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Artist: Die Like a Dog Quartet Album: Little Birds Have Fast Hearts, No. 1 Label: FMP/Free Music Production Year: 1997; release: 1998 Genre: Avantgarde Jazz, Free Jazz, Free Improvisation Format, bitrate: mp3, 320 Time: 67:43 Size: 146 mb AMG Rating:
Peter Brotzmann's Die Like a Dog Quartet pools the incisive talents of some of the planet's top creative-music explorers, including drummer Hamid Drake, Japanese electric trumpeter Toshinori Kondo, and New York bassist William Parker.
The Die Like a Dog Quartet came together four years after recording their first album for the 30th Total Music Meeting festival in Berlin that took place in November 1997. The sets that the quartet performed over the course of the three day festival were subsequently released by the FMP label in two volumes entitled Little Birds Have Fast Hearts. Peter Brötzmann plays tenor, of course, as well as some tarogato and clarinet, and he is joined by bassist Wiliam Parker, drummer Hamid Drake, and trumpeter Toshinori Kondo who occasionally utilizes electronic effects. On this first volume, the quartet is in it for the long run; there are just two parts, totaling over an hours' worth of music. They go long, but not without pause, for there are definite let-ups over the course of "Part 1" (which remains engaging and varied throughout its 45 minutes), and "Part 2" is a relatively low-key piece. But "calm" and "low-key" for this group are still strongly out; there is no "casual" mode, there is no collapsing into old forms, this is a work-out, and all four musicians give 100 percent as they are known to do. This is not music for people wanting to hear some nice jazz, some hum-along-able standards; this is music for listeners who want to take a journey and are willing to let this quartet steer. The Die Like a Dog Quartet is not improvising for an audience, they are improvising because. Because that is how you find music. Little Birds Have Fast Hearts, No. 1 is a great example of why that is important.
Artist - Oscar Peterson Album - In A Romantic Mood Label - Verve Year - 1955 Quality - MP3@320kb/s (LP-rip) Size - 85,07 mb (sharebee) Total time - 39:41
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A late 1955 date with a full orchestra, gorgeous versions of standrds from "Laura" to "Stella By Starlight". We love Oscar Peterson with strings a setting he never got to use that often, given the popularity of his famous trio recordings! When Oscar gets set up with strings, he seems to play even more freely than with a combo let loose from rhythm a bit more than before, and instead focusing strongly on melody which often comes off with a warmly lyrical feel. This album's a rare entry into the Peterson strings category a great 50s date with Russ Garcia backing Oscar up giving the album just the right mix of mellow and modern to match Peterson's magical work on the keys! In a way, the album's a link between two different styles of 50s jazz some of the warmer string laden work of the piano mainstream, and some of the sharper sounds of the Verve modern approach to the style served up here by Oscar in ways that bring both modes together perfectly, with just the right dash of both. Titles include "Laura" and "Tenderly" both tracks you'd have to have on an album like this plus "Black Coffee", "Ruby", "Stella By Starlight", "A Sunday Kind Of Love", and "I Thought About You"
Artist: George Benson with the Harlem Underground Band Album: Erotic Moods Label: Paul Winley Records/ Traffic Entertainment Group Year: 1976, release: 2009 Quality:mp3,VBR Size: 83 mb
Wild and mysterious stuff! This album is sort of a repackaged version of the legendary Harlem Underground album a great lost funk album from the mid-70s that listed George Benson as a player in the group, but one that Benson claims that he never played on! The time of this release coincided with Benson's big hit years in the 70s so the package is a bit of a cash-in project but the grooves here are a lot harder-hitting than anything George recorded for Warner or Columbia really gritty funk that's totally great throughout! Other players include Dave Baby Cortez on organ, Reuben Wilson on keyboards, and Willis Jackson on tenor and Ann Winley sings on one track, the great "Fed Up", which has a really bad-rapping feel! Other titles include the classic break track "Smokin' Cheeba Cheeba" plus a few smokin' organ/guitar wailers, like "Loose Joints" and "Overture Erotic", both of which are nice enough to warrant this separate release! Other tracks include "Erotic Moods" and "Sweet Taste Of Love".
Artist: Duke Ellington and His Orchestra Album: 1924-1927 (The Chronological Classics, 539) Label: Classics Years: 1924-1927; release: 1996 Genre: Early Jazz Format mp3, bitrate: 320 kbs Time: 70:42 Size: 156,28 mb
This CD contains the first 23 recordings released under Duke Ellington's name. The initial ten selections, dating from November 1924 to June 1926, are quite intriguing because, with the exception of the very first date (resulting in "Choo Choo" and "Rainy Nights"), the primitive band does not sound like Ellington's. While the first date has cornetist Bubber Miley, trombonist Charlie Irvis (Tricky Sam Nanton's predecessor), and altoist Otto Hardwick as the front line, the following eight numbers have shifting personnel and, despite the occasional presence of trombonist Jimmy Harrison (who takes two vocals) and clarinetist Don Redman, the music is under-rehearsed and rough. But on "East St. Louis Toodle-Oo" (the band's theme) and "Birmingham Breakdown" from November 29, 1926, the Ellington sound was finally together and from then on the band's output was often classic. Other highlights of this historic disc are "Hop Head" and the initial version of "Black and Tan Fantasy," with such soloists as Miley, Nanton, and Hardwick, and with Duke himself on piano.
