Jazz Blues Club

Jazz Blues Club http://jazzbluesclub.com/ ru Jazz Blues Club DataLife Engine 1947: Dizzy Gillespie - It Happened One Night http://jazzbluesclub.com/2010/07/30/dizzy_gillespie__it_happened_one_night_1947.html http://jazzbluesclub.com/2010/07/30/dizzy_gillespie__it_happened_one_night_1947.html

     Artist: Dizzy Gillespie
     Album: It Happened One Night
     Label: Black Label
     Year: 1947, release - 1995
     Format, bitrate: MP3@320 kbit/s
     Time: 45:52
     Size: 101 mb

REPOST by request with new links from Mr.lex

Что же случилось в одну из ночей далекого 1947 года вы узнаете,
прослушав замечательный альбом Великого Диззи.

On the night of Sept. 29, 1947, there were three sets of music at Carnegie Hall: the Dizzy Gillespie Big Band, Ella Fitzgerald backed by the orchestra and the Dizzy Gillespie-Charlie Parker Quintet. The second and third parts of the show are included on this very interesting LP. Fitzgerald sounds fine on tunes such as "Lady Be Good" and "How High the Moon," scatting while being backed by the big band. However the reason to search for this set is to get the five titles from Diz and Bird. This version of "Confirmation" has some miraculous Parker.

~ Scott Yanow, All Music Guide

]]> nomparel Fri, 30 Jul 2010 23:48:09 +0400 1958, 1970: Jazz Icons - Dizzy Gillespie: Live in '58 and '70 http://jazzbluesclub.com/2010/07/30/jazz_icons_dizzy_gillespie_live_in_58_and_70.html http://jazzbluesclub.com/2010/07/30/jazz_icons_dizzy_gillespie_live_in_58_and_70.html

     Artist: Dizzy Gillespie
     DVD: Jazz Icons - Dizzy Gillespie: Live In '58 And '70
     Studio: Naxos, release: 2006
     Year:1958, 1970
     Video:
     Codec : MPEG2V
     Bit rate mode : VBR
     Width: 720 pixels
     Height: 480 pixels
     Display Aspect ratio: 4/3
     Frame rate: 25 fps
     Standard : NTSC
     Audio:
     Codec : LPCM
     Channel(s) : 2 channels
     Sampling rate : 48 KHz
     Size: 4,31GB
     Total time: 85 min.

!!!THIS POST IS COPIED FROM ORIGINAL DVD.... SO THE QUALLITY IS GREAT!!!

Features two historic concerts from one of the founding fathers of bebop. Filmed 12 years apart, the 1958 concert features Dizzy working eloquently within the small combo structure of a quintet. The second show features Dizzy fronting the legendary Kenny Clarke-Francy Boland Big Band. With a 16-piece big band to conduct, Dizzy's Latin influences are revealed. ~ jazzheritage.com]]> sa_pexi Fri, 30 Jul 2010 21:57:56 +0400 1956: Duke Ellington - Private Collection, Vol. 1: Studio Sessions, Chicago 1956 http://jazzbluesclub.com/2010/07/30/duke_ellington__private_collection_vol_1_studio_sessions_chicago_1956.html http://jazzbluesclub.com/2010/07/30/duke_ellington__private_collection_vol_1_studio_sessions_chicago_1956.html

   Artist: Duke Ellington
   Album: Private Collection, Vol. 1: Studio Sessions, Chicago 1956
   Label: SAJA
   Year: 1956, release: 1988
   Quality: MP3@320 kbps
   Size: 116 mb
   Total time: 54:10

REPOST by request

The first of ten CDs of previously unreleased material recorded privately by Ellington between engagements, all of which was eventually reissued first on LMR and then Saja/Atlantic. Each of the sets has its interesting moments, offering previously unknown compositions and performances. Volume One, recorded in Chicago during March and December 1956, has plenty of spots for Clark Terry, Ray Nance, Johnny Hodges and Paul Gonsalves among the orchestra's many great soloists.
~ Scott Yanow, All Music Guide

