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2000: Chicago Underground Duo - Synesthesia Modern Jazz, Acid Jazz, Avantgarde
2000: Chicago Underground Duo - Synesthesia
Artist: Chicago Underground Duo
Album: Synesthesia
Label: Thrill Jockey Records
Year: 1999; release: 2000
Format, bitrate: mp3, 320
Time: 40:38
Size: 89 mb
AMG Rating: 2000: Chicago Underground Duo - Synesthesia

"A magnificent example of what happens when open-minded musicians realize the full potential of jazz in the present tense" - Derek John, All About Jazz

Though the Chicago Underground Duo is hypnotically minimal in its aesthetic, Rob Mazurek and Chad Taylor still make a lot of noise. On Synesthesia, the duo combines elements of Miles Davis' Bitches Brew-era fusion with a futuristic, technological sensibility that could only come out of Chicago. That's not to say that other cities aren't capable of such magic, but Chicago is home to so many electro-jazz-rock aficionados that, essentially, the Chicago Underground Duo is a product of its own musical environment. In fact, the head man of all of Chicago's jazz-tinged post-rock scene, Tortoise's John McEntire, engineered the record. Synesthesia brings out the brilliance of Taylor and Mazurek's sparse instrumentation as, for the most part, they use only a cornet, a keyboard, and drums to weave their plaintive and complex compositions. Mazurek's trumpeting skill is impeccable and his experimentation with Synesthesia's rhythm structures is mindblowing as he switches from totally free jazz, to hard bop, to acid jazz at the drop of a hat. Certainly, the lack of other instruments in the mix makes for a grand space to showcase both Mazurek's and Taylor's talents. With Synesthesia, the Chicago Underground Duo provides a strong link between experimental avant-garde jazz and jazz-flecked electronic music. A very provocative and beautiful record.
~ Ken Taylor, All Music Guide
2000: Joe Lovano Nonet - 52nd Street Themes Music » Jazz » BeBop » Post-bop
2000: Joe Lovano Nonet - 52nd Street Themes
Artist: Joe Lovano Nonet
Album: 52nd Street Themes
Label: Blue Note
Year: 2000
Format, bitrate: MP3, 320Kbps
Size: 156 mb + 30 mb (Booklet full)
AMG rating 2000: Joe Lovano Nonet - 52nd Street Themes

The latest CD by jazz saxophonist Joe Lovano blends New York attitude with Midwestern warmth in an homage to the Manhattan street where bebop ruled in the '50s and '60s. The music here, like that of such other thematic Lovano albums as Rush Hour (his 1995 celebration of third-stream music) and Celebrating Sinatra, evokes the past without being at all archival. Fronting a four-man sax section, Lovano blasts through such strong Dameronia as "The Scene Is Clean" and "Tadd's Delight," refreshes the indelible lyricism of Dameron's lovely "If You Could See Me Now," and, in an intimate duet with pianist John Hicks, velvetizes Billy Strayhorn's lush "Passion Flower." It also features Miles Davis' early "Sippin' at Bells"; Lovano's homage to Charlie Parker, the complex "Charlie Chan," a three-way saxophone conversation between Lovano and fellow tenormen George Garzone and Ralph Lalama that's punctuated by Lewis Nash's pinpoint drums; "Abstractions on 52nd Street," Lovano's extrapolation and embellishment of a Thelonious Monk line; and George Gershwin's "Embraceable You," plushly orchestrated by Willie "Face" Smith and lovingly performed by Lovano. Others contributing sax are Gary Smulyan (baritone) and Steve Slagle (alto); Tim Hagans and Conrad Herwig play trumpet and trombone, respectively, while Dennis Irwin handles bass. Like many other Lovano records, this hews close to tradition but updates it effectively. Besides the fervor of the playing -- Smith says he would've played saxophone, but these New York players were much better prepared -- the song selection is astute, Lovano's originals are solid, and Smith's sole compositional contribution, "Deal," is tasty indeed.
~ Carlo Wolff, All Music Guide
1949-1950: Jimmy Dorsey & His Original Dorseyland Jazz Band Music » Jazz » Traditional Jazz
1949-1950: Jimmy Dorsey & His Original Dorseyland Jazz Band
Artist - Jimmy Dorsey
Album - Original Dorseyland Jazz Band
Label - Disconforme
Years - 1949-1950, release - 2001
Quality - MP3@320kbps
Size - 118mb
Total time - 56:28
REPOST by request

, !

