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For Administration
Jazz Blues Club » Articles for September 2011 Year
1955: Andrew Hill - So In Love Music » Jazz » BeBop » Hard-bop
1955: Andrew Hill - So In Love
Artist: Andrew Hill
Album: So In Love
Label: Fresh Sound
Year: 1955, release: 2001
Quality: MP3@320 kbps
Size: 64,4 mb
Total time: 31:22
Repost with better sound quality by request

The recorded debut of Andrew Hill's 1956 trio with bassist Malachi Favors and drummer James Slaughter is preserved here in acceptable monophonic sound on Spain's Fresh Sounds label. One has to turn up the volume a bit to get the real feel of the band playing together, but that minor annoyance is easily conquered. The low-end rumbled muffling of Favors' basslines is another matter, however, and requires some real attention by the listener. Recording quality aside, the music on this set more than makes up for it. "So in Love," from the Kiss Me Kate production, is the opener and is notable for Slaughter's contrapuntal 6/8 rhythmic shift against the waltzing rhythm of Hill's left hand and Favors' fills in full three-to-the-measure effect. "Penthouse Party" is likely the most underrated track on the set because of its dance-like rhythms. "Serious-minded" jazz fans of music from the era will no doubt write this off as not being bop enough or swinging in an elemental, super-sophisticated, proto-hard bop style, but they would be full of sh*t. What is truly amazing here is how Hill works a series of Caribbean rhythmic figures into the melody and vamps on them, allowing Favors and Slaughter to move around them in myriad ways, coming up with a series of polyrhythmic themes that Hill then improvises upon. The fact that this is done at all was forward thinking at the time; that it was done in such an uncompromising way and remained accessible is testament to the trio's shrewd musicianship. While there are a number of other standards here, including "Body and Soul" (which this writer votes should be retired in the 21st century to the degree that any fledgling jazz act or veteran, for that matter, would have their instruments taken away for a year for making us listen to it again), "Old Devil Moon," and "Spring Is Here," but the true gem of the set is "Chilonga," a blues-drenched lament of a track that features enough Afro-Cuban folk phrasing to choke a jazz critic -- so much so that the cat who wrote the liner notes here didn't even pick up on it. The lead-in is fiery, full of angles and rushes from Slaughter; Hill, too, with his left hand voices deep minor chords and adds space underneath drums, and Favors runs a groove over the top that brings the tempo to shift downward, where pure singing emotion takes the place of the frenzied tempo and the melody comes flowing in slowly, sadly, beautifully. This is a fine record, and despite certain sonic limitations, a very welcome reissue.
~ Thom Jurek, All Music Guide
1962: Xavier Cugat - Cugat Plays Continental Hits Music » Jazz » Latin
1962: Xavier Cugat - Cugat Plays Continental Hits
Artist: Xavier Cugat
Album: Cugat Plays Continental Hits
Label: Mercury
Year: 1962
Quality: MP3@320 kbps (LP-rip)
Size: 66,5 mb
Total time: 28:58
! !

The third of Cugat's contributions to Mercury's "Perfect Presence Sound Series" more than makes up for the blandness of a similar album recorded for RCA Victor. If it is somewhat less authentic and less tasteful, Cugat, dance, and audiophile fans will not mind. This one was recorded originally on 35mm magnetic film, which was all the rage at the time and especially suitable for an album mostly of European film music. Not so sure is the liner note stating, of "Apache" (yes, the surf classic), "The title brings to mind a dark Paris cafe." The tunes are infallible, yet Cugat and the Mercury engineers seem to have exhausted the formula. An interesting cover is "Guaglione," the swaggering Italian standard that Perez Prado had a huge hit with in both the late 1950s and again in the early 1990s.
~ Tony Wilds, All Music Guide
1967: Dean Martin - Live From Las Vegas Music » Jazz » Vocal Jazz
1967: Dean Martin - Live From Las Vegas
Artist: Dean Martin
Album: Live From Las Vegas
Label: Capitol
Year: 1967; release: 2005
Format, bitrate: MP3@320
Size: 157 MB
Time: 1:08
AMG rating: 1967: Dean Martin - Live From Las Vegas