Duke Ellington, along with his frequent collaborator Billy Strayhorn, was so prolific a composer that whether or not he had an "outlet" for his music an album for a record company he'd record it if only to hear how it sounded! Also, some of these pieces of music were, in part or in entirety, works-in-progress, that would sometimes be "fine-tuned" at a later date. This is a great opportunity to hear Ellington & company playing for themselves relaxed and informal, but by no means sloppy or second-rate. Note the rich, easygoing-but-with-a-swagger "Miss Lucy" or the sly, blusey, understated take on "Satin Doll." Fans or neophytes - this is a keeper!]]> lex Fri, 30 Jul 2010 21:17:10 +0400 1972: Mal Waldron - Blues for Lady Day http://jazzbluesclub.com/2010/07/30/1972_mal_waldron__blues_for_lady_day.html http://jazzbluesclub.com/2010/07/30/1972_mal_waldron__blues_for_lady_day.html

     Artist: Mal Waldron
     Album: Blues for Lady Day
     Year: 1972, release: 1994
     Label: Black Lion
     Quality: mp3/320 kbps
     Size: 161 MB
     Time: 70:42
     AMG Rating 1972: Mal Waldron - Blues for Lady Day

Pianist Mal Waldron was Billie Holiday's final regular accompanist and has recorded several tributes to Lady Day through the years. This CD brings back a nine-song solo tribute that consists of eight songs associated with Holiday (including "Don't Blame Me," "You're My Thrill," "Strange Fruit" and "Mean to Me") plus Waldron's "Blues for Lady Day"; the emphasis is on thoughtful (and sometimes a bit downbeat) interpretations at ballad tempoes. The reissue adds two lengthy and unrelated trio improvisations with bassist Henk Haverhoek and drummer Pierre Courbois ("A Little Bit of Miles" and "Here, There and Everywhere") that actually have nothing to do with Lady Day but do feature Mal Waldron coming up with some interesting and fresh ideas .

~ Scott Yanow, All Music Guide

]]> pal47 Fri, 30 Jul 2010 16:16:19 +0400 1964: Joe Henderson - Inner Urge http://jazzbluesclub.com/2010/07/30/joe_henderson__inner_urge.html http://jazzbluesclub.com/2010/07/30/joe_henderson__inner_urge.html

     Artist: Joe Henderson
     Album: Inner Urge
     Label: Blue Note
     Year: 1964, release: 2003
     Format, bitrate: MP3 192 kbps
     Time: 42 minutes
     Size: 59.39 MB
     AMG Rating 1964: Joe Henderson - Inner Urge

This early recording by Joe Henderson is not only one of the finest of all of his fine recordings, but is also a high point for 1960s jazz. At this point in his career, Henderson was a full-time member of Horace Silver's combo and did not yet have a steady band in his hire. He is joined on Inner Urge by veterans of other combos: McCoy Tyner and Elvin Jones from John Coltrane's unit and Sonny Rollins sideman Bob Cranshaw. The presence of these luminaries aside, Inner Urge is home to two of Henderson's best (and best-loved) compositions: "Inner Urge" and "Isotope." The leader's solo on the title track is a marvelous thing, full of melody as well as anarchic bursts of sound, which is in perfect keeping with the spirit of the song's probing, searching theme. The other musicians support Henderson nicely as well as turning in some strong solos of their own. Tyner especially sounds fantastic on this record. Although not the equal of the leader in terms of the quality of his lines or the overall sense of composition of his solos, his performance is at least the rival of Henderson's in terms of raw kinetic power. The other great song on "Inner Urge," the Monk-ish "Isotope," is another ideal showcase for Henderson's total command of his instrument. The remaining tracks on Inner Urge are also fantastic, especially the wailing cry of "El Barrio" and the Henderson-altered head to "Night and Day," but the first side, even if taken alone, is by itself enough to guarantee this album as perhaps the best Henderson recorded in his long and illustrious career, and stands easily alongside the best records of the era. ~ Daniel Gioffre, All Music Guide
]]> bellyfuss1 Fri, 30 Jul 2010 16:06:27 +0400 1953-1954: Membran Music's Jazz Ballads Series, Set-XI: Lionel Hampton http://jazzbluesclub.com/2010/07/30/19531954_membran_musics_jazz_ballads_series_setxi_lionel_hampton.html http://jazzbluesclub.com/2010/07/30/19531954_membran_musics_jazz_ballads_series_setxi_lionel_hampton.html

     Artist: Lionel Hampton
     Album: Jazz Ballads
     Label: Membran Music
     Years: 1953-1954; release: 2004
     Format, bitrate: mp3, 320 kbps
     Time: 1h, 02 min, 27 sec + 1h, 02 min, 58 sec
     Size: 150+157 mb.

