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Jazz Blues Club » Articles for 22.10.2010
2009: Bojan Z - Tetraband - Humus Music » Jazz » Modern Jazz
2009: Bojan Z  - Tetraband - Humus
Artist: Bojan Zulfikarpasic
Album: Humus
Label: Emarcy
Year: 2009
Format, bitrate:mp3 320 kbps
Time:54:15
Size: 96MB

Not only do very good musicians sound very good, they make others sound better. Paris-based Bosnian pianist Bojan Z provided tasty proof of that particular pudding several years ago when he joined drummer Karim Ziad on stage at the Jazz Sous Les Pommiers festival in Coutances, Normandy. More or less as soon as he hit the downbeat, the whole ambiance changed and a gig that had previously simmered started to cook.

Apart from such guest appearances, not to mention a lengthy tenure in Henry Texiers superb Azur Quintet, one of the best small groups in jazz of the 90s, monsieur Z has led several smart outfits himself. This latest international ensemble American trombonist Josh Roseman, Scottish drummer Seb Rochford and Italian bassist Ruth Goller, the last two both longstanding London dwellers keeps previous standards high.

Z has always been an eloquent composer and improviser, but as the Ziad guest spot demonstrated, he is also a rugged, aggressive player who invariably taps into the hot Balkan rhythms of his background. They meet a jazz sensibility through their lengthy, whirling lines and the ferocity of their swing, something that is taken to a bracing conclusion on Fuzzlija through the use of a vaguely drumnbass-style rhythm that keeps the energy relentlessly on the up. Apart from this articulate bluster, the album scores highly as far as its sonic palette is concerned, with Z supplementing a swish acoustic piano with a beautifully fuzzy Fender Rhodes and a homemade instrument, the xeonophone, that comprises parts of discarded electric pianos.

This unique instrument floods the air with waspish distortion that is conspicuous without being overpowering and enhances the dub implications of some tracks, particularly when Roseman, who has already proved his interest in Jamaican music by way of an engrossing tribute project to rocksteady legend Don Drummond, breaks up his trombone lines into fleeting, bass-heavy phrases. Although a few of its arrangements jolt from one section to another a touch too vigorously, Humus has a vivacious, danceable slant that potently underscores its elaborate architecture.
~ Kevin Le Gendre, BBC
1949 1952, 1957: Eddie 'Cleanhead' Vinson - Cherry Red Blues Music » Blues » Jump Blues
1949  1952, 1957: Eddie 'Cleanhead' Vinson - Cherry Red Blues
Artist: Eddie "Cleanhead" Vinson
Album: Cherry Red Blues
Label: King/Gusto
Years: 1949 1952, 1957; release: 1976
Genre: Jump Blues;West Coast Blues
Format, bitrate: mp3,320 kbps
Size: 127 MB
AMG Rating: 1949  1952, 1957: Eddie 'Cleanhead' Vinson - Cherry Red Blues1949  1952, 1957: Eddie 'Cleanhead' Vinson - Cherry Red Blues
Everyone who loves the blues!


Somehow, amidst all the CD reissues from the King Records vaults unleashed by Charly, Ace, Rhino, and King's current ownership, this versatile alto saxist has fallen through the cracks. Thus, this two-LP collection, boasting all but a handful of his jumping 1949-1952 outings for King, remains your best introduction to the Cleanheaded one's R&B output (along with the 1945-1947 sides he waxed for Mercury, which grace the seven-disc anthology Blues, Boogie, & Bop: The 1940s Mercury Sessions).
~ Bill Dahl, All Music Guide
1952: Don Byas Meets Dizzy Gillespie - Yesterdays BeBop, Cool, West Coast Jazz
1952: Don Byas Meets Dizzy Gillespie - Yesterdays
Artists: Don Byas & Dizzy Gillespie
Album: Yesterdays
Label: Moon
Year: 1952, release: 1989
Quality: MP3@320 kbps
Size: 89,6 mb
Total time: 41:29

