 |
Friends |
 |
 |
Jazz 2 Rock
jasapaal
 Into the Rhythm
|
 |
 |
 |
 |
|
 |
 |
1975: Dizzy Gillespie,Sonny Stitt,John Lewis,Percy Heath,Max Roach,Hank Jones – The Bop Session |
Music » Jazz » BeBop |
 |
|
 Artists: Dizzy Gillespie, Sonny Stitt, John Lewis , Percy Heath, Max Roach, Hank Jones Album: The Bop Session Label: EmArCy Year: 1975, release: 2004 Quality: MP3@320 kbps Size: 111 mb Total time: 50:48 For my friends! This LP matches together trumpeter Dizzy Gillespie and Sonny Stitt (on alto and tenor) with an all-star rhythm section (John Lewis or Hank Jones on piano, bassist Percy Heath and drummer Max Roach) for six classic bop standards. Gillespie was near the end of his prime but is in generally good form while Stitt typically eats the material (songs such as "Confirmation," "Groovin' High" and "All the Things You Are") with no difficulty. Bop fans should enjoy this date despite the lack of surprises. ~ Scott Yanow, All Music Guide |
|
|
1956: Lucky Thompson & Gerard Pochonet et son Quartette |
Music » Jazz » BeBop » Hard-bop |
|
|
 Artist: Lucky Thompson Album: Lucky Thompson & Gerard Pochonet et son Quartette Recording Date: Mar 2 & 14, 1956 Label: Dawn Format: mp3, 320 kb/s Size: 76 MB While visiting France in 1956, tenor saxophonist Lucky Thompson recorded over a dozen sessions within a span of just four months, with various groups put together by drummer Gerard "Dave" Pochonet. This CD reissue in Verve's Jazz in Paris series combines two different studio dates. Four tracks feature a septet with an unusual lineup that includes bass trombonist Charles Verstraete and baritone saxophonist Michel de Villers and a rhythm section anchored by pianist Martial Solal. The full group blends very well, with excellent solos by each member of the front line, though Thompson's quartet feature, "Lullaby of the Leaves," is marred somewhat by his squeaking reed. The remaining five selections are by a tentet that includes the entire septet, except Henri Renaud takes over on piano. Thompson's lush quartet treatment of "I Should Care" is the highlight of the latter date. The French musicians prove up to the task of working with the visiting American star on both dates, while Thompson is in top form throughout most of the two sessions. ~ Ken Dryden, All Music Guide |
|
|
1996: Conrad Herwig - New York Breed |
Music » Jazz » BeBop » Post-bop |
|
|
 Artist: Conrad Herwig Album: New York Breed Label: Double-Time Records Year: 1996 Format, bitrate: MP3, 192 kbps Time: 65 minutes Size: 89.48 MB AMG rating:  According to history, jazz was born in New Orleans and in the first three decades of this century gradually moved up the Mississippi River to the central United States. If New Orleans was the birthplace of jazz and the Midwest is where it spent its adolescence, New York is where the music found adulthood. Since the 1930’s when the bands of Cab Calloway, Chick Webb and Duke Ellington reigned supreme and into the 1940’s, when many of the hottest jazz improvisors uprooted and shifted base from Midwestern cities such as Chicago, Detroit and Kansas City to the East Coast, New York has been called ”The Jazz Capital of the World.”
When the great bebop innovators Charlie Parker, Dizzy Gillespie, Thelonious Monk and others made 52nd St. their headquarters, that reputation was once and for all secured. In the 60’s the next generation of innovators like John Coltrane, Miles Davis and their colleagues, all made the New York area their home. A young jazz musician might get his start elsewhere, but if you could make it in the Big Apple you could make it anywhere. New York improvisors of every genre from bebop to avant garde have been considered on the cutting edge of our unique American art form. All the musicians on this recording are part of this ”New York Breed”.
