 |
Who is on-line? |
 |
 |
On Line:26
Visitors:3
Guests: 18
Robots: 5
|
Visitor's list:
ichiro, micaus, Äîêòîð ×ïîê
Robot's list:
Google.com, Yahoo, Yandex, MSN, Archive.org
|
|
 |
 |
 |
 |
|
Friends |
|
|
Jazz 2 Rock
jasapaal
 Into the Rhythm
|
|
|
|
|
|
 |
 |
2009: John Hammond, Jr. - Rough & Tough |
Music » Blues » Acoustic blues |
 |
|
 Artist: John Hammond Jr. Album: Rough & Tough Year: 2009 Label: Chesky Format, bitrate: MP3@320 kb/s Time: 58:34 Size: 142,5 MB (+5% recovery) (sharebee)  íàøåì êëóáå óæå ïðåäñòàâëåíî íåñêîëüêî àëüáîìîâ ýòîãî ìóçûêàíòà. Õî÷ó ïðåäëîæèòü âàì ïîçíàêîìèòñÿ ñ ïîñëåäíåé åãî ðàáîòîé. Âñåì ëþáèòåëÿì àêóñòè÷åñêîãî áëþçà, ñëàéä ãèòàðû è ãóáíîé ãàðìîøêè ïîñâÿùàåòñÿ. John Hammond's blues career has spanned the better part of the last five decades. From coffeehouses to concert halls, to festivals and beyond, Hammond emerged the ever-consummate blues man out of the great blues renaissance of the 60's. And while the 60's renaissance was largely an electric affair, Hammond has managed to keep vital the embodiment of the quintessential acoustic blues troubadour with brilliant acoustic guitar and rack harmonica playing and an impassioned voice.
A Grammy Award winner and four time nominee, Hammond is also a multiple W.C. Handy award winner and has shared the stage and/or recorded with many of the masters, including Muddy Waters, Willie Dixon, John Lee Hooker and Howlin' Wolf. ~ chesky.com |
|
|
2009: Tinsley Ellis - Speak No Evil |
Music » Blues » Modern electric blues |
|
|
 Artist: Tinsley Ellis Album: Speak No Evil Label: Alligator rec.(cover with autograph) Year: Rel. 6 October 2009 Format: MP3@320 Kb/s Time: 54:17 Size: 123,9 Mb AMG rating:  REPOST with new link from veronica! To my friend tednewman !
Tinsley Ellis has worked hard since the early 1980s to establish himself on the contemporary blues scene. As a result, he has become one of the most consistent, and therefore quintessential, electric blues men. Ellis is a an excellent guitar player and a terrific showman. He's a good songwriter in that he stretches the blues form as far as it will go, and occasionally he crosses into solid hard rock territory. On Speak No Evil, it seems as though Ellis has been listening to some of Robin Trower's early to mid-period records. That's not a bad thing: Trower is one of the great modern bluesmen who has been remarkably consistent over the decades, and he is one of the more astonishingly soulful guitar heroes alive. What seems to be at work on Speak No Evil is Ellis trying to push the blues form in a decidedly more rockist direction without losing its emotional feel. And he's done his job. Check out the opening track, "Sunlight of Love" With its hard-driven wah-wah pedals and funky backbeat; one can easily imagine this track on Trower's Twice Removed from Yesterday -- Ellis even apes vocalist James Dewar's vocal phrasing. It's a killer track and a sheer surprise, -- especially with a B-3 providing such a powerful atmospheric backdrop in the power trio format. Another number in this vein is "The Night Is Easy" (all that's missing are the phase shifters!). One more cut reminiscent of Trower is "It Takes What It Takes," a mellower number that might have come from one of that guitarist's middle-period recording such as Caravan to Midnight. It's a minor-key blues played with such an elastic sense of phrasing that the track becomes a psychedelic soul-blues cut. What's as impressive as Ellis' guitar playing is how much improved his singing is -- it has grown more expressive and gained some subtlety as time has gone on. That's not to say there aren't a couple of vintage Ellis scorchers here, because there are plenty. Check the tough strut and swagger of "Slip and Fall" or the closing number "Rockslide" as just a couple of examples. Speak No Evil is an ambitious album from Ellis; he's continued to grow musically and aesthetically without losing an ounce of his own identity in the process. If there is one complaint about this album, it's the cookie cutter production that is the curse of the Alligator label. Like everything else on the imprint, it is engineered and mixed to sound like it was recorded for car stereo rather than actual home or critical listening. Too much top, not enough middle or bottom. If Ellis ever switches labels, hopefully he'll get a producer who understands that he has as much an emotional and musically dynamic range as someone like Ronnie Earl and will bring that out. But musically, with Speak No Evil, Ellis has made an album as solid as can be. ~ Review by Thom Jurek (AMG)
