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Jazz Blues Club » Articles for October 2010 Year
1998:Ray Charles - The Complete Country & Western Recordings 1959-1986 [Box set] Soul, Country & Folk
1998:Ray Charles - The Complete Country & Western Recordings 1959-1986 [Box set]
Artist: Ray Charles
Album: The Complete Country & Western Recordings 1959-1986
Label: Rhino
Year: 1998
Format: Flac
Time:CD 1-74:48;CD 2-78:16;CD 3-75:33;CD 4-78:16
Size:CD 1-441 MB;CD 2-452 MB;CD 3-434 MB;CD 4-461 MB
AMG rating: 1998:Ray Charles - The Complete Country & Western Recordings 1959-1986 [Box set]

THE COMPLETE COUNTRY & WESTERN RECORDINGS 1959-1986 was nominated for the 2000 Grammy Award for Best Album Notes and for Best Historical Album.

Ray Charles' explorations into country music were no mere dalliance. They have their genesis in "I'm Movin' On," the last record he made for Atlantic before moving on to ABC Paramount in 1960. But it was with the enormously successful Modern Sounds in Country & Western series of albums in 1962 (and the career making single "I Can't Stop Lovin' You") that made their mark, crossing over genre boundaries that were unthinkable at the time. An African-American doing hillbilly music was not a first, nor were uptown arrangements of hillbilly songs, but here was the Genius of Soul validating the music of the white working class, plain and simple. He was putting his own spin to it (hence the Modern Sounds), not merely a black voice singing Gene Autry songs, investing them with pain, emotion, and sorrow. It was an unprecedented achievement, both commercially and artistically, and now -- decades later -- it's viewed as just another genre-bender in the grand Ray Charles tradition. But this 92-track, four-CD box set is the first to gather them all in one place and view it as a consistent piece of work spread over a career as a stylist that's second to none. The first disc combines both volumes of the Modern Sounds albums; the rest of the anthology moves through singles, various returns to the concept over the years, and stray tracks from his later stretch at Columbia to spice it all up. This multi-disc set contains some very special music, nicely packaged -- a moment in American music well worth investigating.
~ Cub Koda, All Music Guide
1980: Bobby Hutcherson - Un Poco Loco Music » Jazz » BeBop » Post-bop
1980: Bobby Hutcherson - Un Poco Loco
Artist: Bobby Hutcherson
Album: Un Poco Loco
Label: Koch Jazz
Year: 1979/1980
Format & Quality: Ape/674 kbps, 44100 Hz Stereo
Size: 185 mb
Total Time: 37:22
AMG Rating: 1980: Bobby Hutcherson - Un Poco Loco

By 1980, vibraphonist Bobby Hutcherson had evolved from a member of the avant-garde into a top exponent of the modern mainstream. This excellent album (mostly originals and obscurities but highlighted by an inventive version of Bud Powell's classic title cut) features Hutcherson with a top notch all-star group also including guitarist John Abercrombie, keyboardist George Cables, electric bassist Chuck Domanico and drummer Peter Erskine. Pity that this fine set has been long out-of-print. ~ Scott Yanow, All Music Guide
1964: Charles Mingus - Right Now: Live At The Jazz Workshop Jazz, Post-bop
1964: Charles Mingus - Right Now: Live At The Jazz Workshop
Artist: Charles Mingus
Album: Right Now: Live At The Jazz Workshop
Label: OJC/Debut
Year: 1964
Format, bitrate: mp3; 192kbs
Total Time: 00:47:00
Total Size: 67mb

Soon after Charles Mingus finished touring Europe with his band (the unit that featured Eric Dolphy), he recorded this CD, performed live at The Jazz Workshop in San Francisco. With tenor-saxophonist Clifford Jordan and drummer Dannie Richmond still in the group but Jane Getz replacing pianist Jaki Byard and altoist John Handy filling in for Dolphy on one song, the band performs excellent versions of "Meditations on Integration" and "New Fables," both of which are over 23 minutes long. Although not up to the passionate level of the Mingus-Dolphy Quintet, this underrated unit holds its own.
~ Scott Yanow, All Music Guide
1952: Ken Colyer - Back to the Delta Music » Jazz » Traditional Jazz » New Orleans Jazz
1952: Ken Colyer - Back to the Delta 	 Artist: Ken Colyer
Album: Back to the Delta (Ripped from Original LP Issue)
Label: Decca L.P.
Year: 1952
Format, bitrate: mp3, 320kb/s Full Artwork (Original Album Sleeve)
Size: 61.8mb