Традиционные пятничные баллады. В этот раз издатели из Мембраны решили дать слушателям немножко отдохнуть от саксофона и послушать другой, не менее лирический (на мой непрофессиональный взгляд) инструмент - вибрафон. А солировать сегодня будет, пожалуй, первый популяризатор этого инструмента - Лайонел "Хэмп" Хэмптон. Прошу любить и жаловать.
]]> crazy_captain Fri, 30 Jul 2010 14:41:34 +0400 1956 - 1957: John Coltrane – Turning Point - The Bethlehem Years http://jazzbluesclub.com/2010/07/30/1956__1957_john_coltrane__turning_point__the_bethlehem_years.html http://jazzbluesclub.com/2010/07/30/1956__1957_john_coltrane__turning_point__the_bethlehem_years.html

     Artist: John Coltrane
     Album: Turning Point - The Bethlehem Years
     Label: FiveFour/Bethlehem
     Years: 1956 - 1957, release: 2008
     Quality: MP3@320 kbps
     Size: 162 mb
     Total time: 74:04

Over the all too brief 40 years of his life, John Coltrane had a profound and far-reaching effect on the world of Jazz and beyond. Yet acclaimed as he already was after spells as a sideman with giants such as Miles Davis, Dizzy Gillespie and Thelonious Monk, it was only in 1957 that his musical vision began to truly find focus. The "spiritual awakening" of which he spoke prompted him to make wholesale changes in his lifestyle. Out, went the bad habits that had made many fear for his life, to be replaced by an all-consuming quest to make music that transcended national and cultural boundaries, bringing both player and listener to a state of connectedness with God. This edition illustrates that landmark year with selections from four important sessions; collaborations and first dates as leader with Tadd Dameron, Kenny Burrell, Tommy Flanagan and Red Garland. The listener will find abundant evidence of one of Jazz's undisputed greats demonstrating total mastery of the music that succored him through his early years - Blues, Swing, Bebop - and already beginning to hunger for fresh challenges.

~ From FiveFour liner note

]]> lex Fri, 30 Jul 2010 14:40:15 +0400 1966: Count Basie with the Alan Copeland Singers - Basie Swingin' Voices Singin' (1966) http://jazzbluesclub.com/2010/07/30/count_basie_with_the_alan_copeland_singers__basie_swingin_voices_singin_1966.html http://jazzbluesclub.com/2010/07/30/count_basie_with_the_alan_copeland_singers__basie_swingin_voices_singin_1966.html 1966: Count Basie with the Alan Copeland Singers - Basie Swingin' Voices Singin' (1966)

     Artists: Count Basie with the Alan Copeland Singers
     Album: Basie Swingin' Voices Singin'
     Year: 1966
     Label: ABC/Paramount
     Quality: 320kbs (LP-rip)
     Total Time: 00:32:12
     Total Size: 74mb
     AMG Rating 1966: Count Basie with the Alan Copeland Singers - Basie Swingin' Voices Singin' (1966)

Apparently Basie was impressed by Alan Copeland's work as choral director of the "Red Skelton Show" and approached him to do this album. He was honoured of course and said 'yes'. The collaboration was quite successful as expected. Alan conducted and did all the arrangements. For Basie purists this wasn't seen as one of maestro's high points. But even Basie was a businessman and had to make a buck. On some tracks the rhythm section and voices are aided by some of the Basie sidemen. This album, in fact, contains the first fruits of Roy Eldridge's new association with the Count. His muted horn is a heard on "Until I met You", a number written by Freddie Green, whose guitar is a driving force on every track. There are also solos and obbligati by Lockjaw Davis, Al Grey and Roy on "One For My Baby" and "Call Me".

