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Jazz Blues Club » Articles for 13.09.2011
2008: Scorch Trio - Brolt! Jazz-Rock, Modern Jazz, Freejazz, Avantgarde
2008: Scorch Trio - Brolt! Artist: Scorch Trio
Album: Brolt!
Label: Rune Grammofon
Year: 2007; release: 2008
Format, bitrate: mp3, 320
Size: 114 mb
The Guardian Rating: 2008: Scorch Trio - Brolt!
Downbeat Rating: 2008: Scorch Trio - Brolt!

First impressions may be lasting, but they're sometimes not as all-encompassing as they should be. Scorch Trio—the Norwegian/Finnish power trio featuring guitarist Raoul Bjorkenheim, bassist Ingebrigt Haker Flaten and drummer Paal Nilssen-Love—may appear to be a pedal-to-the-metal improvising power trio, a sense supported by Luggumt (Rune Grammofon, 2004). Still, over the course of three albums culminating with Brolt, the trio's electrified form of free improvisation reveals far more at work than a group simply flailing away with reckless abandon.
The best free improv still possesses shape, and Brolt's six pieces all possess a certain logic, even as the trio creates dense soundscapes from unfettered collective spontaneity. "Olstra" begins as a blistering duet between Bjorkenheim and Nilssen-Love that recalls the more liberated, skronking explorations of guitarist Nels Cline. But, like Cline, there's more here than meets the eye. Bjorkenheim's lines are structured around specific harmonic concepts, jagged though they are; when Flaten's heavily processed bass enters a third of the way into its ten minutes, it doesn't exactly settle Nilssen-Love's vicious turbulence, but it does focus it, with an actual groove and spare motif emerging to keep the piece constrained within its loosely structured framework.
Scorch Trio may lean towards improvisation's harsher edges, but it's not a relentless, flat-out sonic assault. "Basjen" begins with Flaten's growling bass, recalling 1970s-era King Crimson and its thundering bassist John Wetton. But Nilssen-Love's subtler, albeit still industrial-tinged percussion works alongside Bjorkenheim's electric viola da gimbri (which is either a typographical error meaning it is the 15th century viola da gamba, or it is a bowed hybrid of the Moroccan three-stringed, lute-like gimbri) to create a more ethereal interlude before Nilssen-Love reenters, maelstrom-like, on "Hys," where the angular rock stance of Bjorkenheim's free play leans towards a blues-centricity suggestive of how power trios like Cream might have sounded had their emphasis been on completely free improvisation, rather than long, vamp-like jams.
Dark though it is, "Gaba" approaches the closest thing to beauty on Brolt, though it ultimately turns into another tumultuous piece of spontaneous invention, with Bjorkenheim's viola da gimbri the dominant voice. But when Bjorkenheim returns to guitar on the seemingly anarchistic "Graps," he once again demonstrates that, as extreme as his playing can be, it's more than simple catharsis—based, instead, around spartan ideas that provide context for the entire trio.
If Hendrix had a more extensive language, if Terje Rypdal had stuck with his freer playing on Jan Garbarek albums like Afric Pepperbird (ECM, 1970) and if Nels Cline were to possess an indescribably palpable Nordic edge, then you might have a fair approximation of the sound and approach of Raoul Bjorkenheim. But despite the dominance of the guitarist's voice in terms of motivic development, make no mistake: Scorch Trio is a democratic collective, and the contributions of Flaten and Nilssen-Love are equally definitive in sculpting the raw, assaultive and viscerally cleansing sound of Brolt.

~ John Kelman, All About Jazz
1974: Marion Brown - Sweet Earth Flying Music » Jazz » Modern Jazz » Freejazz
1974: Marion Brown - Sweet Earth Flying
Artist: Marion Brown
Album: Sweet Earth Flying
Label: Impulse! Records (Catalog#: AS-9275)
Format: FLAC (LP-Rip)
Time:38:43
Size: 199.38MB
AMG Rating: 1974: Marion Brown - Sweet Earth Flying

The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Marion Brown's finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown's conception (hence the album's title), though this time (unlike the appearance of Karintha on Geechee Recollections) none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis' late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams' feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown's sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep-voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes. ~ Brian Olewnick All Music Guide

