Artists: George Coleman and The Rob Agerbeek Trio
     Album: On Green Dolphin Street
     Label: Black Jack Jazz Records
     Year: 1974
     Quality: mp3@320kbps
     Size: 124 mb
     Total time: 69min


     A great rare chapter of work from tenorist George Coleman – an obscure 70s live date that has him working with a nicely open-ended rhythm section! The tracks are all quite long, and Coleman really stretches out on his solos – in ways that not only recall the freedom he had in the Miles Davis years, but also some of his better-known live dates from the 70s and 80s. The set's definitely one to remind you that George is a hell of an improviser when he wants to be – spinning out wonderful solos on tracks that include "On Green Dolphin Street", "Wave", "I'll Remember April", "Impressions", and "Walkin". Rhythm is by a trio that includes Rob Agerbeek on piano, Rob Langereis on bass, and Eric Ineke on drums.

     Artist: Wynton Kelly
     Album: Comin' In The Back Door
     Label: Verve
     Year: 1963, release: 2003
     Quality: MP3@320 kbps
     Size: 37,9 mb
     Total time: 43:04


     A real cooker of a set – and one that features Wynton's piano over some great larger backings from Claus Ogerman! The style of the set is really wonderful – as Wynton plays with a core smaller group that includes Kenny Burrell on guitar, plus regulars Paul Chambers on bass and Jimmy Cobb on drums – all of whom make more than ample space for Ogerman to come into the mix and fill up the tunes with some sweetly grooving 60s backings – often using electric bass to punch up the bottom, and rollick things around in a stepping style that's a nice mainstream take on the soul jazz groove that Kelly virtually helped invent! A few tracks are more in a small combo mode, but even those manage a pretty darn smoking groove – and overall, the album's got a lot more depth than even some of Kelly's best for the Vee Jay label from previous years! Titles include the bossa groover "Cesar & Cleopatra" – plus "Quiet Village", "If That's The Way You Want It", "Comin' In The Back Door", and "Theme From Burke's Law". © 1996-2010, Dusty Groove America, Inc.

     Artist: Sonny Rollins
     Album: Sonny Boy
     Label: Prestige/OJC
     Year: 1956, release: 1989
     Quality: MP3@320 kbps
     Size: 78 mb (with all covers)
     Total time: 39:01


     The music on this former LP was the last of tenor saxophonist Sonny Rollins' Prestige dates to appear on CD. Actually the release is a bit odd for it reissues four of the six numbers from the previously released CD Tour de Force (OJC 095), replacing "My Ideal" and "Two Different Worlds" (the latter an Earl Coleman vocal) with "The House I Live In" from an earlier session that resulted in the Plays for Bird album; usually the Original Jazz Classics series avoids such duplication. Tour de Force is a more logical purchase, although the music on this CD does feature the immortal tenor saxophonist in fine form with a quartet comprised of pianist Kenny Drew, bassist George Morrow and drummer Max Roach (other than the earlier selection which also has trumpeter Kenny Dorham). ~ Scott Yanow, All Music Guide

     Artist: Bobby Hackett
     Album: At The Jazz Band Ball
     Label: The International Music Company AG
     Year: 1952; release : 2002
     Format, bitrate: ape
     Time: 63:28
     Size: 255 (150+105) Mb

     In the detailed liner notes, Jack Sohmers anticipates some of the criticisms to this full-length recording, particularly the dated style of clarinetist Gene Sedric, whom Sohmers admits "seem[s] most out of place here." Nonetheless, and despite the less-than-stellar sound quality (although evidently much improved due to the restoration efforts of Jack Towers), there is outstanding work from both trumpeter and leader Bobby Hackett and trombonist Vic Dickenson, whose style was fully developed by 1952. While some will undoubtedly prefer Hackett's later collaborations with Jack Teagarden, there is no denying the impressive slide and lip work of Dickenson, who later reunited with Hackett for additional recordings (Live at the Roosevelt Grill, Live at the Roosevelt Grill, Vol. 2, and Live at the Roosevelt Grill, Vol. 3 (all Chiaroscuro releases). The Storyville selections actually come from ten different radio broadcasts from Lou Terrasi's club in midtown Manhattan. While the rhythm section changed, the front line remained constant. The tunes are typical of those performed by Hackett at the time: Dixieland favorites ("Saints" and "Original Dixieland One Step"), swing ("Perdido"), and a ballad or two ("There's Danger in Your Eyes, Cherie"). The trumpeter is in fine form; his warm sound, smooth delivery, and upbeat demeanor are all present. Dickenson, too, is near-perfect, his smears, growls, and total control a pleasure. The arrangements are fairly typical for the style of music, with the three horns loose and wild. Dickenson and Hackett fans should be pleased. ~ Steven Loewy, All Music Guide

