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For Administration
Jazz Blues Club » Articles for 05.06.2011
1999: - - ... - / Bitov-Quintet - The Hour Of Sad Choices: Pushkin in New York Music » Jazz » Modern Jazz » Freejazz
1999: - -   ...   - / Bitov-Quintet - The Hour Of Sad Choices: Pushkin in New York
Artist: - / Bitov-Quintet
Album: ... - / The Hour Of Sad Choices: Pushkin in New York
Label: Long Arms Records
Year:1999
Genre: Free Jazz, Poetry
Format, bitrate: MP3, CBR 320
Time: 52:15
Size: 120 Mb
" "! smile


- - , - . , .. . - , , . , . - , ( , ). - () ( ). , , , . , , , . , . , . ~

Andrei Bitov together with his friends-musicians A. AIexandrov, Y. Parfenov, V. Volkov and V. Tarasov, who call themselves "professional tramps", remake Pushkin's poetry masterpieces. Every public performance essentially becomes a celebration of Pushkin's jubilee because it touche and revives not only the memory of the poet but also unity with him of everyone who hears, feels and thinks.
The Enlightenment came. By the 200th anniversary we've decided to give new life to the moments of the genius lines' creation instead of regular publishing of the poet's collected works. From words presence of the astonished "client". It's more evident than "hard ringing gallop" of the next monument, it's pure spirit. It's not abstruse, certainly. But it's interactive, for sure.
What else can the companies like independent "Long Arms" records and Group of Companies IMA, with their own public and image, famous for their outstanding culture actions, do? Among their professional interests are: art and politics, economy and business, advertising and design, perfect technologies and psychological novelties. All that makes up for an improvised "cocktail on the rocks" which blows up chaos and harmonizes consciousness for the sake of SUCCESS.
IMA Group of Companies improvises and makes poetry out of ordinary words and wishes of their clients. That is why this project has become part of two creative firms' activity.
"The hour of sad choices..." is the first unusual experience, the first release of "WORD & MUSIC" series.
It's a lucky chance that it's so "Pushkin-like" and that the joint idea of "Long Arms" records and IMA Group is realized.
~ Selena Andreeva, avantart.com
1967: Howard Riley Trio - Discussions Music » Jazz » Modern Jazz » Freejazz
1967: Howard Riley Trio - Discussions
Artist: Howard Riley Trio
Album: Discussions
Label: Opportunity Records
Year: 1967; release: 1968
Format, mp3; bitrate: 320 kbps
Time: 37:14
Size: 82,23 MB

This debut recording by the legendary UK pianist Howard Riley was initially released 40 years ago on a tiny label (Opportunity, owned by producer Chris Wellard) and has been unavailable for ages, making it a super-rare collectors item. Riley has been spearheading the UK free jazz scene since the mid-1960, recording regularly over the years and serving as a beacon of musical enlightenment and vision. His exceptional talents as a pianist and composer are truly unrivaled, with the possible exception of his peer Keith Tippett. On this album Riley is accompanied by the brilliant bassist Barry Guy (Spontaneous Music Ensemble / SME), another prominent figure on the UK free jazz scene, who recorded with Rileys trio on more than one occasion. The person behind the drums is probably the greatest surprise to the visitors of this site, as it is no other than Jon Hiseman - future leader of Colosseum, Tempest and United Jazz And Rock Ensemble (Hisemans early jazz career is much lesser know). The trio performs a set consisting of several Rileys original compositions and a few standards these well disguised as appropriate for a free jazz setting. Some clearly melodic elements are still present on these tracks, as the adventurous full-blown avant-garde was yet to come, but this is a classic of the genre in every sense. The interplay between the three master musicians is phenomenal and considering their tender age (at the time of this recording) this is a monster achievement. Absolutely essential for all free jazz lovers, especially for connoisseurs of the UK branch of the genre.
~ adambaruch.com
2004: Papa John DeFrancesco - Walking Uptown Music » Jazz » BeBop » Post-bop