This 10" LP was initailly issued in the UK on the Decca label and only later on the London label in the United States. The two records were always thought to be identical until many years later when Mac Robinson made a sensational discovery. This is his Story.
"The discovery of this session was one of those magical happenings that collectors dream about. Whilst living in the U.S.A. I bought what I thought was a spare copy of the Back to the Delta LP. Apart from its being on the London label, the sleeve and record appeared identical to the well-known Decca album. The LP stood on a shelf unplayed for months, until one day I put it on the turntable and could not believe my ears. The six band tracks were totally different from the well-known versions; not merely different takes, but clearly a different session. Sharing the mystery with Mickey Ashman some time later, Mickey came up with the answer: the "new" band tracks had been cut at the June session, when the skiffle tracks were made. They had been deemed unsatisfactory and were shelved. As we know, the six band tracks were re-made in September and - with the three June skiffle tracks formed the basis for Decca's Back to the Delta album. Moreover, while the June band tracks featured the same front line as the September session, the back line was totally different: Mickey for Dick Smith, John Bastable for Diz, and Eric Skinner for Stan Greig. How this shelved session ever came to be issued in the States will probably remain forever a mystery.
Although it is fairly easy to obtain a copy of the Decca version, the London LP is quite rare and much sought after.

~ The Ken Colyer Website
2002: The Vandermark 5 - Free Jazz Classics, Vols. 1 & 2 Post-bop, Modern Jazz, Freejazz, Avantgarde
2002: The Vandermark 5 - Free Jazz Classics, Vols. 1 & 2 Artist: The Vandermark 5
Album: Free Jazz Classics, Vols. 1 & 2
Label: Atavistic Records
Year: 2000, 2001; release: 2002
Format, bitrate: mp3, 320
Size: (140 mb/135 mb)

Features live arrangements of works by Ornette Coleman, Cecil Taylor, Archie Shepp, Carla Bley, Joe McPhee, Lester Bowie, Eric Dolphy, Anthony Braxton, Sun Ra, Frank Wright, Jimmy Guiffre, Julius Hemphill and Don Cherry.

This release compiles and makes available for wider release the limited-edition bonus discs from the last two Vandermark 5 records, Burn the Incline and Acoustic Machine. On both, the band lovingly works over pieces by many of the pillars in free jazz, from Ornette to Giuffre, Ra to Hemphill. The exciting repertoire remains fresh (these compositions haven't exactly been overexposed) and gives the musicians plenty of room to groove and work their chops...which, by now, these Chicago players certainly have enough of to pull off this tribute project with excellent results.
~ Joslyn Layne, All Music Guide

Vandermark takes in his stride all the stylistic differences encompassed by such disparate expressions of free. He makes the music his own, revelling in the opportunities for improvisation encoded in these respective pieces, even as he enshrines their original essences. His group - Jeb Bishop on trombone, Kent Kessler on bass, Tim Mulvenna on drums, Dave Rempis on alto and tenor sax and Ken Vandermark on tenor sax, B flat and bass clarinet - rip into the project like men possessed.
~ The Wire
1954: 1954: Maynard Ferguson - Hollywood Party/Jam Session 2LP/1CD Music » Jazz » BeBop » Hard-bop
1954: 1954: Maynard Ferguson - Hollywood Party/Jam Session  2LP/1CD
Artist: Maynard Ferguson
Album: Hollywood Party/Jam Session 2LP/1CD
Label: Original Long Play Albums/Membran/EmArCy
Year: 1954, release: 2005
Quality: MP3@320 kbps
Size: 137 mb
Total time: 63:34
Lex's rating: 1954: 1954: Maynard Ferguson - Hollywood Party/Jam Session  2LP/1CD