Takehiro sounds a little bit like Oscar Peterson, with spliced with Erroll Garner, with a pinch of Ray Bryant. His playing style isn't exactly the most unique, but it's still infused with a heavy dose of energetic bop.
Çíàìåíèòûé ÿïîíñêèé ïèàíèñò Òàêåõèðî Õîíäà ðîäèëñÿ 21 àâãóñòà 1945 ãîäà â ãîðîäå Ìèÿêî, ïðåôåêòóðà Èâàòý. Ñ ðàííåãî äåòñòâà îáó÷àëñÿ èãðå íà ôîðòåïèàíî. Ñ 12 ëåò èçó÷àë êëàññè÷åñêóþ ìóçûêó â ìóçûêàëüíîì êîëëåäæå Kunitachi, ó èçâåñòíîãî ïåäàãîãà ã-æè Íàãàìèíå Âàêî.Ïîçäíåå îí îáðàòèëñÿ ê äæàçó è â 21 ãîä ñòàë óæå äîñòàòî÷íî çíàìåíèòûì äæàçîâûì ìóçûêàíòîì. Ñ 1973 ïî 1978 ãîäû ðàáîòàë â îðêåñòðå çíàìåíèòîãî áàíä-ëèäåðà Ñàäàî Âàòàíàáý, ñîâìåùàÿ ýòó ðàáîòó ñ ðàáîòîé â ñîñòàâå ñîáñòâåííîãî òðèî.Ñ 1993 ãîäà ó Òàêåõèðî Õîíäà íà÷àëèñü ñåðü¸çíûå ïðîáëåìû ñî çäîðîâüåì, à 12 ÿíâàðÿ 2006 ãîäà ìóçûêàíò óìèðàåò îò ñåðäå÷íîãî ïðèñòóïà.
The famous Japanese pianist Takehiro Honda was born on August 21, 1945 in the city of Miyako, Iwate Prefecture. From early childhood, learned to play the piano. With 12 years of studying classical music in the College of Music, Kunitachi, a famous teacher, Ms. Nagamine Vako. He turned to jazz, and at 21 years was already a famous jazz musician. From 1973 to 1978 worked in the orchestra of the famous gang leader Sadao Watanabe, combining this work with that of his own trio.At 1993 by Takehiro Honda began serious health problems, and January 12, 2006 musician dies of heart attack. (c)lex
Artist: Ahmad Jamal Album: Jamalca Year: 1974 Label: 20th Century Records Format, bitrate: MP3, 320kpbs Time: 41:03 Size: 94.05 ÌB
Released in 1974, Jamalca is a far cry from Ahmad Jamal's classic trio recordings from the '50s but in line with his other early-'70s releases. In fact, it has a strong early-'70s vibe in general, in terms of both the arrangements -- which feature blaxploitation-tinged strings, anonymous female background singers, and the occasional flute -- and the repertoire, which includes such then-current numbers as Thom Bell's "Ghetto Child," Marvin Gaye's "Trouble Man," and the Johnny Mandel-penned "M*A*S*H Theme" (also known as "Suicide Is Painless," and a tune that was covered by several other jazz musicians during this era, including Bill Evans, Paul Desmond, and Jimmy Smith ). Jamal himself splits time between Fender Rhodes and acoustic piano and showcases his usual taste and elegance throughout, despite occasionally being overwhelmed by easy listening strings and obtrusive background vocals. This is essentially a crossover album, and while it is dated, it is still enjoyable in spots. Highlights include the breezy "Misdemeanor," the chipper (if somewhat goofy) title track, and the M*A*S*H theme, which stays on just the right side of the cocktail-lounge background music line. At this point, the potential audience for this album will consist more of crate-digging rare groove enthusiasts than straight-ahead jazz fans, but for those in the aforementioned demographics, Jamalca is at least worth a listen.