2004: Papa John DeFrancesco - Walking Uptown
Artist: Papa John DeFrancesco
Album: Walking Uptown
Label: Savant
Year: 2004
Format, bitrate: MP3, 234 VBR
Time: 56.06
Size: 99.54 MB
AMG rating 2004: Papa John DeFrancesco - Walking Uptown

Papa John DeFrancesco, the father of Joey DeFrancesco, is a talented organist himself. On this informal set with his quartet (which also includes tenor-saxophonist Tim Warfield, his other musical son, guitarist Johnny DeFrancesco, and drummer Glenn Ferracone), Papa John mostly sticks to the blues and bluish material. In addition to a swinging version of "Sunny," the gospel-ish "People Get Ready," the funky "160 Million Dollar Chinese Man" (from the remake of Ocean's 11), and a vamp piece ("What Happened"), there are four blues at various tempos and levels of funk. Joey DeFrancesco makes guest appearances on two tracks (one apiece on trumpet and piano) and bassist Paul Klinefelter is on one number but otherwise the basic quartet is showcased romping and stomping out their brand of soulful blues. ~ Scott Yanow All Music Guide
1973: Freddie Hubbard - Keep Your Soul Together Music » Soul » Funk-Jazz
1973: Freddie Hubbard - Keep Your Soul Together
Artist: Freddie Hubbard
Album: Keep Your Soul Together
Label: CTI
Year: 1973; release: 2003
Format, bitrate: mp3@320kb/s
Time: 38.2 min.
Size: 81,1MB
AMG rating 1973: Freddie Hubbard - Keep Your Soul Together


Trumpeter Freddie Hubbard's CTI recordings have long been underrated and a bit downgraded by writers who get them confused with his much commercial output for Columbia. For this LP (not yet reissued on CD) Hubbard is heard in fine form on four of his originals (highlighted by "Spirits of Trane") with a septet that includes tenor-saxophonist Junior Cook, keyboardist George Cables, guitarist Aurell Ray, either Kent Brinkley or Ron Carter on bass, drummer Ralph Penland and Juno Lewis on percussion. The music is sometimes funky but definitely creative jazz with Hubbard heard during his prime period.
~ Scott Yanow, All Music Guide
1995: NHOP Trio Featuring Renee Rosnes - Friends Forever: In Memory of Kenny Drew Music » Jazz » BeBop » Hard-bop
1995: NHOP Trio Featuring Renee Rosnes - Friends Forever: In Memory of Kenny Drew
Artist: Niels-Henning Orsted Pedersen
Album: Friends Forever: In Memory of Kenny Drew
Label: Milestone Records
Year: 1995, realiase 1997
Quality: mp3/320 kbps
Size: 135 MB
Time: 52:44

Niels Pedersen made many rewarding recordings over several decades as a sideman with the late pianist Kenny Drew, so his making of a CD in tribute to him shouldn't come as a surprise. Joined by pianist Renee Rosnes and drummer Jonas Johansen, Friends Forever: In Memory of Kenny Drew primarily include selections which Drew loved to play. The Danish folk lullaby "Hushaby" is a bit unusual, as it includes a drum solo, as well as Rosnes' dirge-like piano. Pedersen's pulsing bass helps to disguise the introduction to "Someday My Prince Will Come," a lovely waltz recorded by numerous jazz greats. A lively post-bop workout of "Lullaby of the Leaves" swings like mad; while an initially funky introduction to "The Shadow of Your Smile" quickly gives way to a more traditional samba treatment. Pedersen's originals also merit attention. The medley "Future Child-Friends Forever" begins with the leader's intricate pizzicato solo, then adds his partners for the second song, which spotlights Pedersen's flawless arco bass. His special tribute "Kenny" reflects Pedersen's sense of loss without getting overly maudlin. This brilliant date adds to the already considerable recorded accomplishments of Niels Pedersen. ~ Ken Dryden, ALL Music Guide
1967 - 1969: Johnny Griffin - Griff'n Bags Music » Jazz » BeBop » Hard-bop
1967 - 1969: Johnny Griffin - Griff'n Bags
Artist: Johnny Griffin
Album: Griff'n Bags
Label: Schema/Rearward
Years: 1967-1969, release: 1999
Quality: MP3@320 kbps
Size: 159 mb
Total time: 75:51
FOR MY FRIENDS!

