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Jazz Blues Club » Articles for 06.09.2011
2004: Dennis Gonzalez NY Quartet - NY Midnight Suite Music » Jazz » Modern Jazz » Avantgarde
2004: Dennis Gonzalez NY Quartet - NY Midnight Suite Artist: Dennis Gonzalez NY Quartet
Album: NY Midnight Suite
Label: Clean Feed Records
Year: 2003, release: 2004
Format, bitrate: mp3, 320
Size: 157 mb
AMG Rating: 2004: Dennis Gonzalez NY Quartet - NY Midnight Suite 2004: Dennis Gonzalez NY Quartet - NY Midnight Suite

Underground Texas trumpet legend Dennis Gonzalez came out of retirement in 1999 and assembled a trio with his two sons. In 2003, he was approached by Dave Douglas and Roy Campbell to come to New York and be part of a trumpet festival at Tonic. The participants included Graham Haynes, Bill Dixon, Raphe Malik, Cuong Vu, Matt Lavelle, Lewis Barnes, and others. The band Gonzalez assembled for this evening was a magical one, with Ellery Eskelin, Mark Helias, and drummer Michael T.A. Thompson. 35 minutes of that set was captured on tape and makes up the three pieces on the second half of this recording. The other half is the magical three-part, "NY Midnight Suite," presented in reverse order, recorded two days later in a studio. Together these halves prove that lightning can indeed strike twice. For all of the "out jazz" credentials of its participants, this band considers an ensemble vibe that digs for the heart of lyric harmony, no matter where it is to be found. They swing, stroll, sing, sweep, wail and weep on these sides, and the listener is captivated from beginning to end. The solid support given by Helias and Thompson to the interplay between the horns is remarkable for its fluency and fluidity, and in its commitment to keep the music traveling,. The deference and willingness of the front line is quite literally stunning, in places, full of soul and fire. Highly recommended.
~ Thom Jurek, All Music Guide
2008: Curtis Fuller - Complete Savoy Recordings (3 CD) Music » Jazz » BeBop » Hard-bop
2008: Curtis Fuller - Complete Savoy Recordings (3 CD)Artist: Curtis Fuller
Album: Complete Savoy Recordings (3 CD)
Label: Lone Hill Jazz
Year: 1957-1960
Release: 2008
Format, bitrate: mp3, 320kb/s
Size: 158, 163, 144MB

Although Curtis Fuller remains somewhat underrated, he is nevertheless considered among the best jazz trombonists ever - and also worked with many top jazz stars as John Coltrane, Donald Byrd, Milt Jackson, Cannonball and Nat Adderley.
The complete recordings Curtis Fuller made for the Savoy label under his own name, comprising five complete quintet/sextet albums and all the known alternate takes. Contains the complete LPs Jazz: It's Magic, Blues-ette, Arabia, Imagination and Images of Curtis Fuller. Features musical backing from Thad Jones, Lee Morgan, Benny Golson, Yusef Lateef, Sonny Redd, Tommy Flanagan, Wynton Kelly, McCoy Tyner, Jimmy Garrison, Paul Chambers, Milt Hinton, Louis Hayes, Dave Bailey and Charlie Persip.

~ Lonehill
1993: Al Jarreau - Tenderless DVDRip Music video
1993: Al Jarreau - Tenderless  DVDRip
Artist: Al Jarreau
Album: Tenderless DVDRip
Label: Rhino
Year: 1993; release: 1994
Video : Format XviD, Resolucion 640 x 464
Audio: Mp3, Britrate 192
Suze: 850 Mb
Total time: 59:21

Contemporary jazz artist Al Jarreau manages to combine the advantages of both the studio and the live venue in Al Jarreau: Tenderness, which features a small group of fans and friends invited to watch Jarreau record several songs inside of a Los Angeles studio. In hopes of mixing the professionalism of a studio recorded album with the excitement of performing live, Tenderness results in a rendition of Jorge Ben's "Mes que mada," as well as Goffin & King's "Go Away Little Girl." Also notable is a duet performance of Rodgers & Hammerstein's "My Favorite Things", sung with none other than opera diva Kathleen Battle. ~ Tracie Cooper, Rovi
fellow
1993: Clusone 3 - I Am An Indian Music » Jazz » Modern Jazz » Avantgarde