Maynard Ferguson? Sure, he is well known. Isnt he the obsessed trumpeter from Stan Kentons band, who tried to beat all records? A critic wrote, Fergusons music was like bing knocked down by a truck. But suddenly one comes across a record by another Ferguson: a clear trumpet, beautiful, swinging solo parts and outstanding accompanying musicians. And one is amazed that Ferguson is more than only the mad man with the trumpet. ~

Another wonderful release from the "Original Long Play Albums" catalogue. This presents clear reproductions of two 12' LPs entitled "Hollywood Party" and "Jam Session". Recorded in February 1954, Ferguson is in the company of Bud Shank, Bob Cooper, Bob Gordon, Russ Freeman, Curtis Counce, Shelly Manne, Milt Bernhard, Herb Geller, Claude Williamson, John Simmons and Max Roach. Yes, it is as good as it sounds with Ferguson coming down from the stratosphere and everyone on top form. One small gripe, the running order given on the back of the CD is wrong. The correct order is given on page 13 of the excellant booklet. ~
1941-1942: Jay McShann And His Orchestra - Hootie's K.C. Blues Music » Jazz » Big Band
1941-1942: Jay McShann And His Orchestra - Hootie's K.C. Blues Artist: Jay McShann and his Orchestra
Album: Hootie's K.C. Blues
Label: Affinity / MCA Rec.
Year: 1941-1942 , release 1983
Genre: Jump Blues;Piano Blues;Swing
Format, bitrate: mp3, 320 kbps, ripped from vinyl
Size: 99 MB
For my Friends!

...The last addition to the band personnel before the session was blues shouter Walter Brown, for Decca producer Dave Kapp wanted the band to record the blues rather than show their jazz side. Indeed three of the sides (Vine Street Boogie, Hold Em Hootie and Confessin The Blues) featured the rhythm section only, with a vocal contribution from Brown on Hold Em and Confessin. Parker was heard on Swingmatism and also on Hootie Blues which he co-wrote with McShann.
Of course it was Confessin The Blues which captured the record buying publics imagination and it has become a blues standard, being subsequently revived by Chuck Berry, Little Walter and later by The Rolling Stones. The success of Confessin led to Walter Browns vocals dominating the even more blues-drenched second session for Decca held in Chicago in November 1941 ...
2010: Erroll Garner - Afternoon of an Elf Music » Jazz » BeBop
2010: Erroll Garner - Afternoon of an ElfArtist: Erroll Garner
Album: Afternoon of an Elf (2CD)
Label: Fresh Sound Records
Year: 1955
Release: 2010
Format, bitrate: mp3, 320kb/s
Size: 2CD: 119, 124 MB

Too often in jazz commercial success is followed by reduced critical acceptance, lessened artistic standards, or both. The experts become tired of hearing the artist once he has mass acceptance, and too often are prone to complain that he has sold out whether he has or not.
Erroll Garners was an exceptional case. He was one of the delights of the era, one of the most popular jazz pianists in the world, and he would remain unchangeably one of the best. Erroll did this session without rhythm section and with only nine fingers (the index finger of his left hand was in a splint). But nothing could change, or reduce, his capacity for swinging. He is easily and unflaggingly his own rhythm section; in several places, his orchestral conception conveys a big band feeling to the date.

~ Fresh Sound Records
Masters of Jazz - Thelonious Monk (DVD) Music video

Masters of Jazz - Thelonious Monk (DVD)
Artist: Thelonious Monk
Album: Masters of Jazz, portraits of..
Quality: own dvd-rip, ripped with dvd-shrink
Size: 19 rar-files of 200 mb