Last reissued as a Pausa LP simply titled Jimmy Giuffre, this album has Giuffre's first recordings as a leader, three sessions that resulted in ten selections. Switching between tenor, clarinet and baritone, Giuffre is heard in a quartet and quintet with trumpeter Jack Sheldon and with Sheldon in a pianoless septet also including Shorty Rogers on flugelhorn, altoist Bud Shank and valve trombonist Bob Enevoldsen. The leader wrote eight of the ten songs (including a remake of his biggest hit "Four Brothers"), several of which show off his growing interest in both folk and classical musics. Fine performances, but this album will be difficult to find.~ Scott Yanow, All Music Gude
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Artist: Mahavishnu Orchestra / John McLaughlin Album: Inner Worlds Label: Columbia/Sony Year: 1975; release: 1994 Format mp3, bitrate: 320 kbs Time: 44:04 Size: 91,17 mb AMG Rating :
The state of the second Mahavishnu Orchestra continued to be volatile in 1975, with violinist Jean-Luc Ponty out, keyboardist Gayle Moran replaced by Stu Goldberg, and all string and horn backings removed, leaving just a steaming quartet and this lone remarkable album. The addition of Goldberg, a more interesting musician than Moran, is significant, but the biggest charge is provided by the leader who, in tandem with the latest electronic equipment, turns in some of his most passionately alive playing of the whole Mahavishnu series. The leadoff track, "All in the Family," has fantastic energy and drive, pushed on by Narada Michael Walden's drums and marimba. "Miles Out" has John McLaughlin doing some inspired jamming with his guitar hooked into a "360 Systems Frequency Shifter" (an electronic device with the wildly fluid sound of a ring-modulator), and he moves over to an early guitar synthesizer on "Morning Calls," "Lotus Feet," and the streaking title track. There is some funk residue from Visions of the Emerald Beyond on "Planetary Citizen," yet oddly enough, the so-so soul vocals from Walden on several tracks, and one by bassist Ralphe Armstrong, do not harm the cause, as the playing of the quartet is so fiery. But this somewhat overlooked album would be the last hurrah for the Mahavishnu concept for nearly a decade — and when it returned, the sounds it produced would bear little resemblance to this power-packed music.
Artist: Andrew Hill Album: Grass Roots Label: Blue Note (BST 84303) Year: 1968, CD 2008 Format: mp3@320 kb/s Size: 160MB (w/scans) Time: 1:08:42 AMG rating:
As the '60s drew to a close, Blue Note spent less time than ever with adventurous music, since it didn't sell as well as soul-jazz or mainstream hard bop. So, it may seem a little strange that the label invited Andrew Hill back to record in 1968, two years after he last cut a session for the label. Hill's work for the label stands among the most challenging cerebral post-bop of the '60s, but there was another side of Hill that wasn't showcased on those records: He also had a knack for groove and melody, as indicated by his composition "The Rumproller," a hard-grooving hard-bop classic made famous by trumpeter Lee Morgan. That was the side that Blue Note wanted to showcase on Grass Roots. Hill and his band were working from the basic template of making a commercial hard-bop album, but nevertheless pushed themselves to challenging territory. Blue Note sat on the session however, and Hill went back to the studio four months later with a new group of musicians: trumpeter Lee Morgan, tenor saxophonist Booker Ervin, bassist Ron Carter, and drummer Freddie Waits. This group was every bit as adventurous as the last, but they laid down a solid groove without compromising the music. The end result may not be as bracing as Hill's earlier works, but it's a pleasure to hear him in such a genial, welcoming mood. Furthermore, the record is hardly insubstantial musically -- the songs have strong melodies, even hooks, to bring casual listeners in, but they give the musicians the freedom to find a distinctive voice in their solos. It's the best of both worlds, actually -- accessible, just like Blue Note wanted, without compromising Hill's integrity. [Blue Note's 2000 CD reissue contains the entire first draft of the album as a bonus.]
Artist:Sonny Stitt Album:Autumn In New York Year:rec.1962,October 18,1967 Label: 1201 Music Format: Mp3@320 Kb/s + (flac+cue+full can) Time: 47:20 Size:97 Mb, 308 Mb.
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Åùå îäèí àëüáîì Sonny Stitt â Âàøó êîëëåêöèþ. Ïðèÿòíîãî ïðîñëóøèâàíèÿ.
This Black Lion CD combines together four selections from a quintet session featuring altoist Sonny Stitt, trumpeter Howard McGhee, pianist Walter Bishop, bassist Tommy Potter and drummer Kenny Clarke (three boppish blues and a Stitt feature on "Lover Man") with four selections showcasing Stitt with unknown accompaniment from a 1962 date at Birdland. The saxophonist recorded so many sessions that it is not necesssary to acquire them all to get a good sampling of his playing (particularly since his style was virtually unchanged after the mid-'50s), but the CD has its heated moments. ~ Scott Yanow, All Music Guide
Artist: Coleman Hawkins & Benny Carter Album: Jammin' the Blues (Live) Label: Moon Records Year: 1965-66 Release: 1993 Format, bitrate: mp3, 320kb/s Size: 88MB
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