008
     Genre:Traditional Jazz
     Format, bitrate: MP3-320 KBS
     Time:60 Min
     Size: 142 mb

     Veteran jazz musicians like drummer Eddie Metz, Jr. encounter the same challenge all of the time, particularly when they play weekend jazz parties: the obvious aging of their audience. Although many older fans resist the playing of newer pop material, musicians have to find a way to draw new listeners to eventually replace older ones. So he recruited Italian pianist Rossano Sportiello and bassist Nicki Parrott, with fellow jazz party regulars John Allred (trombone) and Harry Allen (tenor sax) added on several tracks. There are plenty of great old standards: delightful, swinging trio settings of "Falling in Love with Love," "I'm Old Fashioned," "The More I See You," and a sublime "More Than You Know."
Modern pop is represented by enjoyable interpretations ofStevie Wonder's "Overjoyed" and Steely Dan's "Bodhisattva" and a bossa nova setting of 1970s Italian pop singer Gino Vannelli's "Crazy Life," featuring Allred carrying the melody, while Parrott sings "One Less Bell to Answer," a hit decades earlier for the 5th Dimension. Metz penned the understated "NER Blues," which will be immediately recognized by any seasoned jazz fan as a tribute to Count Basie, while the full quintet is heard in the sassy "Huggin' Higgins," a peppy salute to veteran pianist Eddie Higgins, another jazz party regular who crosses paths with the rest of the band on occasion. Metz has done his part to bridge the generation gap among jazz fans; now it is up to the listeners to take the first step across it. Ken Dryden, All Music Guide