As charming on the movie screen as he was on record or in a concert setting, Dean Martin personified the grace, cool, and devil-may-care aura of the Rat Pack. And there was no place Dino was more at home than in Las Vegas. LIVE FROM LAS VEGAS presents Martin performing at the Rat Pack's second home, the Sands, in 1967--a time when he, Sinatra, and their pals where still mighty figures but had begun to shine a bit less brightly for the fickle public's whims. So what if the Beatles were outselling him? It mattered little to Dino, as he prowled the stage comically in his drunk schtick (which was never more than an act), the consummate entertainer, delivering swinging hits such as "Everybody Loves Somebody" and "It Had to Be You" interspersed with the Italianate ballads that helped make his name ("Volare," "There's No Tomorrow") and the charismatic showman's endearing humorous patter and asides. At a time when the world was changing, Martin provided a last (and lasting) glimpse into what it had been, and now the rest of us can experience it too. ~ cduniverse.com
1944-1946: Johnny Guarnieri - The Chronological Classics Music » Jazz » Swing
1944-1946: Johnny Guarnieri - The Chronological Classics
Artist: Johnny Guarnieri
Album: The Chronological Classics 1944-1946
Label: Jazz Chronological Classics
Year: 1944-46 ; release: 1999
Format, bitrate: mp3, 320kbps
Time: 66:40
Size: 150mb
AMG Rating: 1944-1946: Johnny Guarnieri - The Chronological Classics

1944-1946: Johnny Guarnieri - The Chronological Classics

For any of you jazz lovers who enjoy swing's small groups.

In addition to recording prolifically in the 1940s, pianist Johnny Guarnieri led a few record dates. This Classics CD has four septet numbers from 1944 that feature tenor saxophonist Lester Young and trumpeter Billy Butterfield as sidemen, four songs with tenorman Don Byas in superb form, and three trio sessions, including two that co-star bassist Slam Stewart. Guarnieri, who was versatile enough to be able to closely emulate Count Basie, Teddy Wilson, Fats Waller, and Art Tatum, also had his own swing-based style and is consistently creative throughout the performances. Highlights include Salute to Fats, Bowin Singin Slam, Gliss Me Again, Id Do Anything for You, and Make Believe; all 22 selections are enjoyable.
~ Scott Yanow, All Music Guide
1972: Full Moon - Full Moon Music » Jazz » Fusion » Jazz-Rock
1972: Full Moon - Full Moon
Artist: Full Moon
Album: Full Moon
Label: Douglas, Warner Brothers
Year: 1972, Reissued 1982
Release: 2003
Format: FLAC, Lossless, full scans
Time: 54:30
Size: 405 mb

This album is considered by many to be years ahead of it's time, predicting both fusion and smooth-jazz trends of the future. You will hear some Memphis influenced R&B-Jazz but there are a number of tracks of Jazz-Rock and Fusion which feature solos by Buzz Feiten, Niel Larsen and Gene Dinwiddie.
~ www.proggnosis.com

The group Full Moon represented one of the early attempts at fusing jazz, blues, and rock in the very early 1970's. The group's members consisted of some surivivors of the 60's, mainly from the Paul Butterfield Blues Band. Howard 'Buzz' Feiten, a guitar legend at age 18 played lead guitar for Butterfield from 69-71, and then went on to record two albums with Stevie Wonder, and even toured with Stevie Wonder in the Rolling Stones tour of 1972. Phil Wilson was the original drummer for Butterfield, and wanted to write songs and do something other than blues. "Brother" Gene Dinwiddie was a consumate and perfectionist sax player who also wanted to write songs. Freddie Beckmeyer was a talented bass player, and a young Neil Larsen on keyboards rounded out the group. Neil Larsen was a keyboardist with no bounds, and a favorite of jazz producer Tommy LiPuma.