2010: Leif Shires - Cool Jazz Christmas Music » Jazz » BeBop » Cool

2010: Leif Shires - Cool Jazz Christmas
Artist: Leif Shires
Album: Cool Jazz Christmas
Label: Green Hill
Year: 2010
Format, bitrate: mp3, 192 kbps
Time: 48 min.
Size: 63,8 MB

Contemporary jazz trumpeter, Leif Shires, is featured on this collection of easy jazz holiday classics. Leif Shires, has one of the best horn interpretations of cool jazz with soothing musical tones that could charm the socks off you. Each time that i listen, it just keeps getting better after each listen. For the Holiday Season, this album fits perfectly with sounds similar to Chris Botti and the late great Chet Baker - Shires has found himself a niche with the boundaries of todays contemporary jazz inclusive with jazz from the coasts blending both in a pure and angelic sound.

Green Hill Productions presents "COOL JAZZ CHRISTMAS" -- Leif Shires, has one of the best horn interpretations of cool jazz with soothing musical tones that could charm the socks off you --- Have played this album several times before reviewing, just keeps getting better after each listen --- For the Holiday Season, this album fits perfectly with sounds similar to Chris Botti and the late great Chet Baker - Shires has found himself a niche with the boundaries of todays contemporary jazz inclusive with jazz from the coasts blending both in a pure and angelic sound. ~ from liner note
2007: Archie Shepp - Je suis jazz, c'est ma vie (I'm jazz, it's my life) Music video
2007: Archie Shepp - Je suis jazz, c'est ma vie (I'm jazz, it's my life)Artist: Archie Shepp
Album: Je suis jazz, c'est ma vie (I'm jazz, it's my life)
Label: Archie Ball
Year: 2007
Format, bitrate: DVDrip, AVI
Time: 54 min.
Size: 700 MB

...in the club sequences, Shepp...generates enormous emotion, swings like mad...and expertly builds his solos to an exciting climax
~ David Meeker, Jazz in the Movies


A special DVD released in celebration of Archie Shepps 70th birthday in May 2007 - Je suis jazz, cest ma vie is a documentary by Frank Cassenti filmed in 1983, Total time 54 minutes.
featuring a Paris concert by Archie Shepp with Siegfried Kessler (piano), Wilbur Little (bass), Don Mumford, Cliford Jarvis (drums) & Cheikh Tidiane Fall (percussions).
Also featured are special clips from the Porquerolles Jazz festival with Siegfried Kessler, Diego Imbert, Michel Benita, Aldo Romano, Mino Cinelu, & Stéphane Guery, plus excerpts from the film Porquerolles, Island of Jazz by Frank Cassenti.
This digipak DVD also includes a superb 20-page booklet of Guy Le Querrecs photographs of Shepp in Paris, 1967 1983, with commentary by the great man himself.
1936-1937: Henry "Red" Allen & His Orchestra 1936 - 1937 Traditional Jazz, New Orleans Jazz
1936-1937: Henry "Red" Allen & His Orchestra 1936 - 1937
Artist: Henry "Red" Allen & His Orchestra
Album: Henry "Red" Allen & His Orchestra 1936 - 1937
Label: Classics
Years: 1936-1937; release: 1991
Quality: MP3@320 kbps
Size: 115 mb
Total time: 54:18
By request

!

The fourth in the Classics label's five-CD series of Red Allen recordings reissues 20 obscure performances from a seven-month period. Although Red Allen was mostly playing with big bands during the 1930s, these small-group sides gave him a chance to be showcased quite a bit more than usual. Allen takes vocals on each of the tunes and, although many of the songs are long forgotten, his trumpet solos and the improvisations of altoist Tab Smith, clarinetist Buster Bailey and Ted McRae on tenor keep one's interest. This is actually the weakest of the five CDs but all are worth picking up.
~ Scott Yanow, All Music Guide
2009: McCoy Tyner - Today And Tomorrow Hard-bop, Post-bop
2009: McCoy Tyner - Today And TomorrowArtist: McCoy Tyner
Album: Today And Tomorrow
Label: Impulse!
Year: 1963-1964
Release: 2009
Format, bitrate: mp3, 320kb/s
Time: 38 min
Size: 81 MB

