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Jazz 2 Rock
jasapaal
 Into the Rhythm
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1974: George Coleman and The Rob Agerbeek Trio - On Green Dolphin Street |
Music » Jazz » BeBop » Post-bop |
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 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. © 1996-2010, Dusty Groove America, Inc. |
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1974: Charles Mingus – Changes Two |
Music » Jazz » BeBop » Post-bop |
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 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. ~ Stuart Kremsky, All Music Guide |
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1974: Charles Mingus – Changes One |
Music » Jazz » BeBop » Post-bop |
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 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 |
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1961: Miles Davis - In Person Night at the Blackhawk San Francisco - 1961 (Complete 4 CD’s) |
Music » Jazz » BeBop » Post-bop |
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 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 REPOST with new links 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. ~ Thom Jurek, All Music Guide |
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1967,1968:Gary Bartz - Libra/Another Earth |
Music, Jazz, Post-bop |
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 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.
~ Scott Yanow, All Music Guide |
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2010:Arturo Sandoval - Time For Love |
Music, Jazz, Post-bop, Afro-Cuban Jazz |
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 Artist: Arturo Sandoval Album: Time For Love Label: Concord Records Year: 2010 Format: MP3 192 Kbps Time: 1:07:41 Size: 97MB AMG Rating: Arturo Sandoval is a true maestro: despite his reputation as a bop-based trumpeter who plays jazz inspired by his native Cuban tradition, he has delved deeply into tango, swing, and electric jazz in his long career. He is also a fine pianist and percussionist. That said, the notion of him recording a collection of classical pieces, standards, and ballads with a trio and a string orchestra as backing is more than a bit of a surprise. Nonetheless, that’s what A Time for Love basically is. Sandoval claims that this is the realization of a 20-year dream. He wanted it bad enough to make and release the record himself, but fate stepped in. Pianist Shelly Berg heard the demos and brought him to Concord’s Greg Field, who in turn brought in Grammy-winning arranger Jorge Calandrelli. They co-produced while Calandrelli arranged eight of the nine string charts -- Berg arranged the other and brought in his trio to back up Sandoval.
The classical readings include Fauré’s “Aprés un Reve" and “Pavane,” Ravel’s "Pavane Pour une Infante Defunte" (with Chris Botti on second trumpet), and Astor Piazzolla's “Oblivion” (with Monica Mancini on vocals). All reveal the emotional depth of Sandoval's playing, not just his technical acumen. While his fiery jazz playing can emote, it is often overshadowed by his expertise. Here, it is softness and tenderness without sentimentality that speak to the listener. The standards such as “I Loves You Porgy,” the shimmering swing in “Speak Low,” and the deep romance in the Johnny Mandel-Johnny Mercer classic “Emily” seemingly come from the vocal jazz tradition. Yet in them one can readily hear what Sandoval claims are his two greatest inspirations for this album: trumpeter Bobby Hackett's playing with the Jackie Gleason Orchestra, and the album Clifford Brown with Strings. The musical economy of those influences is reflected in the emotional weight and complex lyrical dimension carried in each note by Sandoval; the arrangements serve to heighten that revelation rather than overtake it. There are two very satisfying bonus tracks included as well, “The Windmills of Your Mind,” a stellar duet with Berg, and Cole Porter's “Every Time We Say Goodbye,” with Kenny Barron guesting on piano. It’s tempting to call A Time for Love Sandoval's masterpiece, but that is based on the sharp contrast with virtually everything else in his catalog; only time will reveal whether or not it is. For now, what is certain is that it is one of them.