The group had one short year together, not a single hit, and that fact alone makes this 36 year old LP amazing. People loved the songs and the sound. The fact that the group was a "no hit wonder" speaks volumes what a word of mouth this album was.

The LP opens up with "The Heavy's Scuffle's On" a soulish track of Brother Gene and Phil Wilson; then moves on to "To Know" a tender ballad written by Buzz Feiten; next is "Malibu" a classic instrumental from Neil Larsen, that evokes the quiet surf of Malibu, California; next is "Take This Winter Out of My Mind", a soulish Wilson and Dinwiddie track; then moves on to "Midnight Pass" another Neil Larsen instrumental about a street from his home town--Tampa Florida; next is "Need Your Love" an exciting fusion track of jazz, pop and rock that is sure to please; finally the album ends with "Selfish People" a soulish Dinwiddie Wilson track.

Buzz Feiten went on to tour with the "Larsen Feiten Band" and his own group, invented a guitar tuning device and lives in Los Angeles, and hasn't toured in quite a while. Neil Larsen had a moderately successful touring stint and several solo albums as well as being a highly demanded studio musician. Brother Gene died in Pomona, California in the 90's. Phillip Wilson has passed on as well. But the music of "Full Moon" remains alive on this album.
By Scooter ~ Amazon.com
1969: Yancy Körössy - Identification Music » Jazz » Mainstream
1969: Yancy Körössy - Identification
Artist: Yancy Körössy
Album: Identification
Label: MPS
Year: 1969
Format, bitrate: MP3, 320 Kbps
Time: 40:30
Size: 96.2MB

Known as one of the most gifted european pianists of the sixties, Jancy Körössy returns to Europe after an absence of more than three decades, to record and play with Nicolas Simion in duo and quartet performances.
Born 1926 in Cluj (Romania), Jancy Körössy showed his extraordinary talent early. Coming from the hungarian minority in Romanian, he reaches "stardom" in the fifties and sixties, playing numerous concerts around Europe. Willis Connover selected him for his European All Stars band. During that time he recorded numerous, now hard-to-find and well-sought recordings. He has still got a large audience in Japan.
Though influenced by Errol Garner, Oscar Peterson and Dave Brubeck he shows his impressive virtuosity in many different styles. His compositions are based on romanian and hungarian folk songs, jazz standards and the classic song book.
He emigrated to Germany in 1969 where he did a highly acclaimed recording with Charly Antolini and J. A. Rettenbacher. Shortly after that he moved to Atlanta, Georgia, never to return. His name disappeared in his home country, where it was not even allowed to mention it in Mihai Berindei's "Dictionary of Romanian Jazz".
1956-1960: Humphrey Lyttelton - Humph, Bruce & Sandy Swing At The BBC Swing, Mainstream
1956-1960: Humphrey Lyttelton - Humph, Bruce & Sandy Swing At The BBC
Artist: Humphrey Lyttelton
Album:Humph,Bruce & Sandy Swing At The BBC
Label: Upbeat CD URCD182
Year: 1956-1960; release:2009
Format, bitrate: MP3, 320 Kbps
Time: 75:05
Size: 155.0 MB


The great swing a thon continues with BBC favorite Humphrey Littleton and his friends. The airshots you will hear on this album represent aspects of British middle period jazz at its best. The keynote to this album is good taste.
1989: Mick Pini - Wildman Music » Blues » Modern electric blues
1989: Mick Pini - Wildman
Artist: Mick Pini
Album: Wildman
Label: Stomp Records
Year: 1989
Format: FLAC
Time: 40:45
Size: 244,42 MB