1993: Clusone 3 - I Am An Indian
Artist: Clusone 3
Album: I Am An Indian
Label: Gramavision
Year: 1993; release: 1994
Format: FLAC
Size: 378,52 mb
Total time: 1:07:26


The trio of Michael Moore (on clarinet, alto and bass clarinet), cellist Ernst Reijseger and percussionist Han Bennink mixes together very explorative playing with a full knowledge of the tradition and a wacky sense of humor. For the often-eccentric series of live performances, the trio alternates group originals with works from Duke Ellington, Irving Berlin, Herbie Nichols, Dewey Redman, Bud Powell and Misha Mingelberg. This is one of the most accessible of all avant-garde groups due to the humor and there are many highlights to the enjoyable (if nutty) program. ~ Scott Yanow, All Music Guide
1959 - 1960: James Brown - Think Music » Blues » Rhythm-n-Blues
1959 - 1960: James Brown - Think
Artists: James Brown & The Famous Flames
Album: Think
Label: Polydor
Year: 1959-1960; release: 1996
Formate,bitrate: mp3, 256 kb/s
Size: 58.65 MB (with artwork)



James' third album (his first for King) features 1960-era James Brown, moving from King's Federal subsidiary to the parent label with the hits "Bewildered," "If You Want Me," "You've Got the Power," "I'll Go Crazy," "Baby You're Right" (co-written with Joe Tex), and "I'll Never, Never Let You Go." Although Brown's albums would soon be interchangeable, the same cuts reappearing again and again, this is one of his better efforts as well as a pivotal point in his career. ~ Cub Koda, All Music Guide
1999: Bill Evans Trio - Sunday at the Village Vanguard Music » Jazz » BeBop » Post-bop
1999: Bill Evans Trio - Sunday at the Village Vanguard
Artist: Bill Evans Trio
Album: Sunday at the Village Vanguard
Label: Riverside - JVC(xrcd) Edition
Year: 1961; release: 1999
Format: Flac (eac, cue, log)
Time: 69:46
Size: 444 MB (full artwork)
AMG Rating: 1999: Bill Evans Trio - Sunday at the Village Vanguard 1999: Bill Evans Trio - Sunday at the Village Vanguard

Sunday at the Village Vanguard is the initial volume of a mammoth recording session by the Bill Evans Trio, from June 25, 1961 at New York's Village Vanguard documenting Evans' first trio with bassist Scott LaFaro and drummer Paul Motian. Its companion volume is Waltz for Debby. This trio is still widely regarded as his finest, largely because of the symbiotic interplay between its members. Tragically, LaFaro was killed in an automobile accident ten days after this session was recorded, and Evans assembled the two packages a few months afterward. While "Waltz for Debby" -- in retrospect -- is seemingly a showcase for Evans' brilliant, subtle, and wide-ranging pianism, this volume becomes an homage, largely, to the genius and contribution of LaFaro. That said, however, this were never the point. According to Motian, when Evans built this trio based on live gigs at the Basin Street East, the intention was always to develop a complete interactive trio experience. At the time, this was an unheard of notion, since piano trios were largely designed to showcase the prowess of the front line soloist with rhythmic accompaniment. Here, one need listen no further than the elegant and haunting, graceful modal reading of "My Man's Gone Now" from Porgy & Bess to know that there is something completely balanced and indescribably beautiful in their approach. Motian's brushes whisper along the ride cymbals and both Evans and LaFaro enter into a dialogue that emerges from a darkly hued minor mode, into the melody and somehow beyond it, into a form of seamless dialogic improvisation to know that in the act of one musician slipping over and under another -- as happens with all three in an aural basket weave -- is something utterly new and different, often imitated but never replicated. But in a sense it happens before this, on LaFaro's "Gloria's Step," which opens the recording. His thematic statement includes the briefest intro, hesitant and spacious before he and pianist enter into a harmonic and contrapuntal conversation underscored by the hushed dynamics of Motian's snare, and the lightning-fast interlocutions of single string and chorded playing of LaFaro. The shapshifting reading of Miles Davis' "Solar," is a place where angularity, counterpoint, and early modalism all come together in a knotty and insistent, yet utterly seamless blend of post-bop aesthetics and expanded harmonic intercourse with Motian, whose work, while indispensable in the balance of the trio, comes more into play here, and is more assertive with his half-time accents to frame the counterpoint playing of Evans and LaFaro. This is a great place to begin with Evans.
~Thom Jurek, All Music Guide
1986: Sonny Rollins - G-Man Music » Jazz » BeBop » Post-bop
1986: Sonny Rollins - G-Man
Artist: Sonny Rollins
Album: G-Man
Label: Milestone Records
Year: 1986; release: 2008
Quality: MP3@320 kbps
Size: 102.02 mb
Total time: 44:43
AMG rating 1986: Sonny Rollins - G-Man