Âåëèêîëåïíûé àëüáîì! |
|
|
1999: Diana Krall - Why Should I Care |
Music » Jazz » Vocal Jazz |
|
|
 Artist: Diana Krall Album: Why Should I Care Year : 1999 Label: Grp Records Quality: MP3 Bitrate: 320 kbps Total Size: 165.49 mb Singer/pianist Diana Krall got her musical education when she was growing up in Nanaimo, British Columbia, from the classical piano lessons she began at age four and in her high school jazz band, but mostly from her father, a stride piano player with an extensive record collection. "I think Dad has every recording Fats Waller ever made," she said, "and I tried to learn them all." Krall attended the Berklee College of Music on a music scholarship in the early '80s, then moved to Los Angeles, where she lived for three years before moving to Toronto. By 1990, she was based in New York, performing with a trio and singing. After releasing her first album on Justin Time Records, Krall was signed to GRP for her second, Only Trust Your Heart and transferred to its Impulse division for her third, a Nat "King" Cole Trio tribute album called All for You. Love Scenes followed in 1997, and in late 1998, she issued the seasonal Have Yourself a Merry Little Christmas. When I Look in Your Eyes followed in 1999. Whatever noteriety Krall had earned over the years for her work exploded with this album, which became an international best-seller and earned her a Grammy for Best Jazz Vocal Performance. It also was the first jazz album to be nominated for Album of the Year in twenty-five years. Krall's crossover success followed her as she performed in the Lilith Fair the following year and her songs cropped up everywhere from episodes of Sex in the City to films like Midnight in the Garden of Good and Evil. In 2001 she released The Look of Love. The album topped the Billboard charts and went quintuple platinum in Canada, the first by a Canadian jazz artist to do so. The Look of Love also helped Krall win three Juno awards in 2002, taking home awards for Artist of the Year, Album of the Year and Best Vocal Jazz Album of the Year. ~ liner notes |
|
|
1960: Charlie Byrd Trio - Charlie's Choice |
Music » Jazz » Latin » Bossa Nova |
|
|
 Artist: Charlie Byrd Album: Charlie's Choice Label: OFFBEAT Year: rel.1960 Format: Flac, (vinyl rip) Size: about 247 MB Tasteful, low-key, and ingratiatingly melodic, Charlie Byrd had two notable accomplishments to his credit -- applying acoustic classical guitar techniques to jazz and popular music and helping to introduce Brazilian music to mass North American audiences. Born into a musical family, Byrd experienced his first brush with greatness while a teenager in France during World War II, playing with his idol Django Reinhardt. After some postwar gigs with Sol Yaged, Joe Marsala and Freddie Slack, Byrd temporarily abandoned jazz to study classical guitar with Sophocles Papas in 1950 and Andrés Segovia in 1954. However he re-emerged later in the decade gigging around the Washington D.C. area in jazz settings, often splitting his sets into distinct jazz and classical segments. He started recording for Savoy as a leader in 1957, and also recorded with the Woody Herman Band in 1958-59. A tour of South America under the aegis of the U.S. State Department in 1961, proved to be a revelation, for it was in Brazil that Byrd discovered the emerging bossa nova movement. Once back in D.C., he played some bossa nova tapes to Stan Getz, who then convinced Verve's Creed Taylor to record an album of Brazilian music with himself and Byrd. That album, Jazz Samba, became a pop hit in 1962 on the strength of the single "Desafinado" and launched the bossa nova wave in North America. Thanks to the bossa nova, several albums for Riverside followed, including the defining Bossa Nova Pelos Passaros, and he was able to land a major contract with Columbia, though the records from that association often consisted of watered-down easy listening pop. In 1973, he formed the group Great Guitars with Herb Ellis and Barney Kessel and also that year, wrote an instruction manual for the guitar that has become widely used. From 1974 onward, Byrd recorded for the Concord Jazz label in a variety of settings, including sessions with Laurindo Almeida and Bud Shank. He died December 2, 1999 after a long bout with cancer. Richard S. Ginell, All Music Guide |
|
|
1982: Charlie Byrd, Herb Ellis and Barney Kessel - Great Guitars Live (At The Winery/ At Charlie's Georgetown) |
Music » Jazz » Latin » Bossa Nova |
|
|
 Artist: Charlie Byrd, Herb Ellis & Barney Kessel Album: Great Guitars Live (At The Winery/ At Charlie's Georgetown) Label: Concord Released: 1982 Format: MP3, 320(?) kb/s Time: 46:27 Size: 81.9 MB The Great Guitars' fifth and final recording with their original three guitarists (Charlie Byrd, Herb Ellis and Barney Kessel) is another excellent effort, although a bit lazier than their previous records. Bassist Joe Byrd and drummer Chuck Redd contribute tasteful support. Other than "Get Happy," most of the selections (which include "Where or When," "Opus One," "Old Folks" and even a soulful "When the Saints Go Marching In") are taken at slow to medium tempos, but the interplay between the guitarists is always impressive and swinging. ~ Scott Yanow, All Music Guide A jazz guitar double-header -- two older albums from the classic Great Guitars series packaged in a single set! First up is Great Guitars At The Winery -- a date that has a sweet trio of guitarists -- Charlie Byrd, Barney Kessel, and Herb Ellis -- swinging in easygoing, open-ended formation that allows for plenty of fast string interplay! Rhythm is from Joe Byrd on bass and Jimmie Smith on drums, and at times, the guitar-driven approach is almost in the mode of gypsy swing -- but with a lot more of a contemporary feel overall. Titles include "So Danco Samba", "Sheik Of Araby", "Broadway", "Air Mail Special", and "Talk Of The Town". Great Guitars At Charlies Georgetown follows the great format first set out by the trio of guitarists Charlie Byrd, Barney Kessel, and Herb Ellis -- a pretty airy approach to jazz guitar swinging that also features a bit of bass from Joe Byrd and some drums from Chuck Redd! As before, the approach seems to work best on older swing-styled numbers -- letting one guitar play rhythm while another solos strongly -- on titles that include "Where Or When", "New Orleans", "Change Partners", "Opus One", "Get Happy", and "Danielle". © 1996-2010, Dusty Groove America, Inc. |
|
|
1960: Helen Humes - Songs I Like To Sing |
Music » Jazz » Vocal Jazz |
|
|
 Artist: Helen Humes Album: Songs I Like To Sing Label: Contemporary/OJC Year:1960 Genre: Vocal Format, bitrate: 320KBP/s Time: 41:29 Size: 105MB AMG Rating:   Repost with a new link from mr. Je4a One of the high points of Helen Humes' career, this Contemporary set (reissued on CD) features superior songs, superb backup, and very suitable and swinging arrangements by Marty Paich. Humes' versions of "If I Could Be With You," "You're Driving Me Crazy," and "Million Dollar Secret," in particular, are definitive. On four songs, she is backed by tenor great Ben Webster, a rhythm section, and a string quartet; the other numbers find her joined by a 14-piece band that includes Webster and Teddy Edwards on tenors along with altoist Art Pepper. This classic release is essential and shows just how appealing a singer Helen Humes could be. Scott Yanow - All Music.com |
|
|
1977: Eric Clapton - Slowhand |
Music » Rock music |
|
|
 Artist: Eric Clapton Album: Slowhand Label: Polydor, 24 bit remastered, Japan Year: rec. May 1977/rel.Nov 1977 Format: MP3 @ 320 Kb/s Time: 39:04 Size: 86,7 Mb AMG rating:  To my friends in JBC! Please enjoy!
