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Jazz Blues Club » Articles for 06.10.2010
2001: Yo-Yo Ma - Six Suites For Unaccompanied Cello by J.S.Bach (2 CD) Music
2001: Yo-Yo Ma - Six Suites For Unaccompanied Cello by J.S.Bach (2 CD)
( 80)
2001: Yo-Yo Ma - Six Suites For Unaccompanied Cello by J.S.Bach (2 CD)
Composer: Johann Sebastian Bach
Artist: Yo-Yo Ma
Album: Six Suites For Unaccompanied Cello
Label: SONY CLASSICAL
Year: 2001
Format, bitrate: mp3, 320 kbps
Time: 1h, 4 min, 49 sec + 1h, 5 min, 10 sec
Size: 151+152 mb

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1978: Roger Kellaway Cello Quintet-Nostalgia Suite Music » Jazz » BeBop » Third Stream
1978: Roger Kellaway Cello Quintet-Nostalgia Suite
Artist: Roger Kellaway Cello Quintet
Album: Nostalgia Suite
Label: Voss
Year: 1978
Genre: Chamber Jazz
Format, bitrate: 320 bps
Time: 40 minutes
Size: 75mb


Taking his Cello Quartet idea into a different dimension, Roger Kellaway expanded it into a Quintet with the addition of drummer Joe Porcaro, wrote a six-part suite of pieces, and converted this group from something between and beyond categories to a more jazz-oriented band. Finally, Kellaway placed an added burden on the group by recording in the direct-to-disc method, meaning that they had to record each side of the original LP in one continuous, uneditable take. Yet for all intents and purposes, you can hardly hear any tension in their rhythmically alert playing, and Kellaway's unpredictably eclectic spirit -- ranging from classic jazz styles to classical dissonance -- is still given free rein. Although the accent is on bop, Kellaway frequently reverts to his favorite stride retro-manner, sometimes scatting exuberantly along with his ecstatic piano, and you won't believe Emil Richards' fabulous, perhaps unique bebop chimes solo on "Let's Cook It Right." The valiant cellist Edgar Lustgarten somehow fits comfortably into this jazzier context, though he is present less of the time. One can't resist quoting some of Kellaway's zany titles, which vary in length from "Ungh!" to "May I Interest You In a Little Recreation While You Sleep? They Whispered." This disc was originally issued in direct-to-disc LP form on the Discwasher label; while the CD version technically violates the spirit of D to D, at least it makes this music available to collectors who missed out on the original limited pressing. ~ Richard S. Ginell, All Music Guide
1958: Thelonious Monk Quartet & Johnny Griffin - Complete Live At The Five Spot 2 CD's Music » Jazz » BeBop » Hard-bop
1958: Thelonious Monk Quartet & Johnny Griffin - Complete Live At The Five Spot 2 CD's Artist: Thelonious Monk, Johnny Griffin
Album: Complete Live At The Five Spot
Label: Lonehill Jazz Spain
Release: 1958
Format, bitrate: Flac
Time: 74:51; 69:15
Size: 834MB (with Scans)

Two CD set containing all known music from this 1958 gig!!! As a bonus, a rare sextet selection by Monk including Griffin, Donald Byrd and Pepper Adams. Includes 16-page booklet


One of Thelonious Monk's finest bands was the quartet he led in 1958 that featured tenor-saxophonist Johnny Griffin. Griffin sounded quite comfortable playing Monk's music and his fiery style really inspired the pianist/composer. This two-LP set (whose contents are also available on Monk's massive CD box The Complete Riverside Recordings) has many great moments including "In Walked Bud," "Nutty," and "Let's Cool One" and makes one regret that this band did not stay together for a much longer period. ~ Scott Yanow, All Music Guide
1976: Ahmad Jamal - Live At Oil Can Harry's Music
1976: Ahmad Jamal - Live At Oil Can Harry's
Artist: Ahmad Jamal
Album: Live At Oil Can Harry's
Label: Catalyst/P-Vine Records
Genre: Piano Jazz
Format mp3, bitrate: 320 kb/s
Time: 48:07
Size: 110 Mb
AMG Rating: 1976: Ahmad Jamal - Live At Oil Can Harry's

This album recorded live at Oil Can Harry's club in Vancouver, British Columbia (not Sound City, California or Austin, Texas) gives listeners an excellent example of the playing of pianist Ahmad Jamal in the mid-1970s. His group (comprised of guitarist Calvin Keys, bassist John Heard, drummer Frank Gant and Seldon Newton on conga) was temporarily larger than usual, and Jamal stretches out on two originals (including "Effendi") and a lengthy remake of his biggest hit, "Poinciana."
~ Scott Yanow at All Music Guide