     Artist: Tingvall Trio
     Album: Skagerrak
     Label: SKIP Records
     Year: 2006
     Quality: MP3
     Bitrate: 320 kbps
     Total Time: 60:07
     Total Size: 155 Mb


     The Tingvall Trio was founded in 2003 by the Swedish pianist and composer Martin Tingvall. The pieces composed by him are characterized by catchy melodies which sweep along not only jazz lovers quickly and tend to stay with you long afterwards. Not only the technical ability of the musicians carries away. The three Hamburgers play Scandinavian jazz with Cuban reminiscences and an easy rock'n'roll attitude. In the expressive ballads also Nordic melancholy and liveliness resonate, however. Listening closely one can recognize traditional Swedish folk songs as one of the elements of the compositions.

     Tingvall Trio (Тингвалль Трио) - джазовая группа из Германии. Только барабанщик Юрген Шпигель (Jьrgen Spiegel) по национальности немец, в состав кроме него входят пианист и композитор Мартин Тингвалль (Martin Tingvall) родом из Швеции и контрабасист кубинец Омар Родригес Кальво (Omar Rodriguez Calvo). Трио образовано в Гамбурге в 2003 году. Первый альбом Skagerrak вышел в 2006 году на лейбле Skip Records. Группа играет современный джаз "скандинавского" направления, наиболее часто их музыку сравнивают с шведским ансамблем Esbjцrn Svensson Trio.

Artist: Johnny Hodges
Album: Jazz Ballads
Label: Membran
Year: 1937-1954; release: 2004
Genre: jazz, swing, ballads
Format, bitrate: mp3, 320 kbps
Time: 1h, 3 min, 34 sec + 1h, 6 min, 55 sec
Size: 153+168 mb.

     Artist: Molly Johnson
     Album: Messin Around
     Label: UMVD
     Year: 2002, release: 2006
     Quality: MP3@320 kbps
     Size: 93 mb (with frontcover)


     Jazz singer Molly Johnson has done time in both pop and art rock bands and has served as an opening act for such blues and R&B superstars as Ray Charles and B.B. King, so the stylistic range in evidence on her first album for Narada Jazz doesn't come as much of a surprise. She jumps from bracing and jazz-inflected pop/rock (the radio remix of "Another Day") to a piano-based reggae/R&B hybrid ("Ooh Child/Redemption Song") without missing a beat, and slinks her way through torchy blues numbers with equal facility. On the downside, "Celie's Blues" sounds just as anachronistic and politically forced in this version as it did popping up out of nowhere in the middle of The Color Purple, and the fact that Johnson's delivery comes across as little more than a Billie Holiday impression just makes things worse. On the other hand, her version of "Summertime," which was an inevitable song choice given her vocal style, is given new life by the minimalist arrangement of voice, bass, and percussion, and "Red Cardinal" has a fun, jumpy Tin Pan Alley feel. Overall, this album can be confidently recommended to adventurous lovers of vocal jazz. ~ Rick Anderson, All Music Guide

     Artist: Charles Mingus
     Album: Changes Two
     Label: Rhino/Atlantic
     Year: 1974, release: 1996
     Quality: MP3@320 kbps
     Size: 94,0 mb
     Total time: 43:04
     AMG Rating


     Along with its companion volume Changes One, this is one of the great sessions from one of the best working bands of the 1970s. Starting with the spirited "Free Cell Block F, 'Tis Nazi U.S.A," this volume also includes the vocal version of "Duke Ellington's Sound of Love" with guest singer (and acquired taste) Jackie Paris, a remake of the classic Mingus composition "Orange Was the Color of Her Dress, Then Silk Blue," Jack Walrath's "Black Bats and Poles," and Sy Johnson's "For Harry Carney." The challenging repertoire from these December 1974 dates sustained the Jazz Workshop for several years; these are the definitive performances. Rhino's reissue duplicates the original LP down to the layout.