The soundtrack to the performance film Saxophone Colossus features long Sonny Rollins tenor solos on "G-Man" and "Don't Stop the Carnival" and a briefer one during "Kim." Joined by his usual quintet of the era (trombonist Clifton Anderson, pianist Mark Soskin, electric bassist Bob Cranshaw and drummer Marvin "Smitty" Smith), Rollins is in good form, saying little that it is new but delivering passionate messages with his typical spirit; the video is worth getting too.
~ Scott Yanow, All Music Guide
1968: Terje Rypdal - Bleak House Music » Jazz » Fusion

1968: Terje Rypdal - Bleak House
Artist: Terje Rypdal
Album: Bleak House
Label: Polydor
Year: 1968
Format, bitrate: MP3 @ 160Kbps (LP-rip)
Time: 33:07
Size: 39 Mb

Despite the title, this is some very warm and friendly early jazz-rock work from the brilliant Norwegian guitarist/composer. (This album originates from prior to Rypdal joining ECM, and is on Polydor Norway.) Recorded in 1968 with longtime collaborator Jan Garberek on sax & flute, this music features a large horn section, excellent bass work, and lots of rich/tasteful Hammond playing. Though only 21 at the time, Rypdal was already making incredibly mature, smooth and sophisticated music which - though sounding very 60's - still plays well today. Light-Latin and blues influences are heard; along with big-band arrangements that are by turns tightly arranged and charmingly loose. Rypdal hadn't quite developed his signature guitar style yet - here he blends Wes Montgomery and Hank Marvin to wonderful effect. ~ Rik K, Amazon.com
2006: Norman Granz' Jazz In Montreux Presents: Ella Fitzgerald & Tommy Flanagan Trio 77 Music video
2006: Norman Granz' Jazz In Montreux Presents: Ella Fitzgerald & Tommy Flanagan Trio 77Artist: Ella Fitzgerald & Tommy Flanagan Trio
Album: Ella Fitzgerald & Tommy Flanagan Trio 77
Label: Eagle Eye Records
Year: 2006
Format, bitrate: DVDrip, AVI
Time: 51 min.
Size: 700 MB

to my friend lex! enjoy!



This 1977 concert with Ella's regular backing group, the Tommy Flanagan Trio, is part of the is part of the Norman Granz Jazz in Montreux series.
Recorded live at the 1977 Montreux Jazz Festival, Ella Fitzgerald and longtime piano accompanist Tommy Flanagan cruise through a selection of classic jazz standards like "Come Rain Or Come Shine," as well as more contemporary fare, like Stevie Wonder's "You Are the Sunshine of My Life."
1959: Count Basie & His Orchestra - Fresno, California April 24, 1959 Swing, Mainstream
1959: Count Basie & His Orchestra - Fresno, California April 24, 1959
Artist: Count Basie & His Orchestra
Album: Fresno, California April 24, 1959
Label: Jazz Unlimited
Year: 1959; release: 2001
Quality: MP3@320 kbps
Size: 147 mb
Total time: 68:17


