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Äîïîëíåíèÿ ê Êëóáíûì ïðàâèëàì! Changes to club rules! |
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Èçìåíåíèÿ ê Êëóáíûì ïðàâèëàì!  ñâÿçè ñ òåì, ÷òî êîëè÷åñòâî ïîñòîâ, ïðåäëàãàåìûõ äëÿ ïóáëèêàöèè, ðåçêî âîçðîñëî, ñ ñåãîäíÿøíåãî äíÿ íîðìà ïóáëèêàöèè äëÿ âñåõ ÷ëåíîâ Êëóáà ñîñòàâëÿåò íå áîëåå îäíîé íîâîñòè â äåíü! Àäìèíèñòðàöèÿ Êëóáà, êàê è ïðåæäå, îñòàâëÿåò çà ñîáîé ïðàâî óäàëåíèÿ òåõ ïîñòîâ, êîòîðûå ñ÷èòàåò íåäîñòîéíûõ ïóáëèêàöèè ïî ïðè÷èíå íèçêîãî êà÷åñòâà èëè íåñîîòâåòñòâèÿ ïðîôèëþ íàøåãî Êëóáà, áåç îáúÿñíåíèÿ ïðè÷èíû!
Changes of Club rules! It last time number of posts extremely increased, accordance with this, administrators take decision than since today all Club members can posting not more than one news per day! Administration of the Club, as always, can choice and remove those posts if its has poor quality or non profile to main genres of Club without declaring reason!
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2008: Buena Vista Social Club At Carnegie Hall |
Music » Jazz » Latin » Afro-Cuban Jazz |
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 Artist: Buena Vista Social Club Album: Buena Vista Social Club At Carnegie Hall(live) Label: Nonesuch Records Year: Jul 1, 1998 Release: Oct 13, 2008 Format, bitrate: mp3, 320kb/s Size: CD1-82, CD2-82MB AMG Rating:   It seems very strange that World Circuit/Nonesuch would wait ten long years to issue this historic document of the grand, wildly celebrated Buena Vista Social Club concert at Carnegie Hall. This is the very show so wonderfully and artfully detailed by filmmaker Wim Wenders in his documentary on the project that reunited these then-obscure Cuban music legends for an album and a tour and catapulted them to worldwide fame. Perhaps it was worth the wait; perhaps this music should have been in our midst all along. Of the four older legends, those who had made music together in Cuba before Castro, only Omara Portuondo remains on the Earth, and she is still quite active. The other three, vocalist Ibrahim Ferrer, pianist Rubén González, and guitarist and vocalist Compay Segundo, have passed away -- Segundo lived to be 96! The youngster of the group, guitarist Eliades Ochoa, continues to record and tour
One thing the music on this lavishly packaged double-disc set does accomplish, however, is reveal without doubt that the music in the film is as profound, sensual, and beautiful as it was when accompanied by images. It is true that eight of the songs that appeared on the eponymous studio album are replicated here, but these live versions blow them away. In addition, the 16 songs here, covering two full discs, offer extended instrumental workouts to go along with the glorious vocals, making each tune -- from the opening "Chan Chan" all the way through to the glorious bolero "Silencio" duet between Ferrer and Portuondo -- reflect all of the lived history not only of the singers, but of the entire era for an audience to behold. Segundo's rich and lived-in baritone inhabits disc two's opener, "Orgullecida," so fully that no one should ever be allowed to cover it again. As is the standard for Nonesuch, the sound of the evening is fantastic, the spark in the mix has been left in, and the backing band sounds as varied and tight as it did in the film. The enclosed booklet contains Jon Pareles' original New York Times review of the performance and reminiscences from many of those involved in the evening, including Omara Portuondo and producer and backing guitarist Ry Cooder. This set is every bit as necessary as the solo albums by the singers, and perhaps even more than the studio effort. It is not only a historical document; it is a living, breathing piece of work that guarantees the transference of emotion from tape to listener, and cements the Buena Vista Social Club's place not only in the Latin music pantheon, but in the larger context of popular music history.~ Thom Jurek, All Music Guide |