In 1949, with the fortunes of the big bands in decline, Jimmy Dorsey carved out a seven-piece unit from his orchestra, consisting of himself on clarinet and alto saxophone, Charlie Teagarden on trumpet and vocals, Cutty Cutshall on trombone, Frank Mayne on tenor saxophone, Dick Carey on piano, Carl Kress on guitar, Bill Lolatte on bass, and Ray Bauduc on drums, with Claire Hogan contributing occasional vocals, and played old-time Dixieland music with what he called "Jimmy Dorsey & His Original 'Dorseyland' Jazz Band." The group held sessions for Columbia Records on three successive days in November, the first fruits of which were a single combining the 1917 song "Johnson Rag" with the 1924 Eddie Cantor signature tune "Charley, My Boy." The single gave Dorsey his first chart entry in two years and was quickly followed by the album Dixie by Dorsey, also a chart hit. "Dorseyland" Dance Parade was that album's follow-up, another eight-song collection featuring both sides of the hit single and its charting successor, Dorsey's cover of the major novelty hit "Rag Mop." That contemporary song was really the odd man out in a collection of vintage material like "That's a Plenty," rendered in traditional Dixieland fashion with wailing horns and hot solos all around. Dorsey, who had played in this style all the way back in the 1920s with the California Ramblers, was clearly in his element, and so were his cohorts. The new Dixieland fad proved to be a passing one, and Dorsey was soon struggling again, but these are exciting performances in much better fidelity than was available 30 years earlier. ~ William Ruhlmann, All Music Guide
1982: The Woody Herman Big Band - Word Class Swing, Mainstream
1982: The Woody Herman Big Band - Word Class
Artist: The Woody Herman Big Band
Album: Word Class
Label: Concord Jazz
Year: 1982, release: 1992
Quality: MP3@320 kbps
Size: 101 mb
Total time: 44:33

As with most of the Woody Herman Orchestra's recordings for Concord, this set (taken from concerts in Japan) welcomes guests from Herman's past. In this case tenors Al Cohn, Med Flory, Sal Nistico and Flip Phillips get to star on half of the eight selections including a remake of "Four Brothers" and Phillips's "The Claw." Phillips has an opportunity to reprise his famous Jazz at the Philharmonic solo on "Perdido." The regular Herman sidemen do not sound as distinctive in comparison, but they play quite well on these attractive arrangements, four of them by pianist John Oddo.
~ Scott Yanow, All Music Guide
2009: Richard Galliano - Bach Music
2009: Richard Galliano - Bach
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2009: Richard Galliano - Bach
Artist: Richard Galliano
Album: Bach
Label: Universal
Year: 2009, release:2010
Format, bitrate: mp3, 320 kbps
Time: 1h, 54 sec
Size: 147 mb.

, , . . - , . , - .
, ...

The Accordion and the Bandonen – both of them wind- and (stereo) keyboard-instruments with vibrant reeds, and both of them revealing themselves to be genuinely expressive, portable organs – are today almost alone, from a purely instrumental point of view, in proposing new light and "blood" for the works of Johann Sebastian Bach.
For this recording I chose a repertoire originally destined for a multitude of instruments (Violin, Cello, Keyboard, Organ, Oboe...) and on each occasion, the Accordion, Bandonen or Accordina (a sort of button-Harmonica) takes possession of the original score, and demonstrates the universality of the music of J.S. Bach, in its capacity for performance, in an equally artistic and expressive manner, on instruments invented only some two centuries after the death of the composer.
The marriage between Strings and Reeds provides a different colour, a different taste for this music; and the somewhat hackneyed, rather facile handicap of popularity – due to the frequent, over-exposed presence of the Accordion and Bandonen in traditional music – is today reversed, becoming an advantage.
How can one produce new versions of the concerti for Violin, the Cello suites and the pieces for Keyboard or the Organ... after the marvellous recordings made by such Great Performers as Glenn Gould, Pablo Casals or Isaac Stern...?
With the Accordion and the Bandonen there remains much to be done, and with this recording, a new Pathway opens up to them... of which I am both happy and proud to be the "pioneer".

