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» 1954: Gerry Mulligan Quartet - Pleyel Concert Vol.2
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Jazz Blues Club » Articles for October 2011 Year
1922 - 1939: Fats Waller in London Classic Jazz, Stride, Swing
1922 - 1939: Fats Waller in London
Artist: Fats Waller
Album: Fats Waller in London
Label: Disques Swing
Years: 1922 - 1939; release: 1991
Format, bitrate: MP3; 320 kb/s
Size: 156 mb MB
Total time: 59:02

Other than Fats Waller's first two recorded piano solos (from 1922), this double LP concentrates on the recordings he made while in London during 1938-39. Doubling on piano and organ, Waller romps and sings with a fine English octet, takes six comparatively somber organ solos (featuring Black spirituals) and backs singer Adelaide Hall on a delightful version of "I Can't Give You Anything but Love." In addition, Waller (backed by drummer Max Lewin) performs one of his few long works, the six-part "London Suite." Excellent music with plenty of variety on this fine two-fer.
~ Scott Yanow, All Music Guide
1975: Gunther Schuller - Scott Joplin's "Treemonisha" Music » Classical music
1975: Gunther Schuller - Scott Joplin's "Treemonisha"
Artist: Gunther Schuller
Album: Scott Joplin's "Treemonisha" 2CD
Label: Deutsche Grammophon
Year: 1975; release: 1992
Quality: mp3; VBR
Size: 95 mb

There is a tragic side to Joplin's only surviving opera, Treemonisha, in spite of its sparkling tunes and, partly, ragtime rhythms. He spent the last years of his life obsessed with getting the opera staged and his experience of rejection led to his decline and early death. Fortunately he published the vocal score at his own expense in 1911. Even though the run-through performance in 1915 was a flop, this printed score enabled Gunther Schuller to orchestrate the work and obtain recognition for Joplin as more than just a composer of rags, excellent though those classics are, through the Houston Grand Opera production in 1975.

It is impossible to imagine anyone better qualified than Schuller to bring Treemonisha back to life. His orchestrations show complete sympathy and idiomatic expertise, even if some decisions may still raise queries. For example, "Aunt Dinah has blowed de horn" (track 17), is marked Assai moderato con espressione but Schuller really dashes it off against all Joplin's instructions elsewhere about his rags. One can see whythe opera is starved of events and some of the straightforward narration quickly palls. Treemonisha, to Joplin's own libretto, urges education as the solution to the downtrodden Blacks' predicament. Lacking this benefit himself, Joplin could not command the theatrical skills and experience needed to make his story more than a naïve curiosityas the stage production by the Bromley Festival Opera Company, under Gregory Rose's direction, showed in 1990. But this matters far less in a recording where mellifluous arias in the mainstream nineteenth-century Italian tradition make their effect interspersed with delightful Americanismsthe barber-shop group in "We will rest awhile" (track 6 on the second CD) and the fullyfledged delicate rag which forms the Prelude to Act 3 (track 10). Above all, perhaps, the "Real Slow Drag" at the end.

The cast is well balanced and convincing-interesting to hear Willard White, as Ned, well before his later triumphs--the recording, showing its age slightly, is adequate and the whole production much to be welcomed on to Compact Disc.
~ Gramophone [8/1992]
2009: The Rosenberg Trio - Djangologists Music » Jazz » Swing

2009: The Rosenberg Trio - Djangologists
Artist: The Rosenberg Trio with Bireli Lagrene
Album: Djangologists
Label: Enja
Year: 2009; release: 2010
Style: Manuche
Quality: mp3@320 kb/s
Size: 145 mb (with covers)

As a celebration of the hundredth anniversary of Manouche guitar genius Django Reinhardt, The Rosenberg Trio invite their friend and guitarist extraordinaire Bireli Lagrene, premiering studio time for an unparrallelled Manouche Dream-Team".

The Rosenberg Trio steps into digital distribution, and seizes the opportunity to go BIG : Independently produced 18-track album with Free bonus 50-minute video documentary , and last but not least, TOTALLY FREE 6-track mini-album ! (Everything in Hi-Q, 320Kbps MP3.)