Mick started playing guitar as a young boy back in 1960. Since then hes paid his dues in pubs, clubs, festivals, concert halls - hell, even busking on the streets. Over a lifetime hes worked with all sorts: Doctor Ross, Professor Longhair, Rich Grech, Mojo Buford, Louisana Red, Dick Heckstall-Smith, Chris Farlowe, Mike Vernon, BB King, Luther Allison and more than a few others. Currently based in Germany, Mick has more recently worked with Roy Estrada (Little Feat) and Jimmy Carl Black (Frank Zappa).
Live hes simply brilliant but why take my word for it; Eric Clapton called him the legitimate successor to Peter Green, while Mick Vernon described him as having the energy and attack that made Freddie King one of the greats. There are too few great guitarists working the European scene. Sure there are many good ones, but only a few have the potential to make a mark in a way Peter Green did many years ago. A recent gig produced the newspaper headline: An honour to see blues legend in action. Perhaps the most telling tribute is the fact that when Mick is in town, Mick Double, Eric Claptons manager can regularly be found at the back of the room, quietly enjoying Micks set.
2009: Steve Kuhn And Ecstasy - Motility Music » Jazz » BeBop » Post-bop
2009: Steve Kuhn And Ecstasy - MotilityArtist: Steve Kuhn And Ecstasy
Album: Motility
Label: ECM
Year: 1977
Release: 2009
Format, bitrate: mp3, 320kb/s
Size: 94 MB


This is one of Steve Kuhn's more unusual studio sessions, which was recorded for ECM in 1977. At times, the pianist seems less like a post-bop musician and more like someone dabbling in new age music, especially in his opener, "The Rain Forest." But his formidable technique is quickly brought center stage, so the deceptively mellow setting, with Steve Slagle's birdlike flute and Michael Smith's sparse percussion, develops into something tantalizing, even though it seems unlikely that it could be played in a nightclub. The swirling theme of "Oceans in the Sky" suggests an intense summer downpour, while "Motility" is a wild vehicle swerving back and forth through several genres. Bassist Harvie Swartz contributed the exotic "Catherine" (a piece that never seems to go where one expects) and the Latin-flavored "Places I've Never Been." This long unavailable LP may be somewhat difficult to acquire.
~ Ken Dryden, All Music Guide
2009 : Mdungu - Afro What? Music » Jazz » Latin » Afro-Cuban Jazz

2009 : Mdungu - Afro What?
Artist : Mdungu
Album: Afro What?
Year: 2009
Label: Zimbraz/Music & Words
Format, bitrate: MP3 VBR ~ 210 kbps
Time: 52:59 min
Size: 77 MB

Mdungu is a formation of nine international musicians based in The Netherlands. Their style is unique. Intense, raw and highly danceable. A fat horn section, a thriving rhythm section, lyric guitars and a pinch of vocals are the cornerstones of the Mdungu sound. Mdungu is influenced by the Griots of Mali, the Afrobeat of Nigeria and the Mbalax of Senegal. Mixed with funk, rock, jazz and samba, played with heart and soul: African music the Mdungu way.
AFRO WHAT? is Mdungu's debut album released in May 2009. The album was very well received in the Benelux and has been released in the rest of Europe in the fall of 2009. The recordings are mixed by producer/guitarist Justin Adams, who is well known from his award winning work with Tinariwen, his own group the Justin Adams / Juldeh Camara Trio and Robert Plants Strange Sensation. The album is released by Zimbraz, a division of Music & Words.
1968: Julie London - Easy Does It Music » Jazz » Vocal Jazz

1968: Julie London - Easy Does It
Artist: Julie London
Album: Easy Does It
Label: Liberty
Year: 1968
Format, bitrate: MP3 320/kbps
Time: 39:20
Size: 88,38 MB