Parker and Gillespie are two-thirds of the Holy Trinity of Bebop; the southern-born Thelonious Monkone of the music's most idiosyncratic personalities, with his array of hats, dances, and of course, his unique and angular compositionswas another larger-than-life figure and the final third that completed that terrific triad. In Thelonious Monk: American Composer, written by poet and Miles Davis biographer Quincy Troupe, Monk's debt to stride, his unique pianistic conception, and his advanced harmonies that made compositions like "Round Midnight," "Blue Monk," and "Ruby My Dear" classics are given their due. Subjects like Randy Weston, Charlie Rouse, Thelonious Monk III, and producer Orrin Keepnews, flesh out the hidden and neglected personal and musical aspects of this misunderstood genius. In light of Robin D.G. Kelley's amazing Monk biography, and the recent HBO documentary on Monk and the Baroness Pannonica Rothschild, this DVD is an excellent supplement to Monk's legacy.
1955: Mike Cuozzo - Mighty Mike BeBop, Cool, West Coast Jazz
1955: Mike Cuozzo - Mighty Mike
Artist: Mike Cuozzo
Album: Mighty Mike
Label: Savoy
Year: 1955, release: 1994
Format, bitrate: MP3, 256kbps
Time: 34:34
Size: 42 MB
AMG rating 1955: Mike Cuozzo - Mighty Mike

Recorded in 1955, originally issued on LP then reissued by the Japanese label Denon in 1995, and now made available on a digitally remastered CD, Mighty Mike was the tenorman's first album as a leader. It's a set that shows a bit of stylistic ambivalence as Cuozzo and the group find themselves moving between bop and mainstream jazz. The cut that best captures the musical philosophy of this group is "Underside," an original by Ronnie Ball. If there is such a thing as polite bop, this track is it. There's nothing frenetic or groundbreaking. Rather, this is relaxed, matter-of-fact approaching cerebral jazz played by more than competent musicians. It's not all that different from early Dave Brubeck Quartet material with vibraphonist Eddie Costa wearing the Paul Desmond mantle, in kind of a tongue-in-cheek manner. Keeping one foot in the mainstream, Cuozzo shows his indebtedness to Coleman Hawkins in the melody line improvising on "Nancy" as Ronnie Ball works sparse approach to the piano. Cuozzo and friends swing mightily as they romp with an upbeat "There Will Never Be Another You." Another attraction that makes this CD worth pursuing is the presence of Kenny "Klook" Clarke, a pioneer in the modern school of drumming. Here his use of the bass and snare provide a rhythmic cushion in support of Cuozzo's and Costa's extemporizing. This was an LP well worth reissuing as a CD as it ranks among the best of a tenor player who never quite lived up to expectations. It also is a valuable reminder that Eddie Costa was a far more talented vibes player than given credit for by the public. Recommended.
~ Dave Nathan, All Music Guide
1978: Joe Pass and Paulinho da Costa - Tudo Bem Music » Jazz » Latin » Brazilian Jazz
1978: Joe Pass and Paulinho da Costa - Tudo Bem
Artist: Joe Pass and Paulinho da Costa
Album: Tudo Bem!
Label: Pablo Records
Year: 1978; Release: 1992
Format, bitrate: AAC (mp4) 320 vbr
Time: 51:41
Size: 131 mb

After countless solo guitar albums for Pablo, Joe Pass performed this welcome change of pace, a set of Brazilian tunes. Joined by fellow guitarist Oscar Castro Neves, bassist Octavio Bailly, drummer Claudio Slon, percussionist Paulinho da Costa and keyboardist Don Grusin, Pass plays warm solos on a variety of Brazilian tunes. Highlights include three songs by Antonio Carlos Jobim (including "Corcovado" and "Wave"), Deodato's "Tears," and Luiz Bonfa's "The Gentle Rain." A melodic and infectious date that has been reissued on CD.
~ Scott Yanow, All Music Guide
2004: Yansimalar - Pervane Music » Country & Folk
2004: Yansimalar - Pervane
Artist: Yansimalar
Album: Pervane (Moth)
Quality: FLAC (cue, log, scans)
Size: 378 MB
Year: 2004
Total time: 57:38
Genre: turkish ethno, world music, meditative

REPOST with new links

Yansimalar (approximately "yahn-sew-mah-lahr", Turkish for "reflections") or Yansimalar in the West is a Turkish group that compose and play contemporary ethnic music, classified as world music in the Western world. It is sometimes listed as Grup Yansımalar (formal Turkish prefix for bands).It was founded in 1990 by Birol Yayla (guitarist, tanbur lutist) and Aziz Senol Filiz (ney flutist). Their 2004 album Pervane ("Moth") was a noted world music album in Europe.
~ Wikipedia
1991: Alan Broadbent Live at Maybeck Recital Hall Music » Jazz » BeBop » Post-bop
1991: Alan Broadbent Live at Maybeck Recital Hall
Artist: Alan Broadbent
Album: Live at Maybeck Recital Hall
Label: Concord Records
Year: 1991
Format: FLAC
Size: 253M
AMG rating 1991: Alan Broadbent Live at Maybeck Recital Hall

