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Jazz Blues Club » Articles for 13.06.2011
1970: Joe Zawinul - Zawinul Fusion, Jazz-Rock
1970: Joe Zawinul - Zawinul
Artist: Joe Zawinul
Album: Zawinul
Label: Atlantic 1579-2
Year: 1970
Format, mp3@320
Time: 35:42
Size: 94 Mb
AMG rating 1970: Joe Zawinul - Zawinul

Conceptually, sonically, this is really the first Weather Report album in all but name, confirming that Joe Zawinul was the primary creative engine behind the group from the beginning. It is also the link between WR and Miles Davis' keyboard-laden experiments on In a Silent Way; indeed, the tune "In a Silent Way" is redone in the more complex form in which Zawinul envisioned it, and Miles even contributes a brief, generous tribute to Zawinul on the liner. Two keyboardists -- Zawinul and the formidable Herbie Hancock -- form the underpinning of this stately, probing album, garnishing their work with the galactic sound effects of the Echoplex and ring modulator. Earl Turbinton provides the Wayne Shorter-like beams of light on the soprano sax, spelled by Wayne himself on "Double Image." The third founder of WR, Miroslav Vitous, checks in on bass, and hard-bopping trumpeter Woody Shaw proves to be perfectly adept at the jazz-rock game. Two short-lived standards of the jazz-rock era, the aforementioned "Double Image" and "Doctor Honoris Causa," are introduced here, yet it is mood pieces like "His Last Journey" and "Arrival in New York" that with the help of tape-speed manipulation, establish the lasting, murky, reflective ambience of this CD. ~ Richard S. Ginell, All Music Guide
2003: Jessica Williams - Live At Yoshis Vol.1 Music » Jazz » BeBop » Post-bop
2003: Jessica Williams - Live At Yoshis Vol.1Artist: Jessica Williams
Album: Live At Yoshi's, Vol.1
Year: 2003, release: 2004
Quality: mp3/320 kbps
Size: 175 MB
Time: 71:04
AMG rating 2003: Jessica Williams - Live At Yoshis Vol.1

Jessica Williams is a swinging jazz pianist and a fine composer. Her recordings showcase her gifts as a jazz technician of rare facility to be sure, but she also possesses the soul of a poet: her playing is deeply expressive and wildly creative. Live at Yoshi's, Vol. 1 was recorded over a two-night run at San Francisco's venerated jazz club in 2003. Williams is accompanied by her brilliant rhythm section: bassist Ray Drummond and drummer Victor Lewis. The sensitive and motivational interplay between the members of this trio is breathtaking throughout. Drummond and Lewis do not merely provide support for Williams, they offer an exceptional and innovative rhythmic bridge for her fleet harmonic and dynamic flights. The nine cuts played here include standards like Loesser and McHugh's "Say It Over and Over Again" and Billy Eckstine's "I Want to Talk About You," all of them played as if they were written specifically for this band. Along the way are many surprises. Take, for example, her "Tutu's Promise," with its tight, funky intro that struts its way into untried soul-jazz territory, referencing Bobby Timmons, Horace Silver, and Mary Lou Williams on the way to becoming a new kind of blues. Her rumbling left hand and the counterpoint exchange with Drummond are priceless. Following this is a deeply moving read of Billy Cobham's ballad "Heather." Williams evokes such tenderness from the melody with her open, droning chords and shimmering ostinati that the tune drips with emotion. "Alone Together" goes all over the 20th century musical map, and her long opening solo references everything from Cole Porter to Bach, Grieg, and Rachmaninov to Mingus, Sonny Clark, and Lennie Tristano before the band comes in, takes it to the stratosphere, and helps her whisper it out over 12 minutes later. Her "Poem in G minor" is a slippery, mercurial statement in color and texture; it is introspective and moody but it swings just the same, becoming an impressionistic blues along the way. Thelonious Monk's "Mysterioso" closes the set; elegant and full of humor, it stays close to the vest for about a minute before Williams goes down deep into the tune's groove with the rhythm section strutting underneath, swinging like mad. In sum, Live at Yoshi's, Vol. 1 is one of the finer live trio sides to be issued in recent years. It is also one of Jessica Williams' best efforts ever -- which is saying a lot because her consistency has been remarkable. It is inspired and full of fire as well as aplomb. Based on the evidence here, Vol. 2 will be greeted with much anticipation. ~ Thom Jurek, All Music Guide
2008: Rhoda Scott with Lady Quartet - Live At the Sunset - Paris Music » Soul » Soul-Jazz
2008: Rhoda Scott with Lady Quartet - Live At the Sunset - Paris
Artist: Rhoda Scott with Lady Quartet
Album: Live At the Sunset - Paris
Label: Must Records
Year: 2008
Format: MP3 VBR
Size: 73,3 mb