The Count Basie Orchestra is heard on this set playing live in Fresno in 1959 during the peak of their "atomic period." The purely instrumental set (released for the first time on this 1993 CD) features such fine soloists as trumpeters Thad Jones and Joe Newman, trombonist Al Grey, altoist-flutist Frank Wess and the tenors of Frank Foster and Billy Mitchell. However, it is the arrangements by Neal Hefti, Foster, Jones and Quincy Jones that gave the band its personality. Most of the selections were recorded by the Basie Orchestra at other times, but these spirited versions, with their very different solos, will be savored by Basie's fans. Highlights include "A Little Tempo Please," "Whirly-Bird," "Jessica's Day" and "Corner Pocket." ~ Scott Yanow, All Music Guide
2003: Spring Heel Jack - Live Music » Jazz » Modern Jazz » Avantgarde
2003: Spring Heel Jack - Live Artist: Spring Heel Jack
Album: Live
Label: Thirsty Ear Recordings
Year: 2003
Format, bitrate: mp3, 320
Size: 170 mb
AMG Rating: 2003: Spring Heel Jack - Live

John Coxon and Ashley Wales -- aka Spring Heel Jack -- have been mucking about melding their progressive electronic drum'n'bass experiments with jazz and improvising musicians from the United States and Europe. Two recordings, Masses and Amassed, were released in Thirsty Ear's Blue Series; a third focuses on a live presentation of their ambitious sonic inquiries, where electronic meets organic and blurs the seams to create something entirely different. Performing with Matthew Shipp playing an electric Fender Rhodes piano, bassist William Parker, British sax king Evan Parker, drummer Han Bennink, and Spiritualized guitarist and frontman J. Spaceman, Coxon and Wales (himself a classical composer some years ago) have seemingly done the impossible, taking what is made on the spot and treating, warping, spindling, and manipulating it into a creature that may not resemble itself, but does indeed feel like something that lives, breathes, pulses, whispers, bleats, shouts, cries, and whimpers. Something wholly other that is neither jazz nor pure improv nor electronica, this attains the goal of live music itself -- as a thoroughly engaging experience for musicians and audience alike.
Quotes from great jazz masterpieces like "In a Silent Way" and "Naima" are touched upon, as are forgotten pop hits such as "Little Green Apples," morphing from one individual's voice to another's seamlessly and without communicative strain. Dynamics occur naturally, as do changes in pace, tempo, and harmonic architecture. Given that there are two different pieces here, each over half an hour in length, this pace and focus are hard to keep, but the way Spring Heel Jack treats its collaborators' improvising schemes and mirrors them back, stretching them out against time and pulling them forward, allows for more space, more room for rhythm to assert itself. Bennink and William Parker do this with a vengeance on the extended opening to "Part Two," going on for over eight minutes before the rest of the band comes in. It's not just a dialogue they develop between the bass, drums, and ambience, but language itself. Before they are halfway done, they begin to speak with one voice as a rhythmic solo. When the rest of the band enters, it's fast and furious before breaking down into smaller parts of singles and pairs to meet the language previously created and engage it in dialogue, even while quoting from earlier sources -- "A Love Supreme" is one, a boogie-woogie version of "Harlem Nocturne" is another, while "Lennie's Pennies" is still another. This is fascinating stuff to say the least, and devastatingly original at its best. Highly recommended.

~ Thom Jurek, All Music Guide
1998: Hoagy Carmichael 1927-1939 Dixieland, Classic Jazz
1998: Hoagy Carmichael 1927-1939
Artist: Hoagy Carmichael
Album: 1927-1939. featuring: Louis Armstrong, Paul Whiteman, Jean Goldkette, The Cotton Pickers
Label: Timeless
Year: 1927-1939; release: 1998
Format: Flac
Time: 66:19
Size: 225 Mb

