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Jazz Blues Club » Articles for 27.06.2011
1996: Joe Maneri Quartet - In Full Cry Music » Jazz » Modern Jazz » Avantgarde

1996: Joe Maneri Quartet - In Full Cry
Artist: Joe Maneri Quartet
Album: In Full Cry
Label: ECM
Year: 1996; release: 1997
Format, bitrate: WMA, vbr ~450 kbps
Time: 62:25
Size: 158 mb
AMG rating 1996: Joe Maneri Quartet - In Full Cry

In Full Cry is Joe Maneri's second recording for ECM, an imprint known for its reverb-drenched jazz recordings, and the label's echoing production suits Maneri well. The reverb, along with minimal accompaniment from bassist John Lockwood and drummer Randy Peterson, provides a base for Maneri and his violinist son, Mat, to improvise over in a slippery, space-filled alien blues. Joe Maneri plays some excellent, atonal piano on a few tracks, but he's even better on the rest, where the clarinet and saxophone allow him to take more liberties with the pitches he plays. The quartet is sparse and mournful on these pieces, and the listener can discern some conventionally sad phrases, featuring fragments of pentatonic scales and traditional songs. But Joe and Mat use typical blues signifiers, such as bent notes and moaning, overblown lines, as a foundation for their free jazz explorations of microtonality, in which the musician divides the octave into a different series of pitches than the 12 used in most Western music. A cursory listen might produce the opinion that the members of Maneri's quartet push bent notes too far or in the wrong direction, or that they're playing out of tune, but close listening reveals that they're simply playing by their own rules. ~ Charlie Wilmoth, All Music Guide
1959: Les Brown - The Complete Song Books Music » Jazz » Swing
1959: Les Brown -  The Complete Song Books
Artist : Les Brown
Album: The Complete Song Books
Label: Lone Hill Jazz
Year: 1959, release - 2006
Quality: MP3@320kbs/s
Size: 124 mb
Total Time: 75:59
REPOST by request

, !!!

Two splendid rare albums for the first time on one CD: Jazz Song Book and Jazz Swing Book, both originally released in 1959. Featuring Buddy de Franco, Frank Rosolino, Zoot Sims, Terry Gibbs, Mel Lewis, Don Fagerquist and Ronnie Lang. At the time of these albums original release, one of the few existing reminders of the golden era for big bands (1935-47), the Les Brown Orchestra could well evoke memories of stage shows seen and enjoyed, or dances attended, when the bands were shouting along Broadway and all the miniature Broadways throughout the country. Those were exciting days; unforgettable to people charmed by the big band sound. And it hasnt been quite the same since.

2 great little albums from Les Brown a real return to greatness at the end of the 50s! Jazz Song Book is a sublime set that's build strongly around solo contributions from players that include Buddy DeFranco, Terry Gibbs, Frank Rosolino, Zoot Sims, Don Fagerquist, and Ronnie Lang all players who are quite comfortable in a large group setting, but really know how to make the most of their solo space when it comes around! Brown put the album together in a way that shifts the focus between soloists from track to track and the different voicings really give each number a great sense of mood, even when the tunes themselves are familiar ones. Arrangements are by Bill Holman, and titles include "Pizza Boy", "The Claw", "Love Is Here To Stay", "Chelsea Bridge", "Willow Weep For Me", "King Phillip Stomp", and "Let's Get Away From It All". Swing Song Book offers up some great modern interpretations of jazz numbers from an earlier age arranged tightly by Billy May, for a set of players that includes Dick Collins, Abe Most, Stumpy Brown, Billy Usselton, and Howard Roberts. The sound is strongly ensemble-based with beautiful horn parts that are filled with deep tones, yet still manage to swing a bit like Stan Kenton before he'd gone too modern at the start of the 50s. Titles include "Lean Baby", "Pick Yourself Up", "Early Autumn", "Moten Swing", "Take The A Train", and "I Want To Be Happy". (Note: There seem to be a few very short moments in which the sound is slightly distored but these are minor, possibly from the master tapes.)
~ Liner note
2007: Eugene Hideaway Bridges Music » Blues
2007: Eugene Hideaway BridgesArtist: Eugene Hideaway Bridges
Album: Eugene Hideaway Bridges
Label: Armadillo
Year: 2007
Format, bitrate: mp3, 320kb/s
Time: 48:50
Size: 103MB