When Alan Broadbent was given a chance to shine in this solo setting in the Berkeley hills, he kept things relatively spare and to the point, unlike most of the finger-busting pianists in the Maybeck series. But flashier is not necessarily better, and Broadbent gets a lot more music out of fewer notes in these 13 selections. Among them are three originals, the longest of which, "Woody 'N' I" (no doubt a memorial to his late employer, Woody Herman), climaxes in mighty waves closer in idiom to Rachmaninoff than jazz per se. Broadbent is especially adept at getting some great solo breaks with walking bass going, particularly on "Strollin'," "Sweet and Lovely," and "Upper Manhattan Medical Group." Elsewhere, "I Hear a Rhapsody" contains echoes of "Along Came Betty," "Oleo" relies on some unison octave work, "Lennie's Pennies" has deliciously twisting right-hand bop lines, Horace Silver's "Strollin'" harkens back somewhat to an earlier locked-hands era, and yes, "Parisian Thoroughfare" finally turns on the technique in a torrent.
~ Richard S. Ginell, All Music Guid
1999: The Ray Brown Trio - Live At Starbucks Music » Jazz » BeBop » Post-bop
1999: The Ray Brown Trio - Live At Starbucks
Artist: Ray Brown
Album: Live At Starbucks
Label: Telarc Jazz Zone
Year: 1999
Format, bitrate: FLAC (Img,cue,log,scans); mp3, 320 kbit/s
Time: 60:12
Size: 352 mb/161 mb (+5%rec)
REPOST with new links from Mr.viisoft90

Widely loved and hated, the Starbucks coffee chain has been playing host to some very good jazz groups. The first live recording from a Starbucks store came from bass legend Ray Brown and his trio, featuring Geoff Keezer on piano and Karriem Riggins on drums. The trio dealt in what used to be called the big beat -- a deep-pocketed swing that rhythm sections of old would serve up as a matter of course. Riggins's lithe trap work and Brown's bass -- beautifully recorded, with reverberating lows that shake the floor -- provide a rock-solid foundation for the chopsy yet impeccably soulful piano inventions of Keezer, who remains one of the instrument's most thrilling technicians. Particularly effective is the mid-set Ellington trilogy, beginning with the rollicking "Mainstem" and ending with a furious "Caravan," with a poetic, swinging bass feature on "Love You Madly" sandwiched in between. (Check out Keezer's "My Favorite Things" reference at the end of "Caravan.") Other highlights include Tadd Dameron's "Our Delight," a subtle "I Should Care," and the bluesiest "When I Fall in Love" you're likely to hear. ~ David R. Adler, Rovi
1958-1959: Chet Baker & Bill Evans: The Complete Legendary Sessions Music » Jazz » BeBop » Cool
1958-1959: Chet Baker & Bill Evans: The Complete Legendary Sessions
Artist: Chet Baker & Bill Evans
Album: The Complete Legendary Sessions
Years: 1958/1959, release: 2010
Quality: mp3/320 kbps
Size: 176 MB
Time: 76:36

Repost with add. megaupload link from Ms.veronica

Never have two musicians seemed so alike in temperament yet differed so much in their approach to making music as Chet Baker and Bill Evans. While both were peerless masters of their instruments and shared a rich, evocatively lyrical playing style that bordered beguilingly on the introspective, Baker and Evans were polar opposites when it came to the discipline of performance.

