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Jazz Blues Club » Articles for 17.10.2010
1964: J.J.Johnson - Proof Positive Music » Jazz » BeBop » Hard-bop
1964: J.J.Johnson - Proof Positive

Artist:J.J.Johnson
Album: Proof Positive
Label: GRP/Impuls
Year:rec.May 1, 1964/rel.1994
Format:MP3 @ 320 Kb/s
Time:41:44
Size: 86,3 Mb
AMG rating:1964: J.J.Johnson - Proof Positive

To my friends in JBC! Please enjoy this is beatiful and very rare album from J.J.Johnson!
This CD reissue finds trombonist J.J. Johnson in prime form. In fact, his melancholy minor-toned explorations often recall Miles Davis, whose group he had played with the year before). Backed on six of the seven tracks by pianist Harold Mabern, who at the time was heavily influenced by McCoy Tyner, bassist Arthur Harper and drummer Frank Gant, Johnson gets to really stretch out on "Neo," "Minor Blues" and "Blues Waltz"; "Gloria" was previously available only on an Impulse sampler. Manny Albam's "Lullaby of Jazzland," on which Johnson is joined by guitarist Toots Thielemans, pianist McCoy Tyner, bassist Richard Davis and drummer Elvin Jones, rounds out the excellent set. ~ by Scott Yanow, AMG.

P.S.
In first time this album was show to JBC Mr. bellyfuss1 (vinyl rip, 192 kb/s, and with out track #7), thank you very much to him! This is my original rip from CD.
2006: Matija Dedic - Visiting Bruxeless Jazz, Modern Jazz
2006: Matija Dedic - Visiting BruxelessArtist: Matija Dedic
Album: Visiting Bruxeless
Quality: FLAC (cue, log, scans)
Size: 348 MB
Year: 2006
Label: Dallas
Time: 64:56

Repost with a new link


This CD will introduce you to an extraordinary Croatian-Belgium-Czech collaboration with one of Croatia's young lions, the pianist and gifted composer Matija Dedic: together with great Jean-Louis Rassinfosse on bass from Belgium and the gifted Marek Patrman on the drums from Czech Republic you are going to listen to a perfect sythesis of a wonderful balanced jazz trio. Dedic-Rassinfosse-Patrman introduse you to a music that is not about musical club wear, but magical sensitivity and well balanced sounding and easily swingin' story telling on the highest level. I think to hear the influence of the trios of likes as Brad Mehldau, Jacky Terrasson, Esbjörn Svenson to name the young generation, but I think to hear also greats like Bill Mays or Dave Grusin. Perfect and colourful artuculation and colourful harmonic voicings, stirring melodies a perfect balance of composition and improvisation, of melodic and harmonic progressions always keeping the formal architecture. The music is about stories that are told tastefully and never treated under attacks of narcistic virtuosity. Each tune has a strongly narrative structure keeping the melodic and harmonic progression never loosing the balance of musical form. When you listen to this recording you realize the musical depth and the creative approach which Dedic and his trio express in each composition and the band's improvisations.
~ Peter Polansky (or. lines notes)
2003: Garage a Trois - Emphasizer Modern Jazz, Acid Jazz, Soul-Jazz, Funk-Jazz
2003: Garage a Trois - Emphasizer Artist: Garage a Trois
Album: Emphasizer
Label: Tone Cool Records
Year: 2003
Format, bitrate: mp3, 320
Time: 42:54
Size: 94 mb
AMG Rating: 2003: Garage a Trois - Emphasizer

The first Garage a Trois EP (Mysteryfunk) came out of sessions for Stanton Moore's first album, All Kooked Out! While All Kooked Out! was funky and swinging, the Garage a Trois release was all improvised, moodier, and had a darker, dub-like feel. Five years later, after numerous gigs, Garage a Trois is back with Emphasizer, the group's first full-length recording. For this one, Stanton Moore (drums), Skerik (sax, keys), and Charlie Hunter (eight-string guitar) have added percussionist Mike Dillon, and their sound has evolved to somewhere between those first sessions together (All Kooked Out!, Mysteryfunk). There's still plenty of funk and groove, but plenty of extra atmosphere as well, often courtesy of Skerik's excellent analog synth touches (he's great on sax as well). Hunter continues to amaze; just check his nimble fretwork on "Plena for My Grundle." Listeners also get a chance to hear him hit the distortion and rock out (while still throwing down basslines!), as on "A-Frame" and "Delta Skelta." Of course, Moore plays great on the drum kit, and Dillon colors things nicely with his vibes, marimba, and other percussion goodies. Emphasizer is a great record by what's become a fantastic side project; let's hope that more is heard from these guys.
~ Sean Westergaard, All Music Guide
2005:Dennis González's Spirit Meridian - Idle Wild Music » Jazz » Modern Jazz » Avantgarde
2005:Dennis González's Spirit Meridian - Idle Wild
Artist: Dennis González
Album: Idle Wild
Label: Clean Feed
Year: 2005
Format, bitrate: mp3 320 kbps
Time: 68:53
Size: 156.65 MB

