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For Administration
Jazz Blues Club » Articles for 07.10.2011
2006 - Kyle Bruckmann's Wrack - Intents & Purposes Music » Jazz » Modern Jazz » Avantgarde
2006 - Kyle Bruckmann's Wrack - Intents & Purposes
Artist: Kyle Bruckmann's Wrack
Album: Intents & Purposes
Label: 482 Music
Year: 2006
Format, Flac
Time: 52:00
Size: 249 mb

"There are echoes of the groups that influenced his development as a composer, from the AACM, in the juxtaposition of through-composed and improvised passages... to the exhilarating urgency of Hal Russell's NRG Ensemble and Flying Luttenbachers in the tight, irregular metrics of "The System Cannot Withstand Close Scrutiny"... Bruckmann's background in classical music manifests itself in the arrangements, which make impressive use of the dark colours of Jen Clare Paulson's viola, and the Bartók-inflected melodic contours, notably on the 14-minute title track. It's a more varied and energetic outing than the group's sober debut on Red Toucan three years ago, thanks in part to the enthusiastic input of newcomers Anton Hatwich and Jason Stein... But there's as much brain as brawn, and Intents & Purposes is dazzling proof that intricately arranged, angular modern jazz can be accessible and enjoyable."
~ Dan Warburton, The Wire
1976: Aretha Franklin Sparkle Music » Soul
1976: Aretha Franklin  Sparkle
Artist: Aretha Franklin
Album: Sparkle
Label: Rhino
Year: 1976; release: 1992
Quality: MP3/ 320 kbps
Total Time: 00:33:07
Total Size: 78 mb
AMG rating 1976: Aretha Franklin  Sparkle

Aretha Franklin's career was in a down period in the mid-'70s when she collaborated with Curtis Mayfield to sing his compositions for the film Sparkle. The film proved a non-event, but for Franklin it marked a return to glory. Once again she was the Queen of Soul, doing the chilling, spectacular leaps, cries, whoops, and shouts that defined secularized gospel in the late '60s. The title cut was a sizable hit, while "Something He Can Feel" became an anthem. Mayfield's lyrics and production shouldn't be overlooked; he added just the right amount of background trappings, and the Kitty Haywood Singers provided Franklin's best continuing backgrounds since the Sweet Inspirations.
~ Ron Wynn, All Music Guide
1965: John Coltrane - Transition Music » Jazz » Modern Jazz » Avantgarde
1965: John Coltrane -  Transition
Artist: John Coltrane
Album: Transition
Label: GRP/Impuls
Year: 1965; release: 1993
Format: lossless (FLAC, cue, log)
Size: 386 MB (with artwork)
Year: 1965
Time: 52:42
REPOST with new links from Mr. hungaropitecus

The title of this album fits perfectly for John Coltrane was certainly at an important transitional point in his career at the time. Although he was still utilizing the same quartet that he had had for over three years (pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) and his music had always been explorative, now he was taking his solos one step beyond into passionate atonality, usually over simple but explosive vamps. Other than the tender ballad "Welcome," most of this set is uncompromisingly intense; in fact, the closing nine-minute "Vigil" is a fiery tenor-drums duet. The 21-minute "Suite," even with sections titled "Prayer and Meditiation: Day" and "Affirmation," is not overly peaceful. It must have seemed clear, even at this early point, that Tyner and perhaps Jones would not be with the band much longer. ~ Scott Yanow, All Music Guide
2001: Dee Dee Bridgewater - This Is New Music » Jazz » Vocal Jazz
2001: Dee  Dee Bridgewater - This Is NewArtist: Dee Dee Bridgewater
Album: This Is New
Label: Verve
Year: 2001;release: 2002
Quality: FLAC
Size: 438 MB (w. artwork)
Total time: 59:42
REPOST with new links

