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2005: Masada Strin Trio-Azazel: Book Of Angels Vol.2 Modern Jazz, Freejazz
2005: Masada Strin Trio-Azazel: Book Of Angels Vol.2
Artist:Masada String Trio
Album:Book Of Angels Vol. 2
Year: ; release:2005
Genre: Chamber Music
Format, bitrate: 320 kbps w/scans
Time: 60:00
Size: 95mb

Of the various ensembles performing the Masada songbook under composer (and sometimes player) John Zorn's leadership, the Masada String Trio may not be the most excitingit's hard to compete with horns and guitarsbut it is the most beautiful. The sheer musicianship of the trio of violinist Mark Feldman, cellist Erik Friedlander and bassist Greg Cohen is hard to beat, and they are among the most frequent interpreters of Zorn's hundreds of themes for the project.
Azazel is the second volume of recordings from the second book of Masada compositions (after the Jamie Saft Trio's Astaroth, Tzadik 2005) and the third disc by the trio. The musicians raise the excitement bar, however, delivering the most energetic performances they've yet recorded. That has something to do with the material: the first two pieces ("Tufiel and "Mibi ), and then the fourth ("Symnay ), proceed at breakneck speeds and most of the rest get pretty vivace. Who knew angels flew so fast?
Tzadik has built an expert production team, from Saft's bright, warm recording to Chippy's elegant design, and the label has built a sizeable audience as well, especially for the Masada projects. If, after a decade, a second set of compositions is what it took to keep the coal burning in the Masada oven, then Zorn is to be thanked. Azazel is guaranteed not to disappoint.
Kurt Gottschalk, all about jazz
1983: Tony Lakatos - Tony Lakatos and Friends Music » Jazz » Fusion
1983: Tony Lakatos - Tony Lakatos and Friends
Artist: Tony Lakatos
Album: Tony Lakatos and Friends
Label: Made in Hungary
Year: 1983 LP
Format: FLAC
Size: 195M

Though still underrated by the media at large, saxophonist TONY LAKATOS has progressed to become one
of the most popular protagonists on his instrument, acclaimed by jazz fans in Europa, and especially in the USA. His own production work with Randy Brecker, Billy Hart, Trilok Gurtu, Joanne Brackeen, Adam Nussbaum, George Mraz, Al Foster, Jimmy Scott supplies ample testimony of his craft, backed up by guest appearances on albums from a.o Wolfgang Haffner and Masha Bijlsma.
He was born in a musician family on the 13th November 1958 in Budapest, Hungary. His Father was a famous gipsy violinist as well as his younger Brother Roby. The musical study began on the violin at the age of 6. Began to play the saxophone when he was 15 years old, and became a professional musician when he won a national jazz competition in 1977.Graduated from the jazz department of the Bela Bartók Conservatory in Budapest 1979.Shortly after moved to Germany in 1981, became one of the most respected saxophone player in Germany as well as worldwide. He performed as a saxophone soloist in numerous jazz/pop/rock recordings and concerts.Tony has played the saxophone on more than 240 LP/CD recordings as a leader or as a sideman.

Tony Lakatos.COM

Jazz At Massey Hall Vol.2 Music » Jazz » BeBop
Jazz At Massey Hall Vol.2
Jazz at Massey Hall, Vol.2
Label - OJC/ Debut
Year - 1953 (Release - 1991)
Quality - MP3@256kb/s
Size - 126mb
Total Time: 57:49
REPOST with new link

, :
Bud Powell
Charles Mingus

, Massey Hall, , 1953 .
Bud Powell.

This is the less famous half of the 5/15/53 Massey Hall concert. These are the trio (Charles Mingus, bass; Max Roach, drums) sides that were also on a prior Prestige two-fer...On the record as a whole, the brillance comes overwhelmingly from Powell. ~ Bob Rusch, Cadence, All Music Guide

REPOST from jc94132!