The digital revolution allows the band to adress its audience more directly than ever and to offer more, with a typically Gipsy focus on independence and generosity. Forget about distribution problems in remote places and about insane prices on imported records : everything will be available to everyone, everywhere, 24/7 !

On the band's website, the Full 18-track Album + its bonus video documentary will cost only 8 euros. The 6-track mini album, rightfully entitled Free as the wind", will be... Absolutely free!
A large part devoted to lesser known compositions by Django, a daring excursion into the fields of amplified gipsy guitar with an amazing vintage amp, modern digressions, everything in the album breathes Django ! Welcomed by the Trio as the exceptional guest that he is, Birli is at home right away, and it's with playful and fraternal guitar work that they evoke the spirit of the great Django. The fierce and exuberant lead guitarists' duos are matched only by the trio's perfect balance and equilibrium after the passage of the storm named Birli. In the simplest and truest tribute to django, our three Flying Dutchmen are the absolute masters (according to Birli !) with two guitars and a double-bass. Add a vintage-sounding tube amp to drift a bit into Reinhardt's late electric period, and voila !".
The Documentary shot during the week in studio, is an insight to the making of this recording and the work mode of these amazing yet so accessible and modest musicians, while revealing rehearsals, alternates, tryouts and daily life, in an intimate way that places us at the very heart of their way of paying tribute to Django, which is ultimately no other than their way of life.
~ All About Jazz
2005: Various Artists - Latin Divas 1926-1954 Music » Jazz » Latin
2005: Various Artists - Latin Divas 1926-1954Artist: Various Artists
Album: Latin Divas 1926-1954
Label: Fremeaux & Associes
Year: 2005
Format, bitrate: mp3, 320 kb/s
Time: 01.44.52
Size: 240MB

Latin Divas 1926-1954 is a followup collection to the earlier Latin Crooners. The theme this time is women done wrong and female resentment of males. Its a universal theme, and, despite the fact the songs are sung in Spanish, the venom comes shining through. Its a 2-CD set, a clean sound even through most of the tracks were recorded in the 40s and 50s. The female vocalists are from Brazil, Mexico, Argentina, and Cuba , and the performances are uniformly good. Those who like the style will enjoy this, though it might be a bit much for the novice.
2009: Trinity - Breaking The Mold Music » Jazz » Modern Jazz » Freejazz

2009: Trinity - Breaking The Mold
Album: Breaking The Mold
Label: Clean Feed
Year: 2009
Quality: Flac
Size: 272 mb
Total time: 52:28

With a past in hardcore/metal bands, mostly playing the bass guitar, soon Kjetil Moster changed to the tenor saxophone and became interested in crossing jazz and rock with a strong improvisational approach. Specially interested in the ecstatic music of John Coltrane, his personal signature consists in a renovation of the Coltranean stylings. Involved in many top projects centered in Oslo, like Zanussi Five, Fe-Mail, Ultralyd and Crimetime Orchestra, or in colaboration with musicians like Paal Nilssen-Love, Havard Wiik, Fredrik Ljungqvist, Per Texas Johansson, Raymond Strid, Mike Pride, Michael Zerang and Nate Wooley, Moster is also the mentor of the project Trinity. His partners in this quartet couldn't be less notable: keyboardist Morten Qvenild is a former member of the band Jaga Jazzist and the founder of the piano jazz trio In the Country, Ingebrigt Haker Flaten comes from Mats Gustafsson's The Thing and Raoul Bjorkenheim's Scorch Trio, and Thomas Stronen is well known from his drumming with Food and Humcrush. With strong connections to the patrimony of jazz, Breaking the Mold is innovative, inventive, spelling and vibrant, with the glitter and strength of the most inspiring music coming nowadays from the North of Europe. Don't miss it.
~ Clean Feed
1959: Mundell Lowe - TV Action Jazz Music » Jazz » BeBop » Cool
1959: Mundell Lowe - TV Action Jazz
Artist: Mundell Lowe
Album: TV Action Jazz
Label: RCA Victor
Year: 1959
Quality: MP3@320 kbps (LP-rip)
Size: 58,3 mb
Total time: 27:14

Among Mundell Lowe's finest albums (and there are many) are he recorded in 1959 and 1960. Most jazz fans think of Mundell solely as a polished guitarist in both club and studio settings. In fact, Mundell also is a terrific swinging arranger, and the TV Action Jazz albums bear this out.

