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2001: Stanton Moore - Flyin' the Koop Modern Jazz, Funk-Jazz
2001: Stanton Moore - Flyin' the Koop Artist: Stanton Moore
Album: Flyin' the Koop
Label: Blue Thumb Records
Year: 2001
Format, bitrate: mp3, 320
Time: 52:16
Size: 118 mb
AMG Rating: 2001: Stanton Moore - Flyin' the Koop

"Overall, Moore's funk-drenched formulas reap colossal dividends!" - Glenn Astarita, All About Jazz

Galactic drummer Stanton Moore returns for his sophomore solo effort on a major label with a host of super-choppers at his side, including Chris Wood from Medeski, Martin & Wood, the Greyboy Allstars' Karl Denson, saxophonist Skerik, guitarist Brian Seeger, and New Orleans Mardi Gras Indians and all around vocalists extraordinaire the Wild Magnolias. As on his debut, All Kooked Out, Moore's primary motivating factor is the almighty groove and how to present it in challenging, innovative settings. And he does it here. There's the jazzed-out funky romp of "Tang the Hump," with a subtle New Orleans second-line rhythm backing up the syncopation. And then there's the drum skank on "Fallin' off the Floor," where Chris Wood and Moore play deep, blue funk as the horns play the line. But Moore is also capable of being a jazzer, and he displays this to the hilt on the beautifully driven, R&B-inflected "Prairie Sunset," whose lyrical invention is as gorgeously intricate as any saxophonist's. Also is the deep funk jazz on the intense, jam-oriented "Launcho Diablo," with dueling flute and saxophones in between the rhythmic accents. The drive here is almost Afro-funk, but its architecture is strictly jazz, with the knotty key changes and improvised middle, with a screaming guitar solo Seeger. Moore is a solid bandleader and composer who stresses the groove as the backbone of every track; everything must move along a perimeter of backbone slipping greasy punch, no matter where it comes from originally or gets to. In many ways, as satisfying as Galactic can be live, Moore manages to be the same way on record. He's got the party fully in hand and knows how to make its dynamics work, carrying the listener up to the threshold, slipping them into a little loose-groove meditation, and carrying them out on the steaming rhythmic rail. This is every bit as good as his debut and is as good as any New Orleans record you're likely to find in the 21st century.
~ Thom Jurek, All Music Guide
1967 - 1969: World's Greatest Jazz Band - Jazz In The Mountains Music » Jazz » Traditional Jazz » Dixieland

1967 - 1969: World's Greatest Jazz Band - Jazz In The Mountains
Artist: World's Greatest Jazz Band
Album: Jazz In The Mountains
Label: World Jazz
Date:1967,1968 & 1969
Time: 40:00
Format: mp4 (LP-rip)
Size: 70 mb
Long out of print. Great music!

This LP from the World Jazz label features what would become the World's Greatest Jazz Band in its early stages. During a set that includes jam session-type versions of five Dixieland warhorses and three veteran standards, a variety of top all-star trad players have a chance to stretch out. Pianist Ralph Sutton ("Viper's Drag"), trombonist Lou McGarity ("Tin Roof Blues"), clarinetist Peanuts Hucko ("Just a Closer Walk with Thee") and trumpeter Billy Butterfield ("Summertime") get individual features while the full band performs "Savoy Blues" and romping versions of "South Rampart Street Parade" and "After You've Gone." The other notable musicians on this set of live performances from the Elitch Gardens in Denver are trumpeter Yank Lawson, trombonists Cutty Cutshall and Carl Fontana, clarinetists Bob Wilber and Peanuts Hucko, tenor saxophonist Bud Freeman, bassist Bob Haggart and drummers Morey Feld and Gus Johnson. Easily recommended to Dixieland fans. ~ Scott Yanow, All Music Guide
1957: Art Farmer with the Quincy Jones Orchestra - Last Night When We Where Young Music » Jazz » BeBop » Cool
1957: Art Farmer with  the Quincy Jones Orchestra - Last Night When We Where Young

Artist:Art Farmer with the Quincy Jones Orchestra
Album: Last Night When We Where Young
Year:rec. Mar 28, 1957 - Apr 29, 1957 / rel. 1957
Format:MP3 @ 320 Kb/s (my own vinyl rip)
Time: 31:15
Size: 71 Mb
AMG rating:1957: Art Farmer with  the Quincy Jones Orchestra - Last Night When We Where Young

To my dear friend BlackB, with Happy birthday! Please enjoy.