La planète de Rhoda Scott qui débarqua ce soir là dans le club de jazz parisien est une gynécée. Et pas de la moindre des espèces. Tenez, quatre filles là sur la scène. Dabord Lisa Cat-Berro qui joue (sublimement) du sax alto et qui vous délivre un chorus renversant de tendresse sur Nizza. Il y a Sophie Alour, saxophone ténor que le grand public connaît un peu mieux et qui maîtrise le son comme pas deux, fidèle lesprit de Joe Henderson très prégnant toujours chez elle. Quand à Julie Saury, elle est là derrière, elle donne limpression de pas faire grand chose et pourtant il est pas mal de musiciens à paris qui vous diront combien elle assure avec ce drumming assurance tous risques devant lequel il est quasiment impossible de se perdre. Et puis enfin, Rhoda Scot "The Barefoot Lady " (l'Organiste aux Pieds Nus) qui a ici moins les allures de la mamie de ces jeunes bougresses que de la complice qui assurément passe le témoin à la nouvelle génération. Rhoda Scott dont on a à peu près tout dit sur sa façon de nous plonger tout à la fois dans les clubs de la 52ème rue que dans les églises de Harlem. Rhoda Scott qui swingue, Rhoda qui chante le blues (Im just your fool), Rhoda qui joue le groove et la ligne de basse, Rhoda toujours merveilleuse de générosité envers cette musique quelle perpétue (notamment au travers de ses compositions). Car avant de venir, pour sûr ces jeunettes avaient appris par cœur les disques de Jimmy Smith ceux avec Tina Brooks, Ike Quebec ou Lou Donaldson. Cétait en 1960. Et ce soir là, même en jouant un audacieux Hymne à lamour un peu casse-gueule ou en se jetant dans un Pistaccio de Pee Wee Ellis certes plus tardif cest avec jubilation que lon replongeait presque 50 ans en arrière. Et cest avec un pied terrible que lon se dit que cette musique na décidément pas pris une ride. Et Rhoda non plus. ~ Jean-Marc Gelin

Rhoda has a full talent makes it so comfortable in classical music in the jazz, gospel or the blues. Gifted with an exceptional musical memory, for example, she knows more than a thousand songs by heart and she made most of his repertoire. Besides, she never needed an evening program and plays by the inspiration of the moment and especially by the public reaction.
It creates, at the Vienna Festival 2004, "Lady Quartet. WithSophie Alour (tenor saxophone), Bilberry Besson (flugelhorn) andLisa Cat-Berro (alto saxophone) and Julie Saury (drums), she turns in jazz clubs and record an album January 21, 2008 in"Sunset" (60 rue des Lombards, Paris).
1999: The Woody Herman Orchestra Directed by Frank Tiberi - Live in London at Ronnie Scott's Music » Jazz » Big Band » Modern Big Band
1999: The Woody Herman Orchestra Directed by Frank Tiberi - Live in London at Ronnie Scott's
Artist: The Woody Herman Orchestra Directed by Frank Tiberi
Album: Live in London at Ronnie Scott's
Label: NYJAM
Year: 1999
Quality: MP3@320 kbps
Size: 154 mb
Total time: 68:26
AMG Rating: 1999: The Woody Herman Orchestra Directed by Frank Tiberi - Live in London at Ronnie Scott's

