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Into the Rhythm

For Administration
Jazz Blues Club » Articles for 22.06.2011
1950-54: T-Bone Walker - T-Bone Walker Sings The Blues Music » Blues
1950-54: T-Bone Walker - T-Bone Walker Sings The Blues Artist: T-Bone Walker
Album: T-Bone Walker Sings The Blues
Label: Imperial (Pathe Marconi)
Year: 1950-54, release 1983
Genre: Electric Texas Blues, Early R&B
Format, bitrate: mp3, 320 kbps , vinyl rip
Size: 85 MB
Rating AMG: 1950-54: T-Bone Walker - T-Bone Walker Sings The Blues

This 1983 Pathe Marconi release of an LP originally released by Imperial in 1960 (with 12 tracks only) finds T-Bone at the very top of his game. The April 1950 session used his road band, that of Big Jim Wynn, as backing musicians.
With Eddie Lockjaw Davis on tenor sax and Big Jim Wynn on baritone sax, from the very first session T-Bones Imperial sides delivered a far greater punch than his Black and White recordings of 1946 1947. The rollicking opening instrumental Strollin With Bone sets the tone and then its straight into the blues with You Dont Love Me.
Subsequent Los Angeles sessions through to March 1952 used musicians from Big Jim Wynns band mixed with former T-Bone cohorts such as Willard McDaniel, Billy Hadnott and Oscar Lee Bradley, with Maxwell Davis coming in on tenor sax. In March 1952 T-Bones nephew R.S. Rankin came in on second guitar. The Imperial label had established a strong New Orleans connection in 1949 1950, most notably with Fats Domino and Smiley Lewis, and in March 1953 T-Bone travelled to the Crescent City to record with the top local session men such as Lee Allen and Herb Hardesty. This LP features one side from those sessions Railroad Station Blues.
There were further recordings with the New Orleans gang through to November 1953. Meanwhile in October 1953 T-Bone recorded in Detroit with the T.J. Fowler band which also backed him in his final recordings for Imperial in June 1954.
1967:Charlie Musselwhite's Southside Band - Stand Back! Here Comes Charley Musselwhite's Southside Band Music » Blues » Modern electric blues » Modern Electric Chicago Blues
1967:Charlie Musselwhite's Southside Band - Stand Back! Here Comes Charley Musselwhite's Southside Band
Artist: Charlie Musselwhite's South Side Band
Album: Stand Back! Here Comes Charley Musselwhite's Southside Band
Label: Vanguard Records
Year: 1967
Format: Flac
Time: 45:37
Size: 926.65 MB (Art: Front)
AMG Rating: 1967:Charlie Musselwhite's Southside Band - Stand Back! Here Comes Charley Musselwhite's Southside Band

1967:Charlie Musselwhite's Southside Band - Stand Back! Here Comes Charley Musselwhite's Southside Band

Repost with a new link from Mr. alldiscography

Vanguard may have spelled his name wrong (he prefers Charlie or Charles), but the word was out as soon as this solo debut was released: Here was a harpist every bit as authentic, as emotional, in some ways as adventuresome, as Paul Butterfield. Similarly leading a Chicago band with a veteran Black rhythm section (Fred Below on drums, Bob Anderson on bass) and rock-influenced soloists (keyboardist Barry Goldberg, guitarist Harvey Mandel), Musselwhite played with a depth that belied his age -- only 22 when this was cut! His gruff vocals were considerably more affected than they would become later (clearer, more relaxed), but his renditions of "Help Me," "Early in the Morning," and his own "Strange Land" stand the test of time. He let his harmonica speak even more authoritatively on instrumentals like "39th and Indiana" (essentially "It Hurts Me Too" sans lyrics) and "Cha Cha the Blues," and his version of jazz arranger Duke Pearson's gospel-tinged "Cristo Redentor" has become his signature song -- associated with Musselwhite probably more so than with trumpeter Donald Byrd, who originally recorded the song for Blue Note. Goldberg is in fine form (particularly on organ), but Mandel's snakey, stuttering style really stands out -- notably on "Help Me," his quirky original "4 P.M.," and "Chicken Shack," where he truly makes you think your record is skipping.
~ Dan Forte, All Music Guide
1982: Benny Golson - Time Speaks Music » Jazz » BeBop » Hard-bop
1982: Benny Golson - Time Speaks
Artist: Benny Golson
Album:Time Speaks
Year: 1982
Format, bitrate: Mp3, 320 Kbps
Size: 86,3 MB
AMG Rating:1982: Benny Golson - Time Speaks

This set was chiefly notable for teaming together for the first time trumpeters Freddie Hubbard and Woody Shaw. Ostensibly a tribute to Clifford Brown, the sextet date (which also features Benny Golson on tenor, pianist Kenny Barron, bassist Cecil McBee and drummer Ben Riley) only has two songs actually played by Brown ("I'll Remember April" and "Jordu"), along with originals by Golson, Shaw and Hubbard ("Blues for Duane"). No matter; it is for the Hubbard-Shaw matchup that this straight-ahead outing is mostly recommended, as the two trumpeters provide most of the fireworks.
~ Scott Yanow, All Music Guide
1975: Sergio Mendes and Brasil'77 - Sergio Mendes Music » Jazz » Latin » Bossa Nova
1975: Sergio Mendes and Brasil'77 - Sergio Mendes
Artist: Sergio Mendes and Brasil'77
Album: Sergio Mendes
Label: Atlantic records (USA)
Years: 1975
Format, bitrate: MP3, 320 kbps
Size: 85,9 M