There are singers who let it fly from deep within and pour out red-faced bellows complete with bulging eyes and pulsating neck cords. They rip it up with big bands and belt it out until the sun comes up, then follow with swashbuckling encores that bring down the house with slaps-on-the-back and flamenco table top dances.
Then there's Julie.
No gala musical fanfare or big-sound glitter. No jokes, no jugglers, no soft-shoe. Just a blues guitar, a well-placed bass, a drummer's light brush... and Julie. The combo provides a mere musical skeleton, a framework that serves only to complement the singer; it doesn't try to compete. The combination is distinctively blues... and distinctively Julie.
Julie is a mysterious, sultry woman with a moist-eyed singing style and real feeling for loneliness. She can take a variety of material and adapt it perfectly to her nostalgic blue mood. Her rendition of "This Can't Be Love" is one of the best examples. The slight musical accompaniment serves only to enhance Julie's vocal mood. Even old timers like "Me And My Shadow" and "Bidin' My Time" come across like they were written especially for her.
Julie won't change her style with the whims of the musical world - her "It Had To Be You" and "The Man I Love" will always be provoking and easy to understand. And people will always want to hear her. .. whenever they get in that Julie mood.
No, she doesn't strain above the percussion and brass, and she has no aspirations to win the battle of the bands or shatter fine crystal with her vocal vibrations. Her music is for the candlelight people - people who light fires in fireplaces and pull down bottles of Spanish Port from musty cupboards. She sings the way lonely people feel. And there's not a grin in the place.
~ Liner Notes by Al Stoffel:

2009: Wolfgang Haffner - Round Silence Music » Jazz » Modern Jazz
2009: Wolfgang Haffner - Round SilenceArtist: Wolfgang Haffner
Album: Round Silence
Label: ACT
Year: 2009
Format, bitrate: mp3, 320kb/s
Size:

Round Silence is an album that skirts around the quiet, calm spaces in the music without soundlessly passing by,
and an attentive listener will surely appreciate its subtle rewards.


Wolfgang Haffner was born in Wunsiedel/Germany in 1965.
He started playing drums and piano at the age of six. After finishing school in 1983 he began his career as a professional musician in the German French Jazz Ensemble, conducted by german Jazz legend Albert Mangelsdorff. The Band played Festivals including the Paris Jazzfestival and the Jazzfest Berlin. Haffner later became the drummer in Klaus Doldingers Passport, with whom he played for 11 years, touring Europe and Southafrica. From 1994 to1995 he was the drummer in the Band of one of the greatest female singers of all times, Chaka Khan. 1994 he joined the US Fusion Superband METRO with Chuck Loeb, Mitch Forman and Anthony Jackson. In 1997 Haffner and his long-time colleague Roberto Di Gioia started their succesful Group Zappelbude.
Haffner worked with many great Jazz Artists including Pat Metheny, Michael & Randy Brecker, Bill Evans, Woody Shaw, Roy Hargrove, Johnny Griffin, Cassandra Wilson, Joe Pass, Bob James, Joe Lovano, Clark Terry, Eddie Daniels, Mc Coy Tyner, Art Farmer, Pee Wee Ellis, Esbjörn Svensson, Joe Sample, Fred Wesley, Roy Ayers, Hiram Bullock, Will Lee, Robben Ford... ), also with artists and Bands like Jan Garbarek, Michael Franks, Die Fantastischen Vier, No Angels, Wolfgang Niedecken, Konstantin Wecker, DePhazz, Lalo Schifrin, and the WDR Big Band Cologne.
Haffner has played Festivals around the world, such as Montreux, Paris, Chicago, North Sea Jazzfestival, Los Angeles, Berlin, Vienna, San Diego, Geneva, Amsterdam, Nice, Stockholm, Madrid, Oslo, Zurich, London.
2007: Dmitri Kolesnik - Five Corners Music » Jazz » BeBop » Post-bop
2007: Dmitri Kolesnik - Five Corners
Artist: Dmitri Kolesnik
Album: Five Corners
Label: Challenge
Year: 2007
Format, bitrate: Mp3, 320kbps
Time: 63 min
Size: 88 MB
AMG rating: 2007: Dmitri Kolesnik - Five Corners