The beauty of Art Farmer's tone is well featured on this out of print ABC/Paramount album. Farmer is backed by a string orchestra arranged by Quincy Jones as he plays lyrical solos on eight standards and Dizzy Gillespie's "Tangorine." Farmer mostly sticks close to the melodies but he makes such tunes as "Two Sleepy People," "Ill Wind," and "When I Fall in Love" sound fresh and pretty. ` by Scott Yanov, AMG.
1969: Wolfgang Dauner-Eberhard Weber-Jürgen Karg-Fred Braceful - Für Music » Jazz » Modern Jazz » Freejazz
1969: Wolfgang Dauner-Eberhard Weber-Jürgen Karg-Fred Braceful - Für
Artists: Wolfgang Dauner, Eberhard Weber, Jürgen Karg, Fred Braceful
Album: Für
Label: Calig Records CAL 30 603
Format, bitrate: Flac (LP-rip)
Time: 35:14
Size:129 MB

This is one of the most obscure and hardest to find albums composed by Wolfgang Dauner and performed along with other German Free Jazz pioneers; Eberhard Weber, Jürgen Karg and Fred Braceful from the US. These players have in their own right forged active and prolific Avant-Garde Jazz careers with many other well known musicians. They were among some of the earliest musicians to be showcased on Manfred Eichers ECM label. Essentially it is a very experiment album that clearly demonstrates their musical skills and preparedness to venture into the far-out, not to mention their ability to have a bit of fun, clearly shown in the last tune where Fred cracks up.

2006 - 2007: Brian Bromberg - In the Spirit of Jobim Music » Jazz » Latin » Bossa Nova

2006 - 2007: Brian Bromberg - In the Spirit of Jobim
Artist: Brian Bromberg
Album: In the Spirit of Jobim
Year: 2006-2007, release - 2007
Label: King Japan
Quality: mp3/320 kbps
Size: 164 Mb
Time: 71:22

This is a CD that inspired by the late great Antonio Carlos Jobim. The recording is 50/50 Jobim classics and Bromberg originals in the Jobim (Brazilian) style. This CD features an all star cast of musicians as well as Brian on nylon string piccolo bass (sounds like a classical nylon string guitar) and upright bass. This is also Brian's first recording to feature a full orchestra on most of the selections. This project was also recorded for King Records in Japan.2006- ~
1925 - 1947: Hoagy Carmichael & Friends - Stardust Melody Music » Jazz » Traditional Jazz » Classic Jazz
1925 - 1947: Hoagy Carmichael & Friends - Stardust Melody
Artists: Hoagy Carmichael & Friends
Album: Stardust Melody
Label: RCA Bluebird
Years: 1925-1947; release: 2002
Quality: MP3@320 kbps
Size: 141 mb
Total time: 66:20
AMG Rating: 1925 - 1947: Hoagy Carmichael & Friends - Stardust Melody 1925 - 1947: Hoagy Carmichael & Friends - Stardust Melody