This pair of 1952 concerts in Milan led by Dizzy Gillespie feature him with expatriate tenor saxophonist Don Byas, as he fronts a predominately European band, including pianist Raymond Fol, alto saxophonist Hubert Fol, bassist Pierre Michelot, trombonist Bill Tamper, and drummer Pierre Lemarchand. Gillespie is in great form throughout on trumpet, and sings on several numbers, including his ballad "Ooh-Shoo-Be-Doo Bee," a funny interpretation of "Oh, Lady be Good," his jive blues "School Days" (which features Raymond Fold extensively), and the rapid fire closer "Oop-Pop-A-Da" (which incorporates an opening riff similar to Lionel Hampton's "Flyin' Home") that showcases his matchless scatting. Byas is particularly enjoyable on the classic standard "Yesterdays" and a pair of Gillespie's best known songs, "Birks Works" (which is plagued with several imperfections in its sound source) and "Groovin' High." The defunct label Moon is up to its usual tricks, with no liner notes and an anonymous glamour photo on the cover; the CD sounds as if it was dubbed from an earlier bootleg record likely released by an earlier European pirate label. Although it is not an essential acquisition, it is recommended to Gillespie fans.
~ Ken Dryden, All Music Guide
1965: Duke Ellington - Concert In The Virgin Islands Swing, Mainstream
1965: Duke Ellington - Concert In The Virgin Islands
Artist: Duke Ellington
Album: Concert In The Virgin Islands
Label: Reprise #6185 reissued as Discovery DS 841
Year: 1965
Format, bitrate: mp3@320 kbs ripped from original LP covers front/back HD
Time: ~ 39 min
Size: 92,16 MB


Deceptively packaged, Concert in the Virgin Islands is merely an unadorned assemblage of various 1965 studio dates that would embrace Ellington's final endeavors for Reprise as a leader and getting away from other composer's material, it's back to Ellintgton-penned charts. The four pieces that make up the "Virgin Islands Suite" collectively feature the clarinet of Jimmy Hamilton, the violin work of Ray Nance and some high-register trumpet blowing from Cat Anderson. Other highlights include a Hodges spot on "Big Fat Alice's Blues" and lush Gonsalves on "Chelsea Bridge." All-in-all, a convivial and resolute final chapter to this appealing slice of Ellington. ~ Scott Yanow, All Music Guide

Although in his mid-60s, Duke Ellington proves on this program of mostly new music that he never declined nor lost his creativity. Four of the pieces comprise "The Virgin Islands Suite," and there are new versions of "Things Ain't What They Used to Be" and "Chelsea Bridge," and also a variety of miniature classics. In 1965 the Ellington orchestra had 11 very distinctive soloists; eight are heard from during this memorable set. ~ Scott Yanow, All Music Guide
2002: Cadenza & Friends - Jazz at Patan Music » Jazz » Fusion
2002: Cadenza & Friends - Jazz at Patan
Artist: Cadenza & Friends
Album: Jazz at Patan - Celebrating 100 Years of Jazz (Special Edition)
Label: Private Release
Year: 2002; release: 2002
Genre: Live, Jazz Fusion
Format: MP3 VBR (high)
Time: 75:47
Size: 135.17 MB (141,732,814 bytes)


Live at Patan Museum, Kathmandu, Nepal (2002) was an enchanting evening with Nepal's foremost jazz artists fusing with Nepali classical music maestros. The evening was part of the build up to the now well known ongoing High Altitude Jazz festival in the Himalayas - Jazzmandu.

This recording should be with any jazz aficionado who wishes to embrace the story on where and how jazz has evolved. Exotic instruments include the soulful Israj, the Sarod, the ethnic Indian Tabla, and the sweet natural bamboo flute, accompanied by the more expected jazz ensemble of drums, guitar, trumpet, percussion and bass. Navin Chettri is on drums and vocals.

