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2009: Stan Getz - Dynasty |
Music » Jazz » BeBop » Post-bop |
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 Artist: Stan Getz Album: Dynasty Label: Verve Year: Mar 15, 1971-Mar 17, 1971 Release: Jan 27, 2009 Format, bitrate: mp3, 320kb/s Size: 185MB AMG rating:  Repost with a new link A great lost album from Stan Getz! The record features Stan in a totally new setting, playing with some relatively unfamiliar French talents -- Eddie Louiss on organ, Rene Thomas on guitar, and Bernard Lubat on drums. Louiss is incredible, and has a free spacey sound that recalls Larry Young -- which works perfectly with Getz's post-Coltrane explorations here. The whole album's a triumph, and a tribute to Stan's never-ending quest for new sounds, despite the fact that labels always wanted him to reproduce his bigger hits. Titles include "Our Kind Of Sabi", "Song For Martine", "Invitation", and "Dum Dum". All tracks are long, and the album's a delightful meeting of European jazz and masterful solo talents! ~ © 1996-2009, Dusty Groove America, Inc. |
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2001: Bill Ware - Sir Duke |
Post-bop, Contemporary Jazz |
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 Artist: Bill Ware Album: Sir Duke Label: Knitting Factory Works Year: 2001 Format, bitrate: mp3, 320 Size: 121 mb AMG Rating:   "Vibraphonist Bill Ware — of the Jazz Passengers, Steely Dan, and Groove Collective — sets out to create the most unique tribute to Duke Ellington in history and pretty much pulls it off with just his vibes and ace guitarist Marc Ribot. This pairing on an all-Ellington set seems unusual and it is — in the very best way. Ribot's guitar style, at least since he learned how to play Cuban music, has adapted itself well to Ellington's large harmonic palette and swinging intervallic demeanor, while Ware's lush phrasing and painstaking attention to tonalities and microphonics offer all the warmth and dimensionality necessary to hold the lyrical and atmospheric elements together. The program is from the Ellington/Strayhorn canon; there are no real surprises in the choice of material, with "C Jam Blues," "I Got It Bad," and "In a Sentimental Mood" leading things off. What is immediately noticeable — besides the clear, ringing tones of Ribot's guitar infused with a delicate but decidedly Latin feel, especially in the way he plays the changes through the meter — is the arrangements. Carefully laid out, relaxed, and full of nuance and elegance without florid adornment, Ware and Ribot are naturals. When Ware solos in "Caravan" and in "Mood Indigo," Ribot's fat, brilliantly rhythmic chording offers a wide lyric trough for Ware to enter and move around in. The guitar holds a wide space so Ware can move through the changes with a minimum of fuss and a maximum of taste and feeling. And Ware does the same for Ribot on "Come Sunday," with his wide sevenths and ninths on the vibes all warmed up tonally through an amplifier, as Ribot plays about the middle register, taking the melody one step at a time and turning it into gypsy swing. This is a milestone recording for both players and one of the finer Ellington tributes to come from the composer and bandleader's centennial." ~ Thom Jurek, All Music Guide |
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1984: Kenny Burrell & Grover Washington Jr. - Togethering |
Music » Jazz » BeBop » Post-bop |
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 Artists: Kenny Burrell & Grover Washington, Jr. Album: Togethering Year: 1985 Label: Blue Note Format: FLAC + mp3@320Kbps Size: 340 + 118 Mb (covers incl.) AMG Rating:  REPOST with new links In the early '70s, Kenny Burrell met Grover Washington, Jr. in Chicago where they jammed together at the Jazz Showcase, promising someday to get together and make a record. In 1984, well after Washington's massive commercial disco hit "Mr. Magic," the saxophonist had the inclination to do a straight-ahead jazz record, and reconnected with master guitarist Burrell to do this one-off project. Drummer Jack DeJohnette, bassist Ron Carter, and percussionist Ralph MacDonald joined the front men, the entire combo being CTI label refugees, to do this project for Blue Note records. This turned out to be a most satisfying session, with few -- if any -- commercial concessions. Only standards, originals, and Brazilian-tinged tunes are played, with not a hint of rote funk or fusion as these players had produced a decade prior. Togethering is a great title in that many of the melodies are practiced and well rehearsed for Burrell and Washington to play in