~ From liner note

]]> Gkjoflm Fri, 30 Jul 2010 12:16:52 +0400 1975: Dizzy Gillespie,Sonny Stitt,John Lewis,Percy Heath,Max Roach,Hank Jones – The Bop Session http://jazzbluesclub.com/2010/07/29/1975_dizzy_gillespiesonny_stittjohn_lewispercy_heathmax_roachhank_jones__the_bop_session.html http://jazzbluesclub.com/2010/07/29/1975_dizzy_gillespiesonny_stittjohn_lewispercy_heathmax_roachhank_jones__the_bop_session.html

     Artists: Dizzy Gillespie, Sonny Stitt, John Lewis ,Percy Heath, Max Roach, Hank Jones
     Album: The Bop Session
     Label: EmArCy
     Year: 1975, release: 2004
     Quality: MP3@320 kbps
     Size: 111 mb
     Total time: 50:48

For my friends!

This LP matches together trumpeter Dizzy Gillespie and Sonny Stitt (on alto and tenor) with an all-star rhythm section (John Lewis or Hank Jones on piano, bassist Percy Heath and drummer Max Roach) for six classic bop standards. Gillespie was near the end of his prime but is in generally good form while Stitt typically eats the material (songs such as "Confirmation," "Groovin' High" and "All the Things You Are") with no difficulty. Bop fans should enjoy this date despite the lack of surprises. ~ Scott Yanow, All Music Guide ]]> lex Thu, 29 Jul 2010 17:44:38 +0400 1956: Lucky Thompson & Gerard Pochonet et son Quartette http://jazzbluesclub.com/2010/07/29/lucky_thompson__lucky_thompson__gerard_pochonet_et_son_quartette.html http://jazzbluesclub.com/2010/07/29/lucky_thompson__lucky_thompson__gerard_pochonet_et_son_quartette.html

     Artist: Lucky Thompson
     Album: Lucky Thompson & Gerard Pochonet et son Quartette
     Recording Date: Mar 2 & 14, 1956
     Label: Dawn
     Format: mp3, 320 kb/s
     Size: 76 MB

While visiting France in 1956, tenor saxophonist Lucky Thompson recorded over a dozen sessions within a span of just four months, with various groups put together by drummer Gerard "Dave" Pochonet. This CD reissue in Verve's Jazz in Paris series combines two different studio dates. Four tracks feature a septet with an unusual lineup that includes bass trombonist Charles Verstraete and baritone saxophonist Michel de Villers and a rhythm section anchored by pianist Martial Solal. The full group blends very well, with excellent solos by each member of the front line, though Thompson's quartet feature, "Lullaby of the Leaves," is marred somewhat by his squeaking reed. The remaining five selections are by a tentet that includes the entire septet, except Henri Renaud takes over on piano. Thompson's lush quartet treatment of "I Should Care" is the highlight of the latter date. The French musicians prove up to the task of working with the visiting American star on both dates, while Thompson is in top form throughout most of the two sessions. ~ Ken Dryden, All Music Guide]]> fringeon Thu, 29 Jul 2010 17:39:22 +0400 1996: Conrad Herwig - New York Breed http://jazzbluesclub.com/2010/07/29/conrad_herwig__new_york_breed.html http://jazzbluesclub.com/2010/07/29/conrad_herwig__new_york_breed.html

     Artist: Conrad Herwig
     Album: New York Breed
     Label: Double-Time Records
     Year: 1996
     Format, bitrate: MP3, 192 kbps
     Time: 65 minutes
     Size: 89.48 MB
     AMG rating: 1996: Conrad Herwig - New York Breed