-------------------------------------------------
1987: Sonny Sharrock Band - Seize the Rainbow Jazz-Rock, Avantgarde
1987: Sonny Sharrock Band - Seize the Rainbow Artist: Sonny Sharrock Band
Album: Seize the Rainbow
Label: Enemy
Year: 1987
Format, bitrate: 320, mp3
Size: 95 mb
AMG Rating: 1987: Sonny Sharrock Band - Seize the Rainbow

Sonny Sharrock was included in Jazztimes list of 10 Most Underrated Guitarists in the History of Jazz

The follow-up to Sonny Sharrock's entirely solo comeback album, Guitar, Seize the Rainbow puts the guitarist at the helm of a rock-styled power trio featuring bassist Melvin Gibbs and Abe Speller and Pheeroan akLaff on drums (producer Bill Laswell also plays bass on one cut). The overall sound of the album is surprisingly straightforward, heavy metal-tinged jazz-rock, though the caliber and taste of the musicians makes it something far more than what rock guitar virtuosos of the period were recording. Still, there isn't too much way-out craziness, aside from some of Sharrock's trademark slide-guitar explorations on the spiritual title track and the riff-driven rockers "Dick Dogs" and "Sheraserhead's Hightop Sneakers." For the most part, Sharrock's playing on Seize the Rainbow is more concerned with melodic themes and traditional single-note solo lines than textural experiments. Fortunately, his tone is still gloriously skronky, and his playing is no less passionate. Bill Laswell's production is bright and immediate, and the rhythm section's agility breathes a spark into the straight-up rock rhythms they're often asked to play. Even if it isn't quite as evocative as the solo sound paintings of Guitar, Seize the Rainbow does place Sharrock's playing in one of its most accessible settings, and it's perhaps the best starting point for rock fans wondering what the fuss is about.
~ Steve Huey, All Music Guide
Jeremy Monteiro - A Song For You, Karen Music » Jazz » Vocal Jazz
Jeremy Monteiro - A Song For You, Karen
Artist: Jeremy Monteiro
Album: A Song For You, Karen
Label: First Impression Music
Year: 2002; release: 2003
Genre: Jazz Vocal
Format, bitrate: MP3 VBR (high)
Time: 70:18
Size: 106.65 MB (111,828,966 bytes)

A moving tribute album to Karen Carpenter, this one will give you immense pleasure both if you are a lover of complex soft (balladsy) jazz, or of the Carpenter's music. It is not just a work of art, but one of love, that will captivate you on every track without exception.
Though categorized under Jeremy Monteiro, it is really a part of Jacintha's portfolio, as her jazzz vocals are what makes this album shine. The first track, A Song For You, Karen, is breathtakingly moving. This whole album is worthy of repeated listening!


--------------------------------------------------------------
2009: Juju Orchestra - Bossa Nova Is Not a Crime Acid Jazz, Bossa Nova
2009: Juju Orchestra - Bossa Nova Is Not a Crime
Artist: Juju Orchestra
Album:Bossa Nova Is Not a Crime
Bitrate: 320kbps / 44.1kHz / Joint-Stereo
Total Size: 84 MB
Time: 51:55
Label: 101 DISTRIBUTION
Released: May 26, 2009
Genre: Jazz; Bossa Nova
Style: Jazzdance, Lounge, Future Jazz, Swing, Acid Jazz

Australian-only edition of the debut album from the German Nu-Bossa outfit featuring four bonus remixes that are not included on any other pressing in the world: 'This Is Not A Tango' (Frohlocker Remix), 'Kind Of Latin Rhythm' (Smoove Remix), 'What Is Hip' (featuring Carolyn Leonhard) and 'Nao Posso Demorar' (Dubben Remix). The JuJu Orchestra are one of the most popular bands on the international ClubJazz scene. Founded in 2004, they combine their love of Jazz and Bossa Nova creating a contemporary sound that is informed by the vintage sounds that influenced them. In case you haven't heard it yet, their sound is vibrant yet sophisticated, Nu-Bossa tinged, jazzy Lounge grooves. 12 tracks. Instinctive Travels. 2009.
Copyright: Amazon
1946-1947: Dodo Marmarosa Dodo's Bounce Music » Jazz » BeBop