Rare CD release ('2000 Japanese re-master) of the Sergio Mendes self-titled album

The mystery-driven bossa and pop-samba of Sergio Mendes' 1960s and early-'70s work was already giving way by this point -- 1975 -- to a much more straight-ahead version of radio fare. Given that this was the dawning of the age of disco, and that Barry Manilow was already striking the charts hard, it is totally explainable, if not totally forgivable. For Mendes, his strength had always been in highly original, indelibly Brazilian interpretations of the hits, from "Fool on the Hill" to "Goin' Out of My Head" to virtually a hundred other American chart hits, interspersed with modern readings of traditional Brazilian songs. On this disc, produced in association with schlockmeister Dave Grusin, his first for Elektra, Mendes settles for very straight and lackluster readings of "I Believe (When I Fall in Love It Will Be Forever)" and "All in Love Is Fair," by Stevie Wonder -- versions that pale miserably in comparison with the originals. To be fair, there is Leon Ware's "If I Ever Lose This Heaven" that deals up a handy serving of light, funky soul with the traditional two-female chorus against a backdrop of Motown-style strings and chunky electric piano. Truly unforgivable is George Harrison's "Here Comes the Sun," with a lilting, shimmering piano and Stax guitar line against a completely deadpan female vocal. Near the end of the record is a beautiful, if very straight, reading of Donny Hathaway's "Someday We'll All Be Free." It lacks the drama of the original, but in its low-key presentation perhaps gets the essence of the song's meaning across better and is an unqualified success. Ultimately, this is a pretty shoddy Sergio Mendes album. The collectors will have to have fit for their own perverse reasons, but there are far better places to start and finish than this.
~ Thom Jurek, All Music Guide
1992: Ian Bousfield & IMI Yorkshire Imperial Band - The Versatile Virtuoso (1992) Music
1992: Ian Bousfield & IMI Yorkshire Imperial Band - The Versatile Virtuoso (1992)
Artist: Ian Bousfield & IMI Yorkshire Imperial Band
Album: The Versatile Virtuoso
Label: Dyen
Year: 1992
Format, bitrate: Mp3, 128 Kdps
Time: 58.55
Size: 53 mb

One of the truly great trombone players of his generation displays all his attributes and more on a fine solo release � very well accompanied by his old brass band Yorkshire Imperial and some friends on the keyboard and percussion who add variety and colour.
Bousfield is a superb technician of the bone � something he readily displays on tracks such as �Bolivar� and �Rhapsody for Trombone� as well as a superb lyrical player on tracks such as ��Autumn Leaves�, �Pavane� and �The Summer Knows�. He even has time to rip through the old war horse �Bluebells of Scotland� in a manner old man Pryor would been proud of. He has a superb clean and pure trombone tone throughout the whole of his extensive range.
An interesting mix and choice that is superbly realised and shows off all his talents � you can see why he has been in such demand on the orchestral circuit and why he now holds the top dog position in Vienna. All this and he displays a fine mullet haircut on the cover too!
1964-1966: Jackie McLean - The Complete 1964-66 Blue Note Sessions Jazz, BeBop, Hard-bop
1964-1966: Jackie McLean - The Complete 1964-66 Blue Note Sessions
Artist: Jackie McLean
Album: The Complete 1964-66 Blue Note Sessions
Label: Mosaic Records
Year: 1964-1966, release 1993
Format: mp3@192 kb/s
Time: 2:51:13
Size: 338,82 Mb (covers-6,62Mb)
AMG Rating: 1964-1966: Jackie McLean - The Complete 1964-66 Blue Note Sessions

1964-1966: Jackie McLean - The Complete 1964-66 Blue Note Sessions

Repost with new links from Mr. yossi541

Altoist Jackie McLean has recorded so many fine albums throughout his career, particularly in the '60s for Blue Note, that Mosaic could have reissued his complete output without any loss of quality. This four-CD limited-edition box set contains six complete LPs worth of material plus one "new" alternate take. The music (which also features trumpeters Charles Tolliver and Lee Morgan; pianists Herbie Hancock, Larry Willis, and Harold Mabern, vibraphonist Bobby Hutcherson, bassists Cecil McBee, Bob Cranshaw, Larry Ridley, Herbie Lewis, and Don Moore, drummers Roy Haynes, Billy Higgins, Clifford Jarvis, Jack DeJohnette, and Billy Higgins) is explorative (showing the influence of Ornette Coleman) but without totally disregarding McLean's bebop roots. The performances straddle the boundaries between advanced hard, post and free bop jazz with Jackie McLean consistently emerging as the main star. His solos are consistently exciting, full of unexpected twists and turns.
~ Scott Yanow, All Music Guide
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