1999: Fred Anderson/Hamid Drake/Kidd Jordan/William Parker - 2 Days in April Freejazz, Avantgarde
1999: Fred Anderson/Hamid Drake/Kidd Jordan/William Parker - 2 Days in April Artist: Fred Anderson/Hamid Drake/Kidd Jordan/William Parker
Album: 2 Days in April
Label: Eremite Records
Year: 1999; release: 2000
Format, bitrate: mp3, 320
Size: (122 mb/106 mb)
AMG Rating: 1999: Fred Anderson/Hamid Drake/Kidd Jordan/William Parker - 2 Days in April

Wire magazine records of the year 2000, jazz
Cadence magazine reviewers' choice, top ten recordings 2000
Magnet magazine top 10 free/jazz recordings 2000
Coda magazine writers choice top ten recordings 2000

This recording of two concerts at the University of Massachusetts at Amherst and MIT at Cambridge are striking for two reasons: One is that they smoke ass; the other is that the two elder players here, both saxophonists, Fred Anderson, who runs the Velvet Lounge in Chicago, the city's hottest spot for new creative music, and New Orleans professor Edward "Kidd" Jordan, are still shielded by the spotlight rather than having it shone on them. Meanwhile their younger, crack rhythm section of bassist William Parker and drummer Hamid Drake are celebrated all over the planet in both mainstream and marginal publications for their brilliance and dedication to bringing "free" creative jazz out from under the rock of obscurity. Kidd Jordan and Anderson obviously care less, and the music they make here with their younger counterparts is the proof. There isn't anything remotely "inside" about the playing on these two CDs. They are documents of concerts in which two brilliant veteran saxophonists engaged each other, stretched each other's musical vocabularies to the breaking point and pushed their rhythm section into places — even though these two cats have played with everybody — they hadn't dreamed of going before — and perhaps not since. None of the individual pieces, which range anywhere from ten to 18 minutes, is worth mentioning separately because this music is, truly, "speaking in tongues," these are the pure "ribbons of sound" John Coltrane spoke of when a musician reached a placed beyond the point of "ordinary" language. The sheer mode-shattering, polytonal majesty of creative over tonal joy of two men old enough to be grandfathers, speaking, squealing, honking, praying, bleeding, singing, crying, preaching, whispering, and laughing to each other is enough. And yes, Drake and Parker were easily the only capable pair for this job; they ride the hurricane from the inside knowing far too much to attempt to contain the sheer joy that this fury of sound conjures.
~ Thom Jurek, All Music Guide
1957: Michel Legrand - The Columbia Album Of Cole Porter Music » Classical music » Pop classics
1957: Michel Legrand - The Columbia Album Of Cole Porter
Artist: Michel Legrand
Album: The Columbia Album Of Cole Porter
Label: Columbia
Year: 1957, release - 1991
Styles: Film & TV, , Jazz, Latin, Soul and R&B
Quality : MP3@320 kbps
Size: 154 mb
Total time: 70:19

REPOST by request

Michel Legrand, that master of orchestral color! For the most part, all the songs are enjoyable, but for a few ballads, Legrand misses the sentiment needed to convey the emotions Porter intended. The swing numbers are the best, with a highly original "Love for Sale" and "From this Moment On." Recomended to those who are tired of hearing the same traditional arrangements attached to Cole Porter classics.

Michel Legrand has made his fame and fortune from writing for films, but he has done significant work in jazz on an occasional basis. In 1957, he arranged a set of dixieland and swing standards for a French orchestra (recorded on Philips), in 1958 he used three different all-star groups for the classic Legrand Jazz (with such sidemen as Miles Davis, John Coltrane, Phil Woods, Herbie Mann, Bill Evans, Ben Webster, Art Farmer, and others), in 1968 he recorded a strictly jazz set with a trio and Legrand has written for albums led by Stan Getz (1971), Sarah Vaughan (1972), and on several occasions, Phil Woods. Several of his songs (such as "What Are You Doing the Rest of Your Life," "Watch What Happens," and "The Summer Knows") have been recorded many times by jazz musicians.
~ Scott Yanow, All Music Guide
1995:Vladimir Tarasov's Russian Orchestra - Concerto Grosso für Michael Georgievich Music, Jazz, Avantgarde
1995:Vladimir Tarasov's Russian Orchestra - Concerto Grosso für Michael Georgievich
Artist: Vladimir Tarasov's Russian Orchestra
Album: Concerto Grosso Fuer Michael Georgievich
Label: Strange Sounds Records (SSR-06014)
Year: 1995
Format: APE
Time: 53:31 min
Size: 266M

The prolific and multi-talented Tarasov is probably best known from his association drumming with the Ganelin-Chekasin-Trio. He is also well known as a composer, here presenting his "Concerto Grosso for Michael Georgievich" with his Russian Orchestra, along with the shorter "Matrena Kuzminishna" by V. Rezitsky. "Concerto Grosso" was first presented in 1995.