Hoagy Carmichael 1927 - 1939~ Hoagy Carmichael is a pleasent enough recording of early jazz. I am not a huge fan of jazz music and giving this album four stars is quite generous on my behalf. Still and all Carmichael was a very tallented muisician and the lyrics written by several lyricists are sometimes quite tricky to understand. One has to bear in mind that the "shoddy" sound quality is due to these recordings being recorded almost 80-90 years ago and that is why they do not sound as crisp as later recordings during the 20 th century. I love the book-let and the liner notes are well done. The story behind some of the tracks are quite well written. I like the photo on the cover and this is nice to try something new once in a while. So if you are not affraid to try something that is quite different from the jazz of today and compared to other music for that matter and manner then try this album. Reviev by Bjorn Viberg (amazon.com)
2011: The Greg Foat Group - Dark Is The Sun Freejazz, Avantgarde
2011: The Greg Foat Group - Dark Is The Sun
Artist: The Greg Foat Group
Album: Dark Is The Sun
Label: Jazzman
Year: 2011
Format, bitrate: mp3, 320 kb/s
Time: 37:28
Size: 86.27 MB

To catch the attention of our discerning, critical and cynical ears, any demos that people send to us here at Jazzman have to be pretty damn good. Yes they all get listened to, but very few make it this far as an official Jazzman CD and vinyl release. In fact the last time we released some recently-recorded music was a couple of years ago with the Natural Yogurt Band, which we were happy to see become an instant success.

You see, were quite fussy because in this day and age we cant afford to lose money by putting out a so-so record. We also have to like it a LOT, not just because well have to listen to it over and over again, but because we want you to too! So here is our next attempt at world domination, the debut album by The Greg Foat Group.

Recorded in Sweden, Dark is the Sun is a concept album based on themes and variations by British pianist/composer/arranger Greg Foat, who has created an intriguing blend of non-contemporary jazz sounds with classic scoring techniques. An exotic array of unorthodox instrumentation was utilized, including harpsichord, tubular bells and a 15 piece choir. With musical reference and influence from such luminaries as Bruno Nicolai, Michel Legrand and Serge Gainsbourg as well as a firm nod towards UK jazzmen Michael Garrick, Keith Mansfield and Alan Hawkshaw, the result is highly-listenable, enduring and fulfilling for those who like real music played with real instruments.
~ www.jazzmanrecords.co.uk
1959: Dinah Washington - What a Diff'rence a Day Makes! Music » Jazz » Vocal Jazz

1959: Dinah Washington - What a Diff'rence a Day Makes!
Artist: Dinah Washington
Album: What a Diff'rence a Day Makes!
Label: Mercury - MFSL Edition
Year: 1959; release: 1997
Format: Flac (eac, cue, log)
Time: 32:43
Size: 218 MB (full artwork)
AMG Rating: 1959: Dinah Washington - What a Diff'rence a Day Makes!

One of the more notorious albums in the history of vocal music, What a Diff'rence a Day Makes! is the lush session that bumped up Dinah Washington from the "Queen of the Blues" to a middle-of-the-road vocal wondress -- and subsequently disenfranchised quite a few jazz purists. Washington had been praised in the same breath as Holiday and Fitzgerald for more than a decade, but Mercury nevertheless decided to back her with mainstream arrangements (by Belford Hendricks), heavy strings, and wordless vocal choruses similar to the radio hits of the day. Apparently, the mainstream backings didn't faze Washington at all; she proves herself with a voice as individual and evocative as ever. To be honest, the arrangements are quite solid for what they're worth; though it's a bit jarring to hear Washington's voice wrapped in sweet strings, the effect works well more frequently than not. Most of the songs here are familiar standards ("I Remember You," "I Thought About You," "Cry Me a River," "Manhattan," "Time After Time"), but they've been transformed by Washington as though they'd never been sung before. The Top Ten title track is by no means the best song on the album, but its title proved prophetic for Washington's career. Though her vocal style hadn't changed at all, one day she was a respected blues singer; the next, according to most of the jazz cognoscenti, she had become a lowbrow pop singer. Thankfully, the evidence against Washington's "transformation" is provided right here.
~John Bush, All Music Guide
1979: . . - /N.Gromin and A.Kuznetsov - Jazz Compositions Music » Jazz » Mainstream
1979: .  .  -   /N.Gromin and A.Kuznetsov - Jazz Compositions
Artists: N.Gromin and A.Kuznetsov
Album: Jazz Compositions
Year: 1979
Label]: Melodia
Quality: 320 kbps (LP-rip)
Total Time: 6:20
Total Size: 85 mb