     Artist: Charles Mingus
     Album: Changes One
     Label: Rhino/Atlantic
     Year: 1974, release: 1996
     Quality: MP3@320 kbps
     Size: 97,8 mb
     Total time: 44:44
     AMG Rating

     CHANGES ONE (and its companion disc CHANGES TWO, both recorded in a single session) features outstanding performances of Mingus's intense, expressive compositions and is considered, even by the bassist himself, to be among his finest work. This group of intelligent, technically superior musicians, consisting of tenor sax, trumpet, piano and drums, had been playing together for two years at the time of recording and were at the peak of their collaborative powers. The tracks are as diverse as they are engaging-- ranging from the mind-boggling complexity of "Sue's Changes (with shifts of tempo, theme and mood, showered over by Don Pullen's keyboard flurries) to the straightahead rock of "Devil Blues" (with a spirited, shouting blues vocal by saxophonist George Adams).

Emotions run high through the album as well, particularly in the passionate, swelling tenderness of "Duke Ellington's Sound of Love," an elegy to one of Mingus's heroes. Supported throughout by the artist's fat, elastic bass tone and the protean, articulate musical personalities of his band, the compositions are textural, challenging and multi-faceted, while still managing to remain accessible. Highly recommended, CHANGES ONE (particularly in conjunction with TWO) acts as an excellent introduction to the music of this jazz pioneer. ~ cduniverse.com

    Artist: Cannonball Adderley
    Album: Love, Sex, And The Zodiac
    Label: Fantasy
    Year: 1970, Release 1974
    Format: mp3@320 kb/s (LP rip)
    Size: 89MB
    Time: 38:14

    Love, Sex & The Zodiac is an album based on the concept that everybody is talking about or interested in. Either astrology or sex, peace or piece, as the case may be . Listen and enjoy, or disagree, as controversy is essential to expansion.


     Not to be confused with Adderley’s Soul Zodiac LP on Capitol released two years beforehand, this record is the funkier of the two. The concept is the same, Cannonball and his brother Nat, with the help of George Duke, Hal Galper, Jimmy Jones, Walter Booker, Roy McCurdy, and David Axelrod on production, go through the zodiac signs musically, as Rick Holmes narrates the sexual proclivities of each. The highlights are Taurus: Wampus Cat that gets down right funky with George Duke sounding like Stevie Wonder on the keys, and the deep bumpin bass line of Walter Booker on Leo: Rosebud.

***

This album represents another great collaboration by saxophonist Cannonball Adderley and writer/narrator Rick Holmes, together they take a look at the different zodiac signs relating to sex, the album was released in 1974 on Fantasy Records and features Nat Adderley, George Duke, Hal Galper, Jimmy Jones, Walter Booker and Roy McCurdy, production by Cannonball Adderley and David Axelrod. ~ wordpress.com

     Artist: Toshiko Akiyoshi Jazz Orchestra featuring Lew Tabackin and Frank Wess
     Album: Wishing Peace (from"Liberty Suite")
     Label: Ausverkau
     Year: 1986
     Format, bitrate: Flac
     Time: 44;28
     Size: 263 MB
     AMG rating:


     Ironically after Toshiko Akiyoshi and Lew Tabackin broke up their West Coast big band, relocated to New York and put together a new orchestra, they seemed to get less publicity than previously. In fact, since this 1986 recording for their own Ascent label, Akiyoshi's ensemble has made relatively few albums. For the Ascent LP, the 16-piece big band performs a remake of "Feast in Milano" (which is more complex than Akiyoshi's earlier version), Tabackin's ballad "Unrequited Love" and Akiyoshi's three-part sidelong "Liberty Suite." The soloists include trombonist Conrad Herwig, Walt Weiskopf on tenor, trumpeters John Eckert and Brian Lynch, altoist Jim Snidero, flutist Frank Wess and Tabackin on tenor and flute. All of the Toshiko Akiyoshi Jazz Orchestra's recordings are well worth acquiring.