     According to history, jazz was born in New Orleans and in the first three decades of this century gradually moved up the Mississippi River to the central United States. If New Orleans was the birthplace of jazz and the Midwest is where it spent its adolescence, New York is where the music found adulthood. Since the 1930’s when the bands of Cab Calloway, Chick Webb and Duke Ellington reigned supreme and into the 1940’s, when many of the hottest jazz improvisors uprooted and shifted base from Midwestern cities such as Chicago, Detroit and Kansas City to the East Coast, New York has been called ”The Jazz Capital of the World.”
     When the great bebop innovators Charlie Parker, Dizzy Gillespie, Thelonious Monk and others made 52nd St. their headquarters, that reputation was once and for all secured. In the 60’s the next generation of innovators like John Coltrane, Miles Davis and their colleagues, all made the New York area their home. A young jazz musician might get his start elsewhere, but if you could make it in the Big Apple you could make it anywhere. New York improvisors of every genre from bebop to avant garde have been considered on the cutting edge of our unique American art form. All the musicians on this recording are part of this ”New York Breed”.
     I first came to the city when I joined Clark Terry’s Big Band in 1981. When Clark went back to a small group format I relocated in New York and it’s been my home since. Where else could one perform and record with musicians like Jack de Johnette, Randy and Mike Brecker, John Scofield, Toshiko Akiyoshi, Mel Lewis, Max Roach, Eddie Palmieri, Tito Puente, Dizzy Gillespie, Mario Bauza, Paquita D’Rivera and the brilliant musicians on this recording? It seems like name dropping, but the fact of the matter is these guys are local cats. Of course that locality happens to be the island of Manhattan. ...]]> bellyfuss1 Thu, 29 Jul 2010 17:23:36 +0400 2007: Adam Lane/Ken Vandermark/Magnus Broo/Paal Nilssen-Love - 4 Corners http://jazzbluesclub.com/2010/07/29/2007_adam_laneken_vandermarkmagnus_broopaal_nilssenlove__4_corners.html http://jazzbluesclub.com/2010/07/29/2007_adam_laneken_vandermarkmagnus_broopaal_nilssenlove__4_corners.html

     Artist: Adam Lane/Ken Vandermark/Magnus Broo/Paal Nilssen-Love
     Album: 4 Corners
     Label: Clean Feed Records
     Year: 2006; release: 2007
     Format, bitrate: mp3, 320
     Size: 162 mb

     If you already sensed that the free bop style played by Ken Vandermark has roots in rhythm 'n' blues, here is the recording that confirms your impression. The context enables him to show his origins, and is provided here by a rock solid rhythm section formed by Adam Lane (sometimes with his double bass plugged to a distortion pedal, and when that happens it really grooves) and Paal Nilssen-Love, a drummer who seems to have four arms and four legs. A second horn, the trumpet of the amazing Magnus Broo, relates to the saxophonist and clarinetist just as Donald Ayler did with his brother Albert. The compositions, by Vandermark himself and Lane, are reminiscent of the Sixties writing of Ornette Coleman, with the addition of a strong melodic suggestibility - "Lucia" is a good example. But the music is not a celebration of past achievements. This is jazz of the 21st century, reflecting the many musical interests of its performers, going from Mingus flavours and Berio's ideas to a Black Sabbath-like energy and the balance of Funkadelic. "4 Corners" was recorded live in a bar atmosphere during a festival in Coimbra, Portugal, and it reflects the very special moment of communication with the audience they were capable to ignite. This is powerful, loud, intense music, the kind that vibrates in your soul beside your senses and your body. With lots of fun but also profoundly serious in its purpose to gather people in these times of cultural and civilizational conflict.

~ Clean Feed

]]> emjey23 Thu, 29 Jul 2010 15:38:35 +0400 1974: Tomasz Stanko - Twet http://jazzbluesclub.com/2010/07/29/tomasz_stanko__twet_1974.html http://jazzbluesclub.com/2010/07/29/tomasz_stanko__twet_1974.html

     Artist: Tomasz Stanko
     Album: Twet
     Format: FLAC (cue, log, scans)
     Size: 243 MB
     Label: Polskie Nagrania (24-bit remastered, 2004)
     Total time: 40:03