Eugene is a nomadic musician living his life on the road. His home is wherever the next performance takes him, and every year this is from America through Europe, to Australia with many other stops in between.
Born in 1963, son of the blues guitarist Hideaway Slim, Eugene is the fourth child of five. His mother was from the Bullock family (the same as Anna Mae Bullock better known as Tina Turner) and Eugene claims he got his guitar skills from the Bridges side and his voice from the Bullocks. At five he was already playing with his father around Louisiana. With his brothers as The Bridges Brothers he sang gospel and was the musician of his church touring with the Pastor, Elder A A Edwards. At thirteen Eugene was entering R&B talent shows and had formed his first R&B band The Five Stars.
Eugene moved to Texas to join the Air Force at sixteen, playing in the Air Force band for the next three years. On leaving he joined The New Chosen on guitar and vocals and went on to play with The Mighty Clouds of Joy.
Following a move to Houston, Eugene released Blues, Gospel and R&B recordings by the three bands he was running at the time. These included the first line-up of the Eugene Hideaway Bridges Band. They toured the USA from coast to coast.
Eugene then travelled alone to Europe, where B B King Bassist Big Joe Turner spotted him in Paris and offered him the position of Guitarist / Vocalist with Big Joe Turners Memphis Blues Caravan.
A year later Eugene left to work under his own name again and formed The Eugene Hideaway Bridges Band. Signed to the Blueside label, Eugene recorded Born to be Blue, produced by Mike Vernon. His live performances received rave reviews and Eugene was awarded UKs Blueprint magazine Vocalist of the Year. He also won The Trophees France Blues 99 Chanteur De LAnnee.
After four CDs recorded with his full band, for this release Eugene has gone into the studio with friends and fellow musicians he has met on the road. Lucky Oceans, co-founder of the western Swing band Asleep at the Wheel, plays some fine Pedal Steel on three tracks. Australian Ian Moss is on Guitar on another, Clayton Doley joins in on Hammond on two more and Texan legend Ray Wylie Hubbard lays down some fine Slide Guitar on I Cant Wait We cant wait. This CD was nominate for two 2008 US Blues Music Awards.

2010: Magic Slim & The Teardrops - Raising The Bar Music » Blues
2010: Magic Slim & The Teardrops - Raising The BarArtist: Magic Slim & The Teardrops
Album: Raising The Bar
Label: Blind Pig Records
Year: 2010
Format, bitrate: mp3, 320kb/s
Time: 44:43
Size: 95MB
AMG Rating: 2010: Magic Slim & The Teardrops - Raising The Bar

If any single thing could be said about Magic Slim & The Teardrops, the watchword that prevails is consistency. Over eight CDs on the German Wolf label and the same total for Blind Pig Records -- compilations notwithstanding -- this group not only delivers time and time again with their electric contemporary urban blues, but continually reminds us of the forefathers that preceded them in making Chicago a focal point for this music. From classics by Elmore James, Roosevelt Sykes, Robert Nighthawk, J.B. Hutto, Clay Hammond, and Little Milton, Slim and the band put their foot to the wood and never let up on the gas, steaming through these classic blues songs with a rock & roll attitude. Three originals by Slim also reflect the same no-nonsense posture, but add updated, doubting Thomas inquiries, as on the shuffle rocker "Do You Mean It?," "Shame," and the sly Chi-Town blues of "Treat Me the Way You Do." While the smart, well-chosen material is the key to their success, it's how they play with utter confidence, energy, passion, and drive that sets this band apart from all others. Kudos to second guitarist Jon McDonald, bassist Andre Howard, drummer B.J. Jones, and Morris Holt (aka Slim) for fortifying this music without any apologies. This is not news for the blues community who are well aware of how great Magic Slim & the Teardrops have always been, but in light of them just getting better and better, someone in Chicago should build a monument to this group for their determination, and their ability to do the city proud worldwide. Raising the Bar is yet another excellent effort made by blue-collar workers, deserving of universally wide recognition, and comes highly recommended without a doubt.
~ Michael G. Nastos, All Music Guide
1954: John Graas - Jazz Studio, Vols. 1-2: Complete Sessions Music » Jazz » BeBop » Cool
1954: John Graas - Jazz Studio, Vols. 1-2: Complete Sessions
Artist: John Graas
Album: Jazz Studio, Vols. 1-2: Complete Sessions
Label: Lone Hill Jazz
Year: 1954; release: 2007
Format, bitrate: Mp3, 320 kb/s
Time: 60:16
Size: 137 MB
AMG rating 1954: John Graas - Jazz Studio, Vols. 1-2: Complete Sessions