The first one, recorded in February 1959, was called TV Action Jazz! The album featured Donald Byrd (tp), Jimmy Cleveland (tb), Herbie Mann (fl,ts), Tony Scott (cl,bar), Eddie Costa (p,vib), Mundell Lowe (g), Don Payne (b) and Ed Shaughnessy (d). The album's concept was to take the hottest detective shows on TV at the time and create swinging arrangements of their themes. Quite a challenge considering how hip these themes already were.

The track list will bring back memories for those who remember Images what TV was like in 1959. On the album are jazz interpretations of the themes to Peter Gunn, Mike Hammer, Perry Mason, 77 Sunset Strip, M Squad, The Thin Man, Naked City and Fallout!

Among the highlights are the late-night ballad treatment of the Naked City theme and the rapid-fire The Thin Man. Throughout, Mundell offers juicy, thick guitar lines, with nifty solos by each of the players, particularly trombonist Jimmy Cleveland and Tony Scott on baritone sax. ~ JazzWax
2006: Joe Fonda's Bottoms Out - Loaded Basses Music » Jazz » Modern Jazz » Avantgarde
2006: Joe Fonda's Bottoms Out - Loaded Basses
Artist: Joe Fonda's Bottoms Out
Album: Loaded Basses
Label: CIMP
Year: 2006
Format, bitrate: mp3 256 kbps
Time: 63:06
Size: 117.19 MB

Puns play a prominent part in Joe Fondas latest ensemble effort. Both band name and album title present the gist of the project in pithy form as the celebrated bassist crews an ensemble with four talented exponents of lower register exploration. Gebhard Ullmann blows gutsy and garrulous bass clarinet, often trading with the more straightforward, but no less muscular, baritone brogue of Claire Daly. Puckish Michael Rabinowitz brings a playfully unpredictable perspective to the group, occasionally plugging in his bassoon and trading in funky riffs as on the bipolar Rocks in My Head, a track that morphs from billowy drones to shambling swing and back again. Tubaist Joe Daley occupies the lowest rung on the register ladder, soloing rarely, but maintaining a palpable oompah presence from a position stereo center. Fonda frequently scats alongside his febrile bass lines, his amplified strings punching through with a strong foreground sound. Gerry Hemingway (making his CIMP debut) proves a resourceful choice at the drum kit, serving as valuable rhythmic cantilever to the weighty mass of horns. His combination of cerebral acuity and manual dexterity prevents the bulky vessel from capsizing on several occasions, but there are also instances where the sheer corpulence of the configuration wins out. >>>>>
1963 : Harold Vick - Steppin' Out! Music » Jazz » BeBop » Hard-bop
1963 : Harold Vick - Steppin' Out!
Artist: Harold Vick
Album: Steppin' Out!
Label: EMI Music Distribution
Year: 1963
Format, bitrate: Mp3, 320 Kbps
Time: 36:09
Size: 83.6 MB
AMG Rating: 1963 : Harold Vick - Steppin' Out!

1963 : Harold Vick - Steppin' Out!