tandem. They strike an attractive sonic pose on the modern, airy Richard Evans tune "Soulero" that goes earthy and funky, a really good song with fine solos. The quirky and intriguing title track has the principals playing alongside each other, but diving off in angular degrees à la Thelonious Monk. Carter's deep soul hues during "Asphalt Canyon Blues" with Burrell's guitar tagging along also makes for interesting, non-standardized listening. There are two Duke Ellington offerings, including Burrell's popping sounds setting off the straight-ahead "What Am I Here For?," while the regretful ballad "Day Dream" has Washington's soprano all wistful and imaginary during this inspired, spatial take. The lone tune on tenor saxophone for Washington is "A Beautiful Friendship," and he assimilates the languid, relaxed tone of his first hero, Sonny Rollins. If any purist mainstream jazz listeners ever had problems with these musicians going for a buck by putting more R&B into their music, all is forgiven with the issuance of this marvelous album, which is more of a showcase for their true colors and collective musicianship beyond their commercialized efforts. Burrell and Washington proved to be a fine pairing -- a subtle, effective jazz partnership. ~ Michael G. Nastos, All Music Guide |
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1954: Charles Mingus – The Jazz Experiments Of Charles Mingus |
Music » Jazz » BeBop » Post-bop |
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 Artist: Charles Mingus Album: The Jazz Experiments Of Charles Mingus Label: Bethelehm Year: 1954, release: 1999 Quality: MP3@320 kbps Size: 101 mb (sharebee) Total time: 46:30
Originally released on two 10" records called Jazzical Moods, The Jazz Experiments of Charles Mingus makes its first appearance in CD. These 1954 Period Records sessions include the work of Thad Jones on trumpet and John LaPorta on clarinet and alto sax, combine old and new forms of classical and jazz for a cool jazz sound. Tracks like "Minor Intrusion" and "Thrice Upon a Time" demonstrate the synergy between Mingus and his players, and display his compositional skills. ~ Heather Phares, All Music Guide |
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1998: Galliano, Portal - Blow Up |
Music » Jazz » BeBop » Post-bop |
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 Artist: Richard Galliano, Portal Album: Blow Up Label:Dreyfus Records Year:rec.May 18, 1996,May 19, 1996 / rel.Apr 21, 1998 Format:MP3 @ 320 Kb/s Time:53:02 Size: 116 Mb AMG rating:  To my friends in JBC! Please enjoy.
The unique textures created by this duo, combining Galliano's masterful accordion with Portal's moody reeds, makes for a fascinating journey. Brilliant original works are interspersed with gems by Astor Piazzola and Hermeto Pascoal, making the rich tradition of accordion jazz that much richer. The crisp, 20-bit mastering rounds out the package as a delightful listening experience.~ by Tim Sheridan, AMG.
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2008: Christian Scott - Live at Newport |
Music » Jazz » BeBop » Post-bop |
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 Artist: Christian Scott Album: Live at Newport Label: Concord Jazz Year: Aug 9, 2008 Release: Nov 4, 2008 Format, bitrate: mp3, 320kb/s Size: 156MB Live at Newport finds trumpeter Christian Scott leading his ensemble through a performance at the JVC Jazz Festival in Newport, RI on August 9, 2008. Showcasing the same group that recorded Scott's critically lauded 2007 sophomore album, Anthem, Live at Newport does feature Scott branching out on some new material. Just coming into his own as jazz musician, Scott is nonetheless a talented and deft improviser and his knack for creating brooding, emotionally engaged music brings to mind a mix of '60s Miles Davis and the heady art rock of Radiohead. It doesn't hurt that his backing ensemble includes such forward-thinking artists as pianist Aaron Parks and guitarist Matt Stevens, who imbue Scott's compositions with an atmospheric and cerebral tension. While most of the music here leans toward the dramatic slow burn jazz of Scott's Anthem, cuts such as the buoyant post-bop of "James Crow Jr., Esq." and the angular "Rumor" do break up some of the heavy vibe. That said, part of Scott's talent is his ability to sustain such epic drama throughout a whole album and in that sense, Live at Newport crackles with an earnest, youthful energy. [Included is a DVD of the performance.]~ Matt Collar, All Music Guide |
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2009: Kurt Rosenwinkel Standards Trio - Reflections |
Music » Jazz » BeBop » Post-bop |