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1966: Sam Rivers - A New Conception |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Sam Rivers Album: A New Conception Label: Blue Note LP 4200 Series Year: 1966 Format, bitrate: mp3, 320kb/s Size: 99.75 MB (+ Scans) The title of A New Conception refers to Sam Rivers' ingenious interpretations of standards on this record. Rivers treats the songs -- such familiar items as "When I Fall in Love," "I'll Never Smile Again," "That's All," "What a Difference a Day Makes," and "Secret Love" -- with respect, but he doesn't treat them as museum pieces. He knows that if the songs are to remain fresh, they need to be heard in different ways, and he skillfully opens up each composition to contemporary avant-garde techniques. Rivers and his supporting trio of pianist Hal Galper, bassist Herbert Lewis, and drummer Steve Ellington gradually ease each number into more adventurous territory, slowly shifting into exploratory instrumental sections, slyly varying the melodic themes, or adding shaded dissonant textures. It's challenging music that remains accessible, since it reconfigures familiar items in new, intriguing ways. The sheer skill in Rivers' arrangements once again confirms his large, unfortunately underappreciated, talent.~ Stephen Thomas Erlewine, All Music Guide |
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1995: Renaud Garcia-Fons - Alborea |
Music » Jazz |
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 Artist: Renaud Garcia-Fons Album: Alboreá Label: Enja Year: 1996 Total time: 52:32 Format: FLAC + MP3 (320k/s) Size: 302 + 124 MB (inc. covers) Jazz has taken some unexpected directions in Europe. Garcia-Fons is a double-bass player, and he leads a French quartet that consists of himself, another double-bass player, an accordionist and a drummer. In this arrangement, Garcia-Fons exploits the huge range of the bass to play melody, while the other bassist large plays the traditional low part.
The well-known artist closest to Garcia-Fons' sound would have to be Astor Piazzolla, and indeed Alboreá does contain one tango, anagrammatically entitled "Natgo." Garcia-Fons also makes use of other world music sources, such as the Moorish sound of "Secret Zambra." And many of the tracks, not surprisingly, seem to owe something to French musette. Although Garcia-Fons might like to say his biggest musical influence was Charlie Mingus, it sometimes sounds as if his real mentor was André Previn, not just as jazz musician but as film score composer. Some of the tracks on Alboreá, like the title track, are very "big" and dramatic. However, the real show is, of course, the bass playing. Just to give one example, on "Amadu" you will think they snuck in an electric guitar, distortion and all, without crediting the musician -- until you realize that it's Garcia-Fons plucking and bowing away on his bass. Both those coming to this disc out of the jazz world and those interested in international music will find something to latch onto in this substantial and passionate album. ~ Kurt Keefner, All Music Guide |
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1966-1970: Martin Scorsese Presents The Blues - Jimi Hendrix |
Music » Blues » Modern electric blues » Blues-Rock |
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 Artist: Jimi Hendrix Album: Martin Scorsese Presents the Blues: Jimi Hendrix Label: MCA Years: 1966-1970; release: 2003 Format, bitrate: mp3; 320kb/s Time: 1:15:02 Size: 175 MB. As part of the numerous compilations issued in conjunction with the major television documentary series The Blues, this is a collection of blues-oriented Hendrix recordings. A couple of considerations conspire to make this one of Hendrix's less essential releases. First, the blues were just a part of Hendrix's musical mix, though an important one. Second, there was a previous compilation of Hendrix's blues-oriented work in 1994, simply titled Blues. There's little repetition between Martin Scorsese Presents the Blues and Blues, though, and it works as a decent grouping of some of his bluesiest recordings for those listeners who want to plunge especially deeply into one facet of his repertoire. "Red House" and "Voodoo Chile" are by far the most celebrated tracks here, but the accent is on lesser-heard performances that first came out on other archival compilations. In fact, the fine Earl King cover "Come On (Let the Good Times Roll)" (from Electric Ladyland) is the only other song that came out in Hendrix's lifetime. The other selections vary from inspired ("Hear My Train a Comin'," recorded in early 1969 with the original Jimi Hendrix Experience lineup, and a solo "Midnight Lightning") to rather routine jams, though Hendrix's imaginative virtuosity