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Jazz Blues Club » Articles for 10.10.2010
1946-1953: Modern Trumpet Leaders BeBop, Cool
1946-1953: Modern Trumpet Leaders
Artist: Varios
Album: Modern Trumpet Leaders
Label: IAJRC Records
Years: 1946-1953; release : 1976
Format, bitrate: mp3, 320 Mb (LP-rip)
Size: 106 Mb

The music on this LP is not all that "modern" except compared to the collectors' label IAJRC's usual releases which are from the 1920s. Some of the top trumpeters of the bop era are heard on some of their rarer recordings. Red Rodney performs four titles in 1952 with a slightly R&Bish group that includes the tenor of Buddy Savitt. Conte Candoli jams two numbers in 1953 with a sextet also featuring Ira Sullivan on tenor. Dizzy Gillespie plays "Chris 'N Dizz" and "Purple Shouts" with his 1953 quintet while the eight titles on side two of this LP showcase Howard McGhee in three different settings: with a septet that includes tenors Lucky Thompson and Jack McVea for a live version of "Ornithology," on four titles with tenors J.D. King and Teddy Edwards, and with a septet that has a vocal by Earl Coleman. Most of these performances have not been reissued on CD, making this LP (which may still be available through the label) worth picking up by bop fans.
~ Scott Yanow, All Music Guide
1999: Naturally 7 - Non Fiction Music » Jazz » Vocal Jazz
1999: Naturally 7 - Non FictionArtist: Naturally 7
Album: Non Fiction
Year: 1999, release:2000
Label: Festplatte AG
Quality: mp3; 192kbps
Size: 72,2 mb
Total time: 49:54

The first recording from the 1999 Harmony Sweepstakes winners, who enthralled the audience will their radiant countenances and joyful energy. These young singers from New York, though having performed as a unit for only a few short months, displayed an impressive maturity and sophistication. Their gospel background has been good preparation for the brilliant rainbow of tonalities that characterize their technically ambitious, yet passionate approach. The original compositions were written by the group; they also write their own arrangements. With seven voices, they have a palette to choose from that is deep, intense and brilliant. Definitely influenced by Take 6 (their rendition of "Bless This House" attests to this), their sound is more urbanized, funkier, immediate, as heard on the vocal percussion driven "Train". Lyrically, "Non-Fiction" espouses themes of salvation and redemption, but songs such as "Last Days," and their incredible interpretation of "Bridge Over Troubled Water" require no affiliation, aside from a love of captivating harmony. (singers review)
2008: Laika Fatien - Misery: A Tribute To Billie Holiday Music » Jazz » Vocal Jazz

2008: Laika Fatien - Misery: A Tribute To Billie Holiday
Artist: Laika Fatien
Album: Misery: A Tribute To Billie Holiday
Label: Blujazz
Year: 2008
Format, bitrate: MP3; 320 kbps
Size: 106 MB