~ Thom Jurek, All Music Guide |
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2009: Eric Alexander Quartet - Lazy Afternoon: Gentle Ballads, Vol. 4 |
Music » Jazz » BeBop » Post-bop |
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 Artist: Eric Alexander Quartet Album: Lazy Afternoon: Gentle Ballads, Vol. 4 Label: Venus Records Year: 2009 Quality: 320kbps / 44,1kHz / Joint-Stereo Size: 165Mb Time: 72 min AMG Rating Eric Alexander has had many opportunities to record as a leader for several different labels, though producer Tetsuo Hara, owner of the Japanese label Venus, has become a huge fan, recording him almost any time he travels to New York City. This 2008 session finds the tenor saxophonist with several musicians with whom he is very familiar, including pianist Mike LeDonne, bassist John Webber, and drummer Joe Farnsworth (the latter two who play with Alexander in the co-op band One for All). There's no mistaking the influence of John Coltrane in the loping opener, "Feelin' Good," where Alexander projects a huge tone on his instrument and LeDonne works in a few runs and chords suggestive of McCoy Tyner. The dreamy, free introduction to "My Funny Valentine" segues into a lush, sensitive performance. Alexander is at his emotional peak with his powerful interpretation of the ballad "Goodbye." The late-night feeling is prominent in the quartet's bluesy treatment of "Angel Eyes." This is another superb outing by Eric Alexander. ~ Ken Dryden, All Music Guide |
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1998: Roy Campbell Pyramid Trio - Ancestral Homeland |
Music » Jazz » BeBop » Post-bop |
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 Artist: Roy Campbell Album: Ancestral Homeland Label: No More Records Year: 1998 Format, bitrate: mp3 256 kbps / mp3, 320kb/s (w/scans) Time: 73.23 Size: 122.12 MB / 172 MB AMG rating:  Repost with a new link from mr. emjey23 The Pyramid Trio, led by Roy Campbell, has been on the NY scene since 1984. This is their first domestic release and it features the original line up of Campbell (tp, fl, perc.), William Parker (b, perc.) and Zen Matsuura (drums). The music of this group is based on the music of the world both composed and improvised. By encompassing African, Native American and jazz structures, the music transcends styles by freely shifting between percussion jams, beautiful melodies and improvised jazz. ~ Jazzloft.com |
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2009: Esperanza Spalding - Chamber Music Society |
Music » Jazz » BeBop » Post-bop |
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 Artist: Esperanza Spalding Album: Chamber Music Society Label: Heads Up Year: 2009, release: 2010 Quality: mp3, 320 Kbps Total Size: 129 MB AMG rating As evidenced by her self-titled 2008 debut, Esperanza Spalding is a quadruple threat as composer, bassist, singer, and producer. That album spent an astonishing 70 weeks on Billboard's contemporary jazz chart, and was the best-selling album by a new artist internationally for that calendar year. Given its critical and commercial success, a follow-up can exert so much pressure internally and externally, that an artist loses her/his focus and the end result is less than stellar. Not so with Chamber Music Society. Spalding has assembled an intriguing collection of tunes, is accompanied by stellar backing musicians -- drummer Terri Lynne Carrington, pianist Leonardo Genovese, and percussionist Quintino Cinalli with a pair of string players -- and guests that reveal her exquisite taste in both compositions and arrangements (the latter with intermittent help from Gil Goldstein). The album opens with a Spalding composition to illustrate William Blake's poem "Little Fly"; her vocal is understated yet fully articulate. She is backed only by her bass and a graceful, small, unintrusive string section. "Winter Sun" is a standout with its fingerpopping breaks and a melodic nu-soul vocal that touches on scat with astute syncopation, and features taut, imaginative bass and piano solos. It walks the line between modern jazz and adult contemporary R&B . On Esperanza, she covered Milton Nascimento's "Ponta de Areia." Here, she ups the ante by duetting with the Brazilian artist on her own "Apple Blossom," backed by strings and Richard Vogt's nylon-string guitar. Nascimento's trademark baritone is allowed considerable improvisational freedom that features his otherworldly falsetto. Her reading of Antonio Carlos Jobim's "Inutil Paisagem" almost forgoes samba entirely in favor of a more classically disciplined duet vocal arrangement, as Spalding's voice and bass are accompanied only by Gretchen Parlato's divine vocal. Parlato also appears with wordless singing on "Knowledge of Good and Evil," in a breezy yet complex chart that underscores a deft harmonic interaction with the band. Spalding's arrangement of Dimitri Tiomkin's and Ned Washington's classic "Wild Is the Wind" features David Eggar guesting on cello and Genovese playing melodica, and combines jazz, tango, and classic pop. "What a Friend" combines contemporary and Rhodes-driven soulful electric jazz. Chamber Music Society is a more sophisticated offering than Esperanza. That said, with its musical diversity, stylistic panache, humor, and soul, it's also a more enjoyable listen. ~ Thom Jurek, All Music Guide |