Saxophonist Frank Tiberi is to be commended in no uncertain terms for maintaining the presence of Herman's big-band sound long after his death. Thing is, Tiberi and his crack charges inject an energy, purpose, and depth into Herman's repertoire which could rival what Herman himself had to offer. The 15-piece band, loaded with all-stars and up-and-comers, was captured live at Ronnie Scott's nightclub in London, England. The music is incredible, and extraordinarily taped and mixed as well. Second tenor John Nugent expertly produced the session. The band comes out of the box in a positively supercharged mode for the relentless swing and the multiple solos on the hard-bopping unison chart of Nat Pierce on Herman's "Apple Honey," deserving of a huge "wow!." The classic Ralph Burns ballad "Early Autumn" has the sax section together on the multilayered melody, with Ron Stout's trumpet leading a sub and second line. In straight-up-and-down, Herman fashion, the band explores rock rhythms, as on Joe Zawinul's "Carnivalito," with a hard-driving, well-maintained intensity and Tiberi soloing on tenor or soprano sax. The hard-blues shuffle swing of "Cousins" for union saxes is a killer, while quick, tick-tock, counterpointed horns go back and forth in crescendo and decrescendo or in more dynamic modes featuring trombonist John Fedchock. The mass horns jump in and out on the well-swung "Northwest Passage" (chart by Pierce) that was so typical of Herman. Pianist Chip Stephens perfectly evokes low-down, classic blues authenticity on "After Hours" (chart again, by Pierce); the light bossa take of Faure's "Pavane" is informed by Billy Ross's bright flute, with Mike Brignola's contrasting bass clarinet and the in-the-middle piccolo trumpet of Brian Scanlon. A jump-out chart (Pierce again) of Horace Silver's hard-bop swinger "Opus de Funk" is led by Stephens, defined by Brignola's baritone sax, leading to solos from nearly everyone as Tiberi, Ross, and Nugent's tenors, trombonist Paul McKee, and trumpeters all in a row John Chudoba, Stout, the fabulous Rob Smith, and Mark Lewis. The obligatory closer "Fanfare for the Common Man" is typical rock candy, with the spotlight on drummer Jim Rupp. Any big-band lover should be able to get into this exciting recording by who are perhaps the most potent group of the kind going today, ghosts or not. Highly recommended.
~ Michael G. Nastos, All Music Guide
1984: Stephane Grappelli & Toots Thielemans - Bringing It Together Swing, Mainstream
1984: Stephane Grappelli & Toots Thielemans - Bringing It Together
Artist: Stephane Grappelli & Toots Thielemans
Album: Bringing It Together
Label: Cymekob
Year: 1984
Format, bitrate: FLAC / MP3,320 kbps
Time: 40:26'
Size: 198 Mb / 98.6 Mb

"This 1984 studio session finally appeared commercially on the Cymekob label in 1995, featuring violinist Stéphane Grappelli in a rare meeting with harmonica player Toots Thielemans; the rest of the group included guitarists Martin Taylor and Marc Fosset with bassist Brian Torff. Though producer Andy Kulberg claims in his notes that neither musician had recorded any of the songs, this is a bit of a stretch. Things get off to a good start with a swinging 'Bye Bye Blackbird' and are only weighed down slightly by the tedious 'Just the Two of Us' and Paul Simon's lightweight 'Fifty Ways to Leave Your Lover.' The rich ballad 'Georgia on My Mind' rekindles the fire within the session and 'You'd Be So Nice to Come Home To' is highlighted by Thielemans' matchless whistling. While this release could have been stronger with better chosen songs, it will be an essential acquisition for fans of either Grappelli or Thielemans."
~ Ken Dryden, All Music Guide
2011: Bill Frisell - Sign Of Life Contemporary Jazz, Avantgarde
2011: Bill Frisell - Sign Of Life
Artist: Bill Frisell
Album: Sign Of Life
Label: Savoy Jazz
Year: 2011
Format: FLAC | Lossless
Time: 53:23
Size: 274.94 MB

After a five-year hiatus, Bill Frisell's 858 Quartet recorded their second offering. Their elliptical debut, Richter 858, was produced by poet David Breskin (who also helmed the sessions for Nels Cline's Dirty Baby), and accompanied an exhibition by German artist Gerhard Richter. The music on Sign of Life: Music for 858 Quartet was loosely composed by Frisell, and took shape in group rehearsals. 858's other members include violinist Jenny Scheinman, violist Eyvind Kang, and cellist Hank Roberts. Recorded at Fantasy Studios in San Francisco and produced by Lee Townsend, the 17 selections on this set feel very organic. The album opens with Americana-tinged themes in the two-part "It's a Long Story" that nod to country, folk, and even Curtis Mayfield's "People Get Ready" in its melody. "Old Times" hints at bluegrass, blues, and ragtime, but because of the complex interplay between the four players, reaches far past them into a music that is 858's own. "Friend of Mine" is another two-part tune; that said, where a pastoral theme is suggested in part one, a more mischievous one responds in the second some eight tracks later. Elsewhere, improvised classical motifs, jazz modes, and folk and other roots musics shimmer through these compositions, sometimes simultaneously and often spontaneously. The haunted yet restrained "Painter," which clocks in at under two minutes, is a modal sketch immediately followed by an equally brief, slightly dissonant pointillistic exercise in counterpoint called "Teacher." "All the People, All the Time" returns to more accessible and resonant territory but, as gentle as it is, it's full of quiet surprises and unexpected twists. For all of its space and economical phrasing, "Village" is downright cartoon spooky, and "Suitcase in My Hand," which jaunts along in a striding, near reel, is transformed by Scheinman playing country-style fiddle, though the rhythmic signature never changes. "Sixty Four," with its pulsing time and repetitive, slightly shifting harmonic line, feels -- but not quite sounds -- like something Philip Glass might have written if he had a sense of humor, and is the only place on the record where Frisell lets somewhat ragged sonic edges into his playing. Sign of Life is a curious, quirky, and deceptively low-key affair that is musically labyrinthine and ambitious; it's full of gorgeous spaces, textures, utterly instinctive interplay, and unexpected delight.
~ Thom Jurek, All Music Guide
1962: Sonny Rollins - What's New? Music » Jazz » BeBop » Hard-bop
1962: Sonny Rollins - What's New?Artist: Sonny Rollins
Album: What's New?
Label: Bluebird RCA
Year: 1962
Format, bitrate: MP3 320 kbps
Time: 43:26
Size: 105 MB
AMG rating: 1962: Sonny Rollins - What's New?