Though both were heroin addicts, the musically-trained Evans never let it interfere with his meticulously precise flights of invention while the self-taught Baker became increasingly erratic and inconsistent. They ventured into a recording studio together on just three occasions, with largely disappointing results, their potentially combustible collaboration failing to ignite and all too frequently sounding workmanlike and uninspiring.
1959: Lyle Ritz - 50th State Jazz Music » Jazz » BeBop
1959: Lyle Ritz - 50th State Jazz
Artist: Lyle Ritz
Album: 50th State Jazz
Label: Verve
Year: 1959
Format, bitrate: MP3, 160kbps
Time: 37 min
Size: 42.9 MB

Ritz is known as the "father of jazz ukulele" for merging the genre with the four-stringed instrument, and his credits on bass include multiple pop hit singles. However, it was in college, while he was working at a Los Angeles music store, when Ritz first picked up either instrument. "This was in the 50s, when Arthur Godfrey, the entertainer, who liked to play the [ukulele], popularized the instrument, and so many people just had to have ukes," Ritz says. "And one day I picked it up, somebody wanted to see this beautiful, nice, big tenor uke, and I picked it up and played a few chords on it, and I was gone." After a stint with a U.S. Army Band during the Korean Warin which Ritz played tubahe dropped by the music store and played a few tunes on the ukulele for his former boss. Ritz 'idn't know that jazz guitarist Barney Kessel, the West Coast representative for Verve Records, was present. "I just about fell through the floor," Ritz says. "I couldn't believe that I had actually played before this man."
Kessel offered Ritz a record deal, and in 195750 years agoRitz recorded an LP called How About Uke?, the first album for jazz ukulele. How About Uke and its follow-up 50th State Jazz generated little interest, however, and Ritz soon abandoned the ukulele for the bass. It was at that point when Ritz joined the "Wrecking Crew," the legendary group of studio musicians who played on many of the pop hits which came out of the Los Angeles area from the mid 1960s to the early 80s. Later, Ritz also played on film scores. While Lyle Ritz's bass was heard by millions, his jazz records for Verve were being studied by a generation of musicians in Hawaii, home of the ukulele. Roy Sakuma is Hawaii's foremost teacher of the instrument. "All of a sudden here comes Lyle with all these fantastic chord harmonies that just took music to a whole new level on the ukulele," Sakuma says. Sakuma tracked Ritz down in 1984, inviting him to headline his annual ukulele festival in Hawaii. Ritz ended up moving to the islands for some time. Ritz currently lives in Portland, Ore., where he continues to experiment with music and new recording technology. He says he's always fooling with his ukuleleafter all, he did teach himself to play the instrument.
~ Heidi Chang (NPR)
1961: Booker Little - Out Front + 1 Music » Jazz » BeBop » Post-bop
1961: Booker Little - Out Front + 1
Booker Little
Album: Out Front + 1
Label: Candid
Quality: FLAC & MP3@320
Size: 289 MB & 113 MB
Time: 50:16
AMG Rating: 1961: Booker Little - Out Front + 1 1961: Booker Little - Out Front + 1

Booker Little was the first trumpet soloist to emerge in jazz after the death of Clifford Brown to have his own sound. His tragically brief life (he died at age 23 later in 1961) cut short what would have certainly been a major career. Little, on this sextet date with multi-reedist Eric Dolphy, trombonist Julian Priester, and drummer Max Roach, shows that his playing was really beyond bebop. His seven now-obscure originals (several of which deserve to be revived) are challenging for the soloists and there are many strong moments during these consistently challenging and satisfying performances.
~ Scott Yanow, All Music Guide
1971:Don Cherry - Orient Music » Jazz » Modern Jazz » Freejazz
1971:Don Cherry - Orient
Artist: Don Cherry
Album: Orient
Label: Fruit Tree
Year: 1971
Format, bitrate: MP3, CBR 320
Time: 70:05
Size: 165 Mb (with scans)
AMG Rating 1971:Don Cherry - Orient 1971:Don Cherry - Orient

Super rare album featuring Don Cherry in two 1971 live trio sets... 'Orient' and 'Si Ta Ra Ma' were recorded in Carpentras, France on August 11th with the great Dutch drummer Han Bennink and Mocqui Cherry on tamboura... 'Eagle Eye' and 'Togetherness' were recorded in Paris on April 22nd with the amazing South African bassist Johnny Dyani and drummer Okay Temiz. Also includes original artwork and gatefold paper