Laika Fatien sings English lyrics on songs popularized or dedicated to Billie Holiday, which is unusual for a woman born in Paris of a Spanish-Moroccan mother and a father from the Ivory Coast, and raised Jewish. There's little affectation in her phrasing that suggests her heritage, while diction and hard accents on certain syllables are unmistakable. Her pliant voice is rendered fairly straightforward in a limited range, sometimes echoing Carmen McRae, and as she describes it, is executed in a expressionistic way rather than utilizing theatrics and showy gimmicks. Jazz listeners will be familiar with her impressive bandmates, especially rising star pianist Robert Glasper, whose obvious over the top talent can easily upstage the singer, and at times does. Bassist Daryl Hall and drummer Gregory Hutchinson are more than able accompanists, while European saxophonist David El Malek -- a disciple of Michael Brecker -- adds a certain earthiness to the proceedings. There are only a few famous tunes from Holiday's repertoire, and three selections in duet with the vocalist and a single select group member. The dour "Don't Explain" represents the kind of restraint that is the strong suit of Meredith D'Ambrosio, and Glasper follows suit, while James P. Johnson's "You Can't Lose a Broken Heart" is completely reworked and modernized, with the full quintet energized in a 7/8 time signature, buoyed by El Malek's Brecker-like tenor sax and Fatien's precise and overt enunciation, which are also slightly revealing. There's a fondness for Tony Scott's tunes about Holiday, as "Lady's Back in Town" is a cute and sexy blues swing where Fatien wrote the original lyrics, but it's out of her range and is a bit flat. The title selection is also Scott's, a perfectly blues chilled ballad that has the singer plus her skilled rhythm section coalescing like tasty day old gazpacho. Standards like "How Deep Is the Ocean," "Lover Come Back to Me," and "You Turned the Tables on Me" comprise the meat and potatoes of the program, ranging from pure song form and easy swing, an unusual swirling circular mode courtesy of Glasper, and funky playful discourse with a tango reference respectively. Of the duets, Glasper goes nuts on the intro of "Strange Fruit," El Malek is warm and tender in careful call and response during "What's New?," and the rhythmically free take of "All of You," with the singer aside the rumbling drumming of Hutchinson, is arresting above all the other tracks. This is a polished effort from Laika Fatien, loaded with startling musicianship and carrying enough innovation to make you listen twice.
~ Michael G. Nastos, All Music Guide
2010: Angles - Epileptical West: Live in Coimbra Post-bop, Modern Jazz, Avantgarde
2010: Angles - Epileptical West: Live in Coimbra Artist: Angles
Album: Epileptical West: Live in Coimbra
Label: Clean Feed Records
Year: 2009; release: 2010
Format, bitrate: mp3, 320
Time: 65:08
Size: 146 mb

Last year regular reader Wojtek asked me why I didn't give the previous album by Angles, "Every Woman Is A Tree" a five star rating. And I reacted saying that I really had considered it, yet did not at the last moment. I will make up for this and give the band's new release the maximum rating, because every track on the album is equally strong and compelling, while the music is powerfully expressive, the playing exuberant and full of emotional depth.
The band is the brainchild of Swedish saxophonist Martin Kchen, and further consists of Mattias Sthl on vibraphone, Magnus Broo on trumpet, Mats Alekint on trombone, Kjell Nordeson on drums and Johan Bertling on double bass.
Like its predecessor, the music is one long wail of protest and anger against the madness of today's world. In order to do that, the band falls back on African rhythms, grand themes, and tremendous playing. The wonderful first track could be coming from Bengt Berger's "Bitter Funeral Beer", (one of my all-time favorites) with its polyrhythmic drive, strong theme and wild interactions, yet which all fit into one whole.
The second piece, "Today Is Better Than Tomorrow", starts with slow vibes, and rumbling drums, as a gradual build-up for the glorious theme, introduced by Kchen, with the other horns echoing it, and driving it forward. It is of a hair-raising sadness.
The title track starts full of disorientation and madness over a strong rhythmic backbone, with Broo's trumpet leading the tune, then changing gear into a strong African rhythm, half-funky over which a compelling theme is woven, a solid base for the individual soloists to express their anger, and joy, then shifting back into chaotic madness, with the bass driving up the tempo to give Nordeson the chance to hammer away. "En Svensk Brownie", is again a funky rhythmic delight, evolving into middle piece with the arco bass and percussion reminiscent of Hemphill's Dogon A.D.
To my great joy, they also play the title song of their previous album, an absolutely stunning, stirring, rousing composition, again a gloriously expansive piece, that is both sad and joyful, angry and inviting, full of powerful soloing. The long last track is quieter, subdued, with Kchen's soloing beautifully soulful and bluesy, giving a great sense of compassion and hope at the same time.The piece becomes excited, then is crystalised around a sensitive arco bass solo by Bertling in the middle, then moving back to the main theme and related distress.
And it is a live album, with an audience that shouts full of enthusiasm, not only after the tracks, but also when the band unexpectedly change gear, or fall back into a steady groove. Great! As you may read, I am excited. And more than just a little. This music gets you whole: soul, mind, heart and body. If you buy only one album this year, buy this one!
(5 stars out of 5)
~ Stef Gijssels, Free Jazz Blog
1954-1956: Clifford Brown & Max Roach - More Study In Brown Music » Jazz » BeBop » Hard-bop
1954-1956: Clifford Brown & Max Roach - More Study In Brown
Artists: Clifford Brown, Max Roach
Album: More Study In Brown
Label: EmArCy
Years: 1954-1956, release: 2002
Format, bitrate: mp3, 320kbs
Size: 90 MB