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 Artist: Kurt Rosenwinkel Standards Trio Album: Reflections Label: WOMMUSIC Year: 2009 Format, bitrate: MP3, 320 kbps Time: 50:56:00 Size: 116 MB Reflections is an album unlike any other in Kurt Rosenwinkel's catalog. Nearly all ballads, it dispenses with effects and other fireworks and allows Rosenwinkel to display pure jazz guitaristry, his tone and performance unencumbered by outside influences and modern distractions. Accompanied only by bassist Eric Revis and drummer Eric Harland, Rosenwinkel keeps the mood soft and, appropriately, reflective on a set of nuggets from jazz giants (Haven Gillespie, Wayne Shorter, Thelonious Monk), the Great American Songbook ("More Than You Know," "You've Changed"), and his own debut album: a remake of "East Coast Love Affair" from the same-named 1996 release. As always, Rosenwinkel's virtuosity and intellect are on full display. The title track, an easygoing stroll through Monk's "Reflections," opens the program and sets the mood: Rosenwinkel's guitar is fluid and confident, airy and free of tension. He and the trio are in no hurry to get anywhere; there is nothing to prove, no need to cram in extraneous notes (not that the ever-judicious Rosenwinkel falls into that camp anyway). Shorter's "Ana Maria" and "Fall" are about as uptempo as things get here, and the former's a bossa nova, the latter a chill take on funk. Even the lone original tune undergoes a transformation, losing the edge that marked its first incarnation in favor of a stripped-down simplicity that befits its creator's maturation as a player. A gracefulness and stateliness pervade Reflections, and one can only hope that Rosenwinkel will revisit this territory again down the line, to provide another reevaluation of his gifts after he's investigated still other realms. ~ Jeff Tamarkin, All Music Guide |
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Ahmad Jamal Trio - Ahmad's Blues |
Jazz, Cool, Post-bop |
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 Artist: Ahmad Jamal Trio Album: Ahmad's Blues Label: GRP Year: 1957 Release: 1994 Format, bitrate: 320 kb/s + FLAC Size: 144 mb + 421 MB, full covers REPOST with additional links for lossless from Mr. hungaropitecus This CD reissues most of the music recorded on one night by the 1958 Ahmad Jamal Trio (which consisted of the pianist/leader, bassist Israel Crosby and drummer Vernel Fournier) during a live performance in Washington D.C. Originally released as the LP Ahmad Jamal plus part of Portfolio of Ahmad Jamal, these 16 selections display the uniqueness and tightness of this memorable unit. With great attention paid to dynamics and the use of space yet always swinging (at least lightly), the Ahmad Jamal Trio is heard at its best on such numbers as "It Could Happen to You," "Stompin' at the Savoy," "Squatly Roo," "A Gal in Calico" and "Let's Fall in Love." ~ Scott Yanow, AMG |
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2006: Kurt Rosenwinkel Group - The Remedy: Live at the Village Vanguard |
Music » Jazz » BeBop » Post-bop |
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 Artist: Kurt Rosenwinkel Album: The Remedy: The Remedy: Live at the Village Vanguard Label: Artistshare Year: 2006; release: 2008 Format, bitrate: 320 kbps Time: 120 minutes Size: 168 MB AMG rating: For electric guitarist Kurt Rosenwinkel's seventh offering, he has taken the challenge of recording live at the hallowed Village Vanguard in NYC, written new music for the occasion, put together a dynamic backup band, and offers lengthy composed music foundations followed by extensive solo discourses. As usual, Rosenwinkel's style is an interwoven, complex fabric of melodies and harmonies that seem brighter and luminous, yet have an inward and insular confidence that belies a more mysterious nature. Saxophonist Mark Turner, the incredible drummer Eric Harland, and acoustic pianist Aaron Goldberg help Rosenwinkel lift the bandstand, while unobtrusive bassist Joe Martin provides the support underneath for the others to fly. The watchword in listening to this music is patience -- a short attention span will not do it justice. A whopping two CD's of material is presented, with compositions ranging from eleven-and-a-half to nearly twenty minutes. It is difficult to distinguish the degrees of difficulty or appeal between any tracks because they are all rendered with a similar stance, heart, and soul -- pick 'em. One can say Rosenwinkel uses a steelier tone on "Chords" which has a British Canterbury fusion school feeling in its interplay with Turner. On the mid-tempo title track "The