and affinity for the blues is usually evident. This being a posthumous Hendrix release, it couldn't be complete without a couple of previously unissued tracks to tempt the completists, though these aren't too exciting. Those are the 1969 outtakes "Georgia Blues," on which Hendrix is actually more like a backing musician for Lonnie Youngblood (who takes lead vocals), and "Blue Window," a nearly 13-minute outing that gives vent to his jazzier tendencies, the arrangement also featuring organ, three saxophones, and two trumpets. The liner notes about Jimi's blues record collecting habits by mid-'60s girlfriend Faye Pridgon, by the way, are pretty cool. ~ Richie Unterberger, All Music Guide |
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2009: Dee Dee Bridgewater - Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee |
Music » Jazz » Vocal Jazz |
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 Artist: Dee Dee Bridgewater Album: Eleanora Fagan (1915-1959): To Billie with Love from Dee Dee Year: 2009, release: 2010 Label: Emarcy / Pgd Quality: MP3; 320 kbps Total Size: 119 MB Ðåëèç íîâîãî àëüáîìà Äè Äè Áðèäæóîòåð (Dee Dee Bridgewater) «Eleanora Fagan to Billie with Love from Dee Dee Bridgewater» ñîñòîÿëñÿ 3-ãî ìàðòà íà ëåéáëå «Emarcy». Íîâàÿ ñòóäèéíàÿ ðàáîòà ïîñâÿùåíà òâîð÷åñòâó âåëèêîé Áèëëè Õîëèäýé (÷üå íàñòîÿùåå èìÿ áûëî Ýëåàíîðà Ôýéãåí).  çàïèñè äèñêà ïðèíÿëè ó÷àñòèå ïèàíèñò Åäñåë Ãîìåñ (Edsel Gomez), ñàêñîôîíèñò Äæåéìñ Êàðòåð (James Carter), êîíòðàáàñèñò Êðèñ÷åí ÌàêÁðàéä (Christien McBride) è áàðàáàíùèê Ëüèñ Íýø (Lewis Nash).
Äèñê «Eleanora Fagan To Billie with Love from Dee Dee Bridgewater» íå ïåðâûé òðèáüþò â äèñêîãðàôèè Äè Äè Áðèäæóîòåð. Â 1995-îì ãîäó ïåâèöà âûïóñòèëà àëüáîì «Love and Peace: a Tribute To Horace Silver», ïîñâÿùåííûé ìóçûêå ïèàíèñòà Õîðàñà Ñèëâåðà (Horace Silver), â 1997-îì ãîäó «Dear Ella» - äàíü óâàæåíèÿ âåëèêîé Ýëëå Ôèòöæåðàëüä (Ella Fitzgerald) è â 2002-îì ãîäó «This Is New» ñ ìóçûêîé òåàòðàëüíîãî êîìïîçèòîðà Êóðòà Âàéëÿ (Kurt Weill) . ~ jazzinkiev.comNo stranger to musical experimentation, Dee Dee Bridgewater mixed jazz with West African rhythms on her 2007 multicultural expedition "Red Earth: A Malian Journey." She brings the same no-holds-barred approach to her latest project, "Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee," a tribute to jazz pioneer Billie Holiday. But this is more than just a covers album. Bridgewater digs beneath the darkness and pain associated with Holiday's music, delivering a joyful take on-and deeper respect for-her predecessor's strengths as a vocalist and songwriter. The usual and not-so-usual suspects from Holiday's legacy are here (including "Good Morning Heartache" and "God Bless the Child"). However, they're infused with new arrangements (courtesy of Bridgewater's longtime bandmate Edsel Gomez) that shed a modern light on Holiday's work. For example, "Lady Sings the Blues" swings to life through its fusion of African polyrhythms; "Lover Man" shines with a sexy, sassy sheen; and "Miss Brown to You" gets a feisty makeover. Pulling it all together are Bridgewater's expressive, unrestricted vocals-especially riveting on the sparsely arranged, racism-themed "Strange Fruit." ~ Gail Mitchell, billboard.com |
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2006: Al Di Meola - Consequence Of Chaos |
Music » Jazz » Fusion |
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 Artist: Al Di Meola Album: Consequence Of Chaos Label: Telarc Distribution Year: 2006 Format, bitrate: mp3, 320 kbps Time: 1:03:53 Size: 103.27 Mb The sticker on the disc's cover states that this is "a return to his solid-body electric guitar," and while that may be true in parts, Consequence of Chaos is still pretty far from the tense, nonstop electric sizzle of di Meola's first three albums, which are landmarks in the jazz fusion genre. And while there is plenty of electric guitar here -- and a musical reconnection with Chick Corea, Steve Gadd, and Barry Miles, all of whom have previously worked with di Meola -- this is still dominated by the world music and more subtle framework that have characterized the guitarist's playing for the last few decades. The performances are uniformly excellent, and even though the approach shifts from prog to acoustic to electric and world, di Meola's distinctive style and classy approach congeal the music with authority. "Tao" alone