This single-album release is less valuable now that it has been succeeded by EmArcy's massive ten-CD set Brownie. Comprised mostly of alternate takes with a few previously unissued items, these tracks feature the classic Clifford Brown-Max Roach Quintet of 1954-56. Best is a "new" version of "I'll Remember April" that also features tenor saxophonist Sonny Rollins and a fully restored "Jordu." But get the EmArcy "complete" set instead.
~ Scott Yanow, All Music Guide
1959: Quincy Jones - The All-Star Big Band Sessions Music » Jazz » Fusion » Crossover Jazz
1959: Quincy Jones - The All-Star Big Band Sessions
Artist: Quincy Jones
Album: The All-Star Big Band Sessions
Label: Jazz Door
Year: 1959, release - 2001
Size : 95,6mb
Total time: 42:11

REPOST by request

Quincy Jones has had such strong success in pop music since the mid-1960s that it is easy to forget just how inventive and distinctive a jazz arranger he was during his prime years. This CD reissue features the Quincy Jones Big Band shortly before they sailed to Europe as part of a Harold Arlen show. Surprisingly, none of the selections are Jones originals, and the arrangements were provided by Ernie Wilkins, Bill Potts, Al Cohn and Ralph Burns. Despite Jones' absence musically (he did conduct the group), the music sounds very much like his work.
With such fine soloists as altoist Phil Woods, tenorman Budd Johnson, Les Spann on guitar and flute, Julius Watkins on French horn (on "Everybody's Blues"), trumpeter Art Farmer and two guest spots for trumpeter Lee Morgan, the music (highlighted by "Lester Leaps In," "Cherokee" and "Air Mail Special") featured a top-notch bop-oriented big band.
~ Scott Yanow, All Music Guide
1957: Getz & Mulligan & Edison & Bellson & Peterson - Jazz Giants '58 Music » Jazz » Mainstream
1957: Getz & Mulligan & Edison & Bellson & Peterson - Jazz Giants '58
Artists: Stan Getz, Gerry Mulligan, Harry Edison, Louis Bellson, The Oscar Peterson Trio
Album: Jazz Giants '58
Label: Verve
Year: 1957, release - 2008
Quality: MP3@320kbps
Size: 99,1mb
1957: Getz & Mulligan & Edison & Bellson & Peterson - Jazz Giants '581957: Getz & Mulligan & Edison & Bellson & Peterson - Jazz Giants '58
REPOST by request

Producer Norman Granz (1918-2001) had an uncanny ability to create really amazing jazz albums by
experimenting with the combinative chemistry of musical minds, temperaments, and personalities.While not every Granz session resulted in recordings of equal depth or profundity, the number of artistically rewarding, genre-defining albums that came together under his supervision is almost difficult for the human mind to fully comprehend. One fine example is Jazz Giants '58, a Verve album recorded inside the rented Capitol studios in Hollywood, CA on August 1, 1957 and released almost exactly one year later. The 2008 Japanese CD reissue faithfully reproduces the original cover art and makes this outstanding music available in immaculately remastered sound. Although it has since come to be identified mainly with Stan Getz, Jazz Giants '58 feels a lot like a Gerry Mulligan session, with Harry "Sweets" Edison perfectly complementing the other two horns. To support and illuminate the trumpet, tenor, and baritone saxes, Granz used his preferred rhythm trio Oscar Peterson, Herb Ellis, and Ray Brown and added master percussionist Louie Bellson, fully primed after working for his wife Pearl Bailey, his hero Duke Ellington, and with Granz's internationally famous Jazz at the Philharmonic project. This was the blossoming of the great era of long-playing records, and the participants clearly relished the opportunity to stretch out and jam together in a relaxed, intimate studio environment. "Chocolate Sundae," a ten-minute collectively improvised blues of incredible warmth and irresistible texture, is followed by seven- and eight-minute sets of creative variations on a couple of tunes that were in the air during the '50s. The nearly 12-minute manifestation of the patented Norman Granz "Ballad Medley" is especially powerful by virtue of starting out with Billy Strayhorn's "Lush Life." An extended romp through the changes of Dizzy Gillespie's "Woody N You" (a tribute to the progressive sensibilities of bandleader Woody Herman penned during the 1940s) adds pure undiluted pleasure to an album that already sounds and feels like some of the best music ever recorded by any of the participants under any circumstances.
~ Arwulf Arwulf, All Music Guide
1956-1961: Quincy Jones - The Quintessential Charts Music » Jazz » Big Band
1956-1961: Quincy Jones - The Quintessential Charts
Artist: Quincy Jones
Album: The Quintessential Charts
Label: Impulse IA 9342-2
Years: 1956~1961
Format, bitrate: mp3@320 kbs covers front/back HD
Time: ~ 69 min
Size: 155,63MB