McCoy Tyner's fourth studio album has a split personality, with three tracks featuring an intriguing sextet of all-stars, and the rest with his trusty trio, done eight months apart. Perhaps the tracks with bassist Jimmy Garrison and drummer Albert Heath were leftovers from a prior incomplete or aborted full session, but anything Tyner played in this period was precious. The larger ensemble recordings present trumpeter Thad Jones as ostensible co-leader, composer of one selection, and lead soloist. Tenor saxophonist John Gilmore and alto saxophonist Frank Strozier join forces with Thad Jones to make what some might deem an unlikely front-line triad, but effective enough considering their established individualism. Bassist Butch Warren and drummer Elvin Jones support the six-piece band, the first and only appearance for Warren with Tyner while the pianist was still with John Coltrane. The jewel in this collection is Tyner's "Three Flowers," a keeper that his big bands played prolifically later in life. Here the sextet hits the modal 3/4 beat with a thinner harmony under the lithe, soaring, enduring, and beautiful melody line. The Thad Jones contribution "T 'N A Blues" is an easy, basic, and short 12-bar chart with a phenomenal solo from Gilmore, while "Contemporary Focus" is a down-the-Nile signature sound for the controlled modal power Tyner wields, with Thad Jones belting out his bopping solo. The trio tracks are standards done with hints of other songs to begin with. Tyner fools you into thinking he's taking off on "Impressions" when it's actually "A Night in Tunisia"; "Autumn Leaves" has an improvised modal starting point that is quite spontaneous; and the chiming, wanton ballad "When Sunny Gets Blue" drips with all the pure emotion that Tyner can wring out of a weepy piano. Because of the dual nature of this recording, even devout fans of Tyner will find this CD somewhat incomplete, especially considering that this reissue has no alternate or bonus tracks. Nonetheless, the musicianship is so strong that it's hard to deny the high quality of what is presented here.
~ Michael G. Nastos, All Music Guide
1998: The RIAS Big Band feat. Claudio Roditi - Blue Highways: The Music Of Paul Ferguson Hard-bop, Modern Big Band
1998: The RIAS Big Band feat. Claudio Roditi - Blue Highways: The Music Of Paul Ferguson
Artist: The RIAS Big Band feat. Claudio Roditi
Album: Blue Highways: The Music Of Paul Ferguson
Label: Azica Records
Year: 1998
Format: Flac
Time: 65:14
Size: 344 MB

Conducting the RIAS Big Band of Berlin, Jiggs Whigham offers Blue Highways, an energetic swing outing featurng trumpeter Claudio Roditi.
~ Jason Ankeny, All Music Guide

Jazz composers and performers have more influences to choose from today than ever before, the result being that it is often difficult to find a "voice," or escape sounding like a babbler in various musical idioms. The big band climate today is a vast and varied realm - -dismal prospects of commercial success seem to have done little to deter jazz composers and bandleaders from continuing to seek new sounds or revive old ones. Maria Schneider and Jim McNeely push the envelope in areas of form, harmony and orchestration while repertory groups attempt to revive interest (deservedly) in masterpieces from the past. While it is difficult to present a varied but unified portrait of a composer's "inner world" with so much to choose from, the choices we make, for better or worse, reveal who we are. The ten pieces I present here are unified only by honesty, respect for varied musical idioms (past and present) ana a desire to travel and explore. As William Least Heat-Moon quotes Henry Miller in his book Blue Highways, "We travel not so much to see different things, but rather to see things differently."
~ Jiggs Whigham, from liner notes
2003: Peter Kowald & Tatsuya Nakatani - 13 Definitions Of Truth Music » Jazz » Modern Jazz » Freejazz
2003: Peter Kowald & Tatsuya Nakatani - 13 Definitions Of Truth
Artist: Peter Kowald & Tatsuya Nakatani
Album: 13 Definitions Of Truth
Label: Quakebasket
Year: 2003
Format, bitrate: Mp3 320 kbps
Time: 47:38
Size: 108 MB w/scans

