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Jazz Blues Club » Articles for 09.09.2011
2003: Claus Ogerman & Michael Brecker - Cityscape Music » Jazz » Fusion » Contemporary Jazz
2003: Claus Ogerman & Michael Brecker - Cityscape
Artists: Claus Ogerman & Michael Brecker
Album: Cityscape
Label: Warner Bros / Rhino
Year: 1982; release: 2003
Format: Flac (eac, cue, log)
Time: 53:46
Size: 357 MB (full artwork)
AMG rating 2003: Claus Ogerman & Michael Brecker - Cityscape

Composer/arranger Claus Ogerman creates a lush orchestration of jazz and classical backgrounds for Michael Brecker's beautiful tenor saxophone playing. Cityscape is without a doubt one of the best recordings Ogerman ever made. ~ Paul Kohler, All Music Guide

German-born composer and arranger Claus Ogerman, born in 1930, must rank as one of the most versatile musicians of the twentieth century. When he was at his peak in the 1970s, writing everything from ballet scores to arrangements for Brazilian composer Antonio Carlos Jobim, diva Barbra Streisand, and jazz/R&B saxophonist George Benson, there was hardly a radio station on the dial where his music wasn't heard during the course of a typical day -- and he's still quite active. The key to his success has been his ability to stay in the background behind the musician he's working with and yet create something distinctive. This 1982 collaboration with the late jazz saxophonist Michael Brecker is one of his most successful works, not least because the overlap between the extended harmonies of jazz and the chromaticism of the late German Romantic polyphony in which Ogerman was trained is large enough to allow Brecker to operate comfortably -- his improvisations seem to grow naturally out of the background, and the intersections between jazz band and orchestral strings come more easily here than on almost any other crossover between jazz and classical music. The mood is nocturnal and reflective. Brecker at this point had not yet made an album as a bandleader; he was primarily known to those who closely followed jazz and R&B session musicians. The album was originally billed as a release by Claus Ogerman with Michael Brecker. Yet notice how skillfully Ogerman eases the fearsomely talented young saxophonist into the spotlight. The highlight of the album is a three-part suite called In the Presence and Absence of Each Other, and in its middle movement, track 5, the saxophone is silent until about a minute before the end -- yet everything in the piece leads up to this magical explosion of lyricism. The packaging describes this album as a "virtual concerto for saxophone and orchestra with jazz rhythm section," but it's a little more complicated than that -- actually, it's a concerto for jazz band, with saxophone leader, and orchestra. That creates several layers, and it is precisely in handling these layers where jazz/classical crossovers tend to fail -- and where Ogerman succeeds. A very sweet experience for listeners from either side of the divide.
~James Manheim, All Music Guide
1948: Duke Ellington - Cornell University: Second Set Music » Jazz » Swing
1948: Duke Ellington - Cornell University: Second Set
Artist: Duke Ellington
Album: Cornell University: Second Set
Label: Music Masters
Year: 1948, release: 1996
Quality: MP3@320 kbps
Size: 122 mb
Total time - 56:52
REPOST by request

Over the years, Ellington made private tapes of many of his countless concerts. A good portion of these previously unavailable masters are now receiving official and long-awaited release. This second half of a 1948 concert at Cornell University (the first half is available on a separate disc) finds the Orchestra in typically outstanding form, with powerhouse performances by Ray Nance, Johnny Hodges, Jimmy Hamilton, Harry Carney, and Sonny Greer.