     Artist: Miles Davis
     Album: In Person Friday and Saturday Nights at the Blackhawk
     Label: Columbia
     Year: 1961, Release Date: June 3, 2003
     Number of Discs: 4
     Quality: mp3@320 + all scans


     The Legacy imprint’s issuance of the complete performances of the Miles Davis Quintet at San Francisco’s (infamous) Blackhawk in April of 1961 sets straight a very confusing record once and for all. The individual nights have been available in many different configurations over the decades, first as LPs, and in even weirder ones on CD. That’s all over now, as this pair of double discs contain both nights in their entirety, adding a total of four previously unreleased performances to Friday night and nine unissued performances to Saturday night, including an entire unreleased fourth set. This alone is reason to purchase the four-CD package, though both evenings are available individually as well. In terms of which night of the two was better, it’s a toss-up. This short-lived version of the quintet featured Paul Chambers, Wynton Kelly, Jimmy Cobb, and Hank Mobley with Davis. These four discs should begin to fill the void of criticism about this band. Though short-lived, the unique character of this group was its sheer intensity and diversity of attack. Because of the departure of Cannonball Adderley and John Coltrane, Davis had to rely as much on a muscular attack in playing his instrument as his considerable gift for melodic improvisation. For his part, Mobley had the shoes of two monster players to fill, and he does so elegantly with a ton of fire in his playing. But it is Kelly and Chambers who really set the pace for this band. Kelly fills space in the middle register with an amazingly percussive attack that is as rhythmic as it is harmonically inventive. Mobley steps away from the hard bop side of his trademark sound to go back to the Sonny Rollins book of bebop, and even Davis uses the method of attack and surprise that gained him a reputation with Charlie Parker. Chambers is the man on whom it all turns, equating the parts of the band’s aesthetic. He and Cobb move toward one another and Chambers translates the shifting rhythmic patterns and segues to Kelly, whose interplay with him is almost instinctual, and then through Kelly to the horn players.Kelly’s sense of that ever-changing momentum and dynamic allows him to be a real part of the rhythm section (as opposed to a melodic counterpart to the front line) and adds room for the horn players to move about inside the bridges he creates between the two factions. His right-hand soloing is based on a series of harmonic and intervallic modes he continually pulls out of his hat and feeds Chambers, more in terms of directional possibility, which is vertical rather than horizontal. For evidence, check the contrast between the opening tunes: Friday’s ”Oleo” at breakneck speed, and the nearly 13-minute ”If I Were a Bell” on Saturday, which lopes and takes its time articulating the varying chromatic architectures being erected not only during the solos, but in the band’s ensemble playing as well. The common tunes from both nights — such as ”If I Were a Bell,” ”Walkin’,” ”On Green Dolphin Street,” ”No Blues,” and ”Love, I’ve Found You” — differ radically from one another. On Friday everything is pent-up; chops are flying off the bandstand furiously, with each player holding tight to Miles’ arrangements, but forcing the issue of the solos. On Saturday, the set is relaxed, uptempo in most cases, and filled with a kind of comfort that allows for chances to be taken without consequences. The reading of ”Autumn Leaves” and the unique version of Thelonious Monk’s ”Well, You Needn’t” provide an astonishing look at bandmembers who could pull off virtually anything, although they had only been together a short time. Add the set of ballads on Saturday — ”I Thought About You,” ”Someday My Prince Will Come,” and ”Softly, As in a Morning Sunrise” — that closes out the weekend, and the listener perhaps hears as many dimensions to Miles Davis as existed at the time. The sound is pristine; the packaging is lovely, with new notes by Eddie Henderson that accompany Ralph J. Gleason’s original ones. Complete documentation accompanies each disc, and no Davis fan should be without these recordings purchased separately or as a set.