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Stanley Jordan Magic Touch Music » Jazz » Fusion
Stanley Jordan  Magic TouchArtist: Stanley Jordan
Album: Magic Touch
Label: Blue Note
Year: 1985
Time: 53:59
Format: FLAC
Size: (95.78 x 2)+89.1MB (+ covers)

This debut record from Stanley Jordan features the guitarist's extraordinarily idiosyncratic tapping technique on a variety of material. Jordan's revolutionary approach to the instrument, consisting of striking the fretboard with both hands to sound notes, allows him access to musical possibilities that are simply out of the reach of other guitar players. It is in his hands that the guitar attains a level of self-accompaniment formerly held only by the piano.
Fortunately, Jordan puts his prodigious chops to good use making good music. One area in particular in which he is terrifically talented is in the reinterpretation of modern pop material. His version of the Beatles' "Eleanor Rigby," accompanied only by the subtle percussion of Sammy Figueroa, dismisses the British melancholy of the original for a light-as-air interpretation that brings out the playfulness in the melody. Also impressive is Jordan's cover of Michael Jackson's "The Lady in My Life," which the guitarist gives a smooth, sultry reading. On the flip side, Jordan also proves that he is not out of touch with the history of jazz, with delightful versions of "Freddie Freeloader," "'Round Midnight," and "A Child Is Born." The guitarist's sidemen, who include drummers Omar Hakim and Peter Erskine, are all seasoned professionals, and they play well, but no matter how good the group performances on Magic Touch are, they are no match for the shocking polyphony of Jordan's solo material. It is there that the record really comes alive. Jordan's later albums were not to capitalize on the promise shown on his debut, but in Magic Touch the guitarist had something truly special.
An instant classic, and one of the definitive moments of modern jazz guitar
.
Candyrat.com
REPOST with additional RS links from xiangyuyu
1927-1930: Barbecue Bob - Chocolate to the Bone Music » Blues » Acoustic blues

1927-1930: Barbecue Bob - Chocolate to the Bone
Artist: Barbecue Bob
Album: Chocolate to the Bone
Label: Yazoo
Years: 1927-1930, release: 1992
Format, bitrate: mp3 320
Time: 62:49
Size: 98.53
AMG Rating 1927-1930: Barbecue Bob - Chocolate to the Bone1927-1930: Barbecue Bob - Chocolate to the Bone


Although Robert "Barbecue Bob" Hicks recorded over 65 extant sides (three are not known to have survived) in a three-year stretch starting in 1927 up to his death in 1931, the 20 collected here make a perfect introduction to the work of this Atlanta-based artist. He may have played a big-city acoustic 12-string guitar, but Hicks' playing was provincial, down-home, and often modal, reducing any chord progression down to one or two chords. He also played embellishments on this instrument with a bottleneck, a rarity then and a rarity now. Usually tuned to an open chord, Barbecue Bob's playing nonetheless shows great diversity and musical flexibility. The 20 sides collected here (all off of old, scratchy 78s and cleaned up as well as can be expected) give a nice cross-section of that diversity as a solo artist, along with a pair of sides showcasing Bob in a small band context with Buddy Moss on harmonica and Curley Weaver on second guitar and another with Hicks backing up former gal pal Nellie Florence on a raucous "Jacksonville Blues." Of special merit for collectors are the inclusion of two previously unissued sides struck from slightly better sounding test pressings, "Twistin' Your Stuff" and "She Shook Her Gin." This expanded collection replaces the 14-track vinyl collection of the same name. ~ Cub Koda, All Music Guide
1946 - 1950: Wardell Gray 1946-1950 Music » Jazz » Mainstream
1946 - 1950: Wardell Gray 1946-1950
Artist: Wardell Gray
Album: Wardell Gray 1946-1950
Label: Classics
Years: 1946-1950, release: 2002
Quality: MP3@320 kbps
Size: 114 mb
Total time: 69:34
AMG Rating 1946 - 1950: Wardell Gray 1946-1950