~ Richard Galliano (Paris, December 8th 2009)
1951-1952: Stan Getz - Jazz & Blues Cool, West Coast Jazz
1951-1952: Stan Getz - Jazz & Blues
Artist: Stan Getz
Album: Jazz & Blues
Label: Barna Record Lab
Years: 1951-1952, release: 1995
Time: 54:27
Format: FLAC
Size: 100MB x 2 + 91MB (with covers)

This album features athe studio performances between saxophonist Stan Getz and guitarist Jimmy Raney recorded between 1951 and 1952. The sheer number of labels the pair recorded for is staggering, from Sittin' in With to Roost, Savoy, Sesco, Clef, Prestige, and others. And while Getz, particularly on the early sides, is still deeply entrenched in his worship of Charlie Parker, the cool elegance of Raney's own playing is already asserting itself on the early sides, so that by 1951, Getz has moved toward the center from strictly bebop. Some of the other players on these sessions include Duke Jordan, Horace Silver, Roy Haynes, Frank Isola, and many others. There are 18 performances in all, giving a striking portrait of the era, and of Getz's development as a soloist and bandleader in particular. Raney arrived fully developed and just got better. The sound quality is solid here and the remastering job on these tracks is warm and full despite their many original sources. ~ Scott Yanow, All Music Guide
2009: Dave Holland Octet - Pathways Music » Jazz » Modern Jazz » Avantgarde
2009: Dave Holland Octet - Pathways
Artist: Dave Holland Octet
Album: Pathways
Label: Dare2 Records #DR2-004
Year: 2009, release: 2010
Format: FLAC tracks + cue + log + scans
Time: Time: 75:26
Size: 460 MB
AMG rating 2009: Dave Holland Octet - Pathways

With five A-list horn players -- Chris Potter on tenor and soprano saxophones, Antonio Hart on alto sax and flute, Gary Smulyan on baritone sax, Alex Sipiagin on trumpet and flügelhorn, and Robin Eubanks on trombone -- on board, and anchoring supplied by Dave Holland's bass, Nate Smith's drums, and Steve Nelson's marimba and vibes, there's a lot of swing residing within these grooves. There is also empathy to spare. Pathways, recorded live at New York's Birdland and the first release by the Holland Octet, is tightly woven, devoid of bloat, and constantly in motion. Holland, in his multi-decade career, has worked within every conceivable format, and he smartly positions the octet precisely where it should be by definition, midway between the standard small-group configuration and the all-bases-covered grandness of a big band. The arrangements often seem larger than life while simultaneously feeling succinct, and every solo -- not the least of which are Holland's own masterful excursions -- is carefully considered and masterfully executed. The album's seven tracks are all written by bandmembers -- five by Holland, one each by Sipiagin and Potter -- and two of Holland's, "Shadow Dance" and "How's Never?" (both of which he's recorded before), are the longest of the show, allowing for multiple shifts in mood, tempo, and color. Holland uses those pieces, in particular, as launching pads for dynamic solo exhibits and inspired duets, but in the end it's not the dexterity of the individuals that impresses most, but rather the groupthink of the ensemble. ~ Jeff Tamarkin, All Music Guide
1937-1938 : Lionel Hampton 1937-1938 Chronological Classics Music » Jazz » Swing