     Artists: Coleman Hawkins & Pee Wee Russel
     Album: Jam Session in Swingville
     Year: 1961
     Quality: mp3 - 320 kbps
     Label: Prestige
     Size: 180 mb (with covers)
     Total time - 78:36



     This single CD has all of the music reissued in the mid-'70s on a two-LP set. Although sometimes issued under the names of Coleman Hawkins and Pee Wee Russell, the two great jazzmen actually do not appear together. The music, which is performed by two all-star groups with arrangements by either Jimmy Hamilton or Al Sears, is generally modern swing. Hawkins' band is comprised of trumpeter Joe Newman, trombonist J.C. Higginbottham, clarinetist Hamilton, altoist Hilton Jefferson and a four-piece rhythm section. Pianist Cliff Jackson plays "I Want to Be Happy," and clarinetist Russell's outfit also features trumpeter Joe Thomas, trombonist Vic Dickenson and both Al Sears and Buddy Tate on tenors. Nothing all that memorable or innovative occurs, but the performances are enjoyable.

     Artist: The Vandermark 5
     Album: A Discontinuous Line
     Label: Atavistic
     Year: 2006
     Format, bitrate: mp3 256kpps
     Time: 69:00
     Size: 158 MB


          Woodwind multi-instrumentalist Ken Vandermark has seen a number of personnel changes in his decade-old flagship group, the Vandermark 5. But when charter member Jeb Bishop left last year, Vandermark made the decision not to replace him with another trombonist. The Color of Memory (Atavistic, 2005) stands, as a result, as a high point and watershed mark of the "old Vandermark 5. A Discontinuous Line marks a significant shift with the recruitment of cellist Fred Lonberg-Holm, himself no stranger to the Chicago avant-garde scene. By adding an instrument that has the capacity for chordal support, Vandermark has reinvigorated his writing for the quintet. Not that it needed any in the first place.
Blasphemy it may be to suggest such a thing, but the new lineup may well be a more balanced one. With two horns, two strings and percussion, there's plenty of texture available. But the replacement of Bishop's always expressive trombone has created a sound that, while also capable of aggressive extremes as ever, enables a greater delicacy—beauty, even.
On "La Dernier Cri, Tim Daisy's soft tympani-like mallet work on the toms creates a persistent undercurrent of rhythm. The piece starts with cued chords built amongst Vandermark, Lonberg-Holm, saxophonist Dave Rempis and bassist Kent Kessler. Were it not for Daisy, the piece would feel very Ligeti-like, although when it shifts into collective improvisation which treats space as an equal component, the reference dissolves. The beauty of Vandermark's writing, however, is the purposeful direction of such free improvisation: small, clearly constructed figures emerge and disappear, never to be heard from again. By the time Lonberg-Holm's brief solo is over, the group reunites for a coda related to the intro, but not any kind of restatement.
The new Vandermark 5 hasn't lost its edge. Lonberg-Holm lends ardent chordal support beneath Rempis' outré solo on "Convertible, Version One. In tandem with Kessler's arco bass, he builds a solo conception that's completely new to the group. Vandermark's cathartic baritone solo is driven in ways that would not have been possible with the old lineup, finally returning to the tune's repetitive 5/4 motif alongside Rempis, while Lonberg-Holm, Kessler and Daisy end the piece on a maelstrom-like note.
Vandermark pushes the envelope, but the swinging swagger on "Some Not All refers to the jazz tradition, despite a chamber-like intro that's equally informed by contemporary classicism. Lonberg-Holm's solo of reckless abandon, over which Vandermark and Rempis ultimately enter to signal a return to the lead-in figure, shifts to a rock-ish solo section for Rempis, where Lonberg-Holm's repeated 5/4 figure seamlessly segues into a 7/4 pattern. Complexity never felt this natural or inevitable.
Vandermark's biggest strength as a writer is his ability to create compositions that mesh challenging and sometimes long-form structure with freewheeling improvisation. The Color of Memory may have been a high-water mark for the original V5 lineup, but A Discontinuous Line signals a shift for a group that's just as compelling.

