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Jazz 2 Rock
jasapaal
 Into the Rhythm
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1994: Jacky Terrasson - Jacky Terrasson |
Jazz, Mainstream |
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 Artist: Jacky Terrasson Album: Jacky Terrasson Label: Blue Note Year: 1994 Genre: Mainstream Format, bitrate: MP3, 320kbps Time: 55:17 Size: 123MB AMG rating:  Jacky Terrasson delights in turning standards inside out. On his eponymously titled debut CD he gives odd rhythms to "I Love Paris," purposely speeds up and slows down the tempo on "Bye Bye Blackbird," takes "I Fall in Love Too Easily" very slowly, does his best to disguise "Bye Bye Blackbird," and shows a grasp of dynamics worthy of Ahmad Jamal. It is fortunate that bassist Ugonna Okegwo and drummer Leon Parker are very alert (or perhaps well-rehearsed), because to the uninitiated listener these eccentric and rather quirky performances are often quite unpredictable and occasionally jarring. Well worth checking out.~ Scott Yanow, All Music Guide |
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2001: The Word - The Word |
Fusion, Jazz-Rock, Jazz-Pop |
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 Artist: The Word Album: The Word Label: Atlantic Year: 2001 Format, bitrate: mp3, 320 Size: 101 mb AMG rating  This purported one-off "gospel" project involving jazz organist John Medeski (yep, that one), pedal steel guitarist Robert Randolph (of Arhoolie's Sacred Steel series fame), and the North Mississippi Allstars (featuring both Cody and Luther Dickinson -- Jim Dickinson's swamp-brat kids -- as well as bassist Chris Chew) was the most welcome and unexpected instrumental release of 2001. And as it burns through rock, blues, soul, funk, and of course, grooved-out gospel music with a take no prisoners attitude and a down in the grease feeling, it may be a candidate for album of that year, period. The story is long and complex but here's a thumbnail, kids: Medeski, Martin & Wood were touring with the North Mississippi Allstars and both camps were playing the Sacred Steel series on Arhoolie on their buses. The idea for a gospel record was born and Randolph was chosen on the power of one tune: "Without a God" from the Sacred Steel Live album. Strange occurrences led to the band finally coming together, but the evidence here suggests that perhaps indeed Divine Providence was involved. Musically, the songs come from the Sacred Steel proceedings as well as public domain libraries. Tracks such as "Keep Your Lamp Trimmed and Burning," "I Shall Not Be Moved," "Without God," "At the Cross," and "I'll Fly Away" are familiar to listeners who've never so much as set foot inside a Protestant gospel church in their lives. But even if the titles are familiar, these arrangements, courtesy of Randolph, are not. They delve deep into the spirit of the music while caring little for its proper construction; any emotions that make their way into the mix are encouraged by the members of The Word. It is not uncommon for anger and despair to sidle up to joy and hope in these proceedings and be transformed into something like country shuffle blues or funky rural gospel that borders on the darkest of Delta blues. Randolph's pedal steel is firmly in the forefront, kept company by Medeski's chunky fills and comping and the dirty blues guitar of Luther Dickinson. When you add Chris Chew's pop-'em-in-the-pocket basslines that point everything in the right direction just ahead of the beat drums by Cody Dickinson (or his eerie, funky washboard rubbing), this is the roots band to beat. As funk and gospel roll out past the midnight hour from the halls of salvation to sin and back again, listeners understand implicitly the inherent contradictions in American music, that while the Puritan thought and body police may try to stomp out everything that looks, sounds, tastes, and feels good, there's the spirit of the Almighty encouraging the human part of us to enjoy creation. And enjoy you will, from the tip of your head to the balls of your feet -- until they get sore from falling around a dancefloor for a few hours -- or until you reluctantly slip this sacred slab back into its case and back onto the shelf. Music like this has no reason to turn back on itself and ask questions; it's too busy affirming the wondrous truth of how great it is to be alive. Mark my words, in ten years this disc will be considered a classic, a groundbreaking foray into the total synthesis of American groove music. ~ Thom Jurek, All Music Guide |
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2006: Al Di Meola - Vocal Rendezvous |
Fusion, Jazz-Rock |