After the guest-star-drenched No Reason to Cry failed to make much of an impact commercially, Eric Clapton returned to using his own band for Slowhand. The difference is substantial -- where No Reason to Cry struggled hard to find the right tone, Slowhand opens with the relaxed, bluesy shuffle of J.J. Cale's "Cocaine" and sustains it throughout the course of the album. Alternating between straight blues ("Mean Old Frisco"), country ("Lay Down Sally"), mainstream rock ("Cocaine," "The Core"), and pop ("Wonderful Tonight"), Slowhand doesn't sound schizophrenic because of the band's grasp of the material. This is laid-back virtuosity -- although Clapton and his band are never flashy, their playing is masterful and assured. That assurance and the album's eclectic material make Slowhand rank with 461 Ocean Boulevard as Eric Clapton's best albums.~ by Stephen Thomas Erlewine, AMG.
|
|
|
1960: The Al Cohn-Zoot Sims Quintet - You 'n' Me |
BeBop, Cool |
|
|
 Artist: Al Cohn , Zoot Sims Album: You 'n' Me Label: Mercury Records, EmArcy Series / Verve Music Group Year: rec.June 1 and 3, 1960 / rel. 2002 Format: MP 3 @ 320 Kb/s Time: 37:06 Size: 77,9 Mb To my friends in JBC! Please enjoy
REPOST with new link.
.
À, òàê æå ïåðñîíàëüíî ìîèì êîëëåãàì ïî Êëóáó: ìèëîé aelia è äîðîãîìó lex. Ýòî Îíè íà÷àëè òåìó ñîòðóäíè÷åñòâà ýòèõ äâóõ âåëèêîëåïíûõ ñàêñîôîíèñòîâ, à ÿ, äîáàâëÿþ ýòèì àëüáîìîì ñâîþ, ìàëåíüêóþ ÷àñòü ê ýòîé òåìå.
The most unusual selection on this Al Cohn-Zoot Sims set from 1960 is "Improvisation for Unaccompanied Saxophones," a short but effective two-tenor workout that, through a clever arrangement by Cohn, gives one the impression that both saxophonists are using circular breathing. Another departure is "Angel Eyes," which has both Cohn and Sims switching to clarinet and showcases Major Holley's singing and bowed bass. Otherwise, the co-leaders stick to their main instruments and enjoy swinging together with the assistance of Holley, pianist Mose Allison (who would soon be starting his own successful solo career), and drummer Osie Johnson. ~ by Scott Yanow, AMG.
|
|
|
1968: Count Basie - Live in Antibes |
Music » Jazz » Swing |
|
|
 Artist: Count Basie Album: Live in Antibes Label: France's Concert Year: 1968, release: 1995 Quality: MP3@320 kbps Size: 152 mb Total time: 72:01 Ïðåêðàñíàÿ êîíöåðíàÿ çàïèñü ëåãåíäàðíîãî êîëëåêòèâà, óêðàøåííàÿ áëèñòàòåëüíûìè ñîëüíûìè èìïðîâèçàöèÿìè Eddie "Lockjaw" Davis The late-'60s Count Basie Band, featuring the frenetic, surging tenor sax of Eddie "Lockjaw" Davis, was spotlighted on this 17-cut CD reissue, part of a series issued by the French Esoldun label and available as an import. The band sticks to its predictable pattern of alternating midtempo and fast-paced numbers, blues and vocal change-of-pace items, plus slower treatments, all done in a relaxed, highly professional fashion. The menu includes "Going to Chicago Blues," "In a Mellow Tone," "Lil' Darlin," "Stormy Monday Blues," and "Cherokee," as well as the expected closer "Jumping at the Woodside." The arrangements, ensemble interaction, and general performances were good, if not exceptional, and Basie's customary sparse piano licks were timely and right in the groove. ~ Ron Wynn, All Music Guide |
|
|
Howlin´ Wolf - His Best |
Music |
|
|