This is a Impulse twoofer with the same serial number of "The Quintessential Charts" (and all tracks of it on LP1), but with all tracks of "Quintessence" (Impulse A11) on LP2.

This post is by request of my friend "bubuhans"

The Quintessence is perhaps the most accurate title ever given to a Quincy Jones & His Orchestra recording. Issued in 1961 for Impulse!, this is the sound of the modern, progressive big band at its pinnacle. Recorded in three sessions, the core of the band consists of Melba Liston, Phil Woods, Julius Watkins, and bassist Milt Hinton and pianist Patricia Brown on two sessions, with bassist Buddy Catlett and pianist Bobby Scott on another. The trumpet chairs are held alternately by players like Freddie Hubbard, Clark Terry, Thad Jones, and Snooky Young, to name a few. Oliver Nelson is here, as are Frank Wess and Curtis Fuller. Despite its brevity -- a scant 31 minutes -- The Quintessence is essential to any appreciation of Jones and his artistry. The deep swing and blues in his originals such as the title track, "Robot Portrait," and "For Lena and Lennie" create staggering blends. They are beautifully warm, with edges rounded, but the brass section is still taut and punchy. The reeds cool the heat enough to give the rhythmic dialogue in these tunes its inherent strolling swing. Elsewhere, on Thelonious Monk's "Straight, No Chaser," the time is speeded up to nearly dizzying intensity, and it's played like a big band popping bebop with incredible counterpointed double solos happening between trombone, muted trumpet, and Brown's piano. Though only 2:27 in length, the piece packs an entire harmonic universe into its furious pace. Benny Golson's "Little Karen," is, by contrast, held in character: lithe, limpid, and fluid, it's the ultimate laid-back, midtempo ballad. That said, with the brass charts being notched up just enough, it's got the kind of finger-popping groove that makes it irresistible. The solo spot taken by Nelson is pure knotty bop. What is beautiful about this recording -- and every second of the music -- is that because of its brevity, there isn't a wasted moment. It's all taut, packed with creativity and joy, and without excess or unnecessary decorative arrangement. It doesn't get much better than this.
~ Thom Jurek, All Music Guide
1992: Courtney Pine - To the Eyes of Creation Music » Jazz » Modern Jazz
1992: Courtney Pine - To the Eyes of CreationArtist: Courtney Pine
Album: To the Eyes of Creation
Quality: FLAC (cue, log, scans)
Size: 390 MB
Year: 1992
Total time: 56:46