Tarasov attained prominence as a member of the Ganelin Trio (also known as the Ganelin-Tarasov-Checkasin Trio), an extraordinary group that played free jazz in Soviet-era Russia and Lithuania. Tarasov is an energetic and resourceful player with a fine ear for tonal color. He was raised in northern Russia. He began playing drums in 1961, studying music in Arkhangelsk and Leningrad before emigrating to Vilnius, Lithuania, in 1968. In 1969, he formed a duo with pianist Vyacheslav Ganelin; the duo became a trio when saxophonist Vladimir Checkasin joined in 1971. Besides his work with the trio, Tarasov has recorded his solo music and performed with such American musicians as Andrew Cyrille and the ROVA Saxophone Quartet. He is also the head of the Lithuanian Art Orchestra. Tarasov has composed for film and theater, and is an accomplished visual artist.
~ Chris Kelsey, All Music Guide
2003:Bob Brookmeyer & Kenny Wheeler - Island Music » Jazz » BeBop » West Coast Jazz
2003:Bob Brookmeyer & Kenny Wheeler - Island
Artist: Bob Brookmeyer & Kenny Wheeler
Album: Island
Label: Artist House
Year: 2003
Format, bitrate: MP3, CBR 320
Time: 55:47
Size: 128 Mb (with scans)
AMG Rating 2003:Bob Brookmeyer & Kenny Wheeler - Island

Artist's House does it again with Island, a lovely session by Bob Brookmeyer, master composer and trombonist, and composer/flügelhorn giant Kenny Wheeler. With drummer John Hollenbeck, pianist Frank Carlberg, and bassist Jeremy Allen, the quintet creates a series of expansive yet pastoral jazz settings for the exploration at the margins without the edges. Make no mistake; aesthetically this is "beautiful" and deeply moving music. The level of composition here is the heist, and the articulation of these tonal and harmonic architectures is flawless. As for the interplay between Brookmeyer and Wheeler, go no further than Wheeler's stellar "114" for evidence, a song in which lines are played, tagged, and re-sung with nuanced gestural and textural differences as the rhythm section winds and shifts its way around time and space considerations. Likewise, Brookmeyer's lengthy "Island," with its contrapuntal elegance and impressionistic charm that allows Wheeler to state a melody as if it had left the room the day before, is hauntingly gorgeous. As Brookmeyer gradually enters into the discussion between Wheeler and the rhythm section and colors the ends of his lines with new extensions and codas, the entire track opens like a lily on Easter morning. Like Jimmy Giuffre's experiments with Jim Hall and those with Steve Swallow and Paul Bley, tonal exploration along tapered harmonic convergences is the stuff of masterful composition. That this music is played with such grace, elegance, and aplomb makes it a gift to be cherished and studied.
~Thom Jurek, AMG
1959:Cannonball Adderley - Cannonball Takes Charge Music, Jazz, Hard-bop
1959:Cannonball Adderley - Cannonball Takes Charge
Artist: Cannonball Adderley
Album: Cannonball Takes Charge
Year: 1959
Format, bitrate: 320k
Time: 46:00
Size: 125.7 MB

Adderley was on the verge of leaving Miles Davis's Sextet when he recorded the seven titles and two alternates that comprise this LP, the sixth in a seven-volume series of Riverside dates reissued by producer Orrin Keepnews. Accompanied by pianist Wynton Kelly and alternating bassists and drummers, Adderley is in fine form on these standards with the emphasis leaning a bit toward ballads and blues. Highlights include "Serenata," "Poor Butterfly" and two versions of "I Remember You."
~ Scott Yanow, All Music Guide
1960:Don Ellis - A Simplex One Music » Jazz » BeBop
1960:Don Ellis - A Simplex One
Artist: Don Ellis
Album: A Simplex One
Label: Past Perfect
Year: 1960
Format, bitrate: ape
Time: 0:45:44
Size: 205,81 mb