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Dee Dee Bridgewater may be the first jazz singer to devote an entire release to the theater music of Kurt Weill. She's in great form, with arrangements for the most part by her ex-husband Cecil Bridgewater. "Bilbao Song" is quite novel, with the addition of exotic flamenco guitars and percussion and a guest appearance by Antonio Hart on flute, and her tender interpretation of "My Ship" is first rate. "Alabama Song" leans more toward outright blues, with a saucy vocal and churning Hammond B3 organ. The obscure "I'm a Stranger Here Myself" starts out funky, but its middle section is pure hard bop with a fine solo by alto saxophonist Daniele Scannapieco. But the overly pop sound of keyboardist Thierry Eliez's scoring of "This Is New"; the uninspired chart of "Speak Low," which detracts from her fine singing and the bland French cabaret setting of "Youkali" hardly make them memorable. Still, she has to be admired for taking a chance by covering so many of Kurt Weill's songs (while avoiding the obvious choice of "Mack the Knife"), most of which have been overlooked in the decades since his death in 1950.
~ Ken Dryden, All Music Guide
1960: Horace Silver Quintet - Horace-Scope Music » Jazz » BeBop » Hard-bop
1960: Horace Silver Quintet - Horace-Scope
Artist: Horace Silver
Album: Horace-Scope
Label: Blue Note
Year: 1960, release 2002
Quality: MP3@320kb/s
Size: 89,9mb
Total time: 39:13
REPOST with a new link from Mr.jazzamba

Horace-Scope is the third album by Horace Silver's classic quintet -- or most of it, actually, as drummer Louis Hayes was replaced by Roy Brooks starting with this session. The rhythmic drive and overall flavor of the group are still essentially the same, though, and Horace-Scope continues the tight, sophisticated-yet-swinging blueprint for hard bop pioneered on its two classic predecessors. The program is as appealing as ever, and even though not as many tunes caught on this time -- at least not on the level of a "Juicy Lucy" or "Sister Sadie" -- Silver's writing is tuneful and tasteful. The best-known selections are probably the lovely closing number "Nica's Dream", which had been around for several years but hadn't yet been recorded on a Silver LP, and the genial, laid-back opener "Strollin'." But really, every selection is full of soulful grooves and well-honed group interplay, the qualities that made this band perhaps the top hard bop outfit of the early '60s. Silver was in the midst of a hot streak that wouldn't let up for another few years, and Horace-Scope is another eminently satisfying effort from that period. ~ Steve Huey, All Music Guide
1954: Jonah Jones - J.J. Special Music » Jazz » Traditional Jazz » Classic Jazz
1954: Jonah Jones - J.J. Special
Artist: Jonah Jones
Album: J.J. Special
Label: Fresh Sound Records
Year: 1954 ; release: 2007
Format, bitrate: mp3, 320kbps
Time: 79:28
Size: 171mb (including scans)

Jonah Jones was a wonderful swinging trumpeter.In some points you might hear
the influence of the great Satchmo on his playing.


Robert Elliot Jonah Jones was an A-class trumpet player, a dynamic and surefooted soloist who expressed himself through Mainstream Jazz. Somewhat inspired by Louis Armstrong and Charlie Shavers, Jonah soon added to those influences his clarity of tone and logical phrasing. These 1954 Paris-New York sessions were recorded not long before he took his first steps on the road to commercial success fronting his own quartet. The two French sessions are outstanding. The swinging Mr. Jones shares the solo spot with the powerful sound of Alix Combelles tenor sax, and the poignant, eloquent and unmistakable soprano sax of a jazz giant: Sidney Bechet. On the NY sextet sides, along Jonahs always-smiling trumpet and singing, shines the horn work of the two bones Vick Dickenson and Urbie Green, along with clarinetist Ed Hall. The overall feeling is that of the Swing Era.
~ Fresh Sound Records
1966: Hampton Hawes Trio - The Seance Music » Jazz » BeBop » Hard-bop

1966: Hampton Hawes Trio - The Seance
Artist: Hampton Hawes Trio
Album: The Seance
Year: 1966, release: 1991
Label: Contemporary/OJC
Quality: mp3/320 kbps
Size: 108 MB
Time: 44:14
AMG Rating: 1966: Hampton Hawes Trio - The Seance