Repost with a new link

It certainly seems as if all of Courtney Pine's previous albums were leading up to this one, (check out his liner note, which leaves no doubt). Here, he comes up with a grandly eclectic excursion into just about everything that has interested him in the past. Sometimes the metamorphoses take place within an individual track; for example, there is a "Country Dance" that sails forth in a folk-like manner until pianist Julian Joseph sends it into straight-ahead post-bop and Pine (on tenor sax) whizzes it like a madman onto Coltrane's turf. There are whiffs of Latinized jazz, jazz-lite to a rock rhythm, an African vocal interlude, pure Jamaican ska grooving on "Eastern Standard Time," a venture into India ("The Meditation of Contemplation" -- ooh, what a giveaway title), conventional R&B balladeering by singers Juliet Roberts and Linda Muriel, a drum solo piece for Mark Mondesir, more Coltrane tributes, even a respectful, straightforward rendition of Bob Marley's "Redemption Song." The changes of pace, sound and style are dizzying, and they don't come together as a whole; the disc sounds more like an anthology than a single project. Pine displays a lot of talent and a lot of curiosity but not a whole lot of organizing sense or memorable insight here.
~ Richard S. Ginell, All Music Guide
2004: Roy Eldridge - Little Jazz Trumpet Giant Music » Jazz » Mainstream
2004: Roy Eldridge - Little Jazz Trumpet GiantArtist: Roy Eldridge
Album: Little Jazz Trumpet Giant
Label: Proper (UPC code: 805520013734)
Recording Date: Feb 26, 1935-Jul 9, 1953
Released: 2004
Format: FLAC (Lossless Compression level: 8) (CUE & LOG)
Time: 4 CD (Complete covers & booklets 300 dpi )
Size: 775MB (RAR 3% Recovery)
AMG Rating: 2004: Roy Eldridge - Little Jazz Trumpet Giant

Roy "Little Jazz" Eldridge was the living, breathing embodiment of what jazz has always stood for. Friendly and funny, fiery and eloquent, well-versed in tradition, and more than able to joust with young innovators on their newly defined turf, Eldridge's most important stylistic descendent was Dizzy Gillespie. In 2004, Proper Records released Little Jazz: Trumpet Giant, a four-CD grab bag containing some of Eldridge's best recordings made during the years 1935-1953. Almost simultaneously, Avid came out with Little Jazz Giant, a three-CD set covering much of the same territory. Proper beats Avid for quantity, and you'll want to note that the two sets have many titles in common. Proper's first disc zeroes in on Eldridge's adventures from 1935-1939. He is heard with bands led by Teddy Wilson, Fletcher Henderson, and Gene Krupa; as a member of the Delta Four with clarinetist Joe Marsala; as a prime mover in Chu Berry's Little Jazz Ensemble, and as leader of his own orchestra in the studio and on live broadcasts from the Arcadia Ballroom in New York. Disc two examines the years 1940-1946. Here, Eldridge interacts with Coleman Hawkins and one of the last jazz bands ever to call itself the Chocolate Dandies. There are more adventures with a later edition of the Krupa band, including the famous duet with Anita O'Day on "Let Me Off Uptown," and a pair of inspired blowing sessions with all-star bands sponsored by Metronome and Esquire magazines. Eldridge leads several of his own groups, including a trumpet ensemble with Emmett Berry and Joe Thomas for Harry Lim's Keynote label, and his fabulous big bands stoked with Buster Harding arrangements and brave young tenor saxophonists Ike Quebec, Tom Archia, and Hal Singer. There are also several fine examples of Eldridge's achievements as a member of Artie Shaw's Gramercy Five. Disc three documents the trumpeter's triumphs in Paris and Stockholm during 1950 and 1951, including marvelous moments with Lester Young devotee Zoot Sims, primal bop drummer Kenny Clarke, and saucy singer Anita Love, who duets with Eldridge on "It Don't Mean a Thing" and "Ain't No Flies on Me." The fourth disc begins with a few more selections from Stockholm and Paris, including a dazzling pair of duets with pianist Claude Bolling on "Wild Man Blues" and "Fireworks" in a wonderful invocation of the Louis Armstrong/Earl Hines duo of 1928. Back in New York in August of 1951, Eldridge participated in a series of Mercury recordings produced by Norman Granz, including a session headed by that producer's favorite artist, Oscar Peterson, heard here playing organ. The quartet with saxophonist Buddy Tate is strong and stimulating, although the Benzedrine-paced reading of "Yard Dog," for all its raw bop excitement, may cause seasoned listeners to regret the omission of the original big-band version of this attractive Eldridge/Harding composition, which when presented just a bit more slowly, feels like a sequel to Eldridge's theme song, "Little Jazz." (Seeing as the producers didn't hesitate to include comparative versions of certain other titles, two contrasting "Yard Dogs" would have worked nicely.) This outstanding compilation closes with an extended jam on W.C. Handy's "St. Louis Blues," recorded in July 1953 with a decidedly modern gathering of Metronome All-Stars featuring a vocal by Billy Eckstine and cool input from beautiful people like Lester Young, John La Porta, and Warne Marsh. It's an appropriate closer for this portrait of a master musician which also provides a smart overview of how jazz evolved over 18 very eventful years.
~ arwulf arwulf, All Music Guide
1966: Roscoe Mitchell Sextet - Sound Freejazz, Avantgarde
1966: Roscoe Mitchell Sextet - Sound Artist: Roscoe Mitchell Sextet
Album: Sound
Label: Delmark Records
Year: 1966
Format, bitrate: mp3, 320
Time: 67:40
Size: 150 mb
Downbeat Rating: 1966: Roscoe Mitchell Sextet - Sound
AMG Rating: 1966: Roscoe Mitchell Sextet - Sound 1966: Roscoe Mitchell Sextet - Sound