The cover implies that Johnny Griffin is the leader on this two-disc compilation of four different bands of various sizes that include members of the Kenny Clarke-Francy Boland Big Band. He only seems to be present on just four of the 16 songs, all of which come from an old Vogue LP called Lady Heavy Bottom's Waltz from 1968 that was led by the tenor saxophonist. The three tracks with a trio consisting of Boland, Clarke, and bassist Jimmy Woode omit Griffin entirely, two of which are Woode's compositions and prominently featuring him. Milt Jackson joins flutist Sahib Shihab and the rhythm section for five selections, including a rare opportunity to hear Jackson sing ("I'm a Fool to Want You"), though it is his phenomenal vibes in his "Blues for K" and the standard "Like Someone in Love" that are the highlights of this 1969 session. Three other songs, all written by Boland, include the basic rhythm section, plus Shihab (heard on both baritone sax and flute), trombonist Ake Persson, and trumpeter Idrees Sulieman, though none of these works is particularly memorable. The remastered sound is excellent through all four studio sessions. Obviously, it would have made a lot more sense to package this as an anthology by Kenny Clarke and Francy Boland than by Johnny Griffin, but perhaps the label was either careless or thought this compilation would sell better under Griffin's name. Unfortunately, this misleading packaging is nothing new in the record business.
~ Ken Dryden, All Music Guide
1977: Kenny Burrell - Tin Tin Deo Music » Jazz » BeBop » Hard-bop
1977: Kenny Burrell - Tin Tin Deo
Artist: Kenny Burrell
Album: Tin Tin Deo
Year: 1977
Label: Bellaphon
Format: Flac (cue, log, scans)
Size: 206 Mb
Total time: 39:19

Repost with new links


This CD reissue brings back a typically tasteful set by guitarist Kenny Burrell. Performing in a sparse trio with bassist Reggie Johnson and drummer Carl Burnette, Burrell plays boppish and swinging versions of his own blues "The Common Ground," Erroll Garner's playful "La Petite Mambo" and six jazz standards. Nothing particularly surprising occurs but Burrell is heard throughout in above-average form and this release should please his fans.
~ Scott Yanow, All Music Guide
1966: Bill Evans And Jim Hall - Intermodulation Jazz, Post-bop

1966: Bill Evans And Jim Hall - Intermodulation
Artist: Bill Evans And Jim Hall
Album: Intermodulation
Label: Verve
Year: 1966
Format: mp3@320 kb/s
Size: 74 MB w/scans
Time: 32:12
AMG Rating: 1966: Bill Evans And Jim Hall - Intermodulation