The Jazz Studio series recorded for Decca during the 1950s produced a lot of enjoyable sessions, though many of them were very hard to obtain until Lonehill Jazz began reissuing them in 2004. The first two tracks, first released as Jazz Studio, Vol. 1, are long workouts that featuring trumpeter Joe Newman, trombonist Bennie Green, tenor saxophonists Frank Foster and Paul Quinichette, pianist Hank Jones, guitarist Johnny Smith (who appeared on the original album as Sir Jonathan Gasser, since he was under contract to Roost at the time), bassist Eddie Jones, and drummer Kenny Clarke. Smith sets up the 22-minute rendition of "Tenderly" with a beautiful unaccompanied solo, then the full rhythm section joins in as the individual reed and brass players take turns. The tempo picks up a good bit just prior to the midpoint, with the solos being much briefer as everyone gets a chance to blow. The second piece, "Let's Spilt," is a bluesy riff tune jointly composed by Hank Jones and Robert Shad that is also an extended performance; it is easy to imagine this snappy tune being played in a 52nd Street nightclub during the 1940s or early '50s. The last six tracks on this compilation come from a recording originally issued as Jazz Studio, Vol. 2, with French horn player John Graas as the leader of this cool-oriented West Coast session, with trumpeter Don Fagerquist, trombonist Milt Bernhart, alto saxophonist Herb Geller, Jimmy Giuffre (who plays clarinet, tenor, and baritone saxes), pianist Marty Paich, guitarist Howard Roberts, bassist Curtis Counce, and drummer Larry Bunker on hand. The mood is considerably more subdued than the bop material recorded by the East Coast musicians heard on Jazz Studio, Vol. 1, but the music has held up very well, with excellent solos and strong charts by Graas and Paich. Highlights include Graas' intricate "Here Come the Lions" and Paich's equally challenging "Paicheck" (note its equally witty title). ~ Ken Dryden, All Music Guide
1963: John Coltrane - A True Innovator Music » Jazz » BeBop » Hard-bop
1963: John Coltrane - A True Innovator
Artist: John Coltrane
Album: A True Innovator
Label: EFOR Films
Year: 1963, release 2004
Genre: Avantgarde
Format: DVDRip 4:3
Time: 31:02
Size: 177 MB

Master jazz saxophonist John Coltrane performs three signature pieces in this rare 1963 black-and-white television appearance. The show features the Impulse Classic Quartet: Coltrane on tenor and alto sax, McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums. The innovative saxophonist and his sidemen perform "Afro Blue," "Alabama" and "Impressions." Coltrane is renowned for reinventing his style throughout his brief career. ~ by unknown
1959: Jack Teagarden - At the Roundtable Music » Jazz » Traditional Jazz » Dixieland
1959: Jack Teagarden - At the Roundtable

Artist:Jack Teagarden
Album: At the Roundtable
Label: Roulette Records, SR 25091
Year:rec. Jul 1, 1959/ rel.Jul 1, 1959
Format:MP3 @ 320 Kb/s (my own vinyl rip)
Size: 85 Mb
AMG rating:1959: Jack Teagarden - At the Roundtable

To my friends in JBC! You can find this album only in JBC. Please enjoy.