     In the '70-s, the peak years of Tomasz Stanko, his perfect partners were few, but certainly the Finnish drummer Edward Vesala and Polish tenor-man Tomasz Szukalski belonged to them. Their cooperation brought such important records as "Balladyna", "TWET", "Almost Green", "Live at Remont" or "Satu". These three musicians' mutual understanding was almost of a metaphysical quality, necessary to be sure, to play free-jazz. On this disc they are joined by the sensitive and articulate American bassist, Peter Warren. Out in 1976, TWET (supposedly an acronym of musician's initials), is a perfect example of free-jazz attractiveness potential, so seldom truly realizes. But here it materializes, to the sensitive listener's satisfaction. "Dark Awakening" grips our imagination from the very start with the mysteriously oscillating mood, the sounds of bass clarinet... With the first sounds of trumpet the heterophony of the four instruments fighting for our attention unfolds. In the title piece TWET ostinato basses support the convulsive flights of trumpet but soon bass itself comes to the fore with the series of three-notes motifs (c, c-sharp, d) crowned by a surprising consonance. The most gentle and even tender number, "Mintuu Maria" starts with tenor-trumpet dialogue that gradually gives way to tenor improvisation after which the trumpet joins again. Strong drumming and bass figures introduce "Man of the North", giving way after a while to incoherent heterophony of voices leading to frenetic saxophone solo over assertive and faster bass walking. Out of the background to the fore the drums emerge, but the bass figures take over the high above the trumpet's soaring sounds appear. Another contrast brings "Night Peace": the chimes of steady basses, tiny bell-sounds and prorogated sounds of trumpet bring back sleepy saxophone, and they take rest of calm pulsations of drums and bass.

~ Andrzej Schmidt, polishjazz.com

]]> hungaropitecus Thu, 29 Jul 2010 12:13:49 +0400 1974: Idris Muhammad - Power Of Soul http://jazzbluesclub.com/2010/07/29/idris_muhammad__power_of_soul.html http://jazzbluesclub.com/2010/07/29/idris_muhammad__power_of_soul.html

      Artist: Idris Muhammad
      Album: Power Of Soul
      Label: Sony
      Year: 1974 ( release 2002)
      Format, bitrate: FLAC, cue, log, scans
      Size: 246 MB

Repost with a Flac link from mr. hungaropitecus

This album is one of the reasons that Idris Muhammad is regarded as the drumming king of groove. Featuring the arrangements and keyboards of Bob James, the saxophone punch of Grover Washington, Jr., guitarist Joe Beck, trumpeter Randy Brecker, percussionist Ralph MacDonald, and the knife-edge slick production of Creed Taylor, this 1974 issue is a burning piece of deep, jazzy soul and grooved-out bliss. The funk flies fast and heavy, particularly on the title track (Jimi Hendrix's tune), with soaring solos by Grover and James, who fall down in the groove to Muhammad's powerful pace, setting from the heart of the pocket. Beck's own solo is special in that he moves against the tempo just a bit, but that only increases the listener's dependence on the groove of Muhammad. Clocking in at only 34 minutes it's a perfect slice of the raw-onion emotion Muhammad was pulling down at the time. While there isn't a weak track in the four, it's Washington's "Loran's Dance" that takes the cake, even over Hendrix. While the former is dark and heavy, and the immediately preceding tracks by James and Beck, respectively, are light, fancy, free nods to Creed Taylor's hoping for a jazz radio single, it's "Loran's Dance" that showcases not only Washington as an aspiring writer in his own right (this is only a year before Feels So Good and Mr. Magic appeared), but also as a talented interpreter of the edges where jazz and soul come together. James' arrangements are tight, and everybody gets to solo with a little more freedom and grace. Muhammad keeps the pocket wide and Brecker and Washington dance all around in it as James plays the accents furtively. This is some easy-moving, yet musically complex jazz. There is great power in these four tracks to make you move or reflect or just tap your foot while nodding "yeah" at your speakers imperceptibly.

~ Thom Jurek, All Music Guide

]]> mikebountain Thu, 29 Jul 2010 12:06:39 +0400 1977 : Art Blakey and the Jazz Messengers - Gypsy Folk Tales http://jazzbluesclub.com/2010/07/29/1977__art_blakey_and_the_jazz_messengers__gypsy_folk_tales.html http://jazzbluesclub.com/2010/07/29/1977__art_blakey_and_the_jazz_messengers__gypsy_folk_tales.html

     Artist: Art Blakey and the Jazz Messengers
     Album: Gypsy Folk Tales
     Label:Roulette Records
     Year: Feb 14, 1977-Mar 1, 1977
     Quality: MP3@320 kbps
     Size: 134 MB

     The 1977 version of The Jazz Messengers introduced two new voices to jazz (altoist Bobby Watson and the Russian trumpeter Valeri Ponomarev) in addition to featuring tenor saxophonist Dave Schnitter, veteran pianist Walter Davis and bassist Dennis Irwin. This Roulette LP includes six fairly recent originals in addition to a pair of numbers co-written by drummer Art Blakey with saxophonist Bob Mintzer. Davis's "Gypsy Folk Tales" and "Jodi" are the best-known songs and the hard-bop oriented solos are consistently fresh.