SECOND SET's rich, varied, and well-sequenced program includes many wonderful pieces that eventually-and inexplicably-disappeared from the group's repertoire. The disc opens with "Manhattan Murals," a musical portrait-of the city as seen from the A-Train-that features piano segments by Duke and the Orchestra's characteristically lush and sensitive timbres. Rocking blues numbers such as "Hy'a Sue" and "Tootin' Through The Roof" are interspersed with exotic pieces like "Fantazm" and warm, emotional gems like Billy Strayhorn's "Brown Betty," culminating in the smashing finale of "Limehouse Blues." The Duke lives up to his reputation with this outstanding concert recording.
1935-1938: Johnnie Temple - Complete Recorded Works In Chronological Order Vol. 1 Music » Blues » Acoustic blues
1935-1938: Johnnie Temple - Complete Recorded Works In Chronological Order Vol. 1
Artist: Johnnie Temple and the Harlem Hamfats (Joe McCoy)
Album: Johnnie Temple Vol. 1 (1935-38)
Label: Document
Year: 1935-38 ; release: 1990s
Format, bitrate: mp3; VBR
Time: 1 hour
Size: 49.2 MB

Vocal-focused blues by friend of Robert Johnson and Skip James - the direct link between the two in fact.
1958: Maynard Ferguson - A Message From Newport Music » Jazz » BeBop » Hard-bop
1958: Maynard Ferguson - A Message From NewportArtist: Maynard Ferguson
Album: A Message From Newport
Label: Roulette
Release: 1958
Format, bitrate: mp3, 320 kBit/s
Size: 96 mb
Total time: 44:18
REPOST with a new link from Mr.Gibson L5

A fantastic set from the 1958 Newport Jazz Festival featuring Maynard and a cast of many along for the ride.

Trumpeter Maynard Ferguson leads his big band in a fiery date recorded in 1958, not at the Newport Festival but in New York. He was playing no-holds-barred, straight-ahead jazz at this time, and doing it with gusto. The band included Bill Chase in his pre-fusion period, Slide Hampton, and Carmen Leggion, and had a good mix between veterans and emerging youngsters. This material has been reissued on Fresh Sound and Roulette CDs. ~ Ron Wynn, All Music Guide
1962: Ella Fitzgerald - Ella Sings Broadway Music » Jazz » Vocal Jazz
1962: Ella Fitzgerald - Ella Sings Broadway
Artist: Ella Fitzgerald
Album: Ella Sings Broadway
Label: Verve (Master Edition)
Year: 1962, release : 2001
Size: 72,3mb
Total time: 33:45
REPOST by request

Ella Fitzgerald combined forces with a studio orchestra conducted and arranged by Marty Paich for this 1962 studio session covering selections from hit Broadway productions, featuring compositions by Rodgers & Hammerstein, Lerner & Loewe, Adler & Ross, and Frank Loesser. While the arrangements feature brief ensemble passages, the songs are a vehicle for the singer and are deliberately brief. Surprisingly, few of these Broadway tunes became standards for jazz singers. "Hernando's Hideaway" found favor with Fitzgerald and she added it to her repertoire for time; this version is entertaining with a prominent role for the bass clarinet, though it is somewhat hampered by its rather mundane lyric. The campy "Steam Heat" is inevitably associated with Shirley McClaine, but Ella makes a good effort on a number that would be considered a misfit by most of her fans. "If I Were a Bell" is fairly swinging; while the swinging "Almost Like Being in Love" is clearly the gem of the date, although both songs feature a distracting backup vocal group that should have been omitted. Ella's enthusiasm and spirited vocals carry the day on this fun-filled CD. ~ Ken Dryden, All Music Guide
1987: A.C. Reed - I'm in the Wrong Business ! Blues, Modern electric blues
1987: A.C. Reed - I'm in the Wrong Business !Artist: A.C. Reed
Album: I'm in the Wrong Business!
Label: Alligator records
Year:rec. / rel. 1987
Format:MP3 @ 320 Kb/s
Time: 49:52
Size: 115 Mb
AMG rating:1987: A.C. Reed - I'm in the Wrong Business !1987: A.C. Reed - I'm in the Wrong Business !

To my friends in JBC! Please enjoy.

A.C. Reed may joke about being in the wrong business, but one listen to this record will reveal a man still in love with his music after a lifetime in blues.