This soul-jazz outing by tenor saxophonist Harold Vick (his recording debut as a leader) casts him in a role that was often occupied by Stanley Turrentine. Vick, with a quintet that also includes trumpeter Blue Mitchell, guitarist Grant Green, organist John Patton, and drummer Ben Dixon, performs four blues, a slightly trickier original (five of the six songs are his), plus the ballad "Laura" on this CD reissue. There are no real surprises, but no disappointments either on what would be Harold Vick's only chance to lead a Blue Note date. At 27 he was already a fine player.
~ Scott Yanow, All Music Guide
2010: Frank Vignola - 100 Years of Django Music » Jazz » Swing
2010: Frank Vignola - 100 Years of Django
Artist: Frank Vignola
Album: 100 Years of Django
Year: 2010
Label: Azica Records
Format, bitrate: Mp3 320 CBRkbps / 44,1kH
Time: 48:53
Size: 117Mb
AMG Rating: 2010: Frank Vignola - 100 Years of Django

Frank Vignola is one of many jazz guitarists who has been drawn to the music of gypsy jazz legend Django Reinhardt, though a number of his compatriots have fallen short in their tributes by trying to play Reinhardt's music at a ridiculous tempo, or by copying his instrumentation. Not so with Vignola, who plays mostly with a trio and substitutes accordion player Julien Labro for a violinist, while he uses only one rhythm guitarist (Vinny Raniolo) and a bassist. The results of Vignola's efforts are superb, not merely near-rote re-creations of Reinhardt's music. Opening with an energetic setting of "Rhythm Futur," the leader and Labro share the spotlight in this frenetic swinger. Vignola's technique is marvelous in this setting of the moody ballad "Tears," opening it unaccompanied with just the rhythm section joining him at the one-minute mark. It is almost impossible for a Reinhardt fan not to include the dreamy ballad "Nuages" (translated as "Clouds," though Bucky Pizzarelli says that Reinhardt's song title was inspired by seeing steam rise from a train engine). Vignola's easygoing arrangement never gets carried away with focusing only on technique; instead, he embraces the melody and doesn't overplay his hand as he improvises around it. Fans of gypsy swing will discover 100 Years of Django as a rewarding celebration of the music of Django Reinhardt.
~ Ken Dryden, All Music Guide
2007: SPJ - 6º Seminario Permanente de Jazz de Pontevedra Music » Jazz
2007: SPJ - 6º Seminario Permanente de Jazz de Pontevedra
Artist: SPJ
Album: 6º Seminario Permanente de Jazz de Pontevedra
Label: Free Code Jazzrecords
Year: 2007
Format: FLAC
Size: 532.44 MB + 298.37 MB with scans

Permanent Seminar of Jazz Pontevedra has been eleven years since the referent of this musical style in Galicia, working on two basic pillars: the training of future musicians of this style and dynamism in the society through cycles of jazz, educational concerts for schoolchildren or editing recordings.
In these eleven years, SPJ has managed to lay their roots in Pontevedra, expanding its seed for the rest of the Globe of the hand of the two most outstanding musicians of the jazz Galician: Abe Rábade Charlín and Paco.
1981-1988: Emily Remler - Retrospective, Vol. 1: Standards Music » Jazz » BeBop » Hard-bop
1981-1988: Emily Remler - Retrospective, Vol. 1: Standards
Artist:Emily Remler
Album: Retrospective, Vol. 1: Standards
Label: Concord Jazz
Year: 1981-19888, release: 1991
Format, bitrate: Mp3 320 kbps
Time: 60:01
Size: 141 MB
AMG rating 1981-1988: Emily Remler - Retrospective, Vol. 1: Standards

This is the first of two CDs issued by Concord Jazz compiling some of the best tracks from Emily Remler's sessions for that label. Cut short at a far too early age by a heart condition while touring in Australia, Remler had all the talent necessary to carve herself a niche in the jazz world as a premier jazz guitar interpreter and performer. Retrospective, Vol. 1 is probably the superior of the two volumes, as it includes, among other gems, an enticing unaccompanied rendition of "Afro Blue." Remler had the ability to be expressively warm with a romantic ballad, as on "In a Sentimental Mood," but she excelled on tunes that allowed her to bring out her hard bop credentials, especially in the company of similarly tough-minded rhythm sections. She displays those credentials on several tracks, such as "Hot House" and "Daahoud," where she is joined by the inestimable Hank Jones on piano and Marvin "Smitty" Smith on drums. "Del Sasser" is the sole representative from that intriguing album she made with trumpet player John D'earth. On this cut, D'earth plays muted trumpet under a clean, straight-lined Remler guitar with a rather unusual scrimpy, but pleasing, sound as the result. Indeed an appropriate testimonial to a fine guitarist, this album is recommended for those who want an overview of the work by Remler without having to buy all the albums from whence the selections came. ~ Dave Nathan, All Music Guide
2002: Barrio Latino III - Sweet Life - Latin Nights (2CD) Music » Jazz » Latin