Ranked #66 on Piero Scaruffi's list of 100 Greatest Jazz Albums of All Time

Identified by Chris Kelsey in his Allmusic essay "Free Jazz: A Subjective History" as one of the 20 Essential Free Jazz Albums

Sound, Roscoe Mitchell's debut as a leader, was an early free jazz landmark and an enormously groundbreaking album in many respects. Historically, it marked the very first time that members of Chicago's seminal AACM community appeared on record; it also showcased the early chemistry between future Art Ensemble of Chicago members Mitchell, Lester Bowie, and Malachi Favors. Arrangement-wise, it employed a number of instruments largely foreign to avant-garde jazz — not just cello and clarinet, but the AEC's notorious "little instruments," like recorder, whistle, harmonica, and assorted small percussion devices (gourds, maracas, bells, etc.), heard to best effect on the playful "Little Suite." Structurally, Sound heralded a whole new approach to free improvisation; where most previous free jazz prized an unrelenting fever pitch of emotion, Sound was full of wide-open spaces between instruments, an agreeably rambling pace in between the high-energy climaxes, and a more abstract quality to its solos. Steady rhythmic pulses were mostly discarded in favor of collective, spontaneous dialogues and novel textures (especially with the less orthodox instruments, which had tremendous potential for flat-out weird noises). Simply put, it's an exploration of pure sound. It didn't so much break the rules as ignore them and make up its own, allowing the musicians' imaginations to run wild (which is why it still sounds fresh today). Sound's concepts of texture, space, and interaction would shortly be expanded upon in classic recordings by Anthony Braxton, Muhal Richard Abrams, the Art Ensemble of Chicago, and others; the repercussions from its expansion of free jazz's tonal and emotional palettes are still being felt. [Delmark's CD reissue includes two takes of "Sound," which were edited together to form the original LP version, and an alternate arrangement of the briefer free-bop tribute number "Ornette."]
~ Steve Huey, All Music Guide
1969:Buddy Rich Big Band - Buddy & Soul Modern Big Band, Crossover Jazz
1969:Buddy Rich Big Band - Buddy & Soul
Artist: Buddy Rich
Album: Buddy & Soul
Label: Pacific Jazz
Year: 1969
Format, bitrate: Flac
Time: 73:22
Size: 486 MB

Compared to the previous Mercy, Mercy, this recording is a lesser effort by the Buddy Rich big band. However, the outing does have its notable moments, with the key soloists being the young altoist Richie Cole, tenor saxophonist Pat LaBarbera, guitarist David Dana and the drummer/leader. Recorded live at the Whiskey A-Go-Go, some of the songs are stronger than others; a pair of tunes by the Doors sound silly in this context. Highlights include Don Sebesky's "Soul Lady," Bill Holman's "Ruth" and "The Meaning of the Blues."
~ Scott Yanow, All Music Guide
1990: Various Artists - The Hot Spot (OST) Music » Jazz » Fusion » Smooth & Lounge
1990: Various Artists - The Hot Spot (OST)Artist: Various Artists
Album: The Hot Spot OST
Original Release Date: September 18, 1990
Label: Antilles
Quality: mp3 CBR 320
Total time: 40:56 min
Size: 93.9 MB