Stardust Melody, RCA's first document of Hoagy Carmichael's rich, folksy songwriting and gentle vocal artistry in over ten years, does near-perfect work of balancing great performances by Carmichael the endearing vocalist with several outside versions familiar to those who know his pop songbook. First, it leads off with an expressive solo performance of "Star Dust" from 1933, then collects a pair of early (and unreleased) Carmichael performances ("Rockin' Chair," "March of the Hoodlums"). Bix Beiderbecke, an early friend (and the inspiration for "Star Dust"), appears with the Paul Whiteman Orchestra on one of his earliest compositions, "Washboard Blues." Other guests include Mildred Bailey singing "Rockin' Chair" (a song more associated with her than with Carmichael) and "Georgia on My Mind," Earl Hines & His Orchestra polishing "Skylark" with a refined reading from Billy Eckstine, Ethel Waters on "Old Man Harlem," and close to the top, Hot Lips Page on an ebullient version of "Small Fry" from 1938. Compiler Dick Sudhalter -- author of the Carmichael biography and recorder of an album tribute -- did an authoritative job bringing the diverse talents of an individual jazz voice (both vocal and compositional) to the fore in this excellent compilation.
~ John Bush, All Music Guide
2010: Red Garland, Paul Chambers, Art Taylor Trio - Complete Studio Recordings Music » Jazz » BeBop » Hard-bop
2010: Red Garland, Paul Chambers, Art Taylor Trio - Complete Studio RecordingsArtist: Red Garland, Paul Chambers, Art Taylor Trio
Album: Complete Studio Recordings (9 LPs on 5 CD)(Limited Edition/Collector's Item)
Label: Solar Records
Year: 1956-1958
Release: 2010
Format, bitrate: mp3, 320kb/s
Size: 5CD: 167, 151, 164, 163 & 162 MB

Dear BlackB, Happy Birthday To You!

This superlative 5-CD set contains all existing studio recordings by one of the best jazz piano trios ever, that of Red Garland, Paul Chambers and Art Taylor. Included on this release are nine complete original albums, as well as many other separate selections that were only previously issued on various compilations. The LP Moodsville #6 appears here on CD for the first time ever! All tracks have been organized chronologically by session order. Paul Chambers and Art Taylor were members of Garlands regular working trio during this period. Garland became famous in 1955 when he joined the Miles Davis Quintet that also featured John Coltrane, Philly Joe Jones and Paul Chambers. Davis was a big fan of boxing and was impressed that Garland had boxed earlier in his life. Together the group recorded their famous albums, Workin, Steamin, Cookin and Relaxin (all of which were recorded in the course of just two marathon sessions). Garland's style is prominent in these recordings, where his distinctive chord voicings, his sophisticated accompaniment and his musical references to Ahmad Jamals style are evident (Miles was also a great admirer of Jamal).
All tracks have been organized chronologically by session order. The LPs contained are: A Garland of Red (Prestige LP7064), Groovy (Prestige LP7113), Red Garlands Piano (Prestige LP7086), The P.C. Blues (Prestige LP7752), Red Garland Revisited! (Prestige LP7658), Its a Blue World (Prestige LP7838), Cant See for Lookin (Prestige LP7276), Red Garland Trio Moodsville #6 (Moodsville MVLP6) and All Kinds of Weather (Prestige LP7148). Includes 24-page booklet with original liner notes and artwork.

~ Liner Notes
2008: The Alan Freed Rock'n'Roll Big Band - A Stompin' Good Time Music » Blues » Rhythm-n-Blues
2008: The Alan Freed Rock'n'Roll Big Band - A Stompin' Good TimeArtist: The Alan Freed Rock'n'Roll Big Band
Album: A Stompin' Good Time
Label: ACE Records CDCHD 1184
Year: 1957-1958
Release: 2008
Format, bitrate: mp3, 320kb/s
Size: 123MB