A duet recording between pianist Bill Evans and guitarist Jim Hall is one that should retain high expectations to match melodic and harmonic intimacies with brilliant spontaneous musicianship. Where this recording delivers that supposition is in the details and intricacy with which Evans and Hall work, guided by simple framings of standard songs made into personal statements that include no small amounts of innovation. Only two standards are included, and begin the program before the duo merges into some original material with some foraging off the beaten path, along with tender notions that should please anyone. If you hear the melody of the opener, "I've Got You Under My Skin," in your head, you'd never believe Evans and Hall could conceive of this reharmonized and essentially improvised take, full of interplay and invention. The classic waltz version of "My Man's Gone Now" is closer to a stock rendition, except that Evans wrings out every bit of somber emotion in a spontaneous manner. Hall's "All Across the City" -- by now a revered standard -- is heard here in an early version with languid, serene, and peaceful tones. Another similarly iconic standard is "Turn Out the Stars," mostly a solo piano work with Evans hinting at quotes of Dave Brubeck's "In Your Own Sweet Way." The most unusual choice is Joe Zawinul's "Angel Face," with a naturally delicate lead from Hall's guitar, while Claus Ogerman's "Jazz Samba" injects a bit of energy into this otherwise easygoing set, with Hall's basslines setting off some bright harmonic reinforcements. At only 32 and a half minutes, it's disappointing there are no bonus tracks and/or additional material for a CD-length reissue, but Intermodulation still remains a precious set of music from these two great modern jazz musicians.
~ Michael G. Nastos, All Music Guide
1973: Bobby Hutcherson - Live At Montreux Jazz, BeBop, Cool, Progressive Jazz
1973: Bobby Hutcherson - Live At MontreuxArtist: Bobby Hutcherson
Album: Live At Montreux
Label: Blue Note
Year: 1973
Format: mp3@320 kb/s
Size: 124 MB w/scans
Time: 50:17
AMG Rating: 1973: Bobby Hutcherson - Live At Montreux

Although the music from this concert performance was released in part on recordings previously only available in Japan and Europe, this is the full set from the 1973 Montreux Jazz Festival teaming the extraordinary talents of vibraphonist Bobby Hutcherson and trumpeter Woody Shaw, both in their prime. Where Hutch was a laid-back person and Shaw a firebrand, their styles somehow mesh beautifully as they split compositional duties and coalesce into a mighty force that expands the sum of their parts on these four lengthy tracks. Lesser-known pianist Hotep Cecil Bernard was on loan from John Handy at this time; drummer Larry Hancock proves quite worthy to be in this esteemed company; and Ray Drummond's bass playing is sharp as a tack and fluid, serving up substantial portions of lightness and darkness when called upon. The Hutcherson compositions "Anton's Bail" and "Farallone" are only available on this CD, and they are true gems, the former a pretty, easy swinger that is unforced, a bit bluesy and angular, conversely hip-heavy and subtly carefree, while the latter is an occasionally quickened waltz that is harmonically loaded, as Shaw attempts to match the vibraphonist's bright tones. The classic tracks penned by Shaw are nothing short of magnificent, as "The Moontrane" -- about as definitive a melody as has been in the trumpeter's repertoire -- sports a perfected short melody that is memorable and hummable. Similarly, the epic "Song of Songs" also utilizes a much thinner sound than his larger ensembles within its heavy modality in 6/8 time, as Shaw plays a progressive counter-harmony instead of the direct melody. Of course, Hutch and Shaw have ample room for solos, and they prove why they are the best in the business at inventing improvisations based on these viable themes. Ten years after these recordings, Shaw and Hutcherson would reunite for the trumpeter's Elektra Musician dates Night Music and Master of the Art. This excellent performance provides a perfect prelude to those equally potent sessions, and all come highly recommended.
~ Michael G. Nastos, All Music Guide
1936: Benny Carter And His Orchestra - Benny Carter 1936 Swing, Mainstream
1936: Benny Carter And His Orchestra - Benny Carter 1936
Artist: Benny Carter
Album: Benny Carter 1936
Label: Classics
Year: 1936, release 1990
Quality: MP3@320kbps
Size: 144 mb
Total time: 68:59
REPOST by request