I first came to the city when I joined Clark Terry’s Big Band in 1981. When Clark went back to a small group format I relocated in New York and it’s been my home since. Where else could one perform and record with musicians like Jack de Johnette, Randy and Mike Brecker, John Scofield, Toshiko Akiyoshi, Mel Lewis, Max Roach, Eddie Palmieri, Tito Puente, Dizzy Gillespie, Mario Bauza, Paquita D’Rivera and the brilliant musicians on this recording? It seems like name dropping, but the fact of the matter is these guys are local cats. Of course that locality happens to be the island of Manhattan. ... |
|
|
2007: Adam Lane/Ken Vandermark/Magnus Broo/Paal Nilssen-Love - 4 Corners |
Hard-bop, Post-bop, Modern Jazz, Avantgarde, Funk-Jazz |
|
|
 Artist: Adam Lane/Ken Vandermark/Magnus Broo/Paal Nilssen-Love Album: 4 Corners Label: Clean Feed Records Year: 2006; release: 2007 Format, bitrate: mp3, 320 Size: 162 mb If you already sensed that the free bop style played by Ken Vandermark has roots in rhythm 'n' blues, here is the recording that confirms your impression. The context enables him to show his origins, and is provided here by a rock solid rhythm section formed by Adam Lane (sometimes with his double bass plugged to a distortion pedal, and when that happens it really grooves) and Paal Nilssen-Love, a drummer who seems to have four arms and four legs. A second horn, the trumpet of the amazing Magnus Broo, relates to the saxophonist and clarinetist just as Donald Ayler did with his brother Albert. The compositions, by Vandermark himself and Lane, are reminiscent of the Sixties writing of Ornette Coleman, with the addition of a strong melodic suggestibility - "Lucia" is a good example. But the music is not a celebration of past achievements. This is jazz of the 21st century, reflecting the many musical interests of its performers, going from Mingus flavours and Berio's ideas to a Black Sabbath-like energy and the balance of Funkadelic. "4 Corners" was recorded live in a bar atmosphere during a festival in Coimbra, Portugal, and it reflects the very special moment of communication with the audience they were capable to ignite. This is powerful, loud, intense music, the kind that vibrates in your soul beside your senses and your body. With lots of fun but also profoundly serious in its purpose to gather people in these times of cultural and civilizational conflict.~ Clean Feed |
|
|
1974: Tomasz Stanko - Twet |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Tomasz Stanko Album: Twet Format: FLAC (cue, log, scans) Size: 243 MB Label: Polskie Nagrania (24-bit remastered, 2004) Total time: 40:03 In the '70-s, the peak years of Tomasz Stanko, his perfect partners were few, but certainly the Finnish drummer Edward Vesala and Polish tenor-man Tomasz Szukalski belonged to them. Their cooperation brought such important records as "Balladyna", "TWET", "Almost Green", "Live at Remont" or "Satu". These three musicians' mutual understanding was almost of a metaphysical quality, necessary to be sure, to play free-jazz. On this disc they are joined by the sensitive and articulate American bassist, Peter Warren. Out in 1976, TWET (supposedly an acronym of musician's initials), is a perfect example of free-jazz attractiveness potential, so seldom truly realizes. But here it materializes, to the sensitive listener's satisfaction. "Dark Awakening" grips our imagination from the very start with the mysteriously oscillating mood, the sounds of bass clarinet... With the first sounds of trumpet the heterophony of the four instruments fighting for our attention unfolds. In the title piece TWET ostinato basses support the convulsive flights of trumpet but soon bass itself comes to the fore with the series of three-notes motifs (c, c-sharp, d) crowned by a surprising consonance. The most gentle and even tender number, "Mintuu Maria" starts with tenor-trumpet dialogue that gradually gives way to tenor improvisation after which the trumpet joins again. Strong drumming and bass figures introduce "Man of the North", giving way after a while to incoherent heterophony of voices leading to frenetic saxophone solo over assertive and faster bass walking. Out of the background to the fore the drums emerge, but the bass figures take over the high above the trumpet's soaring sounds appear. Another contrast brings "Night Peace": the chimes of steady basses, tiny bell-sounds and prorogated sounds of trumpet bring back sleepy saxophone, and they take rest of calm pulsations of drums and bass. ~ Andrzej Schmidt, polishjazz.com |