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 Artist: Al Di Meola Album: Vocal Rendezvous Label: SPV Year: 2006 Format, bitrate: mp3, 320 kbps Time: 50:29 Size: 81.32 Mb The famed jazz guitarist recorded this predominant collection of collaborations with various singers over a 6 year period. The first that started it all was a session with the Russian vocalist Leonid Agutin. Always on the lookout for new challenges, Di Meola expanded on the concept for this very special and exceptional album. The featured material includes artists like Xavier Naidoo, Angie Stone, Macy Gray, MC Solaar and Swedish pop singer Bosson. A thoroughly distinctive release in Di Meola’s longstanding career and certainly one that marks him as an accomplished wanderer between different stylistic worlds. ~ cduniverse |
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1960: Shorty Rogers Meets Tarzan |
Music » Jazz » BeBop » Cool |
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 Artist: Shorty Rogers Album: Shorty Rogers Meets Tarzan Label: MGM SE-3798 Year: 1960 Format, bitrate: mp3@320 kbs ( Ripped from original LP) Time: ~ 34 min Size: 69,70 MB (Covers Front/Back HD ) AMG rating: In 1959, Shorty Rogers wrote the soundtrack for a remake of Tarzan, the Ape Man. The movie (starring Denny Miller) soon disappeared, and so did this obscure LP. However, Rogers' music is worth bringing back, as is the humorous photo on the cover featuring Tarzan effortlessly lifting up the smiling trumpeter/arranger. The music that Shorty wrote for the film utilizes 14 horns, including trombonist Frank Rosolino and the reeds of Bud Shank, Bill Perkins, and Bob Cooper, plus Pete Jolly, two bassists, drummer Frank Capp and four enthusiastic percussionists. While side one of the album has six selections, all of which are in the same rhythmic mood, the flip side consists of the lengthy "Tarzanic Suite," an extended arrangement of the main theme from the picture. Although there are many short solos, the emphasis is on the dense and frequently exciting ensembles. The music, which is heard here in full-length form (unlike in the movie, where it is often buried behind the action), sounds quite self-sufficient apart from the action. A collector's item that has not yet been reissued on CD. ~ Scott Yanow, All Music Guide |
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1962: Jack Teagarden - Think Well of Me |
Music » Jazz » Traditional Jazz » Classic Jazz |
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 Artist: Jack Teagarden Album: Think Well of Me Label: Verve Year: 1962, release: 1998 Quality: MP3@320 kbps Size: 80,6 mb (sharebee) Total time: 35:58 AMG Rating:  For My Friends! In the years between leaving Louis Armstrong's All-Stars and his death (1952-63), the great trombonist and singer Jack Teagarden led a Dixieland-oriented sextet. Most of his recordings during that time period, while quite worthy, featured the usual standards and swing songs that had been associated with Mr. T. since the 1930s. But this particular project, which in 1998 was reissued as a limited-edition CD, was something quite different. Willard Robison was an unusual composer whose nostalgic and wistful songs usually extolled the virtues of country life; best-known among his tunes are "Old Folks," "Cottage for Sale" and "Tain't So, Honey Tain't So." For what would be his next-to-last album, Teagarden in Jan. 1962 recorded ten Robison songs (plus the slightly out of place non-Robison standard "Where Are You") while backed by a string orchestra that included both a harp and his trumpeter Don Goldie. Bob Brookmeyer and Russ Case contributed all but one arrangement, and although the strings were certainly not necessary (since they do not add much to the music), the prestigious setting must have pleased the trombonist. All of the songs except for "I'm a Fool About My Mama" have vocals by Teagarden, and he puts plenty of restrained feeling into such obscure tunes as "Guess I'll Go Back Home This Summer," "Think Well of Me" and "'Round My Old Deserted Farm." His short solos are often quite exquisite, and this often touching, somewhat rare date is one of the strongest of his final period. ~ Scott Yanow, All Music Guide |
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2009: Brad Mehldau - Highway Rider |
Music » Jazz » Fusion » Crossover Jazz |
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 Artist: Brad Mehldau Album: Highway Rider Year: 2009; release: March 16, 2010 Label: Nonesuch Quality: mp3; 256 kb/s Total Size: 195.2 mb AMG Rating: The Highway Rider is pianist and composer Brad Mehldau's second collaboration with enigmatic pop producer Jon Brion. The first was 2002's ambitious but tentative Largo. As a collaboration, The Highway Rider is much more confident by contrast. Mehldau's most ambitious work to date, its 15 compositions are spread over two discs and 100 minutes. His trio --bassist Larry Grenadier and drummer Jeff Ballard -- is augmented by saxophonist Joshua Redman, drummer Matt Chamberlain, and a chamber orchestra conducted by Dan Coleman. The album is a narrative jazz suite, orchestrated and arranged by Mehldau, though it has much in common with classical and pop music, as well.