The third volume in Classics complete chronological reissue of Benny Carter's recordings of the 1930s covers a four-month period during Carter's long period in Europe. Many of these recordings (cut in London, Copenhagen and Stockholm) were formerly quite rare. Carter (on alto, clarinet, tenor, trumpet and even piano and two vocals) is typically flawless, sophisticated and swinging, whether jamming with a quartet behind singer Elizabeth Welch, matching talents with trumpeter Tommy McQuater in a quintet, heading an English orchestra or guesting with an obscure Danish big band. All of the CDs in this very worthy series are highly recommended.
~ Scott Yanow, All Music Guide
1953: Clifford Brown - The Complete Paris Sessions, Vol 3 BeBop, Hard-bop
1953: Clifford Brown - The Complete Paris Sessions, Vol 3
Artist: Clifford Brown
Album: The Complete Paris Sessions, Vol. 3
Label: BMG France
Year: 1953; rerelease: 1997
Format, bitrate:
Time: 63.83
Size: 155.7 MB
AMG rating: 1953: Clifford Brown - The Complete Paris Sessions, Vol 3


The third and final volume opens with a Gryce octet. ..Then the octet becomes a nonet with Anthony Ortega and William Boucaya(Quincy Jones replaces Henri Renaud and Jimmy Gourley is out)...Throughout this collection, Clifford Brown has so far shared honors with Gigi Gryce, but for the final session Brownie is at last out there on his own, tastefully backed by Henri Renaud, Pierre Michelot and Benny Bennet...What a fitting climax to a historic series of recordings.
~ Don Waterhouse
1962: Bill Doggett & His Combo - Oops! Rhythm-n-Blues, Soul
1962: Bill Doggett & His Combo - Oops!
Artist: Bill Doggett
Album: Oops! The Swinging Sound Of Bill Doggett And His Combo
Label: Colambia
Year: 1962
Format: Flac
Size: 201 Mb

With his instrumental hit "Honky Tonk" in February 1956, Bill Doggett (born William Ballard Doggett) created one of rock's greatest instrumental tracks. Although it generated scores of offers to perform in rock & roll clubs throughout the United States, Doggett remained tied to the jazz and organ-based R&B that he had performed since the 1930s. Continuing to record for the Cincinnati-based King label until 1960, he went on to record for Warner Brothers, Columbia, ABC-Paramount and Sue. His last session came as a member and producer of an all-star jazz/R&B group, Bluesiana Hurricane in 1995.
>>>>>
2005: Lizz Wright - Dreaming Wide Awake Vocal Jazz, Soul
2005: Lizz Wright - Dreaming Wide Awake
Artist: Lizz Wright
Album: Dreaming Wide Awake
Label: Verve
Year: 2005
Format, bitrate: MP3@320 Kbps
Time: 49:33
Size: 113.79 MB
AMG rating: 2005: Lizz Wright - Dreaming Wide Awake

The smoky, sizzlingly soulful rural Georgian created an immediate and well-deserved critical firestorm with her 2003 debut Salt; the L.A. Times wasn't overstating it when they said, "She walked onstage at the Hollywood Bowl a virtual unknown...Fifteen minutes later, she walked off a star." Like her more (so far, but maybe not for long) renowned labelmate Diana Krall, Lizz Wright is a brilliant interpreter who can cover rock classics (Neil Young's "Old Man," the Youngbloods' "Get Together") as if they were fresh new generational statements, and even give an emotional urgency to fluffy classics like "A Taste of Honey" (done all swampy here). She even works wonders with her transcendent twist on Ella Jenkins' "Wake Up Little Sparrow," turning the tune into a meditation on the bluesy realities of love. But she is also an inspired songwriter in her own "wright," creating the resonating and heartrending, Norah Jones-like "Hit the Ground," with Jones' writer Jesse Harris, and other instantly seductive tracks like a soaring "Trouble" (the first song she ever wrote on guitar) and hauntingly dark title tune. These latter two, easily on par with the original material, shouldn't be so deep in the mix, and Wright should definitely include more originals as time goes on. Clearly aware that he has a future legend with a one in a million voice on his hands -- and that anything getting in the way of that intimate emotional connection would be criminal -- producer Craig Street provides only the sparsest and down-home of productions.
~ Jonathan Widran, All Music Guide
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