ne of the most popular jazz musicians in Russia, guitar player Alexey Kuznetsov. Like most of the most popular jazz musicians, he is not an innovator or a radical experimenter. He is a true keeper of the traditions of jazz guitar, and a great educator who keeps the art of playing the jazz guitar alive.
Alexey Kuznetsov appeared on the jazz stage in the 1960s, in a duo with an older guitar player Nikolay Gromin. It wasn't until the late 1970s, when Kuznetsov became less associated with Gromin and more appreciated as a leader. In was in the 1980s when he enjoyed a large popularity: the Soviet Nationalwide TV even featured this jazz guitar player in a 60-minutes film which was aired more than once.
In this week's Russian Jazz Podcast, Jazz.Ru editor Cyril Moshkow tells the story of Alexey Kuznetsov. We also listen to a 1987 live recording of Victor Young's "Stella By Starlight" performed by his trio with electric bass player Alex Rostotsky and American drummer Daniel Martin, from Kuznetsov's 1987 live album, "Live In The Olympic Village", just reissued by Melodiya label.

(by Cyril Moshkow)

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2000: Rosemary Clooney - Brazil (with John Pizzarelli) Vocal Jazz, Brazilian Jazz
2000: Rosemary Clooney - Brazil (with John Pizzarelli)
Artist: Rosemary Clooney
Album: Brazil (with John Pizzarelli)
Label: Concord Jazz
Year: 1999 & 2000; release: 2000
Format: Flac (eac, cue, log)
Time: 61:01
Size: 409 MB (full artwork)

As one of the most loved jazz vocalists, modern jazz heroines, and prolific vocalists, Rosemary Clooney gives a very beautiful and feminine side to Brazilian jazz on Brazil, a sensitive musical feeling of 16 ripe standards. This wonderful collection is dedicated to Antonio Carlos Jobim, Frank Sinatra, and Nelson Riddle through her amazing ambience of sensitive phrasing, lovely nuance, and splendid rhythmic shadings. Rosemary Clooney is joined by the lovely Diana Krall on "Boy from Ipanema" in a stunning vocal duet accompanied by Oscar Castro-Neves on guitar. John Pizzarelli sings "Wave," with the light, airy brilliance of a light kept burning throughout the night, and duets with Clooney on "Desafinado," "One Note Samba," "Let Go," "Dindi," and the reprise of the title track, "Brazil." Together they bring a redefined sensitivity and captivation to these Brazilian standards through their excellent harmony and melodic concepts. The songs included on Brazil display the musical integrity, wisdom, and depth of Rosemary Clooney on songs that have withstood the test of popular culture and time.
~ Paula Edelstein, All Music Guide
2008: Bebo Valdés & Chucho Valdés - Juntos Para Siempre Latin, Afro-Cuban Jazz
2008: Bebo Valdés & Chucho Valdés - Juntos Para Siempre
Artist: Bebo Valdés & Chucho Valdés
Album: Juntos Para Siempre
Label: Ariola Germany
Year: 2008
Format, bitrate: flac
Size: 210M

"Latin Grammy" - . Bebo Valdes.

Juntos Para Siempre ("Together Forever") is the title of a studio album released by the Cuban jazz performers Bebo Valdés and Chucho Valdés on November 11, 2008. Bebo Valdés along with his son Chucho, play on their pianos classics songs of Latin American music, "Tres Palabras", "Son de la Loma", "Sabor a Mí", "Lágrimas Negras" and "La Gloria eres Tú", along some original songs. The album was recorded after the performers were separated for several years. Bebo Valdes stated that he thought that he would never see his son again, but with finally the had the opportunity to be together and record it; it was a "reward for all those years of uncertainty."
Bebo Valdés and Chucho Valdés received the Grammy Award for Best Latin Jazz Album at the 52nd Grammy Awards in 2010; they also won the Latin Grammy Award on the same field.
~ Wikipedia.org
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