, , , . , , , , - .
- CD "How Time Passes", 1960

Trumpeter Don Ellis' initial recording as a leader (and first of four small group dates from the 1960-1962 period) found him stretching the boundaries of bop-based jazz and experimenting a bit with time and tempo. Teamed up with Jaki Byard (who doubles on piano and alto), bassist Ron Carter and drummer Charlie Persip, Ellis (whose sound was already pretty distinctive) performs four of his unusual originals (including the 22-minute "Improvisational Suite #1") plus Byard's "Waste." Although these musical experiments failed to be influential (Ellis himself went in a different direction a few years later), the unpredictable music is still quite interesting to hear.
~Scott Yanow, AMG
2004: William Parker - The Inside Songs of Curtis Mayfield: Live in Rome Modern Jazz, Avantgarde, Rhythm-n-Blues, Soul, Soul-Jazz, Funk-Jazz
2004: William Parker - The Inside Songs of Curtis Mayfield: Live in Rome
Artist: William Parker
Album: The Inside Songs of Curtis Mayfield: Live in Rome
Label: Rai Trade
Year: 2004; release: 2007
Format, bitrate: mp3, 320
Time: 74:17
Size: 170 mb

A powerful live set including timeless classics such as "People Get Ready" and "We The People Who Are Darker Than Blue". A celebration of Mayfield's genius through Amiri Baraka's intense voice and the deep singing of Leena Conquest

A very cool project from bassist William Parker a set that's unlike anything else we've ever heard from him before, and a loving tribute to the music of Curtis Mayfield! Instrumentation is mostly jazz-based, but there's also some vocals on the record too sung by Leena Conquest, and spoken by Amiri Baraka both of whom really help add some depth to the record. Parker's bass is at the helm of a lineup that includes Darryl Foster on tenor and soprano sax, Sabir Mateen on alto and tenor, Dave Burrell on piano, Lewis Barnes on trumpet, and Hamid Drake on drums all hip players who really bring a lot of their own spirit to the music making the tunes unique vehicles for jazz improvisation, and hardly the simple Curtis covers you might expect. Titles include "Think", "Freddie's Dead", "The Makings Of You", "People Get Ready", and a 21 minute take on "We The People Who Are Darker Than Blue".
1996-2010, Dusty Groove America, Inc.
1966:Milford Graves & Don Pullen - Nommo Music » Jazz » Modern Jazz » Freejazz
1966:Milford Graves & Don Pullen - Nommo
Artist: Milford Graves & Don Pullen
Album: Nommo
Label:SRP LP
Year: 1966
Format: flac
Size: 556M

This offers not a makeshift diminution of piano trio instrumentation, still less keyboard solos with percussion support, but equal-voiced contrapuntal duets. And despite an obvious commitment to spontaneity, the concentrated work that preceded these performances is apparent from the participants' instant response to one another's invention. Yet although, like Ornette Coleman and Don Cherry on say "Mapa" (Ornette Coleman "Ornette On Tenor") Pullen and Graves sometimes play clearly related, even antiphonal, ideas, at other points they may seem to pursue separate lines of argument whose real interdependence will be come evident only when the music and its methods, have grown familiar. If the sequence of musical events here crosses new terrain that is largely because jazz percussion found a fresh role during the 1960s.
Aspects of this are suggested by Max Roach solos like "Mendacity" ("Drums Unlimited") but more relevant was Elvin Jones's suppressing the cymbal beat's domination, for this accorded freedom to the drummer's secondary patterns and so led to a more uniform rhythmic polyphony. The resulting dissolution of bar-lines was analogous to that found on the melodic plane with Coleman; and Graves, like Sunny Murray, drew the full linear, indeed multi-linear, conclusions which this development implied. That this brought about not just a change of function but a more independent study of the expressive potential of rhythm and percussive sound free of the obligation to regular time-keeping is confirmed by the sharp, clear outlines of Graves music, its diversity of nuance, uncommonly wide dynamic range and irregular phrase-lengths. That phrasing is essentially melodic, and his very fine technique enables him to integrate an impressive variety of figures into a line, changing their shapes and colours all the while; the entire kit is in almost constant use, this being complemented by Pullen's employment of the whole keyboard. The extreme mobility also partly accounts for the manner whereby a figure grows out of the preceding it or the one produced simultaneously, and the result is often an overlapping mosaic structure which parallels that of Sun Ra's later orchestral performance ("The Heliocentric Worlds Of Sun Ra", vol 1) and which can be further studied in Graves' percussion duets with Sunny Murray on ESP (A) 1013.
If Graves and Pullen complement each other so well it may be because while the former plays his instruments as a miniature drum orchestra the latter does the opposite, his approach following the percussive techniques of Cecil Taylor and Bud Powell rather than the orchestral pianism of Art Tatum and Jelly Roll Morton. This in turn links with the percussive orientation of much post-Coleman jazz e.g. Bobby Hutcherson's vibraharp playing on "Happenings" which is perhaps compensation for the music's losing its harmonic dimension. And certainly Pullen, like Graves, has advanced further the increased mobility his predecessors achieved, but to the point where the melodic shapes are less jagged than Taylor's, the rhythmic emphases, though as varied, more legato in their effect. His technique is almost fantastic in its nervous energy, melody and rhythm, dissolving in an ever-changing relentlessly mobile texture, a whirlwind of ideas, the vividness and cogency of whose ebb and flow allows no relaxation of the listener's attention. The emancipation of dissonance is complete, and, Pullen's richly chordal figures notwithstanding, the cadential impulse of traditional harmony is gone completely; instead, and almost seamless continuity is maintained. The dense showers of notes are sometimes reminiscent of Stockhausen's "Klavierstücke", not least in their eradication of conventional scale and arpeggio formations which of course arose from the orthodox harmony. There are links to with the permutational aspect of John Coltrane's linear extensions (e.g. "A Love Supreme") yet behind the continuing glitter the moods range widely, some passages being delicate, fugitive, others assertive of a complete fury. But musical tension is maintained always.
(Max Harrison, in "Modern Jazz 1945 -70, The Essential Records")
1945: Woody Herman - First Herd Swing, Mainstream
1945: Woody Herman - First Herd
Artist: Woody Herman
Album: First Herd
Label: Charly
Year: 1945, release: 1996
Quality: MP3@320 kbps
Size: 122 mb
Total time: 74:01