This excellent album deserves to be reissued in full on CD but some of its music remains out-of-print. Many of these songs find Sonny Rollins utilizing the Latin rhythms of Candido in addition to his regular quartet members (guitarist Jim Hall, bassist Bob Cranshaw and drummer Ben Riley) and, on the calypso "Brownskin Girl," a vocal chorus interacts with the group. The highpoint is a lengthy "If Ever I Would Leave You" that is quite exciting. This underrated music is well worth an extensive search.
~ Scott Yanow, All Music Guide
1960: King Curtis - Azure Music » Jazz » BeBop » Hard-bop
1960: King Curtis - AzureArtist: King Curtis
Album: Azure
Label: Essential Media Group's
Year:Aug 26, 1960 - 1961 ; release: 2007
Format, bitrate: Mp3, 320 Kbps
Size: 85 MB
AMG Rating:1960: King Curtis - Azure

King Curtis' lone LP for the tiny Everest label eschews his signature gutbucket R&B approach in favor of a late-night, bluesy atmosphere that brilliantly captures the unparalleled soulfulness of his tenor sax solos. Ballads and standards spanning from "Unchained Melody" to "The Nearness of You" are vividly realized by the lush arrangements of Sammy Lowe, complete with vocal contributions from the Malcolm Dodds Singers. Still, it's Curtis' melancholy leads that command the spotlight, boasting the cerebral intricacy of jazz and the emotional heft of soul.
~ Jason Ankeny, All Music Guide
2010: Anna Netrebko & Daniel Barenboim - In The Still Of Nigh Music » Classical music
2010: Anna Netrebko & Daniel Barenboim - In The Still Of NighArtist: Anna Netrebko & Daniel Barenboim
Album: In The Still Of Nigh
Label: Deutsche Grammophon
Year: 2010
Format, bitrate: mp3, 320kb/s
Time: 68:44
Size: 144MB
AMG Rating: 2010: Anna Netrebko & Daniel Barenboim - In The Still Of Nigh

to my friends! !

In the second album soprano Anna Netrebko has devoted to music of her native Russia, she turns to songs by Rimsky-Korsakov and Tchaikovsky, most of which are little known in the West. The two composers were close friends, and in spite of occasional musical differences, admired and respected each other's work. It's easier to hear their musical kinship in these songs than in their large orchestral works and operas. The songs by Rimsky-Korsakov, who is familiar largely through his picturesque orchestral works, are most revelatory. They are rooted in folk traditions, without directly quoting folk sources, and besides their emotional directness and clarity, they are notable for their sophistication, delicacy, and lyrical grace. Tchaikovsky's songs, while similar in many ways, are more overtly romantically emotional, and their vocal writing is more virtuosic. In their heightened sense of drama, some have an operatic quality, and their accompaniments are exceptionally subtle and expressive. Netrebko and pianist Daniel Barenboim are very much equal musical partners in the endeavor, both in the selection of the repertoire and in the acute musicality of their performances. There are two non-Russian encores, ravishing performances of a selection from Dvork's Songs My Mother Taught Me and Richard Strauss' Ccilie. The recording captures a live performance at the 2009 Salzburg Festival. Netrebko is in absolutely top form, singing with an enveloping, velvety warmth, and soaring with a radiant intensity. Her beautifully controlled and nuanced vibrato is always used with a keen sensitivity to the drama inherent in the texts, and her interpretations are driven by her gift for communicating with her audience. Barenboim's accompaniments are so shapely and subtly shaded that they could hold the listener rapt even without the vocal line. The sound of Deutsche Grammophon's album is vividly present, with a lively acoustic and minimum audience noise, except for the applause, whose riotous enthusiasm is a happy reminder of what must have been genuine electricity between the performers and listeners.
~ Stephen Eddins, All Music Guide
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