1937-1938 : Lionel Hampton 1937-1938 Chronological Classics
Artist: Lionel Hampton
Album: Lionel Hampton 1937-1938
Label: Classics
Years: 1937-1938, release: 1996
Format:MP3 @ 320 Kb/s
Time: 71:53
Size: 95 Mb + 80 Mb.
AMG rating 1937-1938 : Lionel Hampton 1937-1938 Chronological Classics

In 1937, vibraphonist Lionel Hampton began leading a series of all-star swing recording dates. Although he would still be a member of Benny Goodman's organization for another three years, Hampton was a natural-born leader and his record dates featured top sidemen from a variety of major jazz bands. This CD begins the chronological reissue of all of this music (except alternate takes). Hampton is teamed with players from the Benny Goodman and Duke Ellington orchestras plus a large assortment of guests. Among the many highlights are "Hampton Stomp" (featuring Hampton playing rapid lines on the piano with two fingers), "Stompology," Johnny Hodges on "On the Sunny Side of the Street," and some good spots for Jonah Jones' trumpet.
~ Scott Yanow, All Music Guide

2005: But Beautiful: The Best Of Shirley Horn Music » Jazz » Vocal Jazz
2005: But Beautiful: The Best Of Shirley HornArtist: Shirley Horn
Album: But Beautiful: The Best Of Shirley Horn
Label: Verve
Year: 2005
Format, bitrate: mp3, 320kb/s
Size: 133MB
AMG rating: 2005: But Beautiful: The Best Of Shirley Horn2005: But Beautiful: The Best Of Shirley Horn

When vocalist/pianist Shirley Horn resurfaced after a long spell away from the recording studio and signed with Verve Records in 1987, the jazz world at large discovered what many of Horn's devoted followers already knew: that she is a huge talent and one of the great jazz singers to follow in the footsteps of legends like Sarah Vaughan and Billie Holiday. On her records for Verve, Horn never dazzles with flawless technique or stunning vocal tricks. Instead, she enthralls the listener with her intimate delivery and her understated yet almost visceral emotional power. Since that first record in 1987, she has released a string of good-to-excellent records, and But Beautiful: The Best of Shirley Horn on Verve compiles some of the finest moments from them, including the lovely "You Won't Forget About Me," which features Miles Davis on trumpet, maybe the best take on "Fever" since Peggy Lee's, the achingly slow and torchy "But Beautiful," and the lightly swinging "Come and Dance with Me," a track that shows that while Horn's main strength is ballads she also can swing like nobody's biz. The disc also gives a tiny taste of Horn's '60s sound with the inclusion of "The Great City" from 1963's Shirley Horn with Horns and has three bonus tracks recorded live in 2005 with a tight combo that show Horn has a surplus of style and class.
~ Tim Sendra, All Music Guide
1982: Al Cohn With Zoot Sims Zoot Case BeBop, Cool
1982: Al Cohn With Zoot Sims  Zoot Case
Artists: Al Cohn , Zoot Sims
Album: Zoot Case
Label: Gazel
Year: 1982, release: 1993
Format, rate: mp3, 320kbs
Size: 123 MB
Time: 57:30
AMG Rating: 1982: Al Cohn With Zoot Sims  Zoot Case

During a 30-year period the very complementary tenors Zoot Sims and Al Cohn teamed up on an irregular but always consistently satisfying basis. This club date from Stockholm, one of their final joint recordings, features the pair backed by pianist Claes Croona, bassist Palle Danielsson and drummer Petur Ostlund. Both Zoot and Cohn sound quite inspired and they really push each other on "Exactly like You," "After You've Gone" (which features Sims on soprano) and even a surprisingly heated version of "The Girl from Ipanema." Al Cohn's tone had deepened during the years and, although they sounded nearly identical in the 1950s, it is quite easy to tell the two tenors apart during this encounter. The CD (available through the Swedish Sonet label) is highly recommended for fans of the saxophonists and for bop collectors in general.
~ Scott Yanow, All Music Guide
1960: Muddy Waters - Sings Big Bill Broonzy Music » Blues » Acoustic blues