The group settings range from solo to quintet, with and without strings, all of it recorded live in studio. Redman's addition is welcome. "Don't Be Sad" features his consoling tenor, Mehldau (on pump organ and piano), Grenadier, and both drummers with orchestra. It begins as a piano solo, languidly establishing a pace that begins to swing with gospel overtones. Later, Redman's lower-register blowing, strings, and winds carry it out joyfully. Brion adds drum`n'bass overtones to the trio on the title track. The electronics are a narrative device designating motion; they accompany the gradually assertive knottiness in the post-bop lyric. Mehldau begins "The Falcon Will Fly Again" with a complex solo that touches on Latin grooves, even as Chamberlain and Ballard create an organic loop effect with hand percussion. Redman's soprano creates a contrapuntal melody extending the harmonic dialogue. Disc two's lengthy "We'll Cross the River Together" has quintet and orchestra engaging in a beautiful study of texture, color, and expansive harmonics with wildly divergent dynamics. It showcases Mehldau's trademark pianistic elegance in counterpoint. Redman's deep blues tenor nearly weeps on "Sky Turning Grey (For Elliot Smith)." "Capriccio"s Latin rhythms contrast ideally: Mehldau's classical, gently dissonant motifs create an exploratory harmonic palette as Redman's magnetic soprano playing joins Mehldau's in the last third, anchoring the complex melody. The closer, "Always Returning," builds to a climax that incorporates themes from the cycle. Redman and Mehldau soar with the orchestra before they all close it in a whispering tone poem. By combining sophisticated -- yet accessible -- forms with jazz improvisation, The Highway Rider exceeds all expectations, giving jazz-classical crossover a good name for a change. It is Mehldau's most ambitious, creatively unfettered, and deeply emotional work to date, and will stand as a high-water mark in his catalog. ~ Thom Jurek, All Music Guide |
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2001: Tomasz Stanko Quartet - Soul of Things |
Music » Jazz » Modern Jazz |
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 Artist: Tomasz Stanko Quartet Album: Soul of Things Label: ECM Records Year: 2001; release: 2002 Format, bitrate: mp3, 320 Size: 159 mb AMG rating: "The Polish trumpeter Tomasz Stanko has been busy making music for many years. He began his career on the forefront of the European free jazz movement in the ‘60s. While he has made many fine albums since then, most of his notoriety has come in the past few years. Since joining ECM, Stanko has produced many fine albums. Soul of Things is the latest in his string of albums (Litania, Leosia, and From the Green Hill) and continues the level of excellency he has established for himself.
Proclaimed the ”Polish Miles Davis” in nearly every article I have read about him, Stanko continues to make beautifully searching music. While I agree with this comparison, it has never seemed more appropriate than after I listened to his new album Soul of Things. A thirteen song suite performed by Stanko’s outstanding young quartet would have made my list of the best of 2002 had I been able to get my hands on it before the year ended. I am thankful, however, that I have started 2003 off with a bang!
From the first song a mood of tranquility is set. The band opens with a beautiful melody and Stanko comes in with his hauntingly familiar horn. The interplay amongst the musicians is breathtaking. While Stanko has been playing with this quartet for seven years, this is their first album together. You can tell they know each other well. There is a dream-like rhapsody to the album that is heightened by the fact that Stanko loves to use tonal coloration and shadings in his music. He is much like an impressionistic artist: He sees what we see he just expresses it differently.