Remedy," you can hear the sigh, the gulp, and the relief in a melancholy, slightly reserved tango feel that is laid-back and liquid. A singsong melody and Native American tone with dynamics explored in spurts informs the very arranged "Flute," navigated rhythmically by the astounding, pronounced Harland. Breaking down one- and two-note phrases, "View from Moscow" develops into a kinetic, driving, modal 6/8 line with terrific musicianship urging Turner's long solo, while the magnum opus closer "Myron's World" is a song of peace, cutting loose with the guitarists jangling sound, briefly with solo time for the very talented Goldberg, a stompy jones or hard bop section, and Harland again proving why there is not a better working drummer in contemporary music. The only repeat piece from a previous recording is "A Life Unfolds" from Rosenwinkel's fourth CD Next Step. This version, nearly 18 minutes, is satisfyingly slow to develop with a piano-bass-drums trio section and bass-drums duet. Fans of Rosenwinkel are unfazed to begin with, as his recordings are spaced by several years. His style being similarly unhurried in general, but always poignant and substantive, is in full display on this jam-packed double-disc of music that is so personally his own. ~ Michael G. Nastos, All Music Guide |
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2001: Ron Carter - Stardust |
Music » Jazz » BeBop » Post-bop |
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 Artist: Ron Carter Album: Stardust Label: Blue Note Year: 2001 Format, bitrate: mp3, 320 kbps Time: 52:10 Size: 121 mb (megaupload) Stardust is another satisfying record from Ron Carter, this one in part a tribute to the late Oscar Pettiford. Leading a quintet with Benny Golson on tenor, Joe Locke on vibes, Sir Roland Hanna on piano, and Lenny White on drums, Carter picks three choice tunes by Pettiford - the swing-to-tango "Tamalpais," the minor-key bop classic "Bohemia After Dark," and the masterfully simple "Blues in the Closet." Carter's originals, also numbering three, include the slow 14-bar blues "Nearly," the mid-tempo swinger "Tail Feathers," and "That's Deep," which is Carter's answer to the question, "How Deep Is the Ocean?" Locke sits out on a fairly upbeat rendition of "The Man I Love"; Carter and Hanna close with a duet on "Stardust," with Carter taking the melody. Golson and Hanna are in particularly good form, their richly seasoned sounds meshing well with the elan of the younger Locke. |
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1957, 1961: Charles Mingus - Tonight At Noon |
Music » Jazz » BeBop » Post-bop |
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 Artist: Charles Mingus Album: Tonight At Noon Label: Water Music Records Years: 1957, 1961, release: 2004 Quality: MP3@320 kbps Size: 83,7 mb (sharebee) Total time: 38:15 Tonight at Noon is, essentially, a compilation album -- although not in the usual sense. There are two distinct sessions that make up its contents: a 1957 date with Jimmy Knepper on trombone, drummer Dannie Richmond, saxophonist Shafi Hadi, and pianist Wade Legge, and a 1960 session with Booker Ervin, Roland Kirk on saxes, Knepper, bassist Doug Watkins, Mingus on piano, and Richmond. The feel of the two sets is different to be sure, but this is far from throwaway material; the tunes here are actually studio outtakes from the recordings for The Clown and Oh Yeah. While the former session features Mingus going for the blues via European harmonics and melodic approaches with hard bop tempos (particularly on the title track), the latter session with its nocturnal elegance and spatial irregularities comes off more as some kind of exercise in vanguard Ellington with sophisticated harmonies that give way to languid marches and gospel-tinged blues. Kirk and Ervin are particularly suited to one another, because they both swing hard as well as reach for the fences. Mingus' pianism is deeply rooted in blues, and that sense of pace and easiness informs these three tracks, particularly "'Old' Blue for Walt's Torin." Hints of the material Mingus would record for Columbia on Ah Um are in these compositions. The most beautiful piece is from the 1957 session and closes the album: "Passions of a Woman Loved" is a nearly ten-minute workout that feels like an Ellington suite. Despite the fact that this is an assembled album, it holds plenty of magic nonetheless. The 2004 CD reissue on Water Records is wonderfully done with fine sound and a beautiful package. ~ Thom Jurek, All Music Guide |
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1983: The Kenny Barron Trio - Green Chimneys |