1960: Muddy Waters - Sings Big Bill Broonzy
Artist: Muddy Waters
Album: Sings Big Bill Broonzy
Year: 1960
Label: Chess
Format, bitrate: MP3@320 kb/s
Time: 27:59
Size: 71,22 MB (+5% recovery)
AMG Rating 1960: Muddy Waters - Sings Big Bill Broonzy

Waters's tribute album to the man who gave him his start on the Chicago circuit, this stuff doesn't sound much like Broonzy so much as a virtual recasting of his songs into Muddy's electric Chicago style. Evidently the first time Waters and his band were recorded in stereo, the highlights include high voltage takes on "When I Get to Drinkin'" and "The Mopper's Blues," with some really great harp from James Cotton as an added bonus.
~ Cub Koda, All Music Guide
1961: Cannonball Adderley Quintet - Plus Hard-bop, Adderley Cannonball
1961: Cannonball Adderley Quintet - Plus
Artist: Cannonball Adderley Quintet
Album: Cannonball Adderley Quintet Plus
Year: 1961
Label: Riverside
Quality: FLAC + MP3@320 Kbps
Size: 365 + 124 MB (covers)
AMG rating 1961: Cannonball Adderley Quintet - Plus

REPOST with new links

For this CD reissue of a Riverside date, altoist Cannonball Adderley's 1961 Quintet (which includes cornetist Nat Adderley, pianist Victor Feldman, bassist Sam Jones and drummer Louis Hayes) is joined by guest pianist Wynton Kelly on five of the eight selections, during which Feldman switches quite effectively to vibes. The music falls between funky soul-jazz and hard bop, and each of the performances (particularly "Star Eyes" and "Well You Needn't") is enjoyable. The CD adds a new alternate take of "Lisa" and the previously unissued "O.P." to the original program. ~ Scott Yanow, All Music Guide
Joe Lovano - Biography Biography
Joe Lovano - Biography

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2005 : Joe Lovano - Stream of Expression Music » Jazz » BeBop » Post-bop
2005 : Joe Lovano - Stream of Expression
Artist: Joe Lovano
Album: Stream of Expression
Label: Blue Note Records
Year: 2005, release:2006
Format, bitrate: MP3, 320Kbps
Time: 78 Min
Size: 180 MB
AMG rating 2005 : Joe Lovano - Stream of Expression

Joe Lovano can always be relied upon to switch gears from one project to another, constantly exploring new music and fresh variations of older pieces. On Streams of Expression, he contributes the five-part "Streams of Expression Suite," a three-part "Birth of the Cool Suite" (conducted by Gunther Schuller) that uses themes from Miles Davis' 1948-1950 Nonet, and three briefer works. Lovano utilizes several groups along the way, and there are spots for the other horn players (including tenors George Garzone and Ralph Lalama, baritonist Gary Smulyan, and especially trumpeter Tim Hagans) to be heard. Lovano is in prime form, the Miles Davis melodies are expertly updated, and although none of the new individual themes were destined to be future standards, the playing by Lovano and his sidemen is consistently creative. Another highly recommended Joe Lovano outing. ~ Scott Yanow, All Music Guide
2003: Terence Blanchard - Bounce Post-bop, Fusion, Contemporary Jazz, Brazilian Jazz
2003: Terence Blanchard - Bounce Artist: Terence Blanchard
Album: Bounce
Label: Blue Note
Year: 2003
Format, bitrate: mp3, 320
Size: 148 mb
AMG Rating: 2003: Terence Blanchard - Bounce 2003: Terence Blanchard - Bounce