Here you have the first installment in the Classics Wardell Gray chronology. His earliest appearances on record can be found on this label's surveys of Earl Hines and Billy Eckstine. Having this brilliant saxophonist's recordings laid out in exact chronological order is both a treat for the connoisseur and a perfect introduction for those who haven't yet had the pleasure. Wardell Gray's first session as a leader took place in Los Angeles on November 23, 1946, in the excellent company of pianist Dodo Marmarosa, bassist Red Callender, and alternate drummers Harold "Doc" West and Chuck Thompson. These Sunset recordings were not issued commercially and languished for years in obscurity. Here the Lester Young influence is palpable, and Gray was gracious enough to acknowledge his idol with "One for Prez." The next step of the chronology lands listeners in New York during April and May of 1948, whereupon the saxophonist made four brilliant sides for the Sittin' in With record label backed by a rhythm trio featuring pianist Al Haig, and then sat in as a member of a septet led by virtuoso percussionist J.C. Heard. While the quartet date spotlights Gray and Haig, the Heard band glows with a front line of trumpeter Joe Newman, trombonist Benny Green, baritone saxophonist Tate Houston, and Wardell Gray. (Anyone who really loves this kind of music will feel better just contemplating that lineup.) After a smart little study in bop scat singing by Buddy Stewart, the next installment is the justifiably famous New Jazz session of November 11, 1949. Securely supported by Al Haig, Tommy Potter, and Roy Haynes, on that day Wardell Gray blew some of the best jazz of his entire all-too-brief career. The producers of the Classics Chronological Series wisely opted to present only the master takes, although interested parties are encouraged to tap into Wardell Gray Memorial, Vol. 1 on Prestige for multiple takes of both "Southside" and especially "Twisted" for audible proof of this man's wealth of creativity and imagination. Speaking of Prestige, this mind-blowing treasure trove of great vintage bop closes with four sides recorded for that label in Detroit, MI, on April 25, 1950. It's the perfect closer for this potent little package of essential early modern jazz. Every track is strong and solid, tight and right.
~ arwulf arwulf, All Music Guide
Wardell Gray - Biography Biography
Wardell Gray - Biography









2002: Sonny Rollins's - Finest Hour Music » Jazz » BeBop » Hard-bop
2002: Sonny Rollins's - Finest HourArtist: Sonny Rollins
Album: Sonny Rollins's Finest Hour
Label: Verve Music
Release date: 2/12/2002
Quality: mp3 @ VBR extreme (own cd-rip)
Size: 105 mb (all covers included)
Playing Time: 01:00:35

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A master of the tenor saxophone and a formidable presence on the jazz scene for half a century, Sonny Rollins is a risk-taker who defies pigeonholing. This collection of Rollins's work from the Fifties and Sixties captures one of jazz's great individualists at tht top of his form. Included are collaborations with Clifford Brown and Max Roach, Dizzy Gillespie, and members of the Modern Jazz Quartet, as well as a breathtaking unaccompanied "Body and Soul."
1964: Dave Brubeck - Jazz Impressions Of New York Music » Jazz » BeBop » Cool
1964: Dave Brubeck - Jazz Impressions Of New York Artist: Dave Brubeck
Album: Jazz Impressions Of New York
Label: Legacy Recordings
Years: 1964
Quality: lossless
Size: 224 MB (with scans)
Time: 44:43
REPOST with lossless links from Mr.hungaropitecus

This 1964 concept album, featuring pianist Dave Brubeck's greatest quartet, presents music culled from Brubeck's scores for the CBS television series MR. BROADWAY. Although long forgotten, the program yielded some of the composer's most memorable works.

It's amazing how well Brubeck captures the vibe of New York City, especially given the fact that he is a California native. But Brubeck knew the Big Apple well, and his ability to invoke the mood and overall atmosphere of New York is uncanny. This is especially apparent on the sprightly waltz "Spring in Central Park," which conveys a blithe, carefree spirit. Other pieces, particularly "Lonely Mr. Broadway," are more somber, revealing the dejection sometimes associated with life in the big city. Alto saxophonist Paul Desmond is in fine form here, as are drummer Joe Morello and bassist Gene Wright, and together they incite terrific group interplay. Brubeck himself performs unrestrained solos on many of these outstanding tunes, most notably on the upbeat "Summer on the Sound."
~ cduniverse.com
2007:Giovanni Tommaso - Live at Casa del Jazz Music » Jazz » BeBop » Post-bop
2007:Giovanni Tommaso - Live at Casa del Jazz
Artist: Giovanni Tommaso
Album: Live at Casa del Jazz
Label: Casa del Jazz
Year: 2007
Format: FLAC
Time: 57:56
Size: 392 MB

Born in Lucca, Italy, Giovanni Tommaso is a double bass player, composer, arranger and bandleader, widely acknowledged as the premiere jazz bassist in Italy, as well as one of Europe’s finest. He has directed the Umbria Jazz Clinics since 1985. As a former teacher of jazz at the Conservatorio de Perugia, he is also an important contributor in the evolution of European and international jazz. Luis Bacalov has counted Tommaso in his quartet for several years, as they won an Oscar award for best sound track music for the film "The Postman (Il Postino)".
Tommaso has had the privilege of playing with significant jazz figures such as: Sonny Rollins, Dexter Gordon, Gil Evans, Mary Lou Williams, Don Byas, Joe Henderson, Jerry Mulligan, Chet Baker, Johnny Griffin, Art Framer, Barney Kessel, Frank Rosolino, Conte Candoli, Hampton Hawes, Max Roach, Kenny Clarke, Mal Waldron, Tony Scott, George Coleman, Steve Lacy, Gato Barbieri, Lionel Hampton, Martial Solal, George Gruntz, Daniel Humair, Franco Ambrosetti, Rene Thomas, Bobby Jaspar.
~ allaboutjazz.com
2008:Various Artists - The Blues Roots Of The Rolling Stones Music » Blues » Modern electric blues » Blues-Rock
2008:Various Artists - The Blues Roots Of The Rolling Stones
Artist: Various Artists
Album: The Blues Roots Of The Rolling Stones
Label: Snapper UK
Year: 2008
Quality: MP3@VBR ~160kbps
Time: 60:39 min
Size : 51.2MB