~ Scott Yanow, All Music Guide

]]> bultra Thu, 29 Jul 2010 11:45:04 +0400 1996: The Bobby Shew Quintet - Heavyweights http://jazzbluesclub.com/2010/07/29/the_bobby_shew_quintet__heavyweights.html http://jazzbluesclub.com/2010/07/29/the_bobby_shew_quintet__heavyweights.html

     Artist: The Bobby Shew Quintet
     Album: Heavyweights
     Label: Mama Foundation
     Year: 1996
     Format, bitrate: MP3, 192 kbps
     Time: 71 minutes
     Size: 98.59 MB
     AMG Rating 1996: The Bobby Shew Quintet - Heavyweights

Trumpeter Bobby Shew had been wanting to make an album with the under-recorded trombonist Carl Fontana for 25 years when he finally had the opportunity in 1995. Using swinging arrangements by the recently deceased Herbie Phillips, Shew and Fontana (who are assisted by pianist George Cables, bassist Bob Magnusson, and drummer Joe LaBarbera) perform a bop-oriented program comprised of nine jazz standards. The interplay between the two very fluent horns is consistently delightful, and the highlights include "The Night Has a Thousand Eyes," "My Romance," "The Girl From Ipanema," and "While My Lady Sleeps." Recommended for straight-ahead jazz fans. ~ Scott Yanow, All Music Guide]]> bellyfuss1 Thu, 29 Jul 2010 11:10:53 +0400 1960: Kenny Dorham - Jazz Contemporary http://jazzbluesclub.com/2010/07/29/1960_kenny_dorham__jazz_contemporary.html http://jazzbluesclub.com/2010/07/29/1960_kenny_dorham__jazz_contemporary.html

     Artist: Kenny Dorham
     Album: Jazz Contemporary
     Label: Fresh Sounds Records
     Year: 1960 ; release: 2004
     Format, bitrate: mp3, 320
     Time: 62 mins
     Size: 145 mb

Originally on the Time label, this LP features the excellent (but always underrated) trumpeter Kenny Dorham heading a quintet that also includes baritonist Charles Davis, pianist Steve Kuhn, either Jimmy Garrison or Butch Warren on bass, and drummer Buddy Enlow. The results are not quite essential but everyone plays up to par, performing three of Dorham's originals plus "In Your Own Sweet Way," "Monk's Mood," and "This Love of Mine." It's fine hard bop, the modern mainstream music of the period. ~ Scott Yanow, All Music Guide]]> micaus Thu, 29 Jul 2010 11:00:12 +0400 2010: Incognito - Transatlantic RPM http://jazzbluesclub.com/2010/07/29/2010_incognito__transatlantic_rpm.html http://jazzbluesclub.com/2010/07/29/2010_incognito__transatlantic_rpm.html

     Artist: Incognito
     Album: Transatlantic RPM
     Year: 2010
     Label: EDEL
     Quality: mp3@192Kbps
     Size: 99,61 Mb
     Total time: 70:03