2002: Barrio Latino III - Sweet Life - Latin Nights (2CD)
Artist: VA
Album: Barrio Latino III 2CD
Label: George V Records
Year: 2002
Format, bitrate: mp3; 320kbps
Time: 2.14.51
Size: 134MB + 163 MB

Though the cover smacks of the kind of ultra-hip, ultra-bland club mix that's sold on style rather than sound, Barrio Latino, Vol. 3 is a solid set of Latin club tracks, divided into downbeat and dancefloor mixes. Mixer Carlos Campos begins with the downtempo material, a collection of exquisitely produced tracks with sensuous vocals drawing on influences ranging from Japanese acid jazz to Brazilian samba. Despite a few tracks of merely updated musical wallpaper (post-modern easy listening), Campos' mix is smooth and sensual. The second disc begins with a bang -- Mundo Azul's "Sereia," a brassy Latin disco number -- and takes listeners on a journey encompassing samba, house, merengue, and salsa. Although there are fewer bland tracks on the second disc, the dozen or so producers compiled don't exactly represent a who's-who of the club scene, or even the Latin club scene. Still, Campos strings them together with flair (and includes a couple of his own productions to boot), making Barrio Latino, Vol. 3 a solid mix of soulful house and delicious downtempo.
~ John Bush,
1957-1989: Mose Allison - Allison Wonderland Anthology (2CD) Vocal Jazz, BeBop, Cool

1957-1989: Mose Allison - Allison Wonderland Anthology (2CD)
Artist: Mose Allison
Album: Allison Wonderland 2CD
Label: Rhino Records
Years: 1957-1989; release: 1994
Quality: mp3@320
Size: 160 mb; 150 mb (with covers)
AMG Rating: 1957-1989: Mose Allison - Allison Wonderland Anthology (2CD) 1957-1989: Mose Allison - Allison Wonderland Anthology (2CD)

Only Dave Frishberg and possibly Mark Murphy can rival Mose Allison when it comes to creative use of irony in lyric writing, and neither compares as an instrumentalist. He's a fine bop pianist able to play challenging instrumentals and eclectic enough to integrate country blues and gospel elements into his style. Allison's unique mix of down-home and uptown styles has made him a standout since the '50s. He's one of the few jazz musicians on Atlantic's roster ideally suited for Rhino's two-disc anthology format. Allison recorded many different kinds of songs and was always as much, if not more, a singles than an album artist. In addition, Rhino thankfully sequenced the selected songs -- which span over 40 years, from 1957 to 1989, and include all of his best-known songs -- chronologically. Allison does reflective duo and trio pieces, moves into up-tempo combo numbers with a jump beat, then returns to the intimate small-group sound. His ability to highlight key lyrics, delivery, timing, and pacing is superb. The set includes such classics as "Back Country Blues," "Parchman Farm," "Western Man," and "Ever Since the World Ended," plus definitive covers of Willie Dixon's "The Seventh Son" and Sonny Boy Williamson II's "Eyesight to the Blind." It's an essential introduction to Allison's catalog. ~ Ron Wynn, All Music Guide
1989: Vic Lewis & The West Coast All Stars - Play Bill Holman Big Band, Progressive Jazz
1989:  Vic Lewis & The West Coast All Stars - Play Bill Holman
Artists: Vic Lewis & The West Coast All Stars
Album: Play Bill Holman
Label: Candid
Year: 1989; release: 1993
Quality: MP3@320 kbps
Size: 126 mb
Total time: 57:43

The association between Vic Lewis and Bill Holman indeed goes back to 1953. Holman was then arranging for the Stan Kenton band and from time to time, he and Stan would supply Vic with original charts for the band including several which Stan never in fact waxed., The Vic Lewis Orchestra was recorded however, playing some of them whilst on tour in Britain and the US.