takes more turns than a craggy mountain road, but never gets predictable or pretentious. Di Meola knows when to hold back and when to unleash his precise, percussive, fret-shredding Latin lines, and it's that sense of restraint that makes this disc, and much of his recent work, so successful. These instrumental pieces lay down a groove upon which di Meola solos with different combinations of musicians. Melodies are difficult to pinpoint, but the sublime playing keeps the listener's interest despite a tendency to wander. Four brief, low-key interludes feature an unaccompanied di Meola playing all the instruments, and provide a more relaxed counterpoint to the busier band tracks. Percussionists Ernie Adams and Gumbi Ortiz's standout work, especially on the subtle "Hypnose," add hot, bubbling flavor to the project. Chick Corea only appears on two tracks, but both are highlights. The lovely acoustic duet on "Cry for You" brings out the best in both musicians as their interplay reaches new heights. Di Meola calls the nine-minute "Tempest" his most complex piece -- which is saying a lot -- as it twists through different moods and tones utilizing varying rhythms in an impressive display of the guitarist's dazzling skills. It's a summation of this album that shows di Meola, after 30 years as a solo artist, to be on the top of his game. ~ Hal Horowitz, All Music Guide |
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2002: The Modern Jazz Quartet - Complete 1951-1953 Studio Sessions |
Music |
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 Artist: The Modern Jazz Quartet Album: Complete 1951-1953 Studio Sessions Label: Definitive Records Year: Aug 18, 1951-Jun 25, 1953 ; release: 2002 Genre: Jazz/Cool Format mp3, bitrate: 320 kb/s Time: 1:02:45 Size: 146 Mb (full covers) AMG Rating:  This Definitive edition gathers the first recordings by the Modern jazz Quartet between 1951-1953, at a time when the group was still primarily known as Milt Jackson's Quartet. Some of these sessions represent the first officially issues of the original MJQ with drummer Kenny Clarke replaced two years later by Connie Kay. - freshsoundrecords.com |
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1980: Ernestine Anderson - Never Make Your Move Too Soon |
Music » Jazz » Vocal Jazz |
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 Artist: Ernestine Anderson Album: Never Make Your Move Too Soon Label: Concord Jazz Year: 1980; release: 1992 Quality: FLAC Tracks. Scans. Size: 203 Mb. AMG Rating  
The title cut of this near-classic album became a sort of theme song for Ernestine Anderson, but it is not the only high point. The singer sounds in top form on such fine material as "As Long As I Live," a touching "Old Folks," "My Shining Hour," and "Poor Butterfly." With fine assistance from pianist Monty Alexander, bassist Ray Brown, and drummer Frank Gant, Ernestine Anderson is heard throughout in prime form, sounding quite enthusiastic and powerful. Highly recommended. ~ Scott Yanow, All Music Guide |
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2008: Eric Alexander Quartet - Gentle Ballads III |
Music » Jazz » Mainstream |
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 Artist: Eric Alexander Album: Gentle Ballads III Label: Venus Records Styles: Jazz Ballads Release Date: 2008 Quality/Bitrate:APE + MP3@320 Size: 380; 125 mb AMG Rating Since arriving on the jazz scene, Eric Alexander has turned into one of the busiest tenor saxophonists, recording prolifically for labels in the U.S., Europe, and Japan, in addition to his participation in the all-star band One for All. This third volume of ballads for Venus utilizes the same rhythm section as the earlier two editions: pianist Mike LeDonne, bassist John Webber, and drummer Joe Farnsworth, three of the busiest jazz musicians in New York City. Alexander's shimmering setting of "Don't Explain" is spacious and lyrical, while his approach to "Summertime" is swaggering hard bop. His brisk setting of the often banal "Killing Me Softly with His Song" is a great improvement. LeDonne's lush introduction sets up Alexander's deliberate, rhapsodic rendition of "All the Way." This is a perfect CD for romance. ~ Ken Dryden, All Music Guide |
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1999: Doyle Bramhall II - Jellycream |
Music » Blues » Modern electric blues |