Repost with a new link from mr. franco1954

– , … winked , - , – . fellow

P.S. xorosh Garik
1960:The Quincy Jones Big Band - Live In Paris Circa Jazz, Mainstream
1960:The Quincy Jones Big Band - Live In Paris Circa Artist: The Quincy Jones Big Band
Album: Live In Paris Circa
Label: Wea International
Year: 1960
Format, bitrate: Flac
Time: 47:20
Size: 212 MB

Repost by request

In late 1959, 26-year-old trumpeter/arranger Quincy Jones was engaged to conduct a jazz band for a musical called Free and Easy, the songs for which were written by Harold Arlen and Johnny Mercer. The unusual intention was to tour Europe before coming to Broadway, but the show never finished its engagement in Paris, closing down amid recriminations and stranding the cast and the orchestra. Though Arlen's biographer, Edward Jablonski, states that only Jones came out of the situation well, touring Europe successfully with the band, Jones remembers things differently, calling the experience one that brought him closer to contemplating suicide than any other. Eventually, Jones was forced to disband the group, but he first fulfilled the show's engagement at the Alhambra Theatre, and this album, originally issued as a bootleg disc, was recorded at the final performance. This is not the music from the abortive musical, but rather a set of Jones originals and jazz standards. The band, which features such notable figures as Clark Terry and Phil Woods, is accomplished, and the music is performed in the mold of the Ellington and Basie bands, albeit with the flair that Jones was even then showing as an arranger. This is not really the historic find Jones seems to think it is, but it isn't a vanity release either. It's a curio, with some fine blowing from a band that often seems directionless.
~ William Ruhlmann, All Music Guide
1972:The Amazing Buddy Rich - Time Being Progressive Jazz, Modern Big Band
1972:The Amazing Buddy Rich -  Time Being
Artist: Buddy Rich
Album: Time Being
Label: Bluebird RCA
Year: 1972
Format, bitrate: MP3@320 kb/s
Time: 60:18
Size: 146,64 MB (+5% recovery)
AMG Rating: 1972:The Amazing Buddy Rich -  Time Being

TIME BEING shows the Buddy Rich Big Band in transition, reaching out to audiences attracted to the traditional big band style by such best-selling rock acts as Chicago and Blood, Sweat & Tears. Without really changing his style an iota, the great drummer delineates the connections between big beat and swing beat, while driving his brash, brassy band like a well-oiled sports car through such rave-ups as Dizzy Gillespie's "Two Bass Hit" and Thelonious Monk's "Straight No Chaser," as well as more contemporary backbeat-oriented groovers like "Paul's Tune" and "Sassy Strut."

This 1987 sampler CD has some of the best selections recorded by the Buddy Rich big band for the LPs A Different Drummer, Rich In London and Stick It. The selection of tunes was well done, although the complete Rich In London (not yet out on CD) is also well worth getting. Among the key soloists are Pat LaBarbera on tenor and soprano, trombonist Bruce Paulson and altoists Jimmy Mosher (showcased on "Chelsea Bridge") and Joe Romano. Excellent fairly modern big-band music.
~ Scott Yanow, All Music Guide
1970: Sonny Simmons - Burning Spirits Freejazz, Avantgarde
1970: Sonny Simmons - Burning Spirits
Artist: Sonny Simmons
Album: Burning Spirits
Label: Contemporary Records
Year: 1970
Format, bitrate: mp3@320kb/sec
Time: 79:18
Size: 182.9MB
AMG rating: 1970: Sonny Simmons - Burning Spirits