Vic has no hesitation in declaring Bill Holman to be the finest big band jazz arranger in the world and in 1988 he satisfied a long held ambition by asking Bill to write arrangements for a complete album by the West Coast All Stars. As can be seen from the personnel listing, the cream of California's jazzmen were assembled for the date.
2010: Ken Filiano Quantum Entanglements - Dreams from a Clown Car Music » Jazz » Modern Jazz » Avantgarde
2010: Ken Filiano Quantum Entanglements - Dreams from a Clown Car Artist: Ken Filiano Quantum Entanglements
Album: Dreams from a Clown Car
Label: Clean Feed Records
Year: 2008; release: 2010
Format, bitrate: mp3, 320
Time: 65:01
Size: 143 mb

Ken Filiano is an outstanding bassist, propulsive and consistently inventive, as adept with a bow as he is playing pizzicato. Hes an elastic player, too, moving from more mainstream approaches to free improvisation. Hes been a backbone of both West and East Coast free jazz scenes, witness his frequent presence on Nine Winds and CIMP recordings respectively. He has released duos with Steve Adams of ROVA and with vocalist Bonnie Barnett (the latter called Trio for Two), and a fine solo disc called Subvenire, but Dreams from a Clown Car, recorded in 2008, marks a genuine departure. Its Filianos belated debut as a bandleader and principal composer and its a major achievement. The remarkable quartet hes put together here includes the saxophonists Michael Attias and Tony Malaby, a frequent pairing that also play in bassist John Heberts group and in Attiass quintet and who together might define some of the best qualities of current Brooklyn free jazz. Completing the quartet is drummer Michael T.A. Thompson, who brings a loose and propulsive animation to every moment of these proceedings, matching the force of Filianos lines and ostinati with a sense of liberation. Like the Clown Car of the title, the band keeps bringing forth more than expected, Filianos compositions ranging from kinetic free-bop to thick dirge, and sometimes combining the two, as in the dense ”Beguiled.” The two horns make the most of their doubles, with Attias opting for the roar of his baritone as often as he plays alto, and Malaby likewise playing a lot of soprano as well as tenor. The two develop tremendous gravity on ”Powder and Paint” and Filiano encourages an orchestral chemistry among the saxophonists with long improvised ensembles evolving naturally from his compositions. The morose ”Baiting Patience,” for example, thoroughly blurs the line between composition and improvisation. Theres a larger-than-life quality to much of this music, a collective virtuosity that often assumes the traditional complexity of the clown, the exaggerated emotional make-up both mirror and contrary to a host of subtler emotions. While its the collective language that often shines, there are some wonderful individual moments, like Filianos arco solo on ”Dog Days,” a sustained flight into viola register that extends the wail of the reeds. This is compelling work that consistently matches a detailed musicality with powerful emotions.
~ Stuart Broomer, Point of Departure
1989: Peggy Lee - There'll be Another Spring (The Peggy Lee Songbook) Music » Jazz » Vocal Jazz
1989: Peggy Lee - There'll be Another Spring (The Peggy Lee Songbook)
Artist: Peggy Lee
Album: There'll be Another Spring (The Peggy Lee Songbook)
Label: Musicmasters
Year: 1989; release:1990
Format, bitrate:Mp3; VBR
Time: 47.52
Size: 57.58 MB

Peggy Lee was seventy years old and wheelchair-bound when she made this album in late 1989, but she was still a creative and versatile songwriter, and a consummate actress with lyrics, as we see here. Nine new and three old songs, including "Fever," the only song in this collection that she did not write, show Peggy's ability to "manage" and interpret the new songs she has written for her voice and range at the end of her career. Though three of the songs, "Fever," "I'll Give It All to You," and "Things Are Swingin'" are up-tempo swing songs in major keys, the remainder of the collection is slow, minor-keyed, and melancholy, the theme of loss prevailing throughout.