Hampton Hawes made many of his finest records for Lester Koenig's Contemporary label. His final sessions before choosing to freelance (he would rejoin Koenig during his last year) resulted in two live albums, both reissued on CD. Teamed up with bassist Red Mitchell and drummer Donald Bailey, Hawes displays the influence of the avant-garde in places, stretching out his improvisations a bit while still showing off his roots in bop. Both CDs are equal in value, and this particular set includes such highlights as "Oleo," "Easy Street" and "My Romance." ~ Scott Yanow, All Music Guide.
1976: Vic Dickenson Plays Bessie Smith - "Trombone Cholly" Music » Jazz » Traditional Jazz » Dixieland
1976: Vic Dickenson Plays Bessie Smith - "Trombone Cholly"
Artist: Vic Dickenson
Album: Vic Dickenson Plays Bessie Smith - "Trombone Cholly"
Label: Gazell
Year: 1976 ; release: 1988
Format: Flac
Time: 37.1 Min
Size: 214 MB
AMG Rating: 1976: Vic Dickenson Plays Bessie Smith - "Trombone Cholly"


This set is unusual for, although it is a tribute to Bessie Smith, there are no vocals. Trombonist Vic Dickenson takes the place of Smith's favorite trombonist, Charlie Green, and his witty sound and expressive slides are well-showcased in a sextet with trumpeter Joe Newman and tenor saxophonist Frank Wess; Milt Hinton was the natural choice for the bass spot. Bessie Smith, though known as the "Empress of the Blues," actually recorded a lot of other material throughout her career so there is more variety on this enjoyable set (which is not recommended to 1920s purists) than one might expect.
~ Scott Yanow, All Music Guide
1997: Michael Blake - Kingdom of Champa Fusion, Modern Jazz, Avantgarde
1997: Michael Blake - Kingdom of Champa Artist: Michael Blake
Album: Kingdom of Champa
Label: Intuition Records
Year: 1996; release: 1997
Format, bitrate: mp3, 320
Time: 46:04
Size: 104 mb
Jazzreview Rating: 1997: Michael Blake - Kingdom of Champa
AMG Rating: 1997: Michael Blake - Kingdom of Champa

"...an astonishingly mature and original debut CD. The music here falls provocatively beyond categorization. It's Blake's concept, not his cast, that makes Kingdom of Champa so impressive. He has written a gorgeous, seven part suite inspired by a month long sojourn in Vietnam. A CD worthy of someone like Henry Threadgill - lofty company." - Mark Miller, Globe & Mail, May 1997

"An arrestingly beautiful and imaginatively expressive showcase for his multi-reed and composing talents. This electro-acoustic theme album, an extended tone poem that recalls later Gil Evans, is, in total, a magnificent artistic achievement that transcends category." - Gene Kalbacher, CMJ, June 1997

"Blake's vision bristles with colors, textures and mystery." - Neil Tesser, Playboy, October 1997

Saxophonist Michael Blake spent a month living in Vietnam with his wife and her family. Kingdom of Champa, which has six of his originals plus the traditional "Folksong," is his tribute to the country and the time that he spent in the exotic and troubled land. The music is often quite Asian-sounding, utilizing a wide variety of instruments (including bass clarinet, slide trumpet, bass flute, tuba, and cello) in unusual combinations with the emphasis often on ensembles rather than solos. The music is atmospheric, adventurous, and unpredictable modern jazz beyond category. It makes for an intriguing listen, a strong and heartfelt set by Michael Blake and his talented sidemen.
~ Scott Yanow, All Music Guide
1952 - 1971: Gerry Mulligan - Blowin' Up (2CD) Cool, West Coast Jazz
1952 - 1971: Gerry Mulligan - Blowin' Up (2CD)
Artist: Gerry Mulligan
Album: Blowin' Up (2CD)
Label: Laserlight
Years: 1952 - 1971; release: 2011
Quality: MP3@320 kbps
Size: 160 mb; 165 mb
Total time: 78:11; 78:58

An excellent compilation of the legendary musician, covering the most interesting and productive period of his career.