Two 1945 CBS radio remotes featuring Woody Herman & the First Herd make up this Sandy Hook LP compilation, which has excellent sound, due in part to the mint condition transcription discs utilized by producer Michael Rophone. Though little more than the songs and recording dates are listed on the album jacket, Herman aficionados will recognize the bandleader's easygoing vocals ("Don't Worry 'Bout That Mule," which was a hit for Louis Jordan, "I Wonder" and "I Never Thought I'd Sing the Blues.") Ballad singer Frances Wayne ("There's No You," "Happiness Is a Thing Called Joe" and "I Don't Care Who Knows It") falls more into a torch category than jazz, though her vocals are enjoyable. But Herman's First Herd is best remembered for its superb instrumentals and it features two soloists who developed a strong following, tenor saxophonist Flip Phillips and trombonist Bill Harris. Their solos on two of the band's most popular numbers particularly stand out, "Northwest Passage" and "Apple Honey," though both are unfortunately faded at the end of the respective broadcasts. While this music has been reissued in various anthologies over the years, most of these records and CDs have been available only briefly, so Woody Herman fans are advised to pick up this LP immediately if they run across it.
~ Ken Dryden, All Music Guide
1989:Sonny Rollins - Falling In Love With Jazz Music » Jazz » BeBop » Post-bop
1989:Sonny Rollins - Falling In Love With Jazz
Artist: Sonny Rollins
Album: Falling In Love With Jazz
Label: Milestone Records
Year: 1989
Format, bitrate: MP3, CBR 320
Time: 47:00
Size: 107 Mb

This average effort from Sonny Rollins and his regular sextet is most notable for two numbers ("For All We Know" and "I Should Care") that find Branford Marsalis joining Rollins in a quintet with pianist Tommy Flanagan. Unfortunately Marsalis makes the fatal error of trying to imitate Rollins (instead of playing in his own musical personality) and he gets slaughtered. Much better are Rollins's romps on "Tennessee Waltz" and "Falling in Love with Love."
~Scott Yanow, All Music Guide
2007: Other Dimensions In Music - Live At The Sunset Music » Jazz » Modern Jazz » Avantgarde

2007: Other Dimensions In Music - Live At The Sunset
Artist: Other Dimensions In Music
Album: Live At The Sunset
Label: Marge Records
Year: 2007
Format, bitrate: mp3 224kbps w/scans
Time: CD1; 68:54 CD2; 73:38
Size: 228 MB (three parts)