He's been called "the definitive Chicago blues sax player," and has been in constant demand for both recording and live shows with such artists as Albert Collins, Muddy Waters, Buddy Guy, The Rolling Stones, Eric Clapton, Son Seals, Earl Hooker and Bonnie Raitt. Described by The Nashville Tennessean as "the kind of guy that could get an audience of librarians stompin' and screaming," A.C. has finally captured that excitement on vinyl with I'm In The Wrong Business! It's an irresistable package of contemporary blues rooted firmly in the Chicago tradition.

While known primarily as an eminently soulful tenor saxophonist, A.C. also showcases his wryly humorous songwriting and gritty vocals on this album. Those talents will come as no surprise to those who know him from his long associations with Albert Collins and Buddy Guy, or from his criss-crossing the country with his road band, The Spark Plugs. Written and produced by A.C., I'm In The Wrong Business! features members of his own band as well as long-time admirers like Stevie Ray Vaughan and Bonnie Raitt. Above all else, this record demonstrates why A.C. has long been one of the most respected musicians in the blues world.
1958/1959: Sammy Davis, Jr. & Carmen Mcrae On Decca - Boy Meets Girl 2LP/1CD Music » Jazz » Vocal Jazz
1958/1959: Sammy Davis, Jr. & Carmen Mcrae On Decca - Boy Meets Girl  2LP/1CD
Artists: Sammy Davis Jr and Carmen McRae
Album: Porgy & Bess/ Boy Meets Girl 2LP/1CD
Label: Verve/Decca
Years: 1958/1959; release: 2005
Quality: MP3@320 kbps
Size: 176 mb
Total time: 77:00
By request

Verve's Boy Meets Girl: Sammy Davis, Jr. & Carmen McRae on Decca documents the two late-'50s records featuring duets between Sammy Davis, Jr. and Carmen McRae. 1958's Boy Meets Girl has both singers on all the tracks, while 1959's Porgy and Bess is Sammy's show all the way as McRae is on only a couple of songs. Boy Meets Girl is the more pleasurable of the two albums as the duo tackles some of the best tunes big-time writers like Cole Porter, Hoagy Carmichael, and Jerome Kern had to offer, classics like "You're the Top," "Cheek to Cheek," "A Fine Romance," and "Two Sleepy People." Swinging easily throughout, they sound like two pals who are having the time of their lives (the amazing photos in the CD booklet seem to bear this out). Sammy goofs his way through the album, casting asides like a wisecracking kid, while Carmen sails along like the consummate pro she always was. They achieve a perfect balance between sophisticated charm (McRae) and eager-to-please hamminess (Davis), and the record is a joy from beginning to end. Of particular note are their take on "Baby, It's Cold Outside" (where Sam cracks up Carmen a couple of times), the very romantic "There's a Small Hotel" (which shows the pair weren't all laughs but had some emotional depth too), and their lighthearted romp through "You're the Top." With no weak tracks, the album should rate right up there with any vocal duet album made. The Verve collection adds the cha cha novelty tune "I Go for You," a non-LP side, for good measure. Porgy and Bess presents more of a challenge to their fan bases as the record is piled to the sky with strings, harps, choruses, and pillowy orchestration. On "Summertime" Carmen is nearly drowned out by the orchestra and Sammy has to beat back the orchestra and vocal chorus on too many occasions. He's usually up for it, though; his voice has a magnificent power that might surprise people who know him as just a wisecracking hipster. Listen to him tackle "Bess, You Is My Woman Now" or dazzle his way through "There's a Boat Dat's Leavin' Soon for New York"; it's the sound of a man holding nothing back. Carmen shines too on a dramatic "My Man's Gone Now" that shows what a great interpreter she was, and the pair's one duet on the record, "I Loves You Porgy," manages to be sweet despite the overbearing strings. The best tracks on the record are Sammy's romp through "A Woman Is a Sometime Thing" and his storming "I Got Plenty o' Nuttin'," tracks that have some energy and jazz pulsing behind the stifling strings and choruses. Call the record an admirable effort or a qualified success. It never really succeeds as an enjoyable listening experience, because the arrangements are just too proper and academic. They serve to bury the emotion behind the words and weaken the power of the melodies. Credit Sammy and Carmen for holding up their end of the deal. You just have to wonder how much better the record could have been if the arrangements were looser, if there were some swing involved. Despite the problems one might have with Porgy and Bess, the pairing of these two albums is a long-awaited treat to fans of both singers. ~ Tim Sendra, All Music Guide
1964: Andre Previn - Love Walked In Music » Jazz » Mainstream
1964: Andre Previn - Love Walked InArtist: Andre Previn
Album: Love Walked In
Label: RCA Camden, CAS 792 (e)
Year:rec. / rel. 1964
Format:MP3 @ 320 Kb/s (my own vinyl rip)
Size: 67.5 Mb

