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For Administration
Jazz Blues Club » Articles for 31.10.2010
2003: Akosh S. Unit-Vetek Music » Jazz » Modern Jazz » Avantgarde
2003: Akosh S. Unit-VetekArtist: Akosh Szelevenyi & S. Unit
Album: Vetek
Label: Universal IMS
Year: 2003
Format, bitrate: mp3, 256 kbps
Time: 54:32
Size: 97.58 MB



Great avant-garde-free jazz recording with elements of central & east european folk.
Akosh S. Unit is one of the most recognized bands on the french jazz scene.

2003: Otomo Yoshihide's New Jazz Quintet - Tails Out Music » Jazz » Modern Jazz » Avantgarde
2003: Otomo Yoshihide's New Jazz Quintet - Tails Out Artist: Otomo Yoshihide's New Jazz Quintet
Album: Tails Out
Label: DIW
Year: 2003
Format, bitrate: mp3, 320
Size: 116 mb
AMG Rating: 2003: Otomo Yoshihide's New Jazz Quintet - Tails Out

Tails Out is another stunning release from Otomo Yoshihide's New Jazz Quintet, and further integrates his love of fiery jazz and the Onkyo scene, which "puts much more importance on sound texture than on musical structure" (according to good folks at www.japanimprov.com). The album starts with a wonderful reading of Charlie Haden's "Song for Che" with great playing from the saxmen, Naruyoshi Kikuchi and Tsugami Kenta, who are almost constantly in an intense dialogue throughout the album. That segues directly into an original called "Reducing Agent" that's a burner with some fierce guitar from Yoshihide. There's a steady rhythm, but the playing is very free. "Solvent Waltz" is at once lurching and spastic yet very melodic, and those who are only familiar with Yoshihide's turntable squalls and blasts of guitar terrorism might be shocked at what an excellent guitar player he truly is. The James Blood Ulmer tune "Moons Shine" has a strong harmolodic flavor, with Yoshihide turning in a great, feedback-drenched solo. "Strawberry Fields Forever" gets a fabulous drunken brass band treatment, with Yoshihide again proving what a fine guitar player he can be, when he wants to. For the last two tracks, the quintet is expanded by Sachiko M's sine waves, and the vibraphone playing of Tamara Kumiko, and the sound shifts a bit. Mingus' "Orange Was the Color of Her Dress, Then Blue Silk" begins with nothing but sine waves before getting into the melody of this beautiful and gentle tune, which then segues into "Tails Out": more than ten minutes of lovely Onkyo-jazz bliss, and the longest cut on the album. Tails Out shares some kinship with Ground Zero's Plays Standards, but is far less berserk. The covers are fun, everything is extremely well played, and this band smokes (especially Kikuchi and Yoshihide), but the wildest inclinations of Ground Zero are reigned in here. Otomo Yoshihide is taking all the lessons he's learned from his myriad projects over the last 15 years and breathing new life into a slightly stale jazz scene. Highly recommended.
~ Sean Westergaard, All Music Guide
2008:Ken Colyer's Jazzband - Just About As Good As It Gets! Music » Jazz » Traditional Jazz
2008:Ken Colyer's Jazzband - Just About As Good As It Gets!
Artist: Ken Colyer's Jazzband
Album:Just About As Good As It Gets!(The Original Jazz Recordings 1950-1956)
Label: Smith & Co. Sound & Vision
Year: 2008
Format, bitrate: Mp3@224 Kbps
Time: 2:10:48
Size: 205 MB



Probably the best Ken Colyer collections available at the time of issue.
Contains 40 superb tracks from the band from the 1950's period.
Sadly, it is quite hard to find nowadays.
2010:Leimgruber / Phillipp / Gerold - Hin Music » Jazz » Modern Jazz » Avantgarde
2010:Leimgruber / Phillipp / Gerold - Hin
Artist: Urs Leimgruber,Ulrich Phillipp,Nils Gerold
Album: Hin
Label: Creative Sources
Year: 2010
Format, bitrate: Flac
Time: 55:20
Size: 235 mb


Radio Bremen recording from the 2009 MIBNIGHT JazzFestival in Bremen, Germany, of the trio of saxophonist Urs Leimgruber, bassis Ulrich Phillip and flautist Nils Gerold. The performance, "HIN", is a 55 minute extended improvisation taking the group in an amazing and excursive dialog of great technical and attentive discourse. Beautifully captured, this was clearly a night of inspired performance from three great European players.
1982:Odean Pope Almost Like Me Music » Jazz » BeBop » Post-bop
1982:Odean Pope  Almost Like Me
Artist: Odean Pope
Album: Almost Like Me
Label: Black Albums
Year: release: 1982/1991
Format, bitrate: mp3@256kbps
Time: 36 min.
Size: 55mb
AMG rating: 1982:Odean Pope  Almost Like Me

Wonderful creative debut recording, kind of rare to find!!!
special treat to my friends here with open mind.
this guy is an amazing tenor player, very energetic and his rhythm section is great with a bit of fusionish feel :-) L5


Odean Pope (b. October 24, 1938, Ninety Six, South Carolina) is an American jazz tenor saxophonist.

Pope was raised in Philadelphia, where he learned from Ray Bryant while young. Early in his career, at Philadelphias Uptown Theater, Pope played behind a number of noted rhythm and blues artists including James Brown, Marvin Gaye and Stevie Wonder.

He played briefly in the 1960s with Jimmy McGriff, and late in the 1960s he began working with Max Roach, including on tours of Europe in 1967-68. He was a member of Philadelphia group Catalyst in the early and mid-1970s, and assembled the Saxophone Choir, which consists of nine saxophones and a rhythm section (piano, bass and drums), in 1977. He became a regular member of Roach's quartet in 1979 and has recorded extensively with him, in addition to numerous releases as a leader.