For those who don't know Other Dimensions In Music : the band consists of Roy Campbell on trumpet; Daniel Carter on sax, flute and trumpet; William Parker on bass and Hamid Drake on drums. And what they bring is free jazz at its best : spontaneous improvization with rhythm, empathy, beautiful soloing and telepathic interplay. These four stellar musicians have played together for decades and in various bands and it shows. Drake and Parker play like they are one person with two bodies, and their rhythmic foundation supports the tonal soundscapes weaved by Campbell and Carter, who both have a huge background, but more importantly, they play with the rare combination of emotional and creative power. There is lots of variation in the instruments used : Parker also uses the musette, the reed instrument played by Dewey Redman in Old & New Dreams, stopping his solo and switching to arco, Hamid Drake sings and plays snare drum, Carter sings as well. The second variation comes from the variety of styles they integrate into their improvizations, often implicitly : blues, swing, bop, african, middle-eastern, and the third variation comes from the levels of intensity, ranging from subdued and spiritual to high-pitched high energy playing, but rarely chaotic skronking, like the great swells of the ocean, moving up and down in large uninterupted movements, all different, yet all part of the same. And all this has a meaning - the titles speak for themselves : "Blues configuration", "Afro Carribean High Life", "Blues for Baghdad", "Funk The Government/The Betrayal of New Orleans/Hurricane Katrina", "Suite for Miles Davis", "For Louis, Cootie and Lester", "James Brown Ascension", ... gives you an idea what musical references are used to illustrate the titles. But it's not only political or musicological in nature, in essence their music is spiritual : "multilayered music that is drenched in vision. Blues vision, world music vision, 21st Century vision, it's the music called Black Mystery Music that comes from the deepest parts of Africa, Asia and Europe. Sounds that can be found in the furthest reaches of the cosmos. The mud that binds the music is the call of the human soul in need of healing. Combined with all the beautiful things that have ever existed since the beginning of time". And Parker continues in the liner notes : "We never know what will happen from minute to minute in the music but we are ready to go anywhere it wants to go, without being restricted by style". And that's exactly what this double CD has to offer : excellent free playing, moving naturally, rhythmically, full of intensity, full of spirituality and musical vision.
~ Freejazz-stef blog
1961-1962: Grant Green - Complete Blue Note Recordings of Grant Green with Sonny Clark Music » Jazz » BeBop » Hard-bop
1961-1962: Grant Green - Complete Blue Note Recordings of Grant Green with Sonny Clark
Artists: Grant Green, Sonny Clark
Album: Complete Blue Note Recordings of Grant Green with Sonny Clark 4CD
Years: 1961-1962, release: 1990
Label: Mosaic Records
Quality: mp3, VBR
Size: 67+86+77+76 mb
AMG Rating: 1961-1962: Grant Green - Complete Blue Note Recordings of Grant Green with Sonny Clark

Guitarist Grant Green and pianist Sonny Clark recorded together on five separate occasions during the 1961-1962 period, but virtually none of the music was released domestically until decades later. These performances were clearly lost in the shuffle, for the solos are of a consistently high quality, and the programs were well-paced and swinging. Now, the long-lost music (much of which had been previously available only in Japan) is saved for posterity on this Mosaic limited-edition four-CD box set. Green and Clark blend together well. Tenor saxophonist Ike Quebec joins their quartet for one session, and the final two numbers add Latin percussion. All of this music should be enjoyed by hard bop fans. Included are the Blue Note albums Gooden's Corner, Nigeria, Oleo, Born to Be Blue (with Ike Quebec), and unissued tracks.
~ Scott Yanow, All Music Guide
1962-1967: Oliver Nelson: The Argo, Verve And Impulse Big Band Studio Sessions (6 CD) Music » Jazz » BeBop » Hard-bop

1962-1967: Oliver Nelson: The Argo, Verve And Impulse Big Band Studio Sessions (6 CD)
Artist: Oliver Nelson
Album: The Argo, Verve and Impulse Big Band Studio Sessions (6CD)
Year: Mar 26, 1962-Nov 14, 1967; release: 2006
Label: Mosaic Records
Quality: mp3/320 kbps
Size: 918 mb
Time: 75:39 / 66:20 / 53:51 / 61:24 / 66:40 / 77:17
AMG Rating 1962-1967: Oliver Nelson: The Argo, Verve And Impulse Big Band Studio Sessions (6 CD)