Recorded at the Roundtable nightclub in New York City on July 1, 1959, this performance marked the beginning of a new, penultimate phase of Jack Teagarden's recording career. His Capitol Records contract having ended the previous spring, he then performed for the portable recording equipment of Roulette Records, which would release some of the sides recorded at this gig as a live album, and which would, for a time, revive his fortunes. Although he's a little less agile and powerful, having reached his late 50s after a career's worth of constant work, and some health problems (later resolved), the cohesiveness of the band makes this release well-worth hearing. The group, in a typical live set, plays seven Dixieland warhorses and the obscure "When" (which was written by the King of Thailand). Teagarden, trumpeter Don Goldie, clarinetist Henry Cuesta, the great stride pianist Don Ewell, bassist Stan Puls, and drummer Ronnie Greb put on a lively, crowd-pleasing show highlighted by "South Rampart Street Parade," "St. James Infirmary" (sung by Teagarden), "St. Louis Blues," and Ewell's feature on "Honeysuckle Rose." [Note: as of 2005, At the Roundtable has never been reissued on its own, but is part of Mosaic's Complete Roulette Jack Teagarden Sessions, augmented with a significant body of unreleased track from this same performance.] ~ Scott Yanow & Bruce Eder, All Music Guide.

1993: Coleman Hawkins & Benny Carter - Jammin' the Blues Music » Jazz » Swing
1993: Coleman Hawkins & Benny Carter  -  Jammin' the BluesArtist: Coleman Hawkins & Benny Carter
Album: Jammin' the Blues (Live)
Label: Moon Records
Year: 1965-66
Release: 1993
Format, bitrate: mp3, 320kb/s
Size: 88MB

Coleman Hawkins & Benny Carter
Teddy Wilson, Bob Granshaw, Louis Bellson

Repost by request

Soloists' styles were as well known as band styles during this period, with individual players often having a very short space in an arrangement to take a solo.
Famous soloists often switched bands but shone only as brightly as the arrangement allowed.
The lack of soloing time led many players to participate in jam sessions. As many players left big bands for the armed forces during the 1940s, others played public jam sessions or joined small groups, especially groups started by successful orchestra leaders These settings allowed for more playing time.
These small groups consisted of some of the first racially mixed ensembles on stage.
Small groups also encouraged experimentation and captured the informal flavor of the 1920s Armstrong and Beiderbecke recordings.
The increasing popularity of soloists garnered new respect for jazz musicians, provided diverse playing opportunities, and helped spur the rapid development of musical technique.
2010: Mike DiRubbo - Chronos Music » Jazz » Big Band » Progressive Jazz
2010: Mike DiRubbo - Chronos
Artist: Mike DiRubbo
Album: Chronos
Label: Posi-Tone Records
Year: 2010; release: 2011
Format, bitrate: mp3; 320kpb
Time: 50:19
Size: 121mb
AMG rating 2010: Mike DiRubbo - Chronos

Alto saxophonist Mike DiRubbo studied with Jackie McLean, and has played with highly regarded musicians like Eddie Henderson, John Hicks, and Clarence "Gatemouth" Brown. Chronos, his sixth CD as a leader, finds him fronting a stripped-down sax/organ/drums trio, with hard-grooving and occasionally skronky results. This isn't an out-jazz record, but it has its moments, particularly on the title track, where DiRubbo repeats a three-note phrase with ferocious intensity before commencing a solo that gets unexpectedly harsh. For most of the disc, though, he's a stabilizing force, keeping things cool and boppin'. Keyboardist Brian Charette is the wild card, playing an almost psychedelic melodic figure at the end of "Excellent Taste," which he wrote. Drummer Rudy Royston gets plenty aggressive at times, too, especially on "Eight for Elvin," named for Elvin Jones, who once hit his kick drum so hard on a date with John Coltrane that it broke. Chronos occupies an interesting middle ground between soul-jazz and free jazz, and will likely provide plenty of pleasure to fans of either or both. ~ Phil Freeman, All Music Guide
2010: The Ullmann/Swell 4 - News? No News! Post-bop, Freejazz, Avantgarde
2010: The Ullmann/Swell 4 - News? No News! Artist: The Ullmann/Swell 4
Album: News? No News!
Label: Jazzwerkstatt
Year: 2008; release: 2010
Format, bitrate: mp3, 320
Time: 69:08
Size: 153 mb
Jazzreview Rating: 2010: The Ullmann/Swell 4 - News? No News!