Trumpeter and composer Terence Blanchard has come further in a sense than any of the 1980s Art Blakey alumni. While Wynton and Branford Marsalis may have higher profiles, Blanchard is the player who has most improved as both a soloist and an ensemble player. He is an excellent bandleader whose great taste in arrangements and sidemen are reflected on nearly all of his recordings. But most of all, Mr. Blanchard has become one of jazz's most sophisticated and erudite composers. Combining elegance; sleek, shimmering surfaces; and lopping, limpid ambiences with wonderful harmonic and melodic invention — not to mention a great cast of soloists — there's no wonder why Mr. Blanchard is Spike Lee's chosen soundtrack composer. On Bounce, Mr. Blanchard and his septet (which includes the brilliant pianist Aaron Parks, saxophonist Brice Winston, drummer Eric Harland, B3 and Fender Rhodes maestro Robert Glasper, guitarist Lionel Loueke, and bassist Brandon Owens) explore various sides of the Latin music experience while not making a "Latin" record per se. Blanchard seems to be interested in the colorations of rhythm on his own modern creative and post-bop experiments in texture, structure, and musical elasticity. And these tunes do stretch into melodic arenas he's never explored before. >>>
1992: Various - Weird Nightmare: Meditations on Mingus Modern Jazz, Freejazz
1992: Various  -  Weird Nightmare: Meditations on Mingus
Artist: Various artists
Album: Weird Nightmare: Meditations on Mingus
Label: Columbia
Year: 1992
Genre: progressive / post moden / fusion
Format, bitrate: mp3, 320
Time: 74:14
Size: 156.2 MB
AMG rating 1992: Various  -  Weird Nightmare: Meditations on Mingus1992: Various  -  Weird Nightmare: Meditations on Mingus

Producer Hal Willner had created a reputation as a fascinating instigator, organizing homages to composers as diverse as Nino Rota and Thelonious Monk wherein he conscripted the services of musicians from all over the stylistic map, allowing them to bring their unique interpretations and approaches to bear on the subjects. For his Charles Mingus project, his central idea was as inspired as it was loony: to incorporate the amazing instruments invented and designed by another equally maverick composer, Harry Partch, into reinterpretations of Mingus' work. By and large, it works, making Weird Nightmare a strange and wonderful one-off event. There's a central band at work based around bassist Greg Cohen and guitarist Bill Frisell, with guest stars, mostly from the rock world, including Robbie Robertson, Dr. John, Keith Richards, and Chuck D Highlights abound; when Partch's Marimba Eroica is struck during "Pithecanthropus Erectus," the floors of the listener's dwelling may buckle. Elvis Costello's reading of the title song is, well, eerily weird. One special high point is the version of "Gunslinging Bird" where text from Mingus' autobiographical Beneath the Underdog is angrily and righteously declaimed by Chuck D.; it's arguably as pure and forceful as anything he ever accomplished with Public Enemy and makes one wonder why he never pursued this seemingly rewarding path. There are several missteps as well, to be sure. Most egregiously, Keith Richards' sneering condescension on "Oh Lord, Don't Let Them Drop That Atomic Bomb on Me," as though he had better things to do, is embarrassing. But eventually, it's simply the gorgeous music of Charles Mingus that carries the day, showing itself more than capable of shouldering the ghost of Harry Partch and the wayward inclinations of its interpreters. Most of the pieces glow in these unusual treatments, and make Weird Nightmare a must for any serious Mingus fan. ~ Brian Olewnick, All Music Guide
1958: Julie Wilson - At The St. Regis Music » Jazz » Vocal Jazz
1958: Julie Wilson - At The St. Regis
Artist: Julie Wilson
Album: At The St. Regis
Label: VIK
Year: 1958
Format, bitrate: 320 Kbp/s (LP-rip)
Time: 38:01
Size: 87MB
AMG rating 1958: Julie Wilson - At The St. Regis1958: Julie Wilson - At The St. Regis

Recorded live at the midtown Manhattan hotel where she long held court, Julie Wilson at the St. Regis captures the singer in her natural environment, perfectly evoking the smoky, after-hours sophistication of the postwar cabaret circuit. Paired here with the Marshall Grant Trio, Wilson clearly relishes the live setting: the songs forgo subtlety and restraint in favor of crowd-pleasing theatrics, shifting easily from torch song melancholy to tongue in cheek vamps. Wilson's sly, husky vocals have never sounded better than on songs like "Most Gentlemen Don't Like Love," "Married I Can Always Get," and "I Refuse to Rock and Roll."
~ Jason Ankeny, All Music Guide
1959: Eric Dolphy - Truth Jazz, BeBop
1959: Eric Dolphy - Truth
Artist: Eric Dolphy
Album: Truth
Label: Rockin Chair Records
Year: 1959
Format: mp3@320 kb/s
Size: 82MB w/scans
Time: 31:33
AMG Rating: 1959: Eric Dolphy - Truth