 Artist: Howlin´ Wolf Album: His Best (Chess 50th Anniversary Collection) Label: MCA/Chess Year: 1951 - 1964; release: 1997 Genre: Blues Format mp3, bitrate: 329 kb/s Time: 55:15 Size: 128 Mb (cover) AMG Rating:   With the exception of a vinyl compilation issued in the early '80s (His Greatest Sides, Vol. 1), there'd never really ever been a single-disc Howlin' Wolf best-of package available. That all changed with this entry in MCA/Chess' 50th Anniversary series, a 20-track retrospective that serves as the perfect introduction to the man and his music, some of the very best the blues has to offer. While some naysayers will always decry the exclusion — or inclusion — of any given number of tracks on any artist's best-of compilation, it's pretty hard to fault what's been collected here. Starting with the two-sided smash that brought him from Memphis to Chicago ("Moanin' at Midnight" b/w "How Many More Years"), this compilation hits all the high points and essential tracks, illustrating how his music developed into the mid-'60s. Eleven of the 20 tunes on here are either written or co-written by Willie Dixon, and Wolf's original takes on "Back Door Man," "Spoonful," "The Red Rooster," "Wang Dang Doodle," and "I Ain't Superstitious" are truly the definitive ones, a place where personality and material symbiotically become as one. Even if you have already have this material, die-hard Wolf fans — and audiophiles in particular — will want to investigate this package as the master transfers used here are absolutely stunning, with stereo mixes of "Killing Floor," "Built for Comfort," "Hidden Charms" (with the full-length Hubert Sumlin guitar solo), "Shake for Me," and the long version of "Going Down Slow" being particular standouts. This is a set so essential that it should be on everyone's Top Ten first purchases in building the perfect blues collection. While Wolf's music will take you to many places (both musically and spiritually), here's where you start to absorb it all. - Cub Koda at All Music Guide |
|
|
1960: Mel Torme Swings Shubert Alley |
Music » Jazz » Vocal Jazz |
|
|
 Artist: Mel Torme Album: Mel Torme Swings Shubert Alley Label: Verve Year: 1960, release: 1984 Quality: MP3@320 kbps Size: 83,9 mb (sharebee) Total time:38:49 AMG Rating:   Îäèí èç ëó÷øèõ àëüáîìîâ çíàìåíèòîãî âîêàëèñòà! Though the nominal concept for Mel Tormé Swings Shubert Alley is Broadway standards, this last moment of pure Mel Tormé brilliance swings much too fast and hard for the concept to be anything but pure swing. Of course it starts out with a bang with the punchy "Too Close for Comfort." Tormé sounds like he's racing the band to the finish of the song on this one (and a few others, like "Too Darn Hot" and "Surrey with the Fringe on Top"), on the latter he repeats the title over and over again with that exuberant voice. As with his other classic swing albums, Tormé does insert a few slower songs; here, "Once in Love with Amy," "A Sleepin' Bee" and "Old Devil Moon" are downtempo, with a smile. The overall mood, however, is unrestrained enthusiasm, and it makes for an excellent record. ~ John Bush, All Music Guide |
|
|
2009: Sugar Blue – Threshold |
Music, Harp, Folk-Rock |
|
|
 Artist: Sugar Blue Album: Threshold Label: Beeble records Year: rel. 2009 Format: MP3 @ 320 Kb/s Time: 71:54 Size: 155,02 Mb To my friends blues man's in JBC! Please enjoy!