It's hardly a state secret that the Rolling Stones started out as a blues cover band in 1962, and that the blues has always underpinned their long career, even as they flirted at different times with pop, disco, and reggae touches.
The blues was always the touchstone, and this 22-track collection dips into some of the band's obvious influences, beginning with the Muddy Waters track "Rolling Stone," a version of Robert Petway's "Catfish Blues" (which is also included here) that gave the group its name, and reaching through to songs like Robert Wilkins' "That's No Way to Get Along," which appeared on the Stones' Beggars Banquet album as "Prodigal Son," and Robert Johnson's "Love in Vain," which the Stones' covered wonderfully on Let It Bleed.
Even setting the Rolling Stones connection aside, this set makes for a varied little survey sampler of the different strains of the blues, from the swampy, lazy malaise feel of Slim Harpo's "I'm a King Bee" to the blastoff electric slide guitar riff that drives Elmore James' "Dust My Broom" (one could make a strong case that this track exemplifies everything the Stones aspired to be) and the Bo Diddley roots of Buddy Holly's "Not Fade Away," the song that first broke the Stones to an American audience. Again, it's no secret that these songs provided the template for the band that the Stones became, so in that sense this set isn't exactly revelatory, but hearing these original versions underscores just how strongly the Stones absorbed, expanded, and relied on the blues every step of the way. It is revealing, even if it isn't much of a surprise.

~ Steve Leggett, All Music Guide
2009: Positive Catastrophe - Garabatos, Volume One Modern Big Band, Modern Jazz, Avantgarde, Latin
2009: Positive Catastrophe - Garabatos, Volume One Artist: Positive Catastrophe
Album: Garabatos, Volume One
Label: Cuneiform Records
Year: 2008; release: 2009
Format, bitrate: mp3, 320
Size: 143 mb

"If youve been hungering to hear Latin-based jazz in a new light, your prayers have been answered. NY Press

full of swagger and groove, it combines Mingus-esque polyphonic momentum with vibrantly off-kilter world-funk. Time Out New York

Positive Catastrophe is the brainchild of Taylor Ho Bynum (cornet) and Abraham Gomez-Delgado (percussion). Taylor is one of the most impressive of the latest crop of up and coming jazz musicians and Aib has long been expanding the boundaries of Latin-based music and jazz. Together they have come up with Positive Catastrophe: a trans-idiomatic ten-piece little big band that successfully connects the dots between Sun Ra and Eddie Palmieri and beyond! The group enlists a bevy of New Yorks most adventurous jazz and salsa musicians, all of whom are composers and leaders in their own right. The full line up is: Taylor Ho Bynum (cornet, flugelhorn, co-leader), Abraham Gomez-Delgado (vocals, percussion, co-leader), Jen Shyu (vocals, erhu), Matt Bauder (tenor sax, clarinets), Michael Attias (baritone sax), Mark Taylor (french horn), Reut Regev (trombone), Pete Fitzpatrick (guitar), Alvaro Benavides (bass), Tomas Fujiwara (drums). With the exceptional musicianship of all of these players and their fluidity in multiple genres, a unique instrumentation that hints at a traditional jazz and salsa big bands yet includes french horn, erhu, and rock guitar, and a pair of dramatic vocalists that are comfortable singing in three languages, Positive Catastrophe creates a truly boundary-crossing kind of new music.
~ Cuneiform
1999: Kazumi Watanabe - One for All Music » Jazz » Fusion
1999: Kazumi Watanabe - One for All Artist: Kazumi Watanabe
Album: One for All
Label: Polygram
Year: 1999
Format, bitrate: mp3, 320 kbps
Time: 1:09:03
Size: 155.33 Mb


Kazumi is a great player, and this release shows his musicality more than his fusion recordings do. These songs, unlike those of his fusion releases, are full of compositional depth and beauty. The improvizations are highly creative as well as being tasty. His guitar work here, is much more substantial, than on the Spice Of Life albums. The whole band is top notch! This music can be enjoyed repeatedly, since it is not dated by the 80's synth patches and repetitive funk licks.
~ By Steve Dwiggins "Musician", www.amazon.com
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