Music » Jazz » BeBop » Post-bop |
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 Artist: The Kenny Barron Trio Album: Green Chimneys Label: Criss Cross Jazz Year: 1983, release: 1994 Format: mp3, 320 kbps Time: 67,51 Size: 148,7 MB AMG rating In the 1980s, Kenny Barron was recognized as one of jazz's top pianists, a modern mainstream master who two decades later is still in prime form. His 1983 trio date with bassist Buster Williams and drummer Ben Riley, Green Chimneys, originally consisted of six songs highlighted by "Softly As in a Morning Sunrise," "Straight No Chaser," and a lengthy version of "There Is No Greater Love." The CD reissue adds a second alternate take of "Time Was," plus three numbers ("Skylark," "When Lights Are Low," and Barron's "Morning Blues") recorded with the same musicians in 1987. The additions are of equally high quality as the earlier set, making this swinging program (which has almost 68 minutes of music) a bargain. ~ Scott Yanow, All Music Guide |
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2006: Medeski, Scofield, Martin & Wood - Out Louder / Live At The Bowery Ballroom |
Music » Jazz » BeBop » Post-bop |
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 Artist: Medeski, Scofield, Martin & Wood Album: Out Louder / Live At The Bowery Ballroom Label: Indirecto Year: 2006 Format, bitrate: mp3, 320kb/s Size: CD1 131 ,CD2 96MB Out Louder reunites keyboardist John Medeski, drummer Billy Martin, and bassist Chris Wood with guitar great John Scofield, who employed the trio on his 1997 A Go Go album. That record opened the creativity gates for both the trio and Scofield, who fed off and goaded each other into territories neither party had previously gone separately. Out Louder isn't so much a rematch as an upgrade. Both Scofield and MMW have continued to explore in the near-decade since A Go Go, and they come to this project with a greater understanding of their collective abilities as well as a willingness to explore the possibilities further. Not unexpectedly, the four musicians work hard here, but they also have a ton of fun. The opening track, "Little Walter Rides Again," serves notice that this isn't going to be an exercise in showing off but rather four envelope-pushing musicians picking each other's brains and seeing what they find. An easygoing blues vamp with a funky, Memphis-style beat, the track keeps the quartet reined in while simultaneously allowing each musician to dance around a bit within its structure. That idea of holding back doesn't last long, however, as that leadoff gives way to "Miles Behind," a nod to electric Miles Davis minus the trumpet. Although the players, particularly Medeski and Scofield, take several opportunities to reach for the outside fringes, Out Louder never becomes inaccessible, even during its freer-jazz moments. "Tequila and Chocolate," for example, takes up with a simple bossa nova rhythm that eventually goes wildly astray without losing touch with its form, and the John Lennon tune "Julia" (which, honestly, borrows only minimally from the original melody) is a soft, sweet, and sensual ballad that never strays even close to the edge yet still manages to feel edgy. That's not to say that those looking for the heavy jams will be disappointed. "What Now" finds Medeski and Scofield challenging each other as if they were Keith Emerson and Jimi Hendrix having it out at some late-night club, and "Down the Tube," though essentially a simple funky blues, flirts with psychedelia, Scofield turning in some of his most startling playing of the set. The session ends with a virtually unrecognizable improv on Peter Tosh's reggae anthem "Legalize It" that spotlights Martin and Wood in lockstep groove. If ever MMW and Scofield decided to make something more permanent of their meet-ups, one can only guess where else they might go. [2007 also saw the release of an edition that came packaged with an additional CD of bonus material.] ~ Jeff Tamarkin, All Music Guide |
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1979: Ahmad Jamal - Intervals |
Music » Jazz » BeBop » Post-bop |
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 Artist: Ahmad Jamal Album: Intervals Label - 20th Century Records Year: 1979 Quality: mp3\320 \ LP-rip Size: 79,97 mb Ahmad Jamal's recording career became temporarily aimless as the 1970s were ending. This very forgettable LP features Jamal on both electric and acoustic piano, saddled by rather commercial arrangements. The tunes are not always bad (five are by the keyboardist), but the dated pop trappings and Jamal's near-anonymity on electric piano make this a set deserving of being quickly passed by. ~ Scott Yanow, All Music Guide |