Over his lengthy career going back to a stint with the Rolling Stones, it's hard to believe this is only Sugar Blue's sixth recording. It's a very good one, though, and if anything is worth waiting for, his first-rate, virtuoso harmonica playing always satisfies the true blues connoisseur in the attack and fluid lines he doles out. He's never received enough credit as a singer, with a clean, soulful, near crooner's delivery that appeals to young and old, male and female. This set of originals does at times stray into pop music, but that has always been Blue's style. His themes are more diverse than most love/not love lyrics, from everyman's blues to holiday or protest songs, tributes to heroes, and even a classic interpretation or two. He wrote or co-wrote most all of the tunes, save Jerry Lieber and Mike Stoller's "Trouble" (in a Chicago-style blues funk) and the stern "Don't Call Me," adding "don't text me" to the lyric of this slow pop tune. At his best, Blue is wailing on his harp during the long and loose "Ramblin'," where he layers his instrument through overdubbing, does a great "Messin' with the Kid" in a mean, funky context, and plays "Cotton Time" in a smoother vein for blues legend James Cotton. The New Orleans shuffle "Noel News" in reference to Christmas Eve, "Nightmare" in a lonely man/bad woman scenario, and the cool "Average Guy" add good contrast, the latter tune talking about how normal dudes understand the blues too. Sound of birds and guns introduce "Stop the War," an unexpected song of dissent that stands out not only for its sentiment different than the other tracks talking about "murder in the first degree," but the rock & roll and funk beat that Blue adopts. Guitarist Rico McFarland is in on this, and he's excellent throughout, while second guitarist Motoaki Makino, keyboardist Damiano Della Torre, and drummer James Knowles keep the music cool and even-keeled, never boiling over. The last track is a rather poorly recorded interview segment where the leader talks about the other instruments he has tried out before, as he says "the harmonica chose me." Sugar Blue has never been fully or properly hailed as the complete, talented, soulful blues man he is, but this recording further punctuates his validity and uniqueness -- you know it's him from the first five seconds. You will also know you'll like this recorded effort just as quickly.~ by Michael G. Nastos, AMG.
|
|
|
Lightnin' Hopkins - Mojo Hand: The Anthology |
Music » Blues » Acoustic blues |
|
|
 Artist: Lightnin' Hopkins Album: Mojo Hand: The Anthology 2 cd Label: Rhino Year: ; release: 1993 Genre: Blues Format mp3, bitrate: 256kb/s Time: 2:12:11 Size: 244 Mb ANG Rating:   As with its John Lee Hooker two-disc set, Rhino offers a very pleasant way to begin serious appreciation of Lightnin' Hopkins' humongous recorded legacy with this 41-track anthology. His Aladdin, Gold Star, RPM, Sittin' in With, and Mercury output are all liberally sampled on disc one, and there are a half-dozen of those electrifying 1954 Herald sides that verged on rock & roll. Disc two is a less exciting affair; those 1960s folk-blues and later efforts usually pale in comparison to seminal early efforts. Still, for a cogent overview of the guitarist's daunting discography, this is the place to start. - Bill Dahl at All Music Guide |
|
|
2009: Buddy Guy, Magic Sam, Otis Rush & More - Snakebite |
Music » Blues » Modern electric blues |
|
|
 Artist: Buddy Guy, Magic Sam, Otis Rush & More Album: Snakebite Label:Floating World Year: rel. May 26, 2009 Format: MP3 @ 320 Kb/s Time: 130:31 Size: 139,9 Mb + 145,8 Mb To my friends blues man's in JBC! Please enjoy.
2009 two CD release. Cobra Records was founded in 1956 by Eli Toscano, a record shop owner in Chicago. He sensibly left all the creative decisions to his in-house producer and writer Willie Dixon, who had just left Chess Records. Dixon then signed the three best second generation performers of Chicago Blues: Buddy Guy, Otis Rush and Magic Sam. He wrote them some great songs and encouraged them to develop the single note guitar leads that distinguished their style.
|
|
|
2009: Buddy Guy, Otis Rush, Ike Turner & More, Cobra - Snakebite II |
Music » Blues » Modern electric blues |
|
|
 Artist: Buddy Guy, Otis Rush, Ike Turner & More, Cobra Album: Snakebite II Label:Retroworld rec. Year: rel. September 8, 2009 Format: MP3 @ 320 Kb/s Time: 150:27 Size: 161,2 Mb + 162,3 Mb To my friends blues man's in JBC! Please enjoy!