"There are some words that have been kind of lost from modern usage that I would like to bring to my music and have striven all my life to do, BEAUTY, GRACE, NOBILITY, these are the things that music can bring to us, as human beings. I think it is well that we who make music keep that in our consciousness." ~ Gerry Mulligan
2010: Gary Moore Live At Montreux 2010 Music » Blues » Modern electric blues » Blues-Rock

2010: Gary Moore  Live At Montreux 2010
Artist: Gary Moore
Album: Live At Montreux 2010
Label: Eagle Rock Ent.
Year: 2010; release: 2011
Format, bitrate: MP3 CBR 320 kbps
Size: 227 MB

Guitar legend Gary Moores final filmed concert is coming to DVD, Blu-ray and CD. Gary Moore: Live at Montreux 2010 will be released on September 19 in the U.K. and Europe and September 20 in North America (it gets an early, August 31 release in Japan), according to hennemusic.com.

The performance was recorded in July 2010, months before the one-time Thin Lizzy member died on February 6, 2011. According to the product description: The setlist draws heavily on his hugely successful rock albums of the 80s, stirs in a couple of his classic blues tracks with some memorable hit singles and includes three brand new songs that would have featured on the album left sadly uncompleted on his death.
~ gibson.com
2004: Bunky Green - Another Place Music » Jazz » Modern Jazz
2004: Bunky Green - Another Place
Artist: Bunky Green
Album: Another Place
Year: 2004, release: 2006
Label: Label Bleu
Quality: mp3/320 kbps
Size: 147 MB
Time: 43:58

This release is a welcome reminder that Bunky Green is alive and welland one of the dozen most important alto sax players in the country. In spite of notable associations with bands led by Charles Mingus, Sonny Stitt and Yusef Lateef, Green's available catalog until this release consisted of a single disc, Healing the Pain (Delos, 1990). But Green was befriended by Steve Coleman, and we have this recording as a result. Part of Coleman's genius is getting talent, ranging from a young Cassandra Wilson to an elderly Von Freeman, to be noticed by labels and audiences. Coleman produced this impressive session and introduced Green to perhaps the greatest rhythm section of his career: pianist Jason Moran, bassist Lonnie Plaxico and drummer Nasheet Waits.

To say that Green has "his own sound" is just one way of noting his achievement. He has flawless control of the alto's upper registers and his own form of the blues cry: piercingly passionate, yet always integrated within exquisitely crafted solos that are teeming with ideas. Like the man he replaced in the Mingus band, Jackie McLean, he can play "inside" and "outside" when apt within a single tune, so if the McLean of Destination Out (Blue Note, 1963) resonates for you, so will Bunky Green.

But Green is a different kind of composer and improviser than McLean wasand more of a psychologically charged storyteller in his solosas the four originals on this disc demonstrate. The emotional landscape of his original tunes range from the thoughtfully nuanced lyricism of "With All My Love," a musical "love letter" to his wife, to the fiery quest for personal meaning in "Tune X." His covers are equally provocative. "It Could Happen to You" is as unsentimental and rough-and-tumble as Chet Baker's version was teary and soft as marshmallow.

Green's young rhythm section sounds pleased to play with such a versatile and protean talent. These three musicians have clearly listened hard to his blend of daredevil daring and impeccable control, and they've found the right balance within themselves. With so much rightful praise given to players like Sonny Rollins and Ornette Coleman in their 70s, this album proves that yet another seventy-something giant is still wailing.
~ Norman Weinstein, All About Jazz
1975: Ronnie Boykins - The Will Come, Is Now Freejazz, Avantgarde
1975: Ronnie Boykins - The Will Come, Is Now
Artist: Ronnie Boykins
Album: The Will Come, Is Now
Label: ESP Disk
Year: 1975
Genre: Avant-Garde
Format, bitrate: mp3 320kbps
Time: 46:51
Size: 97.62 MB
AMG rating: 1975: Ronnie Boykins - The Will Come, Is Now