     Artist: Gary Bartz
     Album: Libra/Another Earth
     Label: Milestone
     Year:1967, 1968
     Format, bitrate:mp3@256kb/sec and 320kb/sec
     Time: 77:04
     Size: 161.3MB
     AMG Rating:
     
     Altoist Gary Bartz's first two recordings as a leader are reissued in full (except for one selection, "Disjunction," left off due to lack of space) on this 1998 CD. 1967's Libra matches Bartz (then 26) with trumpeter Jimmy Owens, pianist Albert Dailey, bassist Richard Davis, and drummer Billy Higgins for four diverse originals including "Eastern Blues," a lyrical "Cabin in the Sky," the old hymn "Deep River," and Charlie Parker's "Bloomdido." Another Earth features Bartz dueting with bassist Reggie Workman on "Lost in the Stars," performing three trio quartet numbers with Workman, pianist Stanley Cowell, and drummer Freddie Waits, and welcoming trumpeter Charles Tolliver and tenor saxophonist Pharoah Sanders (who is a little more restrained than usual) to the 23-and-a-half-minute, three-part "Another Earth." The music is advanced but not avant-garde, essentially falling into the genre of modern mainstream for the period. Even at this early stage, Bartz had a fairly distinctive sound and a strong musical style. Recommended.

     Artist: Nathan Davis
     Album: Makatuka
     Label: Segue Records
     Year: 1971
     Format, bitrate: mp3@320kb/sec
     Time: 39:06
     Size: 90.5MB
     AMG rating:

     When you have been in radio for Twenty-Six years playing all kinds of music, you kind of get an "ear" for something distinct. This is exactly what my ears grasped when I listened to Nathan Davis playing three instruments (bass clarinet, soprano sax, tenor sax) along with some very fine side-men who unite into some funky and soulful sounds.

Nathan Davis, born and raised in Kansas City, Kansas, participated in his high school band and dance band, won his state music competition from which he received various scholarships leading him to a degree in Music Education from the University Of Kansas, and the production and promotion of jazz concerts at various Universities. While in the army, and living in Europe for Ten years, Nathan won the European and U.S. Army music competition, toured all over France, Germany, Belgium, and many other countries. He studied at the Sorbonne, instructed jazz studies at the Paris American Academy of Music, and in 1969, Belgium's Minister of Culture employed Nathan to give a series of jazz clinics. Nathan worked with many fine musicians: Donald Byrd, Hampton Hawes, Art Blakey, Art Taylor, Kenny Clarke, Mel Waldron, Benny Bailey, and Eric Dolphy, who influenced his flute and bass clarinet sounds.

Now, Nathan returns to the U.S. as Director of Jazz Studies Program at the University of Pittsburgh, and to record his first album in this country. The Hip Walk, Happy Girl, Rules of Freedom, and other albums were recorded overseas. Nathan produced Jazz Pittsburgh, part of the annual week long Three Rivers Art Festival for which he received numerous standing ovations in addition to putting together a Big Band consisting of many of the fine local musicians.

In this album, Nathan Davis composes and plays with Joe Kennedy, piano, Nelson Harrison, trombone, Don Depaotis on electric piano, Virgil Walters on fender bass, Mike Taylor, bass, and Rodger Humphries (formerly with Horace Silver) on drums.

Listen to the sounds of Nathan Davis who is practicing under the influence of hypnosis as he puts you under his weird spell.

MAKATUKA, in 7/8 time, is a tribute to Makaya Ntzhoko, a South African drummer with whom Nathan recorded a live album in Munich, Germany. Nathan opens up on tenor sax, joined by trombonist Nelson Harrison, and after a few bars of a soulful African melody, Don Depaotis blends in on electric piano. Just dig the sounds they get!

TO URSULA WITH LOVE, was written by Nathan for his wife; listen to the way he tells of love for his woman through his soprano sax. I suggest that you play this one for your lady when you want to get into your bag.