In addition to being perhaps the most famous early rock & roll radio DJ of all, Alan Freed also promoted and presented many early rock & roll concerts, at which a house band was needed to play and back many of the artists. This 24-track CD, though credited to the Alan Freed Rock'n'Roll Big Band, actually features both that group (which performs half the 24 cuts) and a similar outfit called the King's Henchmen (the credited performers on the other dozen selections). The 12 Alan Freed Rock'n'Roll Big Band tracks were all done in November 1957, and used as filler on two various-artists compilation LPs (one on the Coral label, the other on Brunswick). The other 12 tracks, all recorded in February 1958, were issued as a King's Henchmen album titled Alan Freed Presents the King's Henchmen Playing New Orleans Rock'n'Roll. Though it's not known precisely who played on each sessions, it's likely that saxophonists King Curtis, Sam "The Man" Taylor, and Lowell "Count" Hastings played on all of them, as probably did guitarist Kenny Burrell and pianist Ernie Hayes. Getting that discographical confusion out of the way -- and the liner notes do provide a handy discography -- what we have are two dozen early rock & roll instrumentals that sound pretty much like they were thrown together on the spot, albeit played with great professionalism. Stock early rock & roll/R&B progressions dominate, with plenty of honking saxes. But on the Alan Freed Rock'n'Roll Big Band tracks, there's also a somewhat anachronistic big-band feel to the arrangements (especially in the trumpet parts), almost as if Freed or someone else were afraid of getting too raunchy or offending any adults in the crowd. As for Freed himself, his participation was minimal; he certainly didn't play any musical instrument, though he introduces a few numbers (and adds a few exhortations here and there) in a hepcat tone of voice. You'd think that the real rock & roll fans in the audience -- whether at concerts or listening to records at home -- suffered these instrumentals with some impatience as they waited for the true rock & rollers to come on-stage. If they wanted incidental/generic instrumental rock & roll backup music to warm them up, certainly they would have preferred earthier stuff by the likes of Joe Houston and Bill Doggett. As such, this compilation is a curio and historical timepiece, and not one to satisfy either the rock/R&B crowd or big-band fans.
~ Richie Unterberger, All Music Guide
2006: Norm Kubrin - I Thought About You Mainstream, Vocal Jazz
2006: Norm Kubrin - I Thought About You
Artist: Norm Kubrin
Album: I Thought About You
Label: Arbors ARCD 19342
Year: 2006
Format, bitrate: MP3, 320 Kbps
Time: 60:52
Size: 131.2 MB

Vocalist-pianist Norm Kubrin fronts a trio on Thought About You with guitarist Bob Hanni and bassist Don Coffman. The piano-guitar-bass arrangement probably seems less familiar today than piano-bass-drum, and places the style and approach of Thought About You in the '50s. The songs by names like Gershwin & Gershwin, Kurt Weill, and Johnny Mercer reinforce this connection to mainstream jazz. The set sways between mellow ballads like "Isn't It a Pity" to happier, medium-tempo songs like "It's a Wonderful World." Kubrin's vocal approach and choices of material partly recall Mel Tormé, though his straightforward style lacks Tormé's flair and flourishes. Kubrin really enjoys slowing ballads down to a snail's pace, turning them into intimate late-night conversations between himself and one or two barflies. He's equally contented with easy rolling songs like "Nice Work if You Can Get It," though overall, Thought About You is a relaxed set. Kubrin, Hanni, and Coffman are quite comfortable together, which seems like a prerequisite for trio work, and all three know when to jump in and when to stay out of one another's way. The solo piano and guitar work are solid, though the sparks never really fly thanks to the mellow material and the trio's mellow approach. Kubrin and company have turned in a respectable effort, sure to please mainstream jazz fans.
~ Ronnie D. Lankford, Jr., All Music Guide
1997: Hugh Fraser Quintet - In The Mean Time Music » Jazz » BeBop » Hard-bop
1997: Hugh Fraser Quintet - In The Mean Time
Artist: Hugh Fraser Quintet
Album: In The Mean Time
Label: Jazz Focus
Year: 1997
Format: mp3 320kbps
Time: 70:31
Size: 161MB