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2001: Roy Campbell Quartet - It's Krunch Time |
Hard-bop, Post-bop, Modern Jazz |
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 Artist: Roy Campbell Quartet Album: It's Krunch Time Label: Thirsty Ear Recordings Year: 2001 Format, bitrate: mp3, 320 Size: 94 mb AMG rating: "a tasteful mix of straight-ahead jazz, lyricism and adventurism" - Nils Jacobson, All About Jazz Roy Campbell's engaging Blue Series entry features an acoustic quartet with Khan Jamal on vibes, Wilber Morris (who passed away shortly thereafter) on bass, and Guillermo E. Brown on drums. The trumpeter takes his time developing passionate rubato statements on tracks like "Tenderness of Spring," "The Opening," and "New Groes for the Millennium," the last of which eventually — almost reluctantly — settles into a languid swing tempo. The pace is quick, the groove catchy on "Ode for Mr. DC," and Jamal shines, with his slightly raspy sound, on "Khanducting." Everyone takes a turn in the spotlight on the tumultuous title track. There's also a loosey-goosey version of Monk's "Bemsha Swing" and a closing, solo-trumpet deconstruction of "The Star-Spangled Banner." ~ David R. Adler, All Music Guide |
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1969: Wayne Shorter - Super Nova |
Music » Jazz » BeBop » Post-bop |
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 Artist: Wayne Shorter Album: Super Nova Label: Blue Note Year: 1969 Format, bitrate: AAC, 256kb/s vbr / mp3, 320kb/s Time: 37:50 Size: 73 MB / 79 MB AMG rating: MP3 link from mr. emjey23 This CD reissue brings back an important transitional album for tenor-saxophonist Wayne Shorter. Doubling on soprano (which he had recently begun playing), Shorter interprets five of his originals (including "Water Babies" which had been recorded previously by Miles Davis) and Antonio Carlos Jobim's "Dindi." He definitely used a forward-looking group of sidemen for his "backup band" includes guitarists John McLaughlin and Sonny Sharrock, Walter Booker (normally a bassist) on classical guitar for "Dindi," bassist Miroslav Vitous, both Jack DeJohnette and Chick Corea (!) on drums and percussionist Airto; Maria Booker takes a vocal on the touching version of "Dindi." The influence of Miles Davis' early fusion period is felt throughout the music but there is nothing derivative about the often-surprising results. As with Wayne Shorter's best albums, this set rewards repeated listenings. ~ Scott Yanow, All Music Guide |
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2004:Nicholas Payton & Sonic Trance - Live in New York 1.24.04 |
Music, Jazz, Post-bop, Contemporary Jazz |
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 Artist: Nicholas Payton & Sonic Trance Album: Live in New York 1.24.04 Label: Kufala Recordings Year: 2004 Format, bitrate: mp3@VBR Time: 57:35 Size: 103.6MB On the surface, Nicholas Payton's Sonic Trance is a fusion band. The leader occasionally tricks out his horn with effects, pianist Scott Kinsey moves over to electric keyboard from time to time, and percussionist Daniel Sadownick does his best to establish an Agharta vibe on congas. But there is no electric guitar in Sonic Trance, and Vicente Archer lays down the groove over the course of this hour-long concert solely on acoustic bass. Every trumpet player is forced at one time or another to confront Miles' legacy, and the better the trumpeter, the closer he can get to meeting it. Nicholas Payton succeeds with originality, clarity and a fresh eclecticism.
Miles is quoted briefly by saxophonist Tim Warfield on "Blu Hays," but the influences range much farther. Hugh Masekela and Fela Kuti on a track named for the Afrobeat legend, Scott Joplin and "Fascinatin' Rhythm" on "Cannabis Leaf Rag," and Monk on "I'm Trying to Swing as Little as Possible," which if judged relative to its title, fails utterly; Warfield can't help himself. "Two Mexicans on the Wall" begins by quoting "99 Bottles of Beer" mariachi-style and Payton turns in a guileless performance of "Stardust" before the tune is given over to Archer's funky wormy bass line. Warfield, featured chiefly on soprano for the first part of the disc, lets go on tenor for "Silence" before Kinsey takes over with wah-wah trombone and trumpet-splat keyboard effects. "Silence" doesn't last long enough.