Featuring many rare and previously hard to find gems alongside such accomplished blues stars as Buddy Guy, Otis Rush, Ike Turner, Memphis Slim and Sunnyland Slim. Also includes outtakes and many Alternative versions. Collected here is some of the finest blues ever recorded presented on this 2 CD set.
|
|
|
Son House & The Great Delta Blues Singers |
Music |
|
|
 Artist: Son House Album: Son House & The Great Delta Blues Singers Label: Document Year: ; release: 1880 Genre: Blues Format mp3, bitrate: 256 kb/s Time: 1:14:22 Size: 142 Mb AMG Rating:  Complete Recorded Works of Son House & The Great Delta Blues Singers isn't entirely devoted to Son House — there are cuts by several other musicians, including Willie Brown, Garfield Akers, Rube Lacey and Joe Calicott — but this disc, which contains a complete 1930 session, is the best place to get his earliest songs ("My Black Mama," "Preachin' the Blues," "Dry Spell Blues"), which remain among his masterworks. - Thom Owens at All Music Guide |
|
|
Big Walter Horton - Mouth Harp Maestro |
Blues, Harp |
|
|
 Artist: Big Walter Horton Album: Mouth Harp Maestro Label: Ace Year: 1988; release: 2004 Genre: Blues Format mp3, bitrate: 320 kb/s Time: 47:04 Size: 109 Mb (cover) AMG Rating:   Long before he arrived in Chicago, Horton was knocking 'em dead with his amplified harmonica wizardry in Memphis. Sam Phillips produced the classic sides that comprise much of this album in 1951, when Horton was billed as "Mumbles." Sizzling backup by guitarists Joe Hill Louis and Calvin Newborn urged the introverted harp giant on to dazzling heights on his earliest sides as a leader. - Bill Dahl at All Music Guide |
|
|
2009: Maria Muldaur - Garden Of Joy |
Music » Blues » Blues woman |
|
|
 Artist: Maria Muldaur Album: Garden Of Joy Label: Stony Plain Year: rel.Oct 6, 2009 Format: MP3@ 320 Kb/s Time: 46:55 Size: 110,8 Mb To my friends blues man's in JBC! Please enjoy!
Maria Muldaur's ripe, sexy vocals have been delighting audiences ever since she started singing in Greenwich Village coffeehouses. As you may or may not know, her first recordings were made for Elektra Records in 1964 as part of the Even Dozen Jug Band, a group that included future icons John Sebastian (Lovin' Spoonful) and progressive bluegrass pioneer David Grisman, creator of Dawg Music. Muldaur revisits the music of her youth here with the help of Sebastian, Grisman, Dan Hicks, and a youthful jug band she recently discovered, the Crow Quill Night Owls, featuring Kit Stovepipe on National guitar, jug, and washboard. "Garden of Joy," a classic Muldaur cut with Jim Kweskin, was the title tune of one of his early solo albums. It features a terrific fiddle solo by Suzy Thompson, and Muldaur's vocals still hit all the high notes, although her low end is now richer and more soulful than in her youth. "I Ain't Gonna Marry," another ragtime slow blues from Kweskin's "Garden of Joy," features Muldaur's exuberant singing and high-spirited work from the ensemble. Hicks contributes two new compositions, still heavily swinging and ironic: "The Diplomat" is a jaundiced look at modern life full of his skewed humor and set to a ragtime rhythm with Grisman's mandolin shooting off sparks and "Let It Simmer" is a sultry, laid back prescription for dealing with life's difficulties. The traditional jug band numbers, all arranged by Muldaur, are full of high spirits and ragtime vigor, especially the raucous "Shout You Cats" and the lascivious "He Calls That Religion." She nods to 2009 with two more timely traditional tunes "Bank Failure Blues," a dark, depressing dirge that sounds like it could have been written yesterday and "The Panic Is On," which takes a slightly lighter look at hard times. Needless to say, after a lifetime of music making, this project sounds more focused than the recordings of the Even Dozen Jug Band, but Muldaur and her pals still bring plenty of funky energy to the table. ~ by j. poet, AMG.
|
|
|
1996: Kenny Barron - Live at Bradley's |
Music » Jazz |
|
|
 Artist: Kenny Barron Album: Live at Bradley's Label: Sunny Side Release Date:2002 Format/Bitrate:mp3/320 Size:143mb This CD was recorded live at the Greenwich Village bar that, for 25 years, showcased the best jazz pianists in the world. The atmosphere was relaxed and intimate, the audience hip and respectful; this collection reflects that history as it reveals three veteran masters at their best.... (AMG) Enjoy...  |
|
|
English
Ðóññêèé
Set Home Page
Add to Favorite
Rss 2.0 news