Bluster and bombast are mostly all that comes through on this shameless display of bravado, as recorded live during a 1996 performance at Vancouver's Glass Slipper. Printed on the trayback is a blurb credited to Slide Hampton which refers to trombonist/pianist Fraser as "a genius," but this hyperbole is hardly justified by the athletic exercises in multiphonics and other sorts of brash technical insensitivities heard within. The other musicians involved in this alternately commonplace and appalling enterprise are sopranist/altoman Campbell Ryga, tenorman/pianist Ross Taggart, bassist Ken Lister and drummer Blaine Wikjord, and while there are some good points to the sidemen, most specifically the speed of their fingers and their ability to play in tune, I have especially grave reservations about Fraser, both as trombonist and pianist. Apparently, though, Slide doesn't, for he-or someone-goes on to say that "Anything that [Fraser's] involved in has to be good. If you want a really great musical experience, buy this CD."
~ Jack Sohmer,
2004: Danny D'Imperio - Danny D'Imperio's Big Band Bloviation Music » Jazz » Big Band
2004: Danny D'Imperio - Danny D'Imperio's Big Band Bloviation
Artist: Danny D'Imperio
Album: Danny D'Imperio's Big Band Bloviation (Vol.2)
Label: Rompin' Records
Year: 2004
Format : mp4
Time: 62:43
Size: 115.49 MB

"Danny D'Imperio's Big Band Bloviation Volume 2" is the second in what is intended to be a series of recordings of music in which we strongly believe. Along with the strong core of muscians, "Special Guests" are featured on each of the recordings. This Volume's guests include: Dennis Dotson, Jason Jackson, Chris Byars, Ralph Lalama, Sacha Perry and Lew Tabackin.
1975: Gato Barbieri - Chapter Four: Alive in New York Music » Jazz » Latin
1975: Gato Barbieri - Chapter Four: Alive in New York
Artist: Gato Barbieri
Album: Chapter Four: Alive in New York
Label: Impulse!
Year: 1975
Format: FLAC
Size: 316.44 MB
AMG rating: 1975: Gato Barbieri - Chapter Four: Alive in New York

Repost with a new link from Mr. klovius

Taken from three nights of recording in February of 1975, Gato Barbieri's Chapter 4 is a continuation -- albeit in a concert setting -- of the music explored on his first three chapters for Impulse. Finally available on CD this set includes three Barbieri compositions, including the four-part suite "La China Leonicia" and his ubiquitous "Milonga Triste." The band here includes percussionist Ray Armando, bassist Ron Carter, multi-instrumentalist Howard Johnson (here on tuba, flelhorn, and bass clarinet), pianist Eddie Martinez, guitarist Paul Metzke, and Brazilian drummer Portinho. The band here is full of warmth as well as fire, and the blowing is full of passion. Barbieri's bands in the early and mid-'70s were well rehearsed, and deeply in tune with his brand of Latin jazz. The empathy in the rhythm section is utterly uncanny as Carter, Martinez, and Portinho create a shape-shifting backdrop for the frontline players to wind and entwine one another, incorporating formal notions of song into the action. The opening "Milonga Triste" is a case in point as Gato plays the melody, Johnson, in his own gift for lyricism, plays contrapuntal fills, and Metzke trots out elongated fingerpicked figures for Barbieri to solo off of, never losing the lyric in the process even as the intensity of the tune grows with every chorus. The suite begins as a free blowing exercise where modes are kept hovering about for the frontline players to improvise from until a melody is established and a direction taken that changes continually in the following three parts. The album's closer, "Lluvia Azul," begins as a ballad of dreamy quality and becomes a Latin jazz steamer by the end of the first third of its ten minutes, and becomes a lyrical orgy of harmonic invention and chromatic interplay with burning salsa rhythms fueling the entire thing. Chapter 4: Alive in New York is one of Barbieri's finest moments on record.
~ Thom Jurek, All Music Guide
1996: Various Artists - Backwood Blues 1926-1935 Blues, Acoustic blues
1996: Various Artists - Backwood Blues 1926-1935
Artist: Various Artists
Album: Backwood Blues 1926-1935
Label: Document records
Year: 1926-1935; release: 1996
Format, bitrate: mp3, 320 kps
Time: 69:39
Size: 153 MB

Profound music by 3(4) of the best wailers of the early blues to be recorded.