Stanko’s albums remain continually impressive, and I look forward to the next album from this fine quartet. While he may be the equivalent of the ”Polish Miles Davis” don’t let that fool you into believing he has not found his own voice. Highly recommended.~ Geoff Barber, All About Jazz |
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2006: Donna Hightower - Jazz En Espana |
Music » Jazz » Vocal Jazz |
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 Artist: Donna Hightower Album: Jazz En Espana Label: RTVE Musica Year: 5/6/2006 Format, bitrate: mp3, 320kb/s Size: 102MB "Little" Donna Hightower had a dynamic, big voice and made some fine shouting records for Decca and RPM in the '50s. Unfortunately, she never landed any hits, but that wasn't due to any lack of skill. She not only had range and power, but was equally compelling doing sentimental, soft ballads. She was backed by the orchestras of Horace Henderson and Maxwell Davis on the Decca and RPM material, respectively. ~ Ron Wynn, All Music Guide |
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1938-1939: John Kirby And His Orchestra 1938 - 1939 |
Music » Jazz » Swing |
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 Artist: John Kirby And His Orchestra Album: John Kirby And His Orchestra 1938 - 1939 Label: Classics Years: 1938-1939, release: 1994 Quality: MP3@320 kbps Size: 132 mb Total time: 62:48 AMG Rating:  The first of three Classics CDs reissuing all of the John Kirby Sextet's recordings during its prime years (1938-1943) has the group's earliest 22 recordings. Although the first five numbers were originally issued under the name "John Kirby & His Onyx Club Boys," the famous personnel were already in place: bassist Kirby, trumpeter Charlie Shavers (then only 21), altoist Russell Procope, clarinetist Buster Bailey, pianist Billy Kyle, and drummer O'Neil Spencer (who took an occasional vocal). The group's unique cool-toned sound, tricky ensembles, and often atmospheric music definitely stood out during an era dominated by loud big bands. There are quite a few classics on this CD, including "Rehearsin' for a Nervous Breakdown," the original version of Shavers' "Undecided," "Dawn on the Desert," "Royal Garden Blues," and "Nocturne." Highly recommended, as are the two other Classics Kirby discs. ~ Scott Yanow, All Music Guide |
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2000: David Binney - South |
Music » Jazz » Modern Jazz |
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 Artist: David Binney Album: South Label: ACT Music Year: 2000; release: 2003 Format, bitrate: mp3, VBR 256-320 Size: 120 mb The music on altoist Dave Binney's set, which is comprised entirely of his originals (other than one free improvisation), is consistently intriguing. The post-bop solos, particularly those of Binney and tenor-saxophonist Chris Potter, are excellent but it is in the arrangements themselves, and in the way that the improvisations flow naturally out of the episodic frameworks that are most impressive. Although the overall results are logical, the frequently passionate music is quite unpredictable, with the forms evolving as much as the individual solos. Some doomsayers may claim that jazz has not evolved since the mid-1970s, but South is one of hundreds (if not thousands) of bits of evidence to the contrary. This is a set that will grow on listeners, keeping one guessing even after several listens. ~ Scott Yanow, All Music Guide |
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1951-1952: Duke Ellington - Ellington Uptown |
Music » Jazz » Traditional Jazz |
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 Artist: Duke Ellington Album: Ellington Uptown Label: Columbia Year: Dec 7, 1951-Aug 12, 1952 Release: 1987 Format, bitrate: mp3, 320kb/s Time: 53:41 Size: 114MB AMG Rating:  Even back in the early '50s, Columbia Records took Duke Ellington seriously enough to place this album on its prestigious Masterworks label, heretofore reserved mostly for highbrow classical music and Broadway shows (later in the decade, though, it was retitled Hi-Fi Ellington Uptown and reissued on the pop series with an additional piece, "The Controversial Suite"). Also, this LP explodes the critical line that the early '50s was a relatively fallow period for the Duke; any of these smoking, concert-length tracks will torpedo that notion. The young Louis Bellson was powering the Ellington band at that time, and his revolutionary double-bass drum technique and rare ability to build coherent drum solos are put to astounding use on his self-penned leadoff track, "Skin Deep," which was quite a demonstration piece for audiophiles at the time. Old favorites from the Ellington hit parade are given extended treatments, with singer Betty Roche taking the A-train for a