|
|
1974: Idris Muhammad - Power Of Soul |
Music » Jazz » Fusion |
|
|
 Artist: Idris Muhammad Album: Power Of Soul Label: Sony Year: 1974 ( release 2002) Format, bitrate: FLAC, cue, log, scans Size: 246 MB Repost with a Flac link from mr. hungaropitecus This album is one of the reasons that Idris Muhammad is regarded as the drumming king of groove. Featuring the arrangements and keyboards of Bob James, the saxophone punch of Grover Washington, Jr., guitarist Joe Beck, trumpeter Randy Brecker, percussionist Ralph MacDonald, and the knife-edge slick production of Creed Taylor, this 1974 issue is a burning piece of deep, jazzy soul and grooved-out bliss. The funk flies fast and heavy, particularly on the title track (Jimi Hendrix's tune), with soaring solos by Grover and James, who fall down in the groove to Muhammad's powerful pace, setting from the heart of the pocket. Beck's own solo is special in that he moves against the tempo just a bit, but that only increases the listener's dependence on the groove of Muhammad. Clocking in at only 34 minutes it's a perfect slice of the raw-onion emotion Muhammad was pulling down at the time. While there isn't a weak track in the four, it's Washington's "Loran's Dance" that takes the cake, even over Hendrix. While the former is dark and heavy, and the immediately preceding tracks by James and Beck, respectively, are light, fancy, free nods to Creed Taylor's hoping for a jazz radio single, it's "Loran's Dance" that showcases not only Washington as an aspiring writer in his own right (this is only a year before Feels So Good and Mr. Magic appeared), but also as a talented interpreter of the edges where jazz and soul come together. James' arrangements are tight, and everybody gets to solo with a little more freedom and grace. Muhammad keeps the pocket wide and Brecker and Washington dance all around in it as James plays the accents furtively. This is some easy-moving, yet musically complex jazz. There is great power in these four tracks to make you move or reflect or just tap your foot while nodding "yeah" at your speakers imperceptibly. ~ Thom Jurek, All Music Guide |
|
|
1996: The Bobby Shew Quintet - Heavyweights |
Music » Jazz » BeBop » Hard-bop |
|
|
 Artist: The Bobby Shew Quintet Album: Heavyweights Label: Mama Foundation Year: 1996 Format, bitrate: MP3, 192 kbps Time: 71 minutes Size: 98.59 MB AMG Rating   Trumpeter Bobby Shew had been wanting to make an album with the under-recorded trombonist Carl Fontana for 25 years when he finally had the opportunity in 1995. Using swinging arrangements by the recently deceased Herbie Phillips, Shew and Fontana (who are assisted by pianist George Cables, bassist Bob Magnusson, and drummer Joe LaBarbera) perform a bop-oriented program comprised of nine jazz standards. The interplay between the two very fluent horns is consistently delightful, and the highlights include "The Night Has a Thousand Eyes," "My Romance," "The Girl From Ipanema," and "While My Lady Sleeps." Recommended for straight-ahead jazz fans. ~ Scott Yanow, All Music Guide |
|
|
1960: Kenny Dorham - Jazz Contemporary |
Music » Jazz » BeBop » Hard-bop |
|
|
 Artist: Kenny Dorham Album: Jazz Contemporary Label: Fresh Sounds Records Year: 1960 ; release: 2004 Format, bitrate: mp3, 320 Time: 62 mins Size: 145 mb Originally on the Time label, this LP features the excellent (but always underrated) trumpeter Kenny Dorham heading a quintet that also includes baritonist Charles Davis, pianist Steve Kuhn, either Jimmy Garrison or Butch Warren on bass, and drummer Buddy Enlow. The results are not quite essential but everyone plays up to par, performing three of Dorham's originals plus "In Your Own Sweet Way," "Monk's Mood," and "This Love of Mine." It's fine hard bop, the modern mainstream music of the period. ~ Scott Yanow, All Music Guide |
|
|
2010: Incognito - Transatlantic RPM |
Music » Jazz » Modern Jazz » Acid Jazz |
|
|