The second Dennis Gonzalez sighting on the Portuguese Clean Feed label solidifies his reputation with some remarkable writing and playing. He retains only drummer Michael Thompson from his first outing, NY Midnight Suite (2004). This studio session finds him in good company with bassist Fen Filiano and saxophonist Oliver Lake.
The Texan trumpeter has been a shadowy figure in jazz, electing not to quit his day job teaching in the public schools. He has worked with leaders of the new jazz movements and was closely associated with Charles Brackeen in the 1980s.Idle Wild pulls from many "new" movements in jazz, but remains highly listenable and exciting. The 21-minute-plus opening track, dedicated to the Art Ensemble of Chicago's now deceased Malachi Favors, plays with a Sketches of Spain/Witchi-Tai-To feel before evolving into a percussion/brass call and response. The piece, like an AEC improvisation, is doused full of redemptive hope and uplifting praise. Lake and Gonzalez make for a classic partnership, at times playing Coleman/Cherry-meet-Zorn/Douglas roles; in other words the relationship is simpatico. They skip and flutter around each other on "Bush Medicine, a lighthearted response to the if-I-only-had-a-brain US President, while Ken Filiano applies some heavy wooden vibes.
The title track is a collective improvisation, but that label doesn't give a fair representation of the songmaking of this quartet. They turn initial searching into a statement of purpose, evidence of the band's cohesive nature and each player's ability to listen to one another. Thompson must take credit here for pulse and shared energy. He leaves spaces for players between his toms and clanging.
The disc ends with the spirited "Document For Toshinori Kondo, a piece that elbows itself wholeheartedly up to the New York scene, demanding attention in the Downtown realm. All this is proof that Gonzalez has never been far away from what's happening now.

~ Mark Corroto, All About Jazz
1965:Ben Webster - My Romance Music » Jazz » Mainstream
1965:Ben Webster -  My Romance
Artist: Ben Webster
Album: My Romance
Year: 1965
Label: Top Music International SACD
Format, bitrate: MP3@320 kb/s
Time: 61:45
Size: 149,45 MB (+5% recovery)

This was quite a surprise, coming from the Asian label specializing in various audiophile CDs and SACDs of more middle-of-the-road material. The two sessions that produced these dozen tracks both were recorded in Copenhagen in 1965, and for most of the tracks - as you can see - Websters band was mostly local musicians. Ben Webster was one of many black American jazz men who moved to Europe in the 1960s or later. Denmark and Holland were his main bases of operation. Earlier he had been a mainstay of Norman Granz Jazz at the Philharmonic concerts, and had also played with Ellington for a few years.
Nobody else achieved quite the rich, warm, soulful and caressing tenor sax sound so distinctively laid down by Ben Webster. And I dont believe Ive ever heard it so cleanly and realistically as on this reissue disc. In the booklet remastering engineer Povee Chan lists some of the gear involved, and its obvious no effort was spared to transfer these old stereotapes with the very highest fidelity humanly possible. The European players are right up to American standards in playing proficiency. This is great stuff. The CD layer doesnt sound seriously compromised either.