bebop-flavored ride, "The Mooche" spotlighting clarinetists Jimmy Hamilton and Russell Procope, and Ellington's boogie-woogie piano kicking off a super-charged "Perdido" for trumpeter Clark Terry. The centerpiece of the disc is a sharply drawn, idiomatically swinging, probably unbeatable performance of "A Tone Parallel to Harlem" that lays waste to any of the "symphonic" versions that turn up frequently at pop concerts. Another feature of this record is the great sound quality, a benefit of being entrusted to Columbia's best engineers. If you can locate an original Masterworks pressing, grab it and run, for the first-generation sound is astonishing for its age (the reissues in the 1980s on CD and LP had to rely upon later masterings and do not sound nearly as powerful as the original). ~ Richard S. Ginell, All Music Guide |
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2002: Derek Bailey - Ballads |
Modern Jazz, Freejazz |
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 Artist: Derek Bailey Album: Ballads Label: Tzadik Year: 2002 Quality: mp3,VBR Size: 56,58 mb AMG Rating It's not as though Derek Bailey hadn't given a hint or two before. On his wonderful Drop Me Off at 96th (on Scatter), he tantalized listeners with a couple of bars of "I Didn't Know What Time It Was." Even those who might have preferred that he stood steadfast and true to the non-idiomatic free improv "tradition" might have wavered slightly. Still, for those so inclined, Ballads might be a bittersweet experience. They might prefer to understand that Bailey was quite capable of playing in a traditionally, romantically beautiful manner but feel that he had no need to prove it, rather having him wend his unique way through a strange landscape. However, met on its own terms, Ballads is stunningly gorgeous, lovely melodies like "Laura" being passionately stroked even as they abut against Bailey's questioning angularities and brusque, impolite commentary. The pure sound he elicits from his acoustic guitar is mouthwatering, so reverberant and alive. When he absolutely wrenches the melody of "Stella By Starlight" from the poor body of his instrument, it's enough to leave one gasping. And longtime Bailey fans might simply shake their heads in disbelief when he strums with schmaltz -- as well as beauty -- the sentimental theme from "My Buddy" before taking it on a circuitous walk. Whether one is glad or distressed that he chose to dip his toes into these waters, Ballads is a singularly lovely recording, one that certainly stands out in Bailey's oeuvre and one that is nigh impossible not to smile about and linger over. Highly recommended. ~ Brian Olewnick, All Music Guide |
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1956: Paul Whiteman - 50th Anniversary |
Classic Jazz, Stride, Swing, Mainstream |
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 Artist: Paul Whiteman Album: 50th Anniversary 2LP Label: Grand Award Year: 1956 Quality: MP3@320 kbps (LP-rip) Size: 135 + 29,9 mb (sharebee) Total time: 76:21 Påäêèé þáèëåéíûé êîíöåðò çíàìåíèòîãî "Êîðîëÿ äæàçà"! Although Paul Whiteman's first permanent band was organized in 1918, he had had his first musical job back in 1906, and he used the excuse to celebrate his 50th anniversary in 1956. Never mind that Whiteman had been living off his past successes since the early 1940s; the double LP (which contains an excellent booklet) came off quite well. A large orchestra (with only a few surviving Whiteman alumni like trumpeter Charlie Margulis) performs one of the livelier versions of "Rhapsody In Blue," featuring pianist Buddy Weed, plus four shorter numbers, including "When Day Is Done" and "Limehouse Blues," but surprisingly none of the famous Bill Challis charts. There are individual features for former Whiteman stars Joe Venuti, Jimmy Dorsey, Tommy Dorsey (his last recording), Hoagy Carmichael ("Washboard Blues") and a few for Jack Teagarden and Johnny Mercer. The very intriguing (if hard-to-find) twofer concludes with a radio broadcast saved by Whiteman from 1943 that features a reunion by the Rhythm Boys (Bing Crosby, Harry Barris and Al Rinker) during which they sing "Mississippi Mud" with plenty of spirit and humor. Other than a 1960 television show celebrating his 70th birthday (its soundtrack was released by the Sounds Great label), this twofer is Paul Whiteman's swan song, and an excellent way to go out. ~ Scott Yanow, All Music Guide |
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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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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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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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