To my friends: lex, ninikoo, BlackB! Please enjoy this very rare LP.
REPOST with track#2!!

Previn plays pop! Here, for sheer listening enjoyment, is a lilting collection of standard favorites played in the delightful pop style of versatile pianist Andre Previn.
In this album, vintage "early" Previn plays the kind of piano that brought him to fame. Here's the light, sparkling style that is as distinctively Previn as his fingerprints.
Still in his early thirties, Andre Previn has to date garnered an impressive array of awards for his amazing musical skill.
For the unique "pop" style that first established him as one of the masters of the keyboard, try this collection-in the opinion of some, among the best "sides" he's ever cut. (from LP )

1985: Dave Grusin and Lee Ritenour - Harlequin Music » Jazz » Fusion » Crossover Jazz
1985: Dave Grusin and Lee Ritenour - Harlequin
Artist: Dave Grusin / Lee Ritenour
Album: Harlequin
Label: GRP
Year: 1985
Format, bitrate: Mp3, 320 Kbps
Time: 46:56
Size: 107 Mb
AMG rating: 1985: Dave Grusin and Lee Ritenour - Harlequin

Although Lee Ritenour and Dave Grusin had been working together for a decade, Harlequin is regarded by the two musicians as their first genuine recorded collaboration, whereby from original concept, through selection of tracks and personnel to arrangements and mixing, it was truly a joint effort.

Ivan Lins and Ritenour almost save the day.
~ Ron Wynn, All music Guide
1989: Gary Bartz - Reflections Of Monk - The Final Frontier Music » Jazz » BeBop » Post-bop
1989: Gary Bartz - Reflections Of Monk - The Final Frontier
Artist: Gary Bartz
Album: Reflections Of Monk - The Final Frontier
Label: Steeplechase
Year: 1989
Format, bitrate: Mp3, 320 kbps
Time: 62:14
Size: 142 Mb
AMG rating: 1989: Gary Bartz - Reflections Of Monk - The Final Frontier

"Well, Monk, like any great composer from Beethoven on, John Coltrane, Duke Ellington, Mingus, Mozart any great because, see, I don't know for me, it's musicians. It's not genre, it's music. And so I studied music. But any great composer, their songs are lessons. But I'll say any great song is a lesson, which is what makes that song a hit and makes it so popular, is that there is something about that song that no one ever heard before, and so this is a new thing you have to learn. And so each song now, I realize with Monk and Trane, especially, and then when I go back, I see it with other musicians, too, is if you have a musical problem, the best way to work that problem out is to write a piece of music addressing that problem. And so then when you learn that particular piece of music, you then have added something to your musical knowledge that you didn't have before. And so that's why Monk is so important, because his music I mean, almost every song he wrote was like a musical problem. And once you solve it you have to figure out the key, you have to unlock this key, and once you unlock it, then you can play that song, you understand that song, and you understand how to apply that to other songs. So that is why he's so important for me."
~ (All About Jazz interview with Bartz)
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