Russian bassist/composer Dmitri Kolesnik is a promising talent who is well-versed in both hard bop and post-bop. His second CD as a leader reunites him with the musicians on his first CD (tenor saxophonist Eric Alexander, trumpeter/flugelhornist Alex Sipiagin, pianist Andrei Kondakov and drummer Lenny White), while adding trumpeter/flugehornist Jim Rotondi, a frequent collaborator with Alexander on various New York sessions. His jaunty, somewhat jagged "In Monk's Mood" salutes Thelonious Monk and is full of great solos by the band. "Bitter Chocolate" is lush ballad with a bittersweet air, highlighted by Kondakov's poignant introduction and the heartfelt unison line of Sipiagin (on flugelhorn) and Alexander, with the leader taking a powerful chorus as well. Kondakov contributed two originals, including the driving, turbulent "Song for Kenny," in honor of the late pianist Kenny Kirkland and "Goodbye," a snappy, infectious post-bop vehicle. It's clear that a good time was had by everyone in the studio and a similar experience awaits the listener.
~ Ken Dryden, All Music Guide
1959: Barney Wilen Quartet - Newport '59 Music » Jazz » BeBop » Hard-bop


1959: Barney Wilen Quartet - Newport '59
Artist: Barney Wilen
Album: Newport 59'
Label: Fresh Sound Records
Year: 1959; release: 2004
Format, bitrate: mp3, 320kbps
Time: 45:40
Size: 104,21 mb


The great French tenor player, caught live at Newport in 1959 with backing by Toshiko Akioshi, Tommy Bryant, and Roy Haynes. The set's as boppish as you'd expect, with versions of Charlie Parker's "Passport", Monk's "Round Midnight", and Wilen's own "Barney's Tune". Added to the CD are some extra recordings made in Europe including 2 tracks recorded with Bud Powell and Kenny Clarke, and 1 recorded with The Modern Jazz Group of Freiberg. 1996-2011, Dusty Groove America, Inc.
2007: Steve Coleman & Five Elements-The Mancy Of Sound Music » Jazz » Modern Jazz » Avantgarde
2007: Steve Coleman & Five Elements-The Mancy Of Sound
Artist: Steve Coleman
Album: The Mancy Of Sound
Label: Pi
Year: 2007; release: 2011
Format, bitrate: mp3 256 kbps
Time: 59:13
Size: 105 MB

A saxophonist of a different orderpart griot, theorist, numerologist, and incessant seeker of knowledge Steve Coleman continues to forge new paths in creative music. He's influenced more of today's forward thinking artists than almost anyone in recent memory with his proven M-Base concepts. His critically acclaimed 2010 recording, Harvesting Semblances and Affinities (Pi Recordings), was a welcome return to the spotlight, and the follow-up, The Mancy of Sound , is even more rewarding.
To explain Coleman's music is no small feat, of which the eight exhaustive compositions include interwoven syncopations, studies in astral concepts, labyrinthine counterpoint, and deep jazz roots. His longstanding Five Elements ensemble has evolved over the years; here it includes the open minds of exciting notables such as drummer Tyshawn Sorey, trumpeter Jonathan Finlayson and vocalist Jen Shyu, who execute these painstaking charts flawlessly, like threading strands of yarn, into a larger and more colorful tapestry.
The addition of a second drummer, Marcus Gilmore, with Sorey, as well as percussionist Ramon Garcia Perez, adds yet another dimensionin particular, to the "Odú Ifá Suite" suite (originally created for M-Base alumnus, singer Cassandra Wilson). Its four themes (Fire, Earth, Air, and Water) are represented from the fiery exchange of sparring drums in "FireOgbe" to the calming syncopation of "WaterOyeku" with the flowing sounds of wordless lyrics and ethnic chants. The suite is contemporary yet primordial, extrapolating symbolization and philosophical principals from the Yoruba-speaking people of West Africa.
More than just a conceptualist, Coleman is also fierce performer who delivers darting runs that are equally fluid, and incisivea word that describes each of these talented musicians. There are points throughout the album where the array of instruments comes together in harmonious cacophony, like the alignment of planets. The analogies carry deeper meanings in "Jan 18" and "Noctiluca (Jan 11)"two works based on the eight lunar phases, as viewed from a specific place at particular moments. What will Coleman think of next? Maybe only the stars will tell.
~ Mark F. Turner, All About Jazz
1963: Jimmy Witherspoon - Blues Around The Clock Music » Blues
1963: Jimmy Witherspoon - Blues Around The Clock
Artist: Jimmy Witherspoon
Album: Blues Around The Clock
Year: 1963; release: 1996
Label: Fantasy/OBC
Genre: Blues/Jazz
Quality: Flac
Total Time: 30:09
Total Size: 161.89 (with full scans)