Ballads such as "There'll Be Another Spring" and "Where Can I Go Without You" are songs lacking in any sign of hopefulness, with reluctant resignation the dominant mood. Two waltzes, "I Just Want to Dance All Night" and "Over the Wheel" include lyrics such as "You belong to someone else" and "We were not meant to be." Peggy makes these songs so lugubrious that listeners cannot fail to be moved. Her voice now lacks the range and ability to modulate and hold a long note, which were once her hallmarks, and occasionally her accompanists provide subtle "help," as in "Sans Souci," where the bass volume increases when she has to hit the lowest notes. In "Johnny Guitar," Peggy cedes the song to John Chiodini, whose Spanish-style guitar dominates, her voice seeming to accompany him, rather than the reverse.

Collectors of Peggy Lee will find that she is still the genius at interpretation that she always was, and her swing and blues styles are as good as ever. The overall mood of this album is painfully sad, however--not the album to choose if you are looking for an upbeat change of pace in your own life.
~ Mary Whipple,
1952: Al Haig - Live in Hollywood BeBop, Cool, West Coast Jazz
1952: Al Haig - Live in Hollywood
Artist: Al Haig
Album: Live in Hollywood
Label: Xanadu Records
Year: 1952; release: 1989
Quality: MP3@320 kbps
Size: 109 mb
Total time: 50:11
- !

In 1952, Al Haig had quite deliberately chosen to detach himself from the New York scene. Some saw this as a drop into obscurity. Al made only one studio session during his West Coast sojourn - with Babasin and Bunker a faw weeks after the Treade Winds jam - and he would not reappear on record for almost a year in a satisfying reunion with Charlie Parker under Norman Granz's supervision. Being out of the public eye didn't bother Haig just so long as he could play on his own terms.

This abum more than fills a gap in a phase of Al Haig's career that was inadequately documented by the commercial records of the time, it reminds us afresh of the creative clarity that was Haig's hallmark. He was, as the late Simphony Sid Torin used to say, one of the great gentlemen of modern music. We mourned his departure but we can rejoice in monumental performances such as these which ensure that the unique talent of a pianistic maestro lives on.
~ Mark Gardner, from liner note.
1941-1950: Ted Lewis - Classic Jazz Music » Jazz » Traditional Jazz » Classic Jazz
1941-1950: Ted Lewis - Classic Jazz
Artist: Ted Lewis
Album: Classic Jazz
Label: Columbia
Year: 1941-1950; release: 1950
Label: Columbia
Quality: MP3; VBR (LP-rip)
Size: 33,1 mb
What we have here is a rare Ted Lewis 10 inch album, chock full of jazz greats.

This eight-track 10" LP from 1950 is a compilation of Ted Lewis recordings made in the 1920s and early '30s. The versions of "Aunt Hagar's Blues" and Lewis' theme song, "When My Baby Smiles at Me," are re-recordings, but the performances are still good. Lewis is joined by a group of early jazz stars on the sides: Clarinetist Jimmy Dorsey appears on "Aunt Hagar's Blues" and "The Yellow Dog Blues"; saxophonist Don Murray is on "Clarinet Marmalade"; clarinetist Benny Goodman is on "Dip Your Brush in the Sunshine (And Keep On Painting Away)" and "Royal Garden Blues"; Muggsy Spanier joins Goodman on those two tracks, as well as appearing on "When My Baby Smiles at Me" and "Sobbin' Blues"; trombonist George Brunies is on "When My Baby Smiles at Me," "Sobbin' Blues," and "Royal Garden Blues"; clarinetist Frank Teschemacher is on "Sobbin' Blues"; and Fats Waller sings and plays piano on "Dallas Blues" and "Royal Garden Blues." Lewis pops up here and there to sing choruses in his fey manner and to offer encouragement to the soloists. The result is some excellent early jazz music. ~ William Ruhlmann, All Music Guide
1996: Saft/Vu - Ragged Jack Music » Jazz » Modern Jazz » Avantgarde
1996: Saft/Vu - Ragged Jack Artist: Jamie Saft/Cuong Vu
Album: Ragged Jack
Label: Avant
Year: 1995; release: 1996
Format, bitrate: mp3, 320
Size: 139 mb
AMG Rating: 1996: Saft/Vu - Ragged Jack