Recorded live at the 2004 International Association for Jazz Education (IAJE) conference, Payton's music is so organically conceived and so correct in its variety and logical choices that the whole hour passes much too quickly. This is a good thing, of course. When too many recordings fail to hold up beyond two or three listens, Sonic Trance sends you back to push play again and again. ~ Jeff Stockton, allaboutjazz |
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1993: Branford Marsalis with Albert Collins & Linda Hopkins - Zellerbach Auditorium [2CD] |
Vocalese , Hard-bop, Post-bop |
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![1993: Branford Marsalis with Albert Collins & Linda Hopkins - Zellerbach Auditorium [2CD]](http://jazzbluesclub.com/uploads/posts/thumbs/1282842833_cover.jpg) Artist: Branford Marsalis with Albert Collins & Linda Hopkins Album: Zellerbach Auditorium Label: SBO (butleg) Year: 1993 Format, bitrate: MP3@320 kbps Time: 1:45:32 Size: 189 Mb Saxophonist Branford Marsalis with samples various blues styles, will appear with bluespersons Albert Collins and Linda Hopkins. |
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1987:Gil Evans/Laurent Cugny Big Band Lumiere - Golden Hair |
Music, Post-bop, Progressive Jazz |
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 Artists: Gil Evans/Laurent Cugny Big Band Lumiere Album: Golden Hair Label: EmArCy Year: 1987 Format, bitrate: Flac Time: 59:03 Size: 301 MB The second of two albums to come out of the Nov 1987 sessions featuring the great Gil Evans with Laurent Cugny's Big Band Lumiere. |
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2006: Keefe Jackson's Fast Citizens - Ready Everyday |
Post-bop, Avantgarde |
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 Artist: Keefe Jackson's Fast Citizens Album: Ready Everyday Label: Delmark Records Year: 2006 Format, bitrate: mp3, 320 Size: 123 mb AMG Rating: JazzTimes - "READY EVERYDAY documents citizens of the Windy City's combustive jazz scene continuing to stretch, seek out the new and defy the orthodoxies, even their own." Tenor-saxophonist Keefe Jackson and his sextet show impressive versatility within the genre of post-bop/avant-garde jazz throughout Ready Everyday. While some of the free bop selections are reminiscent of the early Ornette Coleman Quartet, there are also sound explorations, intense ensembles, and hard-swinging and unusual tone colors. Keefe Jackson's compositions sometimes hint at his early infatuation with klezmer and Eastern European music. Cellist Fred Lonberg-Holm alternates between emulating a higher-tone bass and soloing like a rock guitarist. With cornetist Josh Berman taking impressive solos, altoist Aram Shelton showing a strong ability to swing without being tied to chord changes, and stimulating support and commentary supplied by bassist Anton Hatwich and drummer Frank Rosaly, this is a consistently intriguing and creative set full of surprises.~ Scott Yanow, All Music Guide |
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!993:Don Pullen & The African Brazilian Connection - Live...Again |
Music, Post-bop, Freejazz, Brazilian Jazz |
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 Artist: Don Pullen & The African Brazilian Connection Album: Live...Again Label: Blue Note Year: 1993 Format, bitrate: mp3@320kb/sec Time: 73:10 Size: 168.1MB AMG rating: There is something deeply human about the late Don Pullen's piano playing. His appeal lies not in traditional technique, but in his soulful harmonies, his intensely rhythmic style and his avant garde, explosive passages. "Live . . . Again," recorded at the Montreux Jazz Festival in July, 1993, before he received a diagnosis of lymphoma, captures the essence of this unique style and his exceptional live energy.
Throughout, Pullen's mood is upbeat and relentless. Accompanied by the African Brazilian Connection--Panamanian-born Carlos Ward on alto saxophone, Brazilian bassist Nilson Matta, American drummer J.T. Lewis and Senegalese percussionist-vocalist Mor Thaim--he storms through the compositions. "Yebino Spring," an African-inspired composition, is charged with his organic, relaxed lines and grandiose sweeps. "Capoeira," brims with lilting Latin grooves and intensely percussive chords, on "Kele Mou Bana" he mixes sweet South African township harmonies with Cecil Taylor-like clusters. Exuberance abounds, but he also shows a more delicate, reflective side on "Ah George, We Hardly Knew Ya," his tribute to the late George Adams.