Veteran singer Jimmy Witherspoon (who bridges the gap between jazz and blues) mostly sticks to the latter on this spirited set. His backup group (organist Paul Griffin, guitarist Lord Westbrook, bassist Leonard Gaskin and drummer Herbie Lovelle) is fine in support, but the spotlight is almost entirely on Witherspoon throughout these ten concise performances, only one of which exceeds four minutes. Highlights include "No Rollin' Blues," "S.K. Blues" and "Around the Clock." Witherspoon is in fine voice and, even if nothing all that memorable occurs, the music is enjoyable.
~ Scott Yanow, All Music Guide
2000: Dmitri Kolesnik - Blues For Dad Music » Jazz » BeBop » Post-bop

2000: Dmitri Kolesnik - Blues For Dad
Artist: Dmitri Kolesnik
Album: Blues For Dad
Label: Boheme Music
Year: 2000; release: 2006
Format, bitrate: mp3, 320kbps
Time: 49:51
Size: 100 MB


Russian bassist Dmitri Kolesniks debut CD as a bandleader, Blues for Dad, shows signs of a rising talent. With over half of the compositions written by Kolesnik, its clear the bassist has a gift for melodies (even if, in one case, he borrowed one from a legend) and humility (Kolesnik only solos on one song). The albums first track, Blues for Dad, features wonderful playing by all, with highlights including a friendly duel of horns between Sipiagin and Alexander and a percussive bass solo from Kolesnik. The first thing you notice about the albums second track, Home, is that its chorus has been stolen from Coltranes A Love Supreme. Since I cant imagine Kolesnik would deny the similarities, I can only assume the theft is a tribute to Coltrane and a recognition of his influence.
Waltz for B.E. is a tribute to Bill Evans and it has some of the same grace and style found in Evans compositions. Kondakovs piano playing on the track wonderfully sustains the contemplative mood of the track, until Sipiagin and Alexanders solos go too big and ruin the tone set by the piano, bass, and drums. White Nights, Gray Days is a gorgeous ballad, with great interplay between piano and flugelhorn that creates a sweetly sad tone. Similiar to Waltz for B.E., this tone is broken by Alexanders sax solo, but since the songs tempo adjusts, the shift feels more natural. Blues for Dad may be a bit too beholden to its influences (Evans, Coltrane, Miles Davis), but its proof that Kolesnik has the right instincts. On White Nights, Gray Days especially, Kolesnik exhibits a gift for capturing a mood with the right melody and the right level of restraint.
~ from review
1991: Sweet Basil Trio - St. Thomas Music » Jazz » BeBop » Hard-bop
1991: Sweet Basil Trio - St. Thomas
Artist: The Sweet Basil Trio
Album: St.Thomas
Recorded: 1991 live, Sweet Basil NYC.
Release date: Aug 13, 1996,
Label: Evidence
Quality: 320kbps
Total time: 51 minutes.

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Recorded in 1991, ST. THOMAS can justifiably be considered an all star session. Cedar Walton, in addition to his prolific solo career, started off with Art Blakey's Jazz Messengers in the early '60s. Ron Carter was the bassist in Miles Davis's second great post-bop quintet, and Billy Higgins, before his long-time partnership with Cedar Walton, was the drummer for Ornette Coleman's groundbreaking small groups in the '60s.

The chemistry is palpable. On Dizzy Gillespie's "Woody 'n You," Carter and Higgins anticipate Walton's every move. On "Old Folks," the rhythm section keeps the momentum driving at a relaxed tempo in a way that manages to revel in each moment. Even during his bass solo, when the focus of a jazz tune can fall apart, Carter retains the mood of the tune. "St. Thomas" features another burning solo by Walton, while Carter and Higgins keep the fire lit and then some. Higgins' drum solo on this tune is in some ways the climax of the evening, both in terms of dynamics and pure emotion. An understated, tasty, and sweet "Every Time We Say Goodbye" closes the set.