Multi-reedist and composer Gebhard Ullmann is one of those players who refuses to be pigeonholed. His bright, edgy playing fits into numerous musical contexts - be it fusion, free jazz, avant garde, post-bop, or blues, Ullmann always has something compelling and interesting to offer. Starting in the early 1980s in a variety of left-of-center jazz and fusion-oriented bands in his native Germany (mostly with the great guitarist and composer Andreas Willers), Ullmann has branched out gradually over the years both stylistically and career-wise. Now a part-time resident of Berlin and New York City, Ullmann continues to create music that succeeds on several fronts. News? No News?, co-led by Ullmann and trombonist Steve Swell, is an informal, rumbustious, free-wheeling summit meeting of four of the most skilled jazz improvisors around. Steve Swell, like Ullmann, is one of the most active players on the scene. Over the past decade or so, he's appeared on countless recording sessions as a leader and as a sideman (the latter most notably with Ullmann's Basement Research, William Parker, Joey Baron's 'Baron Down,' John Zorn, Ken Vandermark, and Jaki Byard to name a few). Swell's a bold, big toned, emotive player in the mold of Roswell Rudd, Gary Valente, and Glenn Ferris. He's also a remarkably resourceful improvisor who never seems to run out of cogent and fresh ideas. Ageless drummer Barry Altschul, recently returned to the scene after several years in limbo, shows here that he's lost nothing in terms of chops or instincts. His playing throughout this disc is as fertile, pointillistically dynamic, and quick-minded as his work with Paul Bley, Sam Rivers, and Anthony Braxton was nearly four decades ago. Bassist Hilliard Greene, perhaps the least-known of the quartet is no less a giant, as he's proved on numerous sessions with Swell, Charles Gayle, Roy Campbell, Cecil Taylor, Little Jimmy Scott, and Jack Walrath's Masters Of Suspense.
The majority of News? No News? is uptempo, post-Ornette / post-Ayler jazz with plenty of room for expressive and extended solos. The quartet comes out swinging on 'More Hello,' a good-natured but feisty tune that reminds me of something that Dewey Redman might have written. Ullmann wastes no time getting to the meat of his solo within the first dozen notes. Swell follows suit for his chorus, riding waves of turbulent drums and bass. The uptempo 'New York 5:50' is a somewhat introspective tune with a boppish rhythm and a humorous melody line stated by Ullmann's bass clarinet in tandem with Swell's plunger-muted 'bone. 'Planet Hopping on a Thursday Afternoon' has a similar rhythmic demeanor, but sports a positively lush melody line (kudos to Swell for this one!). The title track is quite distinctive and original; a gospel-derived lament set up as a canon between Swell's trombone and Ullmann's bass clarinet, underpinned by a swaggering post-bop rhythm. 'Airtight' opens with a virtuosic bass solo from Greene who introduces the trance-like ostinato that sets up Altschul's rocking polyrhythms. This piece, written by Swell, has a nice long melody line that provides a nice springboard for solos by both horn players. Altschul gets in a particularly spectacular solo here, as well.
On the group improvisations (GPS #1, GPS #2) and the ballad-like pieces ('Kleine Figuren #2, and the first half of the slowly coalescing 'Comosite #1), Greene and Altschul provide a wide range of sound colors and atmospherics. Though the group's interests clearly hew to the higher-energy end of the modern jazz spectrum, its essentially cooperative nature really seems to blossom during the CD's most abstract moments. No one tiptoes around - their playing remains forceful, aware, and sure-footed even in the most sparse and pianissimo musical settings. News? No News! is a thoroughly enjoyable, tough-minded slab of modern jazz listening pleasure for advanced sets of ears.

~ Dave Wayne, Jazzreview
1957: Buddy DeFranco and The All-Stars - Wholly Cats Music » Jazz » BeBop » Cool
1957: Buddy DeFranco and The All-Stars  - Wholly Cats
Artist: Buddy DeFranco
Album: Wholly Cats
Label: Lone Hill Jazz
Year: 1957; release: 2007
Quality: MP3@320 kbps
Size: 136 mb
Total time: 71:53

Subtitled: The Complete 'Plays Benny Goodman And Artie Shaw' Sessions, Vol. One. First of two volumes from the Jazz clarinet player paying tribute to two influential Jazz greats. Both volumes combined feature five complete albums originally released by DeFranco: I Hear Benny Goodman & Artie Shaw, Buddy DeFranco Plays Benny Goodman, Buddy DeFranco Plays Artie Shaw, Wholly Cats and Closed Session. This volume features 14 tracks including 'A Smooth One', 'Air Mail Special', 'My Blue Heaven' and 'Stardust'.
~ Lonehill Jazz. 2007.