1946-1947: Dodo Marmarosa  Dodo's Bounce
Artist: Dodo Marmarosa
Album: Dodo's Bounce
Label: Fresh Soun (Fenn Music Service)
Year: 1946-1947; release : 1991
Genre: Piano jazz
Format, bitrate: Mp3, 256 Kbs/s
Time: 78:09
Size: 142 Mb

Dodo Marmarosa was one of the most brilliant pianists of the classic bebop era. If he had not had emotional problems that largely forced him off the scene after 1950, he would have become an influential force, extending the innovations of Bud Powell. This generous 30-song CD is a real gap filler for much of the music from the five sessions had not been reissued in many years. Marmarosa is heard on four unaccompanied solos (including his two-part impressionistic "Tone Paintings"); on five numbers in a trio with bassist Harry Babasin (who doubles on cello) and drummer Jackie Mills; ten selections with guitarist Barney Kessel and bassist Gene Englund; and on six tunes in a quartet with tenor saxophonist Lucky Thompson, bassist Red Callender, and drummer Jackie Mills. In addition, there are five alternate takes from the Babasin date. Thompson provided four originals and there are five standards; the other 21 numbers are the pianist's compositions. These concise performances are full of fire and creative ideas, making this CD essential for all collectors of bebop piano.
Scott Yanow, Rovi
Michael "Dodo" Marmarosa - Biography Biography
Michael "Dodo" Marmarosa - Biography

- .

One of the finest pianists of the bop era.
Scott Yanow

Giant among jazz pianists, with a beautiful feel for melodic improvisation
The Independent, 23 September 2002
1958: Ahmad Jamal Trio - Complete Live At The Spotlite Club Music » Jazz » BeBop
1958: Ahmad Jamal Trio - Complete Live At The Spotlite Club Artist: Ahmad Jamal
Album: Complete Live At The Spotlite Club
Label: Gambit
Year: 1958
Release: 2007
Format, bitrate: Flac
Time: CD1 - 56:52, CD2 - 49:56
Size: 631MB (with Scans)
AMG Rating: 1958: Ahmad Jamal Trio - Complete Live At The Spotlite Club 1958: Ahmad Jamal Trio - Complete Live At The Spotlite Club

Gambit presents the Ahmad Jamal Trio recorded Live at the Spotlite Club in Washington, D.C. on September 5 and 6, 1958. Beautifully remastered and carefully sequenced so as to closely approximate the original order of presentation, these performances illustrate the dramatic interplay between pianist Jamal, bassist Israel Crosby and drummer Vernell Fournier. Best heard at sunset, late at night by candlelight, or in a cozy room softly illumined by indirect incandescence, this music offers the listener an opportunity to savor both what Jamal plays and what he doesn't play. His sense of timing, the way he employs contrasting dynamics and his quirky flair for the dramatic have always made Ahmad Jamal an exciting performer. His Spotlite recordings are filled with surprises and exhilarating passages, such as the spirited rendition of "Squatty Roo" by the great Johnny Hodges. Note that much of the nearly three hours of material recorded nine months earlier at the Pershing Club in Chicago appears to have vanished; one can only hope that some sort of time capsule will one day surface, packed with reels of all-but-forgotten Jamal, and be shared with the public. Happily, a much larger percentage of the music recorded at the Spotlite did survive, found its way onto numerous albums over the years, and appears here in Gaslight's gloriously dilated complete edition. Three studio-recorded bonus tracks have been added to this excellent compilation; these elusive rarities were originally issued as 45 rpm singles. - by arwulf arwulf
2010: Lyre Le Temps - Lady Swing Jazz-Pop, Contemporary Jazz, Crossover Jazz
2010: Lyre Le Temps - Lady Swing
Artist: Lyre Le Temps
Album: Lady Swing
Label: Irfan, le label
Genre: Electro Swing,Beats,Jazzy,electro-swing
Release date: 2010
Quality: mp3;VBR 167 kbps
Size: 59,49 mb
Time: 49:38 min