Pope was quoted in 2001 as saying, Every time I pick that horn up there's always something that I discover I can do differently if I really seek. If you were on planet Earth for, like, 2 billion years, I feel as though there's always something new that you can find to do. There's no end.
~ wikipedia.org
1991:Sergey Kuryokhin - Some Combinations Of Fingers And Passion Music » Jazz » Modern Jazz » Avantgarde
1991:Sergey Kuryokhin - Some Combinations Of Fingers And Passion
Artist: Sergey Kuryokhin
Album: Some Combinations Of Fingers And Passion
Label: LEO
Year: 1991
Format: FLAC
Size: 240 MB
AMG Rating: 1991:Sergey Kuryokhin - Some Combinations Of Fingers And Passion

This solo session of Sergey Kuryokhin, a spectacularly talented Russian pianist who died prematurely in 1996, finds the brilliant avant performer at peak performance. Classically trained, Kuryokhin absorbed a carefully honed aesthetic and an evidently encyclopedic knowledge of the jazz and classical traditions. At once symphonic and majestic, the pianist can suddenly shift to introspective, lighter moods, or clusters of repeated figures. Since his approach is derived primarily from the great Russian tradition of classical piano literature, his improvisations are sui generis. While he only rarely swings, his work nevertheless has the feel of cohesive creativity. Of the four pieces recorded here, the variation on Dave Brubeck's "Blue Rondo" is the most jazz-tinged, but even that is played so densely and powerfully that Kuryokhin makes it his own. The lengthy "A combination of passion and feelings" is a tour de force, romantic, elegant, and totally original.
~ Steve Loewy, All Music Guide
1991-1994: Rein de Graaff/Barry Harris/Gary Foster - Nostalgia Music » Jazz » Mainstream
1991-1994: Rein de Graaff/Barry Harris/Gary Foster - Nostalgia
Artists: Rein de Graaff with Barry Harris, Gary Foster
Album: Nostalgia
Label: Timeless Records
Years: 1991-1994, release:1995
Quality: mp3 @320
Time: 01:02:53
Size: 145 mb


Today (friday 29, October) i went to a concert of Rein de Graaff, together with the 78 year old saxplayer Gary Foster. Afterwards i bought some cd's, ripped them and post it here...



Rein de Graaff is a man of contrasts. He is one of Europe's foremost jazz musicians, but he describes himself as "a jazz fan who happens to play the piano." He turned down many offers to go on tour with American stars like Sonny Stitt and Archie Shepp because he has not much time to travel; he is a businessman on weekdays who gigs only in the weekends.
He will explain to you at length that he considers himself a jazz musician rather than a pianist: "I don't play the piano like a pianist does. I comp like a drummer and play single-note lines like a horn player." However, he has recorded some of the most fluent, swinging and beautiful piano solos I've ever heard in the Low Countries.
The most astonishing aspect of Rein's artistry is his understanding of the bebop language. He is almost entirely self-taught as a pianist and has been living most of his life in a small town in the north of the Netherlands. But when he visited New York for the first time as a young man, he felt at home right away. At a jamsession in Harlem, a big fat mamma from this black neighbourhood hugged him warmly, with tears in her eyes. "You sound like a black man!", she shouted. This was obviously the highest praise that could possibly be bestowed on Rein.

Although it may sound weird, it is perhaps his jazz fan status that makes him sound so consistently inspired and professional. He makes music because he loves to do it and for no other reason. Music is for him, to quote Zoot Sims, "serious fun". He always plays with at least a hundred per cent dedication.

On this record, you hear what Rein does: playing bebop piano. While listening to the duo-tracks with Rein's favourite pianist, bebop master Barry Harris, you will notice how much they sound alike. Their solos are characterized by clarity: each phrase is a small melody with a beginning, a middle and an end.
Rein plays the first seven choruses in Au Privave, Barry the next five. Then they alternate eight choruses, followed by 'fours' until the last theme. In the next tune, you hear
Rein play Nostalgia and Barry Casbah, two tunes based on the chords of Out of Nowhere. Barry plays two choruses, Rein the next two. Then they take half a chorus each, they alternate 'eights' for one chorus, followed by a chorus of 'fours'.
Another passion of Rein's is the musical world of Lennie Tristano, the legendary pianist, composer and guru of the cool school who died in 1978 at the age of 59. In four tracks, he plays with two alto saxophonists who know a thing or two about Tristano's concept: Gary Foster from LA (right channel) and Marco Kegel, a 22-year-old from Holland. Their collective improvisations will remind you of Warne Marsh and Lee Komtz, Tristano's great saxophone team.
As usual, the themes are complicated lines, based on standards. Tristano used to say: "That's our link to the people." Ablution is All the Things You Are, Lennie's Pennies is Pennies from Heaven (in a minor key, for a change), Dreamstepper is You Stepped out of a Dream and Subconcious-Lee is What Is this Thing Called Love. The rhythm section is once again Koos Serierse (bass) and Eric Ineke (drums). They have been working with Rein for almost twenty years.
In the first five tracks, Rein is featured soloist with the Metropole Orchestra. The arrangements, written by Dolf de Vries (Alone Together, Rob Pronk (How High the Moon, I Cover the Waterfront), Henk Meutgeert (Afternoon in Paris) and Lex Jasper (Cherokee), are just right for this combination: relaxed and inspiring. They give the rhythm section room to swing, allow the horns and strings to phrase as one man, and Rein to improvise freely at great length.
Rein sounds as if he has been working with these experienced studio musicians for a hundred years. Listen to him playing bebop piano. He is brilliant.

~ Jeroen de Valk, TheJazzLoft
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