Ronnie Boykins is best known for his work as bassist with Sun Ra (between 1958 and 1966), but the odd meters and horn arrangements in this 1975 septet session for ESP (the last release on the mythic free jazz label before it dipped out of sight a year later) recall Mingus more than they do Boykins' former employer. The opening title track features some solid soloing from James Vass (on soprano), but the recording throughout is oddly mixed (well, pristine sound quality never was a priority for ESP) and several horn solos sound alarmingly far away. More upsettingly, some of the heads and bridges are rather scrappily executed and/or edited (notably "Demon's Dance"), and the accompaniment behind Boykins' extended bowed feature "Starlight at the Wonder Inn" sounds somewhat lackluster. Ra's influence is more evident, as its title might suggest, on the final "The Third I," where ensemble members double up on percussion for an energetic polyrhythmic romp. Lively and entertaining it may be, but Heliocentric Worlds it definitely is not.
~ Dan Warburton, All Music Guide
1987: Eric Watson/Steve Lacy/John Lindberg - The Amiens Concert Music » Jazz » Modern Jazz
1987: Eric Watson/Steve Lacy/John Lindberg - The Amiens Concert
Artist: Eric Watson/Steve Lacy/John Lindberg
Album: The Amiens Concert
Label: Label bleu
Years: 1987
Format: FLAC
Time: 46:29
Size: 181 MB

Pianist Watson is joined by bassist John Lindberg and the great soprano sax master Steve Lacy for these sessions recorded "live" at La Maison De La Culture D'Amiens, though no crowd noise or applause is heard. The three mesh well together; Lacy in particular is sounding inspired and very tonal, while Lindberg tends to dart around the two. Watson's piano sound is quite lyrical, focused, centered and fresh, with allegiance to no particular influence -- a good thing. He also wrote four of these six seemingly spontaneous compositions. The two non-Watson-written tracks are Lacy's "Holding" and Lindberg's "The Terrace." The former is simply a lilting blues dirge, a familiar theme amongst his many compositions; it's sometimes a bit clandestine, yet hopeful and informative, with Lacy's signature soprano sound ever-present. The latter is a multi-dimensional piece of writing, with haunting, snaky arco bass from Lindberg leading to soprano and piano hovering over, then merging to a clipped unison line that gets faster and faster and faster. There's also a bop-flavored improv, with Lacy more animated than ever, then a serene bass solo, and out -- involved music-making for sure. Of the Watson-penned pieces, "Daughter of Darkness" lives up to its title, a dour ballad with no bass, perfect for Lacy's melancholy, completely understated approach. Watson is so in tune with his cohort on this one. A dark bop feel on "Newcanaan Con Man" leads to dancing figures in the melody line. The bridge is introspective, then suddenly dramatic, while a swinging bridge for a Lacy solo and Watson's bop lines brings the con "artist" to resolution, and justice. Arpeggiated and fluttery runs on "Juggernaut" perfectly bring this musical monster to life. There are some atypically frantic, ruminating, lithe yet muscular, scurrying lines drawn by the pianist as he comes out of his shell with help from Lindberg; the forward motion is staggeringly awesome. Lacy lays out for "Substance Abuse," starting ominous then utilizing repeated triplet figures in near jig style, buliding tension and drama exponentially. These three work together in Europe; it's easy to hear and understand that they have a shared empathy and common goal to make brilliant music. On this disc they succeed in spades. Highly recommended.
~ Michael G. Nastos, All Music Guide
1996: Avi Lebo Double Trombone Quintet - Shades Of Brass Music » Jazz » BeBop » Post-bop
1996: Avi Lebo Double Trombone Quintet - Shades Of Brass
Artist: Avi Lebo Double Trombone Quintet
Album: Shades Of Brass
Label: Mapleshade
Year: 1996; release: 2010
Format, bitrate: mp3, 320kbps
Time: 57:19
Size: 131mb


Classically trained in his native Israel before studying in New York with mentor Slide Hampton, trombonist Avi Lebo performs with Hampton, and his angel, pianist Larry Willis, who proposed the recording to Mapleshade after hearing the kid play in N.Y.C. Bassist Steve Novosel and drummer Jimmy Cobb complete the homogeneous team. Eight eclectic arrangements give abundant leeway for everyone to resourcefully stretch out. Great artistry, reminiscent of 1950s Kai & J.J. quintet. An absorbing listen and promising debut.
~ Nancy Ann Lee, Jazztime.com
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