When Lester Koenig produced Burning Spirits for Contemporary in 1970, jazz was moving in many different directions. Commercially, jazz had lost a lot of ground to rock and R&B, but creatively, it was incredibly healthy and offered a wide variety of options -- everything from fusion, soul-jazz, and funky organ combos to bossa nova, Afro-Cuban jazz, modal post-bop, cool jazz, and Dixieland revivalists. Sonny Simmons represented free jazz, which was considered jazz's lunatic fringe (certainly in bop circles) but was exciting and invigorating if you understood what was going on. Many listeners, unfortunately, didn't comprehend free jazz back then and don't comprehend it now; however, those who do understand free jazz will find Simmons to be in top form on this CD. The saxman -- who is heard on tenor and alto as well as the English horn -- leads a passionate, highly inspired band that boasts Barbara Donald on trumpet, Richard Davis and Cecil McBee on upright bass, Lonnie Liston Smith on acoustic piano, and Clifford Jarvis on drums. That doesn't sound like a terribly avant-garde lineup -- most of those improvisers have played inside more often than they've played outside -- but make no mistake: Burning Spirits is a shining example of avant-garde expression. Although "New Newk" (which was written for Sonny Rollins) favors an inside/outside approach and offers a modal post-bop groove along the lines of John Coltrane's "Impressions," Burning Spirits is generally more free jazz than post-bop. But regardless of whether Simmons is playing inside or outside (usually outside), the saxman plays with tremendous conviction on this album (which was out of print for a long time but came back into print when Fantasy reissued it on CD in 2003).
~Alex Henderson, All Music Guide
20010: Jason Moran - Ten Music » Jazz » BeBop » Post-bop
20010: Jason Moran - TenArtist: Jason Moran
Album: Ten
Label: Blue Note
Year: 2010
Format, bitrate: mp3, 320kb/s
Time: 64:20
Size: 134MB

Jason Moran's 2010 effort Ten features more of the jazz pianist's smart and forward-thinking jazz. Backed by bassist Tarus Mateen and drummer Nasheet Waits, Moran reveals himself once again to be a nimble improviser with an ear toward atmospheric and often fractured hypnotic post-bop jazz on tracks like the lilting "Blue Blocks" (commissioned by the Philadelphia Museum of Art) and "RFK in the Land of Apartheid," along with ruminative numbers buoyed by the band's laid-back blues inflections and ever-so-subtle funk grooves. Other tracks, such as "Feedback Pt. 2" and "Old Babies," reveal Moran's more experimental edge, mixing sound effects and his son's voices with more straight-ahead jazz stylings that bring to mind both Thelonious Monk and Oscar Peterson. As always with Moran, there is a heavy classical influence, and compositions like his own "Pas de Deux -- Lines Ballet" and his rambunctious take on Leonard Bernstein's "Big Stuff" do evince, much like the rest of Ten, both a romantic and modernist point of view.
~ Matt Collar, All Music Guide
1945-1950: Lennie Tristano - The Lost Tapes 2CD BeBop, Cool

1945-1950: Lennie Tristano - The Lost Tapes  2CD
Artist: Lennie Tristano
Album: The Lost Tapes 2CD
Label: Jazz Factory
Years: 1945-1950, release: 2001
Format: APE
Size: 333M

In 1946, Tristano moved to New York, where he made something of a big splash, performing with many of the leading musicians of the day, including Dizzy Gillespie and Charlie Parker. The influential critic Barry Ulanov took an extreme liking to Tristano's music and championed his work in the pages of Metronome magazine; Tristano was named the publication's Musician of the Year for 1947. Tenor saxophonist Warne Marsh began studies with Tristano in 1948, and when Bauer and Konitz came back aboard, he had the core of his great sextet. In 1949 -- with the addition of bassist Arnold Fishkin and alternating drummers Harold Granowsky and Denzil Best -- Tristano, Bauer, Konitz, and Marsh recorded what was to become the basis of the band's collective legacy, the Capitol album Crosscurrents. The Capitol sessions spawned many of Tristano's best-known works, including the title track, and of course, the freely improvised cuts "Digression" and "Intuition" (these latter recorded without a drummer). The recordings synthesized the Tristano approach: long, rhythmically and harmonically elaborate melodies were played over a smooth, almost uninflected swing time maintained by the bassist and drummer. Counterpoint, which had been mostly abandoned by post-New Orleans/Chicago players, made a comeback in Tristano's music. Tristano's written lines were a great deal more involved than the already complex melodies typical of bebop; he subdivided and multiplied the beat in odd groupings, and his harmonies did not always behave in a manner consistent with functional tonality. The complexity of his constructs demanded that his rhythm section provide little more than a solid foundation. Tristano's bassists and drummers were not expected to interact in the manner of a bop rhythm section, but to support the music's melodic and harmonic substance. Such restraint lent Tristano's music an emotionally detached air, which to this day has been used by unsympathetic critics as a sledgehammer to pound him.
~ Chris Kelsey All Music Guide
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