REPOST with new link


Between Strasbourg, Grenoble and Boston, Lyre Le Temps draws an immense funky triangle, hip & electro with 360 angles baptized Nude Swing. Second and Amorphe bustle about to multiply analogical ternary with digital binary in one pulse which pushes Ry' m to the feverish trance of a haunted preacher. Bewitching.
1972:The Art Ensemble of Chicago - Bap-Tizum Freejazz, Avantgarde
1972:The Art Ensemble of Chicago - Bap-Tizum
Artist: The Art Ensemble of Chicago
Album: Bap-Tizum
Label: Koch Jazz
Year: ; release: 1972
Genre: Avant-Garde Jazz
Format mp3,bitrate: 320 kb/s / Flac
Time: 43:01
Size: 98,6 Mb / 260 MB
AMG Rating: 1972:The Art Ensemble of Chicago - Bap-Tizum1972:The Art Ensemble of Chicago - Bap-Tizum1972:The Art Ensemble of Chicago - Bap-Tizum1972:The Art Ensemble of Chicago - Bap-Tizum1972:The Art Ensemble of Chicago - Bap-Tizum1972:The Art Ensemble of Chicago - Bap-Tizum

REPOST with new link from Mr. valor01


This was the Art Ensemble's breakthrough however short-lived onto a major U.S. label (Atlantic), as well as a document of the freewheeling band's first appearance at an American festival (the Ann Arbor Blues and Jazz Festival). With activist John Sinclair delivering the introduction, politics is in the air; the crowd is young and predisposed to radical ideas and the Art Ensemble holds back nothing in a chaotic, meandering, exasperating, outrageous and, thus, always fascinating performance. The band seems to be clearing its collective throat in the first half of the concert, opening with a battering all-percussion prelude. Roscoe Mitchell and Malachi Favors go at it at length in a staggered, honking tenor sax/bass duet on "Unanka," and Mitchell ratchets up the gears into screeching overdrive on "Oouffnoon." Finally, after a mocking intro by Lester Bowie, the 15-minute "Ohnedaruth" puts the Art Ensemble on full, ultra-colorful, wailing, free-form display (complete with a few vocal obscenities) before signing off with the "relatively" straight-ahead "Odwalla." It is interesting that Atlantic would lease these way-out recordings to Koch at a time (1998) when it was simultaneously putting out new, safer-sounding releases by the current Art Ensemble and its members.
- Richard S. Ginell, All Music Guide
1953-1954: Roy Eldridge - Dale's Wail Swing, Mainstream

1953-1954: Roy Eldridge - Dale's Wail
Artist: Roy Eldridge
Album: Dale's Wail
Label: Verve
Years: 1953-1954; release: 1987
Format, bitrate: MP3@320 kbps
Time: 01:07:43
Size: 137,56 MB
AMG Rating: 1953-1954: Roy Eldridge - Dale's Wail

Here's a beautiful album by Roy Eldridge with the Oscar Peterson trio (recorded in three sessions, with Herb Ellis & Ray Brown, among others). When Norman Granz was once asked who was the musician who incarnates the spirit of jazz better, he said Roy "Little Jazz" Eldrige. Listen and you'll know why...

This two-LP set features the great swing trumpeter at the peak of his powers. Eldridge is virtually the whole show on these four sessions for, although he is backed by the Oscar Peterson Trio plus either J.C. Heard, Jo Jones, Alvin Stoller or Buddy Rich on drums, Peterson (who is on organ for half of the selections) does not have much solo space. Highpoints include "Little Jazz," "Wrap Your Troubles in Dreams," "Rockin' Chair," "Somebody Loves Me," "Sweethearts on Parade," "The Song Is Ended" and the title cut. ~ Scott Yanow, All Music Guide
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