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 Artist: Doyle Bramhall II Album: Jellycream Label: RCA Records Year: 1999 Format MP3, bitrate: 320 kbps Time: 53:34 Size: 121,25 Mb (+3%) Continuing with the modern-day soul-blues vibe of his debut album, Doyle Bramhall II breaks down more boundaries with his second record, Jellycream. Again, he works with Wendy & Lisa and his former bandmate Charlie Sexton, but he brings Mitchell Froom into the picture, which guarantees some low-rent experimental vibes. And that does rear its ugly head on occasion throughout the album, reminding that Bramhall's intentions are good even if he doesn't quite know how to follow through on them just yet. Nevertheless, there are some very, very good moments throughout Jellycream, moments where he brings together the emotional force of Texas blues-rock, the melodicism of modern day soul, and the maverick spirit of a musician that wants to rewrite the rules. Those moments that work make up for the moments that don't quite connect.~ All Music Guide |
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1968: Terje Rypdal - Bleak House |
Music » Jazz » Fusion |
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 Artist: Terje Rypdal Album: Bleak House Label: Polydor (1999) Quality: FLAC + mp3@320Kbps Size: 237 + 79 MB (scans) Total time: 33:09
"Dead Man's Tale" very laidback minor-key blues tune with vibrato-rich guitar and organ and vocals (Terje) - similar in tone to the Zombies' "Time of the Season" but more laidback - some really tasteful and enjoyable solos by Terje and Reim (the organist), plus some breathy flute soloing by Terje - I do like this tune quite a bit "Wes" - an obvious guitar-and-bigband tribute to Wes Montgomery, with the intervallic guitar lines and all - I admit that I laughed when I first heard this track, not because it is a poor composition (which it most definitely isn't), but because of Terje's weak (to my ears) attempt at being a "swingin'-cat" jazzer. Hehe. But the tune is cool, the heads going from 4/4 to 5/4 to 3/4 in upbeat swinging fashion. "Winter Serenade" - this is a short freely-improvised piece that is apparently supposed to intonate "Falling Snow", "Snow Storm", and "Melting Snow", its three "movements" (without any breaks between them) - some nice improv by all, with great guitar doodling and wailing and fine pointilist playing by Garbarek, Reim, and trumpeter Johansen, amongst others - I really like this piece - a good break between the big band sounds of "Wes" and..... "Bleak House" - a triple-meter upbeat big band tune with very nice horn arrangement and some fine guitar work (lead and rhythm - you don't get much chance to hear his rhythm work very often) by Terje - some may prefer this tune over all others on the album - although it is quite derivative sounding, it is fun nonetheless - some fine drumming by Christensen - he and Terje really get down on the extended Im7-IV jams "Sonority" a lovely intro with flute, piano, and guitar with nice chords on horns actually this reminds me of some of the work of another big favorite of mine, Claus Ogerman and some of the most laidback and subdued guitar doodling I have ever heard Terje do, and I really like it."A Feeling of Harmony" imagine Terje trying to sound like Joao Gilberto or Dori Caymmi, etc. - the bossa nova craze was at its height in the early-mid 60s, and apparently Terje dug it (as do I) - here he is with nylon-string guitar and humming away with poor intonation, the whole silly bit. Why he decided to include this tune on this album is a mystery (unless he just wanted to demonstrate stylistic diversity), and it kinda stinks - this commentary from a lover of Jobim, Bonfa, Powell, etc. too! Haha. So, there it is - a fun album, even though all the pieces are not works of genius. My favorite tracks are "Sonority" and "Winter Serenade", but all of them (except the silly "A Feeling of Harmony") are worth hearing over and over again. ~ Jeff Gower, from jeffgower.com |
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2004: Îëåã Ñòåïóðêî - Ðóññêèé Funk |
Music » Soul » Funk-Jazz |
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 Artist: Îëåã Ñòåïóðêî Album: Ðóññêèé Funk Label: "ÒÝÔ"ñòóäèÿ Year:rec. 2004 Format: MP3 @ 320 Kb/s Time: 79:19 Size: 181 Mb
Russia's famous jazz trumpeter and leader of the band Oleg Stepurko.