Backwood Blues 1926-1935 contains a selection of material from the early country-blues singers. The best-known name is Bo Weavil Jackson, who has the best cuts on this 18-track collection; Bobby Grant, King Solomon Hill and Lane Hardin are the other singers here. While the Jackson cuts are uniformly interesting, much of the music here is only appealing to specialists and academics. For anyone else, the exacting chronological sequencing, poor fidelity (everything was transferred from acetates and 78s) and uneven performances make this collection of marginal interest.
~ Thom Owens, All Music Guide
1951-1958: Charles Mingus - The Complete Debut Recordings Hard-bop, Post-bop

1951-1958: Charles Mingus - The Complete Debut Recordings
Artist:Charles Mingus
Album: The Complete Debut Recordings 12 CD
Label: Fantasy
Years: 1951-1958; release:1990
Format: mp3, 256 Kbps
Time: 847
Size: 1.51 GB
AMG Rating:1951-1958: Charles Mingus - The Complete Debut Recordings

This mammoth 12-CD box set may not contain Charles Mingus' most significant recordings (those would take place shortly after these sessions), but there is a remarkable amount of exciting and somewhat innovative music in this reissue of all of the dates recorded for Mingus' Debut label. There are duets and trios with pianist Spaulding Givens, a variety of odd third stream originals (some with vocalist Jackie Paris and altoist Lee Konitz), the famous Massey Hall concert with Charlie Parker and Dizzy Gillespie (heard in two versions, one with Mingus' overdubbed bass), a four-trombone date with J.J. Johnson, Kai Winding, Bennie Green, and Willie Dennis, trio sets with pianists Paul Bley, Hazel Scott, and the obscure John Dennis, a quintet with trumpeter Thad Jones and Frank Wess on tenor and flute, Miles Davis' "Alone Together" session, a date led by trombonist Jimmy Knepper, a completely unissued 1957 sextet session, and -- most importantly -- a greatly expanded live session with trombonist Eddie Bert and tenor saxophonist George Barrow that found Mingus finally finding himself musically. Many of these performances are now also available in smaller sets, but this attractive box (which has 64 previously unissued tracks among the 169 selections) is the best way to acquire this valuable music.
~ Scott Yanow, All Music Guide
1963: Buddy Moss - The George Mitchell Collection Music » Blues » Acoustic blues

1963: Buddy Moss - The George Mitchell Collection
Artist: Buddy Moss
Album: The George Mitchell Collection
Label: Fat Possum
Year: 1963; release: 2006
Format, bitrate: mp3;VBR
Time: 21 mins
Size: 36,28 mb

The folk-blues revival of the early 1960s brought newfound fame and riches to rediscovered prewar musicians such as Mississippi John Hurt, Son House, and Rev. Gary Davis. In the spring of 1963 George Mitchell found and recorded Buddy Moss in Atlanta. These tracks, released on the CD Buddy Moss: The George Mitchell Collection, reveal that Moss had retained much of his skill as a guitarist and singer, especially on Hey Lawdy Mama and Cold Rainy Day. On other songs, such as Blind Blakes That Will Never Happen No More, he was less on target. The Atlanta Folk Music Society sponsored him in a series of concerts, and he recorded a session for Columbia Records, but this was not issued during his lifetime. Songs from his June 1966 concert in Washington, D.C., were issued on the Biograph LP Atlanta Blues Legend, and he appeared at the 1969 Newport Folk Festival. ~
1962: Duke Ellington The Private Collection: Volume Three - Studio Sessions, New York 1962 Music » Jazz » Big Band
1962: Duke Ellington The Private Collection: Volume Three - Studio Sessions, New York 1962
Artist:Duke Ellington
Album: The Private Collection, Volume Three - Studio Sessions, New York 1962
Label: Saja
Year: 1962, release: 1988
Quality: MP3@320 kbps
Size: 115 mb
Total time: 53:29
REPOST by request