1957: Teddy Wilson - The Touch Of Teddy Wilson & Newport Jazz Festival 1957 Swing, Mainstream
1957:  Teddy Wilson - The Touch Of Teddy Wilson & Newport Jazz Festival  1957
Artist: Teddy Wilson
Album: The Touch Of Teddy Wilson & Newport Jazz Festival 1957
Label: Jazz Beat Records
Year: 1957; release: 2007
Quality: MP3@320 kbps
Size: 122 mb
Total time: 57:06

2007 digipak pressing. When the album The Touch of Teddy Wilson was made in 1957, Wilson was already a big Jazz star, with a long career behind him. He had been a member of the celebrated Benny Goodman trio/quartet, the musical conductor of numerous small group studio sessions with stars like Billie Holiday, Lester Young and Ben Webster, and a prolific concert and recording artist in many other formats. Many of Teddy Wilsons best remembered recordings, however, are in the trio format. This is the case with The Touch of Teddy Wilson, the first trio album he made after his long 1956 studio sessions with drummer Jo Jones, who had departed the group shortly before. As a bonus, we have included the complete performance by the Teddy Wilson Trio (with Milt Hinton on bass and Specs Powell on drums) at the 1957 Newport Jazz Festival. Baritone saxophonist Gerry Mulligan is added to the trio on 'Sweet Georgia Brown'. ~ Jazz Beat Records
1976: Stevie Wonder - Songs in the key of life Music » Blues » Rhythm-n-Blues
1976: Stevie Wonder - Songs in the key of lifeArtist: Stevie Wonder
Album: Songs in the key of life
Year: 1976
Quality: mp3@320 + all covers
Size: 243 mb
Time: 1.44:53

Songs in the Key of Life was Stevie Wonder's longest, most ambitious collection of songs, a two-LP (plus accompanying EP) set that -- just as the title promised -- touched on nearly every issue under the sun, and did it all with ambitious (even for him), wide-ranging arrangements and some of the best performances of Wonder's career. The opening "Love's in Need of Love Today" and "Have a Talk with God" are curiously subdued, but Stevie soon kicks into gear with "Village Ghetto Land," a fierce exposé of ghetto neglect set to a satirical Baroque synthesizer. Hot on its heels comes the torrid fusion jam "Contusion," a big, brassy hit tribute to the recently departed Duke Ellington in "Sir Duke," and (another hit, this one a Grammy winner as well) the bumping poem to his childhood, "I Wish." Though they didn't necessarily appear in order, Songs in the Key of Life contains nearly a full album on love and relationships, along with another full album on issues social and spiritual. Fans of the love album Talking Book can marvel that he sets the bar even higher here, with brilliant material like the tenderly cathartic and gloriously redemptive "Joy Inside My Tears," the two-part, smooth-and-rough "Ordinary Pain," the bitterly ironic "All Day Sucker," or another classic heartbreaker, "Summer Soft." Those inclined toward Stevie Wonder the social-issues artist had quite a few songs to focus on as well: "Black Man" was a Bicentennial school lesson on remembering the vastly different people who helped build America; "Pastime Paradise" examined the plight of those who live in the past and have little hope for the future; "Village Ghetto Land" brought listeners to a nightmare of urban wasteland; and "Saturn" found Stevie questioning his kinship with the rest of humanity and amusingly imagining paradise as a residency on a distant planet. If all this sounds overwhelming, it is; Stevie Wonder had talent to spare during the mid-'70s, and instead of letting the reserve trickle out during the rest of the decade, he let it all go with one massive burst. (His only subsequent record of the '70s was the similarly gargantuan but largely instrumental soundtrack Journey Through the Secret Life of Plants.)
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