Õîòÿ Îëåã Ñòåïóðêî óæå âûïóñòèë íåñêîëüêî äèñêîâ ñî ñâîåé ìóçûêîé, ýòî åãî ïåðâûé äèñê öåëèêîì ïîñâÿù¸ííûé èíñòðóìåíòàëüíîìó äæàçó. ýòîò ïðîåêò ñîëèñòîì áûë ïðèãàøåí Àíàòîëèé Ãåðàñèìîâ, êîòîðûé ðàíåå óæå âûñòóïàë ñ ýòîé ãðóïïîé. Âîò êàê íàïèñàëà î òàíäåìå "Ãåðàñèìîâ - Ñòåïóðêî" äæàçîâûé êðèòèê Îëüãà Êîðæîâà: " èõ ìàíåðå ìû âèäèì êîíòðàñò: íàïîðèñòûå ñêîðîñòíûå ïàññàæè ôëþãåëüãîðíà è ïàñòåëüíûå òîíà óìèðîòâîðåííî ìåäèòèðóþùåé ôëåéòû". |
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1998: Galliano, Portal - Blow Up |
Music » Jazz » BeBop » Post-bop |
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 Artist: Richard Galliano, Portal Album: Blow Up Label:Dreyfus Records Year:rec.May 18, 1996,May 19, 1996 / rel.Apr 21, 1998 Format:MP3 @ 320 Kb/s Time:53:02 Size: 116 Mb AMG rating:  To my friends in JBC! Please enjoy.
The unique textures created by this duo, combining Galliano's masterful accordion with Portal's moody reeds, makes for a fascinating journey. Brilliant original works are interspersed with gems by Astor Piazzola and Hermeto Pascoal, making the rich tradition of accordion jazz that much richer. The crisp, 20-bit mastering rounds out the package as a delightful listening experience.~ by Tim Sheridan, AMG.
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1959: Kid Ory And Red Allen - We've Got Rhythm |
Traditional Jazz, New Orleans Jazz |
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 Artists: Kid Ory & Red Allen Album: We've Got Rhythm Label: Verve Year: 1959 Quality: MP3@320kbps (LP-rip) Size: 80,8 mb (sharebee) Total time: 36:50
Ïðåâîñõîäíûé ïðèìåð êëàññè÷åñêîãî äæàçà!
Nothing all that monumental occurs and those wishing a better take on the pairing of trumpeter Allen and Ory are advised to advance to the 1959 sessions which were originally issued as Red Allen Meets Kid Ory and We've Got Rhythm. This is one of the greatest moments of the entire set, with Allen's bubbly trumpet a perfect match to Ory's liquid technique and juicy tone. Fourteen cuts strong, "Tishomingo Blues" and "Christopher Columbus" are just two highlights of a set that is really one tremendous victory. ~ allaboutjazz.com |
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1967: Lou Donaldson - Alligator Bogaloo |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Lou Donaldson Album: Alligator Bogaloo Label: Blue Note Year: 1967 Format, Bitrate: mp3 320 kbps Size: 83 mb Total Time: 37.10 AMG Rating: Alligator Bogaloo is one example of Lou Donaldson's successful combinations of hard bop and soul-jazz. Of the six tunes, three are Donaldson originals, including the title hit. The excellent band, consisting of Melvin Lastin, Sr. on cornet, George Benson on guitar, Lonnie Smith on organ, and Leo Morris on drums, mixes laid-back vamps beneath driving hard bop charts. As the '60s turned into the '70s, Donaldson began shaving off hard bop invention for a more radio-friendly and 45 rpm length, leaving soulful -- yet monotonous -- vamping. At that point, Donaldson's material suffered from a lack of originality. That's not the case on Alligator Bogaloo. ~ Al Campbell, All Music Guide |
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2010: Dhafer Youssef - Abu Nawas Rhapsody |
Music |
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 Artist: Dhafer Youssef Album: Abu Nawas Rhapsody Label: Emarcy Genre: Jazz/World Format mp3, bitrate: 256 kb/s vbr Time: 1:00:39 Size: 80,8 Mb Bubu's Rating:  This very special mix of musical elements and creative talent produces a soundscape that is new and original. With the musicians’ commitment to exploring and experimenting paired with their subtleness and courage to be silent, this is sure to catch the attentive ear of any listener.
It's not only Abu Nawas' rhapsody, maybe it is yours too. It's about mysticism, sexuality, spirituality, and more than anything, love. History repeats itself through our personalities, and as an Arab sometimes I feel that I belong to Abu Nawas's time, or perhaps he to mine.
How surprisingly real can the sensitivity of poets be, like that of Abu Nawas and Ibn Fared - their thoughts, their approach to life or their way of approaching life.