13 Definitios Of Truth was one of the most important moments in my life. The duet cocnert/recording was on november 27th 2001, we returned the next day to record more. It took place at b.p.m. - a multi art space run by friedns in Brooklyn, New York. The concert was our second collaboration and also starting point for our very brief friendship...until Peter's las concert at b.p.m. (trio with Kazuhisa Uchihashiand guest Masahiko Kono) The concert was silent, aggresive...a different air/language...beautiful and gouka. Now a year after the concert, listening to the CD so many times i like it even more. Pter and I spent time discussing the release of this CD at St. Nick's Bar in Harlem and at the Vision Festival. We then spent time together to sequence and mix at his New York appartament and my home studio in the south Bronx. I would like to thank my fiend, hero, great music partner and father Peter Kowald (April 21st 1944- September 21st 2002) Tatsuya Nakatani, liner notes
1956: Jon Eardley - The Jon Eardley Seven Music » Jazz » BeBop » Hard-bop
1956: Jon Eardley - The Jon Eardley Seven
Artist: Jon Eardley
Album: The Jon Eardley Seven
Label: Prestige Records
Year: 1956 ; release: 1995
Format, bitrate: Mp3, 320kbps
Time: 34:51
Size: 80.6 Mb
AMG rating: 1956: Jon Eardley - The Jon Eardley Seven

The soft-toned trumpeter Jon Eardley (who was playing with Gerry Mulligan's Sextet at the time) holds his own with tenor saxophonist Zoot Sims and altoist Phil Woods on this excellent straightahead septet set; also in the group are trombonist Milt Gold, pianist George Syran, bassist Teddy Kotick and drummer Nick
Stabulas. The CD reissue (Eardley's third and final American session as a leader) features the excellent group on three of the trumpeter's originals, one apiece by Syran and Woods plus the standard "There's No You."
~ Scott Yanow, All Music Guide
2008: McCoy Tyner - Guitars (CD/DVD) Music » Jazz » BeBop » Post-bop
2008: McCoy Tyner - Guitars (CD/DVD)Artist: McCoy Tyner
Album: Guitars (CD/DVD)
Label: McCoy Tyner Music / Half Note Records
Year: 2008
Format, bitrate: mp3, 320kb/s / DVDrip, AVI
Size: 156 & 626+385(bonus) MB
Repost with bonus

A studio throw-down with five of the most accomplished string specialists: Derek Trucks, Bela Fleck, Bill Frisell, John Scofield, Marc Ribot, with Tyner's trio mates, Ron Carter and Jack DeJohnette. A DVD included documenting the making of "Guitars" with studio performances and unique viewer options.

Although McCoy Tyner has never been well known for playing with guitarists, there have been precedents. Technically on the electric mandolin and amplified guitar, John Abercrombie was part of the 4 X 4 sessions, acoustic guitarist Earl Klugh was a participant on the Inner Voices recording, Ted Dunbar was in the group for Asante, and Carlos Santana joined Tyner for the ill-conceived album Looking Out. Tyner prominently accompanied Grant Green for legendary Blue Note label classics. So this may not be a new thing, but certainly something the great pianist has been removed from in general terms. Guitars pairs Tyner and his reunited bulletproof trio of bassist Ron Carter and drummer Jack DeJohnette with contemporary performers Marc Ribot, John Scofield, banjoist Béla Fleck, Derek Trucks, and Bill Frisell. The results are mixed no matter which string player you favor, with Tyner's role as a legend surely intimidating any of his disciples to a degree. But for these recordings, the sound and feeling of the end product is clearly decipherable. Ribot especially seems out of place, resorting to power chords during "Passion Dance," but rebounding on the soulful version of "500 Miles" and rallying on the peaceful but electrified "Improvisation 1." With Derek Trucks, Tyner's basic "Slapback Blues" is treated as the title suggests, while the 3/4 "Greensleeves" is typical, but the raga approach that Trucks emphasizes in his band would have been a welcome choice. Scofield is clearly the most comfortable with Tyner, swinging easily through "Mr. P.C." and playfully skirting away from the line of "Blues on the Corner." On his three tracks, Fleck is surprisingly the most compatible, working with a deep modal Middle Eastern feel on "Tradewinds," flying fleet and much quicker than the pianist during "Amberjack," and evoking "My Favorite Things" in a quaint mood. The two pieces with Frisell merge together as one in an homage to the world guitarist Boubacar Traore, with "Boubacar" meditative before the rhythm section explodes, then the loose "Baba Drame" works as an extension. Whereas Tyner's playing these days is beyond reproach, and the contributions of Carter and DeJohnette are always welcome, there's an aura of true amity on most of the tracks, but an imbalanced awkwardness on others. An accompanying DVD with various camera angles provides perspective and insight into how this music was created, but also where Tyner's giant visage might dwarf some of these plectrists, and not others. It's an interesting slice in time, but not a definitive recording in Tyner's legendary and lengthy musical career.
~ Michael G. Nastos, All Music Guide
2005: David Liebman/Ellery Eskelin/Tony Marino/Jim Black - Different But the Same Post-bop, Avantgarde
2005: David Liebman/Ellery Eskelin/Tony Marino/Jim Black - Different But the Same Artist: David Liebman/Ellery Eskelin/Tony Marino/Jim Black
Album: Different But the Same
Label: HatOLOGY
Year: 2004, release: 2005
Format, bitrate: mp3, 320
Size: 133 mb
The Guardian Rating: 2005: David Liebman/Ellery Eskelin/Tony Marino/Jim Black - Different But the Same
AMG Rating: 2005: David Liebman/Ellery Eskelin/Tony Marino/Jim Black - Different But the Same