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage. Included are his albums Full Nelson, Fantabulous, Jazzhattan Suite (which finds the ensemble called the Jazz Interactions Orchestra), Sound Pieces, and his unusual and reverent tribute set Musical Tribute to JFK: The Kennedy Dream. In addition, Nelson's writing for Leonard Feather's Encyclopedia of Jazz All Stars is here, plus his contributions (usually just part of each record) for sets by organist Shirley Scott (Roll 'Em), a group co-led by Ray Brown and Milt Jackson, and clarinetist Pee Wee Russell (The Spirit of '67). Topping off this well-conceived box are all of the music for organist Jimmy Smith's Hobo Flats, Peter and the Wolf (a classic jazz version), and Smith's first collaboration with guitarist Wes Montgomery, plus a few numbers from Smith's Bashin', Who's Afraid of Virginia Woolf, and Hootchie Coochie Man. In addition to the playing of Jimmy Smith (who was really at his peak during this period), Wes Montgomery, Shirley Scott, and Pee Wee Russell, the most memorable soloists are altoist Phil Woods, cornetist Nat Adderley (on the Feather date), and flugelhornist Clark Terry plus Nelson himself. There is plenty of classic material here (such as the Smith/Montgomery blues jamming on "Down by the Riverside") which, even when the big-band writing is secondary, serves as a superior tribute to the underrated Oliver Nelson. ~ Scott Yanow, All Music Guide
1955: Tony Parenti's All Stars - Happy Jazz Traditional Jazz, New Orleans Jazz
1955: Tony Parenti's All Stars - Happy Jazz
Artist: Tony Parenti
Album: Tony Parenti's All Stars - Happy Jazz
Label: Jazztone
Year: 1955
Quality: MP3@320 kbps
Size: 110 mb
Total time: 51:23
AMG rating 1955: Tony Parenti's All Stars - Happy Jazz

A major clarinetist from New Orleans who has been largely forgotten through the years, Tony Parenti had a smooth sound and impressive technique. He was born in New Orleans in 1900 and was playing music professionally by 1914. Parenti was familiar with many of the Crescent City's jazz pioneers. He led his own groups starting in 1917 and recorded as early as 1925 but did not leave for New York until near the end of the decade. Parenti was technically skilled enough to work in studio orchestras and dance bands, and he spent a six-year stint with Ted Lewis' band. In 1945 he returned to jazz, playing with Eddie Condon, leading his own band at Jimmy Ryan's and spending four years living and playing in Florida. After he returned to New York, Parenti had an additional six-year stint at Jimmy Ryan's and stayed active until his 1972 death.

One of Tony Parenti's finest records was the aptly-titled Happy Jazz. Parenti, trumpeter Henry "Red" Allen and trombonist Tyree Glenn all had strong musical personalities, resulting in quite a few fireworks. Joined by pianist Hank Duncan, bassist Milt Hinton and drummer George Wettling, the band really romps on such numbers as "In the Good Old Summertime," "Maryland, My Maryland" and even "I've Been Working on the Railroad." In addition, Parenti is showcased on two duets with Duncan and a pair of trios that add Wettling, including "Maple Leaf Rag." Fans of New Orleans, trad and hot jazz will definitely want Happy Jazz.

~ Scott Yanow, All Music Guide
1966: Eddie Daniels - First Prize! Music » Jazz » BeBop » Hard-bop
1966: Eddie Daniels - First Prize!
Artist: Eddie Daniels
Album: First Prize!
Label: Prestige/OJC
Year: 1966, release: 1993
Format: mp3, bitrate: 320 kb/s
Size: 106 Mb (full covers)
Total time: 46:42
AMG rating 1966: Eddie Daniels - First Prize!

When one hears this early Eddie Daniels CD (a straight reissue of the original LP), it is surprising to realize that he would remain in relative obscurity for almost another 20 years. As shown on the three of the eight selections on which he plays clarinet, Daniels (even at this early stage) ranked near the top, while his tenor playing on the remaining numbers was already personal and virtuosic. With the assistance of the Thad Jones/Mel Lewis rhythm section of the time (pianist Roland Hanna, bassist Richard Davis and drummer Mel Lewis), Daniels is in top form on three standards, four originals and the pop tune "Spanish Flea." ~ Scott Yanow, All Music Guide
2004: The Georgians - 1923-1924 Music » Jazz » Traditional Jazz
2004: The Georgians - 1923-1924Artist: The Georgians
Album: 1923-1924
Label: Retrieval
Year: 2004
Format, bitrate: mp3, 320kb/s
Time: 67:35
Size: 128 MB
AMG rating: 2004: The Georgians - 1923-1924