This album suffers from a weaker sound quality than Pullen's previous studio recording, "Kele Mou Bana," which contains several compositions heard on "Live . . . Again." It is, however, Pullen stretching out and in great spirits. ~ Laura Connelly, The Los Angeles Times |
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1971: John Surman / John Warren - Tales of the Algonquin |
Music » Jazz » BeBop » Post-bop |
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 Artist: John Surman / John Warren Album: Tales of the Algonquin Label: Dutton Vocalion Year: 1971 Format, bitrate: MP3, CBR 320 Time: 47:40 Size: 110 Mb A beautiful lost slice of British jazz, recorded during the crucial period before some of the scene's players went too far off the deep end! John Surman partners here with composer/leader John Warren, for a large group recording that sounds similar to some of the best early Mike Westbrook recordings. The album's comprised of a suite of 5 tracks, all played by a large group in a style that shows the best British modernist tradition of the 60's. The ensemble playing is dark and moody – but always tight at all moments. The group's soloists – like Surman, Mike Osborne, Barre Phillips, Kenny Wheeler, and others – soar out of the arrangements in tightly constructed, brilliantly realized solos that stand as some of their best work. Titles include "With Terry's Help", "We'll Make It", "The Dandelion", "The Picture Tree", and the "Tales Of The Algonquin" suite.~ © 1996-2010, Dusty Groove America, Inc. |
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1991:Toots Thielemans – For My Lady |
Music, Post-bop, Contemporary Jazz |
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 Artist: Toots Thielemans Album: For My Lady Label: Polygram Records Year: 1991 Format, bitrate: mp3@320kbps Time: 01.11.00 Size: 133 Mb AMG rating: The emphasis is on ballads for harmonica player Toots Thielemans’ outing with the Shirley Horn Trio. Horn, in addition to contributing some tastefully supportive piano and occasional solos, takes a vocal on “Someone to Watch Over Me.” Toots sounds quite relaxed performing 11 standards (only “Blues in the Closet” generates much heat) plus his original “For My Lady” with such comfortable backing.
~ Scott Yanow, All Music Guid |
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1998: Charlie Hunter & Pound For Pound - Return Of The Candyman |
Music » Jazz » BeBop » Post-bop |
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 Artist: Charlie Hunter & Pound For Pound Album: Return Of The Candyman Label: Blue Note Year: 1998 Format, bitrate: mp3@320kb/s Time: 52:19 Size: 110,34 MB AMG Rating After releasing Natty Dread, Charlie Hunter decided to form a new band, one without horns. The ensuing Pound For Pound features Hunter with a drummer, synthesizers, and vibraphonist Stefon Harris. Removing the horns puts Hunter's guitar in the spotlight, and he rises to the occasion, fulfilling the promise he's displayed on all of his previous releases. There's a stronger groove here than on any of Hunter's previous records, but what's remarkable about the album is the way he keeps the groove rolling while pushing the music into unpredictable, adventurous territory. That fusion of groove and challenging jazz makes Return of the Candyman a thoroughly rewarding listen.~ Stephen Thomas Erlewine, All Music |
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1991: The Uptown String Quartet - Just Wait a Minute! |
Music » Jazz » BeBop » Post-bop |
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 Artist: The Uptown String Quartet Album: Just Wait a Minute! Label: Bluemoon Year: 1991 Format, bitrate: mp3@192kb/s Time: 64:47 Size: 82.71MB AMG Rating  This is a fine all-around session for the chamber jazz quartet, which consisted at the time of violinists Lesa Terry and Diane Monroe, Maxine Roach on viola, and cellist Eileen Folson. The wide range of material includes pieces by Benny Golson ("Along Came Betty" and "Blues March"), Charlie Parker, Gershwin, Jimmy Heath, Don Cherry, several group originals, and even a song by James Brown (a humorous "I Feel Good"). Along with Turtle Island, Uptown (which is active on a more part-time basis) has ranked in the 1990s at the top of its admittedly very small field of improvising string quartets. This diverse yet unified CD gives listeners a strong example of the group's music. ~ Scott Yanow, All Music Guide |
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