This collection offers a glimpse of the latter day Ellington orchestra cooking on all burners. By the time of these 1962 sessions, tenor saxman Paul Gonsalves had emerged as one of the brightest lights of the ever-evolving group. For him and longtime bandmembers like Johnny Hodges and Cat Anderson, Ellington continually constructed new arrangements that would both challenge and flatter. Certainly, the opening "E.S.P." is a prime example of this. Ellington composed the tune with Gonsalves in mind, and the great tenor man burns it up.
Ellington's increased reliance on/trust in co-arranger/pianist Billy Strayhorn is also evident here, as on the infectious "Telstar," where Ellington relinquishes the piano to Strayhorn after setting the mood on the intro. It is one of the marvels of the Ellington band that as the years wore on, they grew ever more tightly focused (see the deceptively simple-sounding minor key blues of "Blue, Too." That phenomenon is displayed in abundance throughout this collection.

~ Muze Inc.
2011: Ben Webster / Johnny Hodges Sextet - The Complete 1960 Jazz Cellar Session Music » Jazz » Mainstream
2011: Ben Webster / Johnny Hodges Sextet - The Complete 1960 Jazz Cellar SessionArtist: Ben Webster / Johnny Hodges Sextet
Album: The Complete 1960 Jazz Cellar Session
Label: Solar Records
Year: 1960
Release: 2011
Format, bitrate: mp3, 320kb/s
Time: 73:18
Size: 155MB

to mr. lex

This release contains the superb November 1960 session recorded by the Ben Webster - Johnny Hodges sextet in studio conditions at the Jazz cellar, in San Francisco (without an audience). It is presented here in its complete form on a single CD for the first time ever. The two great saxophonists were the only horn players heard at the session. They were backed by a rhythm section of piano, guitar, bass and drums. These recordings are exceptional in that no other date exists in their collaborative discography featuring them as the only horns. A complete (and very rare) octet session featuring Webster and Hodges has been added as a bonus.
~ Liner Notes
2007: Two Bands and a Legend Jazz-Rock, Freejazz, Avantgarde
2007: Two Bands and a Legend Artist: Two Bands and a Legend
Album: Two Bands and a Legend
Label: Smalltown Superjazzz
Year: 2005; release: 2007
Format, bitrate: mp3, 320
Size: 100 mb

"Are you cramped? Can you find your mind? Can you shake your ass?" asks Sonic Youth's guitarist Thurston Moore in his liner notes to Two Bands And A Legend. The album is the second collaboration (after Sound Like A Sandwich, Smalltown Superjazz, 2005) between Norwegian/Swedish power jazz trio The Thing, Norwegian psychedelic quartet Cato Salsa Experience (CSE) and American multi-instrumentalist and free jazz legend Joe McPhee.
Metallic guitar chords and pounding drums pierce your ears with the answer as the octet open up with a cover P. J. Harvey's "Who The Fuck". You hear the wailing saxophones of The Thing's Mats Gustafsson, along with McPhee hovering over the screaming guitars, and you look for shelter. And that's only the beginning of the aural assault. Bassist Ingebrigt Håker Flaten begins The Sonics' "The Witch" with a masterful two-minute, Kowald-ian bass workoutmolesting the battered bull fiddle with his bow, sawing repeatedly through the minimalist chord that serves as the backbone of the songbefore the other seven musicians come alongside at full throttle. Gustafsson tears down the sky with his blows, while Flaten tries to maintain the structure with precise hits of his bow.
McPhee reveals his aesthetic philosophy on Gustafsson's "Tekla Loo""hunt down the collapse of the routine"before embarking on a soulful tenor saxophone solo which leads the band into a tumultuous guitar-feedback jam. Gustafsson on baritone and McPhee on tenor begin Richard Berry's classic "Louie Louie" with a muscular blowing fight, resonating more with Peter Brötzmann's rough mode of attack than the more innocent rhythm 'n' blues of the 1960s. But the two successfully articulate the theme, complementing the shattered vocals of Cato Thomassen, before concluding their duet in a more pacified manner, to which Gustafsson adds some raw electronics.
Just as you think that this collection of wild minds can't surprise you any more, the band tenderly cover the late South African trumpeter Mongezi Feza's "You Ain't Gonna Know Me 'Cos You Think You Know Me." McPhee repeats the beautiful line on the pocket trumpet, Gustafsson vibrates his tenor, and the Experience's guitarists ornament the breezy melody with Hawaiian-style lines. Next is a cover of Gustafsson's daughter Alva Melin's "The Nut." CSE's Bård Enerstad introduces the piece with psychedelic organ abuse, reminiscent of Keith Emerson during the heyday of The Nice, before Gustafsson and McPhee storm out with breathtaking (for them, one imagines, literally) solos. James Blood Ulmer's "Baby Talk" recieves an Ornette Coleman-ish, funky-march interpretation in which thorny, angular guitar lines are set to an almost symmetrical horn choir. CSE leads the last piece, "I Can't Find My Way," a tune that sounds like the suspense theme to a cheap thriller.
"Is this superjazz? Does The Thing want to rock the fuck out?" adds Moore elsewhere on the liner notes. This disc answers all the questions with a resounding, drawn out: Yes!