Jean-Paul “Bluey” Maunick and Incognito have become an insitution on the British groove scene, for their jazz-funk and nu-soul hybrid. Transatlantic R.P.M. marks Maunick's 30 years in the music biz and celebrates with 14 new songs, 13 of them originals. Bluey enlisted a slew of friends to join the party. The set opens with the album's love cover: a convincing reading of Boz Scaggs' "Lowdown," featuring Italian clubjazz singer Mario Biondi and Chaka Khan. The arrangement doesn't differ all that much from Scaggs' version (thankfully) but the meld of Biondi's and Khan's rough-edged lead vocals juxtaposed with a smooth backing chorus, a slightly faster tempo, and a popping bassline after the bridge, distinguishes it. Another notable cut is Bluey's funky name checking homage to the 70s and his youth entitled "75"; it's sung by Joy Rose with a gorgeous horn arrangement by Kevin Robinson. Leon Ware puts in a fine performance on the babymaker, makeup number "Line In The Sand." Bluey's guitar work is, as usual, tasteful and understated, but adds immeasurably. Ursula Rucker sings and speaks on the stepper "Gotta," while Khan gets her own showcaseon the jazzy, string and Rhodes laden, "The Song." Longtime vocalist Maysa shines on the summery "Your Love My Sky," with beautiful guitar work from Bluey and a fine brass arrangement by Trevor Mires. The lone instrumental on the set "Expresso Madureira," mixes Brazilian and Afro Latin rhythms in a heady, funk brew with popping percussion and horns. A Stevie Wonder meets Roy Ayers vibe distinguishes the '70s groove at work in "Life Ain't Nothin' But A Good Thing" sung by Vanessa Haynes. Biondi returns on the breakbeat clubjazz of "Can't Get Enough," backed by Incognito's stellar chorus. Bluey even takes a vocal on the closer, "Tell Me What To Do." While he's no match for the other singers here, the track's breaking, cut time rhythm, breezy atmosphere, and lithe, sensual melody makes it a nu-soul winner. Incognito may not be innovating on Transatlantic R.P.M., but in showcasing the many places they've been, and the wide vein they've mined, they don't need to. This is a summeritme party record with fine songs and good vibes in abundance. ~ Thom Jurek, All Music Guide
]]> Kungynt Thu, 29 Jul 2010 10:46:01 +0400 2008: The Hitman Blues Band - Pale Rider http://jazzbluesclub.com/2010/07/29/the_hitman_blues_band__pale_rider_2008.html http://jazzbluesclub.com/2010/07/29/the_hitman_blues_band__pale_rider_2008.html

     Artist: The Hitman Blues Band
     Album: Pale Rider
     Year Of Release: December 23, 2008
     Label: Hitman Blues Band
     Quality: mp3 | Joint Stereo
     Bitrate: 320 kbps | 44.1 Khz
     Total Time: 47 min 44 sec
     Total Size: 113.6 mb

For twenty years, The Hitman Blues Band has been rocking the New York area with their searing brand of blues/rock, drawing favorable comparisons to Johnny Winter, Joe Bonamassa, and Kenny Wayne Sheppard along the way. Led by founding member, guitarist/singer Russell “Hitman” Alexander, the band has made various personnel changes along the way, but Alexander remains the constant with his gravelly vocals and gritty blues fretwork.

Pale Rider (Nerus Records) is the band’s fourth release. It’s loaded with crowd-pleasing blues/rock tunes that feature Alexander’s exemplary guitar work. Though the emphasis is on blues/rock, Alexander’s guitar work is firmly rooted in the blues. His guitar playing is on par with the artists mentioned in the previous paragraph, but I also hear Donald Kinsey occasionally in his soloing at times, notably on the second track, “Trouble On The Line.” >>>
]]> mp3000 Thu, 29 Jul 2010 09:26:32 +0400 1959: Edmond Hall - Rumpus on Rampart Street http://jazzbluesclub.com/2010/07/29/edmond_hallrumpus_on_rampart_street.html http://jazzbluesclub.com/2010/07/29/edmond_hallrumpus_on_rampart_street.html

     Artist: Edmond Hall
     Album: Rumpus on Rampart Street
     Label: Mount Vernon Music MVS 124
     Year: 1959
     Quality: FLAC (LP-rip)
     Size: 192 Mb

The recording took place at Nola Penthouse Studio in New York in June of 1959. The line-up of musicians for this session is staggering...Edmond Hall, Omer Simeon, and Herb Hall on clarinets, Dick Cary on piano, Jimmy Raney on guitar, Al Hall on the bass, and Jimmy Crawford on drums. They play six Edmond Hall originals and four standards. The rhythm section is a real delight and Edmond's hot, intelligent, and intense soloing over top is just the iceing on the cake. Edmond Hall was the greatest and most interesting of all the early clarinettists. His expressive playing was a highlight on many recordings. His solos were always inventive and stimulating, his tone unique, and easily recognizable. ~ From liner note

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