The music on this European import CD features Eric Dolphy while he was a member of the Chico Hamilton Quintet; the music originally appeared on a SESAC Repertory LP. The group includes either Ralph Pena or Wyatt Ruther on bass, guitarist Dennis Budmir, cellist Nathan Gershman, Dolphy (alto sax, flute, and bass clarinet), and the leader on drums. Like other Chico Hamilton recordings with Dolphy present, the material often has the feeling of chamber music, though the occasional pyrotechnics of Dolphy's alto sax can jar the listener. None of the individual numbers is particularly memorable, although Dolphy's flute is consistently a highlight during "Theme for a Starlet" and "Lullaby for Dreamers." "Frou Frou" is a lively calypso somewhat reminiscent of the writings of Charles Mingus, featuring Dolphy's rapid fire vocal-like alto sax. Unfortunately, Dolphy doesn't solo on every piece, only uses the bass clarinet in some ensemble passages, and is omitted entirely from one track, "Pretty Little Theme." Because of the typos in several of the song listings in this reissue of questionable origin, (all of which have been corrected for the accompanying All Music Guide list of individual tracks), the composers shown may very well also be incorrect. This somewhat hard to find CD may be of interest to serious fans of Eric Dolphy, but will be of little interest to most jazz fans.
~ Ken Dryden, All Music Guide

2008: Los Dorados & Cuong Vu-Incendio Fusion, Avantgarde
2008: Los Dorados & Cuong Vu-Incendio
Artist: Los Dorados & Cuong Vu
Album: Incendio
Label: Intolerancia
Year: ; release: 2008
Format, bitrate: MP3 256 kbps
Time: 41.58
Size: 74.89 MB

Listening to Los Dorados costs the reason. The band was born with the XXI century; its members initially gathered together by a common interest in musical exploration where improvisation plays a leading role and musical spontaneity is the main creative engine, where the edges of genres and styles are so stretched out that they become blurred and give way to an electrifying energy that permeates their live performances. The inevitable vitality of such a statement is behind Los Dorados organic and evolutionary proposal. The resulting sonido dorado (dorados sound) can only become framed by the listener..s imagination.
1955: Bobby Jaspar - Featuring Dave Amram Music » Jazz » BeBop » Hard-bop
1955: Bobby Jaspar - Featuring Dave Amram
Artist: Bobby Jaspar
Album: Bobby Jaspar Featuring Dave Amram
Label: Vogue Jazz (BMG France)
Year: 1955, release: 1998
Quality: mp3 @320 kbps
Size: 148 mb
Total time: 66:10

Bobby Jaspar is all but forgotten today. Back in the late 1950s, the Belgian tenor saxophonist recorded with Hank Jones, Tommy Flanagan, Eddie Costa, J.J. Johnson, Herbie Mann and many other notable New York jazz artists of the period. Married to singer Blossom Dearie, Jaspar's best-known recordings are probably Interplay for Two Trumpets and Two Tenors (1957), for which he was teamed with John Coltrane, and Chet Is Back (1962), recorded with Chet Baker after the trumpeter's release from an Italian prison.
And then Jaspar died. In 1963, at age 37, the saxophonist and flutist suffered a fatal heart attack just as he was gaining recognition.
Back in the early 1950s, before Jaspar came to the U.S., French hornist and composer-arranger David Amram knew Jaspar well in Paris and recorded with him there in 1955. David's sessions with Jaspar remain crafty, exuberant and difficult to find.

~ Marc Myers, JazzWax
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