Repost by request

The Georgians in 1922 were the first jazz band to be assembled from a larger orchestra (not counting Paul Whiteman's Virginians, which were less jazz-oriented), a practice that would become common during the swing era. With trumpeter Frank Guarente as the star, pianist Arthur Schutt as the combo's main arranger, and drummer Chauncey Morehouse a key member, their records from 1922-1923 ranked with the finest jazz recordings of the time even if the group has since become quite obscure. Their first release (Retrieval 79003) is essential for 1920s collectors. 1923-1924 is slightly later, finishing the reissue of all of the Georgians' recordings with Guarente and also including two numbers from the Paul Specht Orchestra (from whom the Georgians' personnel was drawn) and a pair of selections by Specht's Society Serenaders (the Georgians under a different name) in 1922. In addition to their excellent instrumentals dating from November 1923 to May 1924, the band is heard backing singers Eddie Cantor, Billy Jones, Dolly Kay, and Blossom Seeley. Although the singers are fine for the period, it is the instrumentals (particularly the ones on the earlier CD) that are most memorable. It is very good to have their important performances readily available, showing that there was more going on in 1923 jazz than King Oliver.
~ Scott Yanow, All Music Guide
2005:Jamie Saft Trio-Astaroth: Book Of Angels Vol.1 Modern Jazz, Avantgarde
2005:Jamie Saft Trio-Astaroth: Book Of Angels Vol.1
Artist: Jamie Saft Trio
Album: Astaroth: The Book Of Angels Vol. 1
Label: Tzadik
Year: 2005
Format, bitrate: mp3 224kbps
Time: 55:27
Size: 88 MB

With Sanhedrin: Unreleased Studio Recordings 1994-1997, saxophonist/composer John Zorn put a period on what turns out to be but the first phase of his Masada project. His voluminous Masada songbook, first emerging in '94 with his quartet featuring trumpeter Dave Douglas, bassist Greg Cohen, and drummer Joey Baron, has gone on to a wide variety of interpretations, including solo guitar, piano/violin recital, string trio, and electric octet.
But when Zorn indicated in the liner notes to Sanhedrin that he had composed an entire second book of Masada music in an almost ridiculously short period of time, the question arose as to whether there was something new to be said, after over two hundred compositions in the first Masada songbook so vividly and completely explored the juncture of traditional Jewish music and a variety of improvising contexts. Based on the first recording of Masada Book Two material, Astaroth, Book of Angels, it's clear that Zorn's frenetic imagination has yet to run dry. In fact, there are a number of surprises about Astaroth that create high anticipation for future Book Two releases.
First is that, while Zorn continues to mine the harmonic territory of Jewish music, the overall aesthetic seems less direct, with the pieces now subsumed as part of a greater musical whole that recognizes broader thematic and rhythmic concerns. While some might accuse Masada Book One of ultimately becoming predictable, including hypnotic rhythmic foundations for some pieces, and rapid-fire themes for others, breaking down into chaos only to be magically pulled back at their conclusion, the material on Astaroth feels less categoric. And while nobody could accuse the Book One recordings of being anything but open-ended in terms of improvisational potential, the Book Two material feels somehow less rigidly of a kind.
But perhaps the biggest surprise is Jamie Saft—a keyboard player who has always seemed more a jack-of-all-trades, but here demonstrates an heretofore unheard talent in context of a traditional piano trio format (also featuring Greg Cohen and drummer Ben Perowsky). In the past, Saft's contributions have tended to feel more like confection, textural icing on the cake. Here he demonstrates an unfettered imagination and sense of invention that, for perhaps the first time, truly dominate. Capable of lyrical economy on the relaxed vibe of "Shalmiel and the melancholically bluesy "Lela'hel ; harder-edged expressionism on "Ygal ; flat-out swing on "Ezeqeel and "Sturiel ; nave innocence on "Ariel ; and darker abstract impressionism on "Baal-Peor, Saft's performance on Astaroth deserves to see him reach a larger audience.
Cohen and Perowsky are equally impressive, but that comes as less of a surprise. And with Cohen having been a member of the flagship Masada quartet from the mid-'90s, there's an undeniable continuity between earlier efforts and this new phase in Zorn's investigation of the varied possibilities of traditional Jewish music. If Astaroth is any indication, Zorn's Masada projects will continue to retain a specific identity, while branching out into even broader areas of exploration.

~ John Kelman, all about jazz
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