~ John Henry (www.audaud.com)
1953-1955: Sir Charles Thompson - For The Ears (2 LP) Music » Jazz » Mainstream
1953-1955: Sir Charles Thompson - For The Ears (2 LP)
Artist: Sir Charles Thompson
Album: For The Ears
Label: Vogue
Year: 1953, 1954, 1955
Format, bitrate: mp3, 320 kbps (LP rip)
Size: 234 Mb

Albert McCarthy is in the process of reassembling the Vanguard catalogue for reissue here by RCA; the LPs are well programmed, provide good value for money and have notes and full personnel details provided by McCarthy. All four sides of these two albums was each issued originally as a 10-inch LP although I think I am right in stating that the Thompson Sextet titles have never previously appeared in Britain. All four sessions date from December 1953 to August 1954, a period when it suddenly became fashionable to discuss and record "mainstream" jazz. In fact Norman Granz had been recording jazz of this kind for years but the publicists suddenly hung the "mainstream" tag on new dates based around men from the Count Basic band, dates which invariably had Sir Charles Thompson or Nat Pierce deputising for the contractually debarred Basic. Thompson, born in 1918, gained his early musical experience with the band of Nat Towles. During the forties he worked with Lucky Mihinder and Coleman Hawkins and started to make records under his own name; on one date he had Charlie Parker as a sideman. His natural playing style has always been as economical as Basic's and it is no wonder that he has been in demand to sit in for the Count. On Swingtime In The Rockies, Honeysuckle Rose, These Foolish Things and Sweet Georgia Brown the deception is virtually complete for here he is accompanied by Freddie Green, the late Walter Page and drummer Jo Jones. These tracks have the buoyant, springy feel of a vintage Basic record and it is good to have confirmation that twenty years after they were made these titles still sound fresh and timeless. The Band and Sextet sessions have excellent and interesting sidemen; on the Sextet tracks the late Pete Brown plays his piping, swinging alto in a front line completed by Joe Newman and the warm-toned Benny Powell from the Basic band. (Gene Ramey and the late Osie Johnson are Sir Charles's rhythm section colleagues here.) On the reverse side of the LP the four-man front-line comprises Emmett Berry, Benny Morton (trombone), Earle Warren and Cole man Hawkins. I suppose the most memorable track here is Hawk's recreation of his Talk Of The Town feature from the days of the Fletcher Henderson band but we must not overlook the consistent and invariably under-rated trumpet of Berry, a craftsman in the true sense of the term. The rhythm section cushions Thompson's playing and consists of Steve Jordan on guitar with Aaron Bell and Osie Johnson on bass and drums. ~ gramophone.net
2007: Mike Reed's Loose Assembly - Last Year's Ghost Modern Jazz, Avantgarde
2007: Mike Reed's Loose Assembly - Last Year's Ghost Artist: Mike Reed's Loose Assembly
Album: Last Year's Ghost
Label: 482 Music
Year: 2007
Format, bitrate: mp3, 320
Size: 100 mb

"A brilliant debut, Last Year's Ghost merges the austere reverence of chamber music with the scalding intensity of Chicago's historically ebullient free jazz, making a case for the re-evaluation of commonly held geographic prejudices. Although conventional wisdom dictates New York as the center of the jazz world, documents like this beg to differ." - Troy Collins, All About Jazz

Creative improvising drummer and composer Mike Reed has taken up the challenge of making music based on two precepts -- one as netherworld free improvisation, and the other rooted in a modern modal and jazz induced method. Both of these unconventional concepts don't work as much together as the one sets up preludes for the other, depending on their placements during this ambitious program. The ghostly inferences are clear, fairly short, to the point and generally ethereal, working on similar but somewhat varied frameworks. The longer pieces have a solid swing element and fall along lines that are quite accessible and musically valid. Loose Assembly is a young quintet of Chicago based musicians, bassist Josh Abrams being the most prominent. Alto saxophonist Greg Ward sounds like a Marty Ehrlich disciple, vibraphonist Jason Adasiewicz uses sparse component phrases, and cellist Tomeka Reid fairly soars and swoops through these pieces. It's a stunning combination of timbres and techniques. There's some very hip music here, headlined by "Ghost Writer," a 6/8 modal figure informed by Reed's insistent, prickly snare riff and forged by loose phraseology that somehow comes together focused, but not surreal. A bass and alto unison line drives the well swung "Day of the Dead," while a bluesy swing and Abrams two-note line and thoughtful solo sets "The Entire State of Florida" apart from the rest of the compositions. A creaky floorboard sound surrounds "Old Souls," "1974" is a free wig-out, "Temporary States" imitates sea shanty chimes, and "Dreaming with Jill" is a sweet, less than half-conscious love song. The contrasts and juxtapositions between the tracks are quite well programmed and not jarring. These be friendly ghosts me hearties, from recent times. Reed gathers them, with gifts, to haunt the evil out of your souls. It's a very interesting and accessible disc worth owning and listening closely to.
~ Michael G. Nastos, All Music Guide
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