What interests me most is the idea of longing, of yearning and desire in my own universe as well as in the people around me. In the end, what I seek is the Tajalli: the dream, the ecstasy, call it spiritual lust. Beauty is a real, sensual and simple concept: what we see, hear, taste and feel, guided by desire and inspired by love. - jazzlandrec.com |
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1978: Willis "Gator" Jackson - Single Action |
Music » Soul » Soul-Jazz |
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 Artist: Willis "Gator" Jackson Album: Single Action Label: Muse Records Year: 1995 [#5179] Format: Flac (cue+log) Time: 43:37 Size: 310 Mb AMG rating:p  Willis Jackson was a tough-toned tenor who came to fame as a honker and screamer with Cootie Williams's big band in the late '40s. Although he calmed down his style a bit through the years, he always has a passionate sound and an accessible style best heard on blues, ballads and standards. This is a CD reissue of a 1978 session that features Jackson with guitarist Pat Martino, organist Carl Wilson and a supportive rhythm section. Although the Barbara Streisand-associated "Evergreen" (heard in two versions) and "You Are the Sunshine of My Life" may not seem like the best material for the tenor, he uplifts the songs. But best are a pair of hard-driving blues and a warm rendition of "Makin' Whoopee." Joe Fields accurately states in the liner notes that Willis Jackson's best recording was his prior Muse release Bar Wars but Single Action does give one a good example of Jackson playing in a tenor style that (other than Houston Person and now Joshua Redman) is quickly disappearing. ~ Scott Yanow, All Music Guide |
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Anita O'Day Sings The Winners |
Music » Jazz » Swing |
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Label - Verve
Years - 1956,1958,1959,1962 (Release 1990)
Genre - Jazz, vocal, swing,bop-modern
Tracks - 19
Total time - 56:37
File - 123 Mb
Ïðåêðàñíûé àëüáîì îäíîé èç ëó÷øèõ ïåâèö äæàçà!
Áèîãðàôèÿ Anita O'Day
Few female singers matched the hard-swinging and equally hard-living Anita O'Day for sheer exuberance and talent in all areas of jazz vocals. Though three or four outshone her in pure quality of voice, her splendid improvising, wide dynamic tone, and innate sense of rhythm made her the most enjoyable singer of the age. O'Day's first appearances in a big band shattered the traditional image of a demure female vocalist by swinging just as hard as the other musicians on the bandstand, best heard on her vocal trading with Roy Eldridge on the Gene Krupa recording "Let Me Off Uptown." After making her solo debut in the mid-'40s, she incorporated bop modernism into her vocals and recorded over a dozen of the best vocal LPs of the era for Verve during the 1950s and '60s. Though hampered during her peak period by heavy drinking and later, drug addiction, she made a comeback and continued singing into the new millennium.
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2000: Al Di Meola - The Grande Passion: World Sinfonia |
Music » Jazz » Fusion |
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 Artist: Al Di Meola Album: The Grande Passion: World Sinfonia Label: Telarc Distribution Year: 2000 Format, bitrate: mp3, 320 kbps Time: 59:24 Size: 96.41 Mb AMG rating: A rich, moody tapestry with flashes of fire, this CD incorporates elements of jazz, fusion, classical, Latin, tango, and Middle Eastern music. Sounding like the romantic soundtrack to an excellent foreign film, it's full of splendid moments, like the wash of colors on "Double Concerto," a sinuous composition by Al di Meola's "musical father and friend," Astor Piazzolla. Di Meola interprets two more beauties from the late Argentine tango legend -- the tender "Soledad" and the churning, incendiary "Libertango," where he uses MIDI technology to approximate the classic bandoleon sound -- and offers six of his own. One of them, the title track, could be the most gorgeous, soulful melody of 2000, stated in ways alternately delicate and powerful; when it finally crescendos it's like the ocean lifting, with the sun sparkling on it. His "Opus in Green," written with fine Argentine pianist Mario Parmisano, is very Return to Forever-like. Di Meola has phenomenal technique and a gift for unhackneyed writing; his famous blistering runs are in here, but only when they further the music -- not gratuitously added for their own sake. The arrangements by di Meola and Parmisano make optimal use of the Toronto Symphony Orchestra and soloists, creating an organically textured whole rather than the stringy soup that too often drowns such collections. ~ Judith Schlesinger, All Music Guide |
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