"Knotty and challenging, this is left-leaning acoustic jazz at its most creative and intense." - Chris Kesley, Jazztimes

On first inspection, teaming up saxophonists Dave Liebman and Ellery Eskelin might seem to have the potential for an acute dose of musical schizophrenia. But closer consideration reveals that there is indeed a meeting point. Eskelin may have a reputation as a free player, but he's equally concerned with bringing more traditional aspects into his wildly exploratory work. Liebman, on the other hand, may come from a stronger background in the mainstream jazz tradition, though he is by no means a straight-ahead player, and he's certainly no stranger to the greater extremes offered by free improvisation.
And so, on Different But the Same, we find two saxophonists converging on a middle ground that somehow incorporates both elements into a surprisingly cogent blend. And while they find common turf, there is no compromise in sight. With each saxophonist bringing along one player with a longstanding association—in Liebman's case it's bassist Tony Marino, who has been a part of Liebman's groups of the past few years; Eskelin brings along the ever-versatile drummer Jim Black, whose shared relationship dates back over a decade—the meeting is certainly democratic. It's fascinating to hear Black in a more traditional arena than his usual, and to find Marino playing with a greater sense of freedom.
With a set containing originals from both, but also reaching back with interpretations of material by Tadd Dameron, Lee Konitz, Wayne Shorter, and Cole Porter, Different But the Same demonstrates that Liebman and Eskelin share far more than they differ. In fact, the two approach the music with such a similar sensibility that, according to Liebman, "I can't always tell the difference myself," with Eskelin indicating that this was "the result of natural musical choices and the joy in speaking a shared language." Fortunately, the recording places Liebman on the left channel and Eskelin on the right, so despite remarkably simpatico approaches, it's not difficult to identify each player.
Even compositionally there are more similarities than differences. Liebman's "The Gun Wars" begins with a furious drum solo from Black, only to be joined by Marino, Liebman, and Eskelin in one of the most extreme segments of free playing of the set, before settling into an out-of-time unison theme that helps provide some form, albeit couched in a purely unstructured rhythmic backdrop. Eskelin's "How Do I Know" is no less outr, but less intense in nature. And Shorter's "Vonetta" is treated with a more open approach than the original.
Dameron's "Gnid," with its more defined pulse and traditional harmonies, is the most mainstream piece of the set, while Liebman's "Tie Those Laces" combines open-ended improvisation with a humorously idiosyncratic theme. Eskelin's "You Call It" revolves around a three-note phrase, but it demonstrates just how far such a simple conceit can be taken.
Rather than being a dichotomous curiosity, Different But the Same instead reveals how even if two players share a common goal, the route each one takes to get there can be very different indeed.

~ John Kelman, All About Jazz
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