~ Eyal Hareuveni, All About Jazz
1967-1968: James Brown - Say It Loud, I'm Black And I'm Proud Music » Soul

1967-1968: James Brown - Say It Loud, I'm Black And I'm Proud
Artist: James Brown
Album: Say It Loud, I'm Black And I'm Proud
Years: 1967-1968; released 1996
Label: Polydor
Format: MP3 320kbps Covers Included
Time: 33:32
Size: 79.4 MB

Although historical evaluations of James Brown's work during the last half of the '60s tend to focus on the innovative funk of his biggest hit singles, his repertoire -- both live and on record -- in fact remained pretty versatile. Like his other '60s studio albums, Say It Loud - I'm Black and I'm Proud is more R&B/pop-conscious than a lot of listeners would expect, mixing the funky monsters "Say It Loud (I'm Black and I'm Proud)" and "Licking Stick" with soul ballads. It's a notch above similar albums from earlier in the decade, however, in that the slow numbers are usually gritty slow-burns that eschew syrupy orchestration. ~ Richie Unterberger, All Music Guide

2011: Irvin Mayfield - A Love Letter to New Orleans Music » Jazz » Traditional Jazz » New Orleans Jazz
2011: Irvin Mayfield - A Love Letter to New Orleans
Artist: Irvin Mayfield
Album: A Love Letter to New Orleans
Label: Basin Street Records
Year: 2011
Format, bitrate: MP3 V0 (VBR) kbps
Time: 71:27
Size: 121 MB

The body of Crescent City trumpeter Irvin Mayfield's work might be considered "a love letter to New Orleans," and this compilation of his Basin Street Records recordings, assembled to accompany a book with each song constituting a chapter (it is available as a stand-alone CD and in a CD/book package), certainly makes that case. Drawing from such albums as Love Songs, Ballads and Standards (a duo collection with Ellis Marsalis), Half Past Autumn Suite, and Strange Fruit, plus Mayfield's work with the group Los Hombres Calientes, the music ranges from traditional N.O. "Indian" chants and second-line playing to straight-ahead jazz. Mayfield's different projects make for a range of music that is almost too varied. Strange Fruit, for instance, is a concept album about a 1920s lynching, and music from it sits oddly beside, say, the version of Leon Russell and Bonnie Bramlett's "Superstar" from the Ellis Marsalis album. But it all relates to New Orleans somehow, and the album gives a good sense of Mayfield's recorded accomplishments so far.
~ William Ruhlmann, All Music Guide
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