SLAVE MARCH, depicts musically tramping slaves (they may be slaves to many things – love, peace, job, etc.). In this cut, Nathan plays bass clarinet and tenor sax. Bassist, Virgil Walters was added to this number to give it a contrasting bass effect. It begins with the beautiful work of Nelson Harrison, Nathan's tenor sax and Rodger Humphries coming in nicely on drums. No trouble with the grease on this one. The fellows just slide soulfully on through, but the Slaves March doesn't stop…it just fades out for the march is never really over. Dig it!

EXTRA SENSORY PERFECTION, puts you in your weird bag and under a spell when Nathan plays his tenor. He brings to you the sounds of a new world, a world of many moods. Listen to all the cats quietly get into a nice groove.

I WANT TO BE FREE, swings through with a message. It might seem odd for a singer to be in on Nathan's recording date, but blues is part of jazz, and the young people today have a message for the world. Young vocalist, Wheeler Winstead, a student at the University of Pittsburgh, first heard by Nathan singing with the Pitt Band, puts it over. Nathan takes a groovy solo on soprano sax along with Nelson Harrison, one of the finest trombonist in the country.

LADIES LIB, swings from head to toe. I know you'll like this one as Nathan puts together some sounds that most disc jockeys have been asking for. Everyone can go into their spell here, and do their thing.

There is something for everyone on this album. Tell your friends about the spell this album puts you in. Right on!

     Artist: Van Morrison with Georgie Fame & The Dallas Jazz Orchestra
     Album: Live At Montreux Jazz Festival '89
     Label: DAT record
     Year: 1989
     Format, bitrate: MP3@320 kbps
     Time: 1:52:46
     Size: 191 Mb



     The Dallas Jazz Orchestra (DJO) is a jazz big band based in Dallas, Texas, founded by Thom Mason and Galen Jeter. Since its beginning in 1973, the DJO has produced numerous notable recordings, two of which were Grammy nominated, and has performed internationally in concerts and jazz festivals, such as the Montreaux Jazz Festival.
This release full live performance by Van Morrison with Georgie Fame and DJO at Casino de Montreux, Switzerland 1989 July 17th . The music is mostly blues- and jazz-oriented with the highlights including " Bonnie & Clyde," " King Porter Stomp".

     Artist: Ella Fitzgerald
     Album: Lady Time
     Label: OJC/Pablo
     Year: 1978, release: 1995
     Quality: MP3@320 kbps
     Size: 91,8 mb
     Total time: 42:54



     This CD places Ella Fitzgerald (then 60) in an unusual setting. Joined only by organist Jackie Davis and drummer Louie Bellson, she tackles a wide variety of material that ranges from "I'm Walkin'" and "I Cried for You" to "Mack the Knife" (which did not need to be remade) and "And the Angels Sing." Not one of her more essential releases, Lady Time does show that even at this fairly late stage in her career, Ella Fitzgerald could outswing just about anyone.

     Artist: Magnificent Seventh's Brass Band
     Album: Authentic New Orleans Jazz Funeral
     Label: Mardi Gras Records
     Years: 1994
     Quality: MP3@192 kbps
     Size: 96.18 МБ
     Total time: 72:07

Уникальнейший компакт диск, о похоронной процессии в Новом Орлеане, играют настоящие музыканты, которые обслуживают это ритуальное действие. Стиль Second Line. Брасс бэнд играет в два сузафона, интересная трактовка известных джазовых тем.

     Certainly one of the most unique sights in New Orleans is that of a traditional jazz funeral in progress. The brass band is decked out in stately uniforms and is led through the streets by a professional mourner, who leads the crowd in song and dance. The bereaved accompany the casket, while other members of the funeral procession follow. This second line winds its way through the streets en route to the body's final resting place, where the music goes from solemn to joyous and the celebration begins for the one freed from earthly troubles. This CD takes the listener through all parts of such a service, with an informative narration by Milton Batiste, one of the great figures in the brass band tradition in New Orleans. These include the wake of inspirational gospel tunes, followed by the dirges, as the crowd accompanies the casket en route to the final resting place, and the joyful sendoff as the preacher cuts loose the body and the soul of the parishioner goes on home to be with the Lord. Batiste himself was accorded this traditional ceremonial tribute when he passed in March of 2001.>>>