 Artist: Incognito Album: Transatlantic RPM Year: 2010 Label: EDEL Quality: mp3@192Kbps Size: 99,61 Mb Total time: 70:03 Jean-Paul “Bluey” Maunick and Incognito have become an insitution on the British groove scene, for their jazz-funk and nu-soul hybrid. Transatlantic R.P.M. marks Maunick's 30 years in the music biz and celebrates with 14 new songs, 13 of them originals. Bluey enlisted a slew of friends to join the party. The set opens with the album's love cover: a convincing reading of Boz Scaggs' "Lowdown," featuring Italian clubjazz singer Mario Biondi and Chaka Khan. The arrangement doesn't differ all that much from Scaggs' version (thankfully) but the meld of Biondi's and Khan's rough-edged lead vocals juxtaposed with a smooth backing chorus, a slightly faster tempo, and a popping bassline after the bridge, distinguishes it. Another notable cut is Bluey's funky name checking homage to the 70s and his youth entitled "75"; it's sung by Joy Rose with a gorgeous horn arrangement by Kevin Robinson. Leon Ware puts in a fine performance on the babymaker, makeup number "Line In The Sand." Bluey's guitar work is, as usual, tasteful and understated, but adds immeasurably. Ursula Rucker sings and speaks on the stepper "Gotta," while Khan gets her own showcaseon the jazzy, string and Rhodes laden, "The Song." Longtime vocalist Maysa shines on the summery "Your Love My Sky," with beautiful guitar work from Bluey and a fine brass arrangement by Trevor Mires. The lone instrumental on the set "Expresso Madureira," mixes Brazilian and Afro Latin rhythms in a heady, funk brew with popping percussion and horns. A Stevie Wonder meets Roy Ayers vibe distinguishes the '70s groove at work in "Life Ain't Nothin' But A Good Thing" sung by Vanessa Haynes. Biondi returns on the breakbeat clubjazz of "Can't Get Enough," backed by Incognito's stellar chorus. Bluey even takes a vocal on the closer, "Tell Me What To Do." While he's no match for the other singers here, the track's breaking, cut time rhythm, breezy atmosphere, and lithe, sensual melody makes it a nu-soul winner. Incognito may not be innovating on Transatlantic R.P.M., but in showcasing the many places they've been, and the wide vein they've mined, they don't need to. This is a summeritme party record with fine songs and good vibes in abundance. ~ Thom Jurek, All Music Guide |
|
|
2008: The Hitman Blues Band - Pale Rider |
Modern electric blues, Blues-Rock |
|
|
 Artist: The Hitman Blues Band Album: Pale Rider Year Of Release: December 23, 2008 Label: Hitman Blues Band Quality: mp3 | Joint Stereo Bitrate: 320 kbps | 44.1 Khz Total Time: 47 min 44 sec Total Size: 113.6 mb For twenty years, The Hitman Blues Band has been rocking the New York area with their searing brand of blues/rock, drawing favorable comparisons to Johnny Winter, Joe Bonamassa, and Kenny Wayne Sheppard along the way. Led by founding member, guitarist/singer Russell “Hitman” Alexander, the band has made various personnel changes along the way, but Alexander remains the constant with his gravelly vocals and gritty blues fretwork.
Pale Rider (Nerus Records) is the band’s fourth release. It’s loaded with crowd-pleasing blues/rock tunes that feature Alexander’s exemplary guitar work. Though the emphasis is on blues/rock, Alexander’s guitar work is firmly rooted in the blues. His guitar playing is on par with the artists mentioned in the previous paragraph, but I also hear Donald Kinsey occasionally in his soloing at times, notably on the second track, “Trouble On The Line.” >>> |
|
|
1959: Edmond Hall - Rumpus on Rampart Street |
Music » Jazz » Traditional Jazz |
|
|
 Artist: Edmond Hall Album: Rumpus on Rampart Street Label: Mount Vernon Music MVS 124 Year: 1959 Quality: FLAC (LP-rip) Size: 192 Mb The recording took place at Nola Penthouse Studio in New York in June of 1959. The line-up of musicians for this session is staggering...Edmond Hall, Omer Simeon, and Herb Hall on clarinets, Dick Cary on piano, Jimmy Raney on guitar, Al Hall on the bass, and Jimmy Crawford on drums. They play six Edmond Hall originals and four standards. The rhythm section is a real delight and Edmond's hot, intelligent, and intense soloing over top is just the iceing on the cake. Edmond Hall was the greatest and most interesting of all the early clarinettists. His expressive playing was a highlight on many recordings. His solos were always inventive and stimulating, his tone unique, and easily recognizable. ~ From liner note |
|
|
English
Ðóññêèé
Set Home Page
Add to Favorite
Rss 2.0 news