Despite the presence of John Zorn as executive producer, Ragged Jack is a slightly traditional jazz record -- Jamie Saft plays piano and contributes a little less than half of the record's compositions, Cuong Vu plays trumpet and provides several more compositions, Andrew D'Angelo plays alto saxophone and bass clarinet and turns in two compositions, and Jim Black provides drums and percussion. The resulting sessions have a fractured bop feel that might be marginally influenced by the downtown scene, but tend more toward solid, "traditional" free-jazz.
~ Nitsuh Abebe, All Music Guide
1927-1934: Wingy Manone And His Orchestra 1927-1934 Dixieland, Classic Jazz
1927-1934: Wingy Manone And His Orchestra 1927-1934
Artist: Wingy Manone
Album: Wingy Manone And His Orchestra 1927-1934
Label: Classics
Years: 1927-1934, release: 1996
Quality: MP3@320 kbps
Size: 141 mb
Total time: 66:56
REPOST by request

A publicity photo of Wingy Manone shows him apparently poised in the act of doing the dance called a buck-and-wing, but that's not where the moniker came from. When Joe Manone was ten years old he lost his right arm in a trolley accident. In time he came to be called "Wingy," and wore a wooden limb with a glove over the end of it, securing his cornet between the wooden fingers and working its valves with his left hand. Wingy's bands swung hard. He developed a warm, gruff voice and almost invariably displayed a wild sense of humor. What Classics 774 delivers is a step-by-step synopsis of Manone's earliest work, including quite a bit of previously hard to find material. The four titles from 1927 were recorded in Wingy's home town of New Orleans. Earl Warner's twerpy vocal on the first selection illustrates exactly why listeners should be thankful for Wingy's decision to develop himself as a singer. Up in Chicago a year and a half later, Wingy fell in with a set of rough-and-tumble blokes who earnestly cooked each number to the bone. Next stop: the Gennett recording studio in Richmond, IN, where Manone led two sessions under the inspiring banner of Barbecue Joe & His Hot Dogs during the late summer and early autumn of 1930. Every single one of these sides is solid and catchy, especially the Hot Dogs' revival of Papa Charlie Jackson's "Shake That Thing." Most notably, "Tar Paper Stomp," also known as "Wingy's Stomp," is the earliest known recording involving a bouncy lick that would show up in Fletcher Henderson's book as "Hot and Anxious" and eventually earn a lot of money for Glenn Miller as "In the Mood." Here on Wingy's plate it comes across honest and natural as hash browns and scrambled eggs with a little bit of hot sauce. There is a discernible change in Wingy's voice over the span of just a few years. In 1928 he's earnest enough but doesn't attract a whole lot of attention. By 1930 he's sounding tougher. But the Wingy of 1934 calls out in a voice of magnetic, husky friendliness that would distinguish him for the rest of his days. Wingy's consistent front line of cornet (or trumpet after 1930), clarinet, and tenor sax was only occasionally beefed up with a trombone or extra trumpets. Three of the five tenors represented here languish in obscurity; Bud Freeman and Eddie Miller are familiar names, but who on earth was George Snurpus? This is exactly why early jazz studies are so adventuresome. You never know who is going to appear before your startled ears. Any hankering for famous and proven presences will be more than satisfied by the session of August 15, 1934. Wingy, Dicky Wells, Artie Shaw, and Bud Freeman are supported by Kaiser Marshall, John Kirby, guitarist Frank Victor, and your choice of pianists Teddy Wilson or Jelly Roll Morton. If that don't get it, nothing will.
~ arwulf arwulf, Rovi
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