Orient captures the nomadic Don Cherry in two live sets in the early '70s with two different trios. As distinguished from his early jazz career with Ornette Coleman and his later flirtations with pop forms, Cherry's work from about 1967-1978 was concentrated in his desire to bring to bear as many influences from musical cultures around the globe as possible into his music. Prominent among these include Indonesian gamelan, Indian Karnatic singing, rhythms from West and South Africa, and American Indian rituals. Also common during this period was Cherry's tendency to spend equal time on piano, flutes, and vocals alongside his pocket trumpet. All of these figure into the two sets here, one including the great Dutch drummer Han Bennink, the other with the amazing South African bassist Johnny Dyani. Fans of Cherry will recognize several of the themes herein, including the very beautiful "Desireless" from his Relativity Suite, but it's fascinating to hear him work in material from Indian scales to township dance music to Herbie Hancock's "Maiden Voyage." While not quite up to the caliber of Eternal Rhythm or the Mu sessions with Ed Blackwell, Orient is nonetheless a valuable document and recommended. [Fruit Tree reissued Orient on CD in 2002.]
~ Brian Olewnick, AMG
2003:Cooper Moore & Assif Tsahar - America Music » Jazz » Modern Jazz » Avantgarde
2003:Cooper Moore & Assif Tsahar - America
Artist: Cooper Moore & Assif Tsahar
Album: America
Label: Hopscotch
Year: 2003
Format: FLAC
Size: 207 MB
AMG Rating: 2003:Cooper Moore & Assif Tsahar - America

2003:Cooper Moore & Assif Tsahar - America

This duet album between multi-instrumentalist Cooper-Moore and reed boss Assif Tsahar is just the kind of political and cultural statement that we need in this dark age at the nadir of 2003. But it was needed in 1969, and it's easy to predict that it will be just as necessary in 2010. While the title track is a manifesto of chanted and scatted funky blues and hip hop, with lyrical and wailing sax improv that suggests gospel shouting, the rest are scenes from the panorama of the country and the lives of its people. From the proceeding "Back Porch Chill," with its soulful country guitar work by Moore and Tsahar's Strolling bass clarinet, it's a road trip through the yards and backstreets of the continent. There's the shamanistic loneliness of the deserts in the mouth bow and clarinet dovetails of "Tuscarora's Cry," and the outside urban boundaries in the drums and tenor sax legato exploration of "12th Avenue Messengers." "But it goes on, as in the wonderfully pastoral "Lament for the Trees" -- which would have been written by Stephen Foster if he had been a jazz player -- and appears in two different configurations here. The mutant gospel blues of "Beyond the Years" is a trip to a home we seldom notice with all its strolling grace and lilting guitar and clarinet lines. The set finishes on the thoroughly postmodern "Wounded Knee," a knotty composition/improvisation that offers tonal and dynamic explorations of constricted space and restraint. America is an essential work, one that offers not only the diversity of the landscape on the continent, but also its conflicting purposes and ideas all expressed in the universal sphere of music. Now this is discourse.
~ Thom Jurek, All Music Guide
1994: Saskia Laroo - It's like Jazz Music » Jazz » Modern Jazz » Acid Jazz

1994: Saskia Laroo - It's like Jazz
Artist: Saskia Laroo
Album: It's like Jazz
Label: Laroo Records
Year: 1994
Quality: mp3@320 (own cd-rip)
Size: 102 mb (with scans)

In the 20th century, the state of the art of the trumpet has been formed in lions shares by the achievements of jazz musicians. The concept of playing the trumpet was pushed up to a higher level than ever thought possible. Louis Armstrong, Bix Beiderbecke, Dizzy Gillespie, Miles Davis and Don Cherry are but a few of the many trumpet players who have. They are male. Valaida Snow, Clora Bryant, Barbara Donald, Ingrid Jensen and Saskia Laroo form a short but important roster of female trumpet players who, despite the rarity of women in the field of jazz trumpet, will leave a distinct mark. Saskia Laroo, is a current feature on the face of 21st century trumpet artistry.

The debut album from Dutch female trumpet master combines the hippest elements of jazz & acid jazz with beefy, bottom heavy hip hop breakbeats, trancy house grooves, latin flavors, R&B & the rapping talents of Poetic Voice, Mac Maestro & QF Da Funkee P - flute, sax, keys & vocals round out the mix.


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