" ". , , , , - , , - -. , , "- ". , , , , , .
Buddy De Franco, music critics called "the Charlie Parker Of Clarinet." Appearing on the big jazz scene, he destroyed the familiar idea of ​​the clarinet as an instrument of traditional jazz and swing, proving that it can perform excellently all - bop, cool, West Coast jazz, and hard bop. Even in this album, which is dedicated to two outstanding clarinetist Golden Age of Swing, Buddy is playing in more familiar to himself, "bop-cool style." To be fair to add that and Benny Goodman, Artie Shaw and quite successfully experimented with bopovymi compositions, but, until his death, still preferred the swing.
1987: Frank Morgan/Bud Shank Quintet - Quiet Fire Jazz, BeBop, Hard-bop
1987: Frank Morgan/Bud Shank Quintet - Quiet FireArtist: Frank Morgan/Bud Shank Quintet
Album: Quiet Fire
Label: Contemporary Records
Year: 1987, Release 1991
Format: mp3@320 / flac
Size: 108MB / 264MB w/scans
Time: 47:16
AMG Rating: 1987: Frank Morgan/Bud Shank Quintet - Quiet Fire
REPOST with new links

At one time, there would have been a yawning stylistic gap -- indeed, a Grand Canyon -- between alto players Frank Morgan and Bud Shank. But by the time they finally collided head on at Seattle's Jazz Alley, they were perfectly compatible, as their often fiery live exchanges here graphically prove. It was Shank who had changed the most, having set his sights upon becoming a roaring bebopper upon his move to Washington State the year before this gig. On the title track, Shank sets the agenda and Morgan carries it even further, venturing thrillingly onto the outside after reasserting his bop base. Morgan and Shank trade bop licks with fervent upward sweeps on "Solar," where Morgan's fire cranks up Shank's playing. Each of them gets a solo showcase; Morgan waxes simply and pithily on "Emily," and Shank toys fluidly with "What's New." Pianist George Cables, bassist John Heard, and drummer Jimmy Cobb aid and abet the altoists' bop flights in mainstream fashion, and the presence of a live audience clearly pushes these horns into some exciting, ardent jazz territory.
~ Richard S. Ginell, All Music Guide
1968-1973: Elvin Jones - The Complete Blue Note Elvin Jones Sessions Music » Jazz » BeBop » Hard-bop
1968-1973: Elvin Jones - The Complete Blue Note Elvin Jones Sessions
Artist: Elvin Jones
Album: The Complete Blue Note Elvin Jones Sessions[8CD BoxSet]
Label: Mosaic MD8-195
Year: 1968-1973; release 2000
Format: Mp3,320 Kbps
Size: 1.18 GB
AMG Rating: 1968-1973: Elvin Jones - The Complete Blue Note Elvin Jones Sessions

This limited-edition eight-disc set combines all of Elvin Jones' Blue Note recordings from April 1968 through July 1973. This 65-track set contains the LPs Puttin It Together, Ultimate Elvin Jones, Poly-Currents, Coalition, Genesis, Merry Go Round, Live at the Lighthouse, Mr. Jones, and The Prime Element. Jones makes his presence as a band leader undeniable on these sessions allowing the musicians to stretch out while directing the evolution of the pieces. The closest comparison would be to Art Blakey; Jones was a band leader, drum master, and someone who knew instinctively who would fit in his bands, whether it was a wide range of established jazz veterans or some that would go on to achieve that status. Some of this is quite adventurous and, while certainly not taking the extreme direction of John Coltrane's group after Jones and McCoy Tyner left it, moments of this modal hard bop music approach that level of intensity.
~ Al Campbell, All Music Guide
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