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2009: Billy Hart Trio - Live At The Cafe Damberd |
Music » Jazz » BeBop » Post-bop |
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 Artist: Billy Hart Trio Album: Live At The Cafe Damberd Label: Enja Year: 2009 Format, bitrate: mp3, 320kb/s Size: 119MB Uberdrummer Billy Hart, who has played with everyone who's anyone in jazz, is caught live in a performance at Belgium's Cafe Damberd in a trio format with two German cohorts--saxman Johannes Enders and drummer Martin Zenker. The sax-bass-drums setup necessitates some heavy lifting on the part of all three. Naturally, Hart--the quintessential post-Elvin Jones percussive colorist--takes the opportunity to create a whole universe with his inspired explorations of texture and time. But his mates prove themselves up to the challenge too, particularly Enders, who offers everything from Coltrane-flavored coruscations to angular post-bop minimalism with elan. cduniverse A flexible drummer who has been a sideman in many different settings, Billy Hart is a creative player most at home playing advanced jazz. He worked early on in Washington, D.C., with Buck Hill and Shirley Horn, and was with the Montgomery Brothers (1961), Jimmy Smith (1964-1966), and Wes Montgomery (1966-1968). Hart was a member of Herbie Hancock's challenging sextet (1969-1973), and played regularly with McCoy Tyner (1973-1974) and Stan Getz (1974-1977), in addition to extensive freelancing (including recording with Miles Davis on 1972's On the Corner). His own opportunities to lead sessions have been comparatively rare, but Billy Hart has led interesting dates for Horizon, Gramavision, and Arabesque.~ Scott Yanow, All Music Guide |
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1962: Ahmad Jamal - Macanudo |
Music » Jazz » BeBop » Post-bop |
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 Artist: Ahmad Jamal Album: Macanudo Label: Argo Year: 1962, release: 1963 Quality:mp3\320 (LP-rip) Size: 60.6 ÌÁ This was recorded after Israel Crosby and Vernel Fournier went over to George Shearing, and it’s clear that Ahmad Jamal had no problems regrouping after Israel’s and Vernel’s defection. I think it was a brilliant move by Ahmad to have his next recording be a huge departure from the trio format. This hearkens back to Ahmad Jamal’s days with the George Hudson Orchestra in the 1940s. He’d always claimed to be uncomfortable in an orchestra setting, but this totally disproves that—or he just got better at playing with orchestras. It seems as though he made a more conscious effort to play in the time, to be more appropriate with the heavy Latin theme of the date, and he’s just so supremely bad! It’s obscure, but one of my favorite Ahmad Jamal recordings. ~ Eric Reed, jazz.com |
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1994: Joe Henderson - The Milestone Years (8 CD's box set) |
Hard-bop, Post-bop |
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 Artist: Joe Henderson Album: The Milestone Years (8 CD's box set) Label: Milestone Records (more info see in scan) Year: rec. Aug 10, 1967-Sep 26, 1976 / rel. Sep 1, 1994 Format: MP3 @ 320 Kb/s + scan with info Time: 581:39 Size: about 1,23 Gb AMG rating:  To my friends in JBC! Please enjoy.
Tenor saxophonist Joe Henderson's most famous recordings are his early Blue Notes and his more recent Verves, but in between he recorded exclusively for Milestone and, although Henderson was in consistently fine form in the diverse settings, he was somewhat neglected during his middle years. This massive eight-CD set contains all of the music from Henderson's dozen Milestone LPs, plus a duet with altoist Lee Konitz and his guest appearances with singer Flora Purim and cornetist Nat Adderley. The music ranges from Blue Note-style hard bop and modal explorations to fusion and '70s funk, with important contributions made by trumpeters Mike Lawrence, Woody Shaw, and Luis Gasca, trombonist Grachan Moncur III, and keyboardists Kenny Barron, Don Friedman, Joe Zawinul, Herbie Hancock, George Cables, Alice Coltrane, Mark Levine, and George Duke, among others. Not all of the music is classic (some of the later sets are unabashedly commercial), but none of the 82 selections are dull and the very distinctive Henderson always gives his best. It's highly recommended. ~ by Scott Yanow, AMG.
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1969: Gabor Szabo 1969 |
Music » Jazz » BeBop » Post-bop |
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 Artist : Gabor Szabo Album: Gabor Szabo 1969 Year: 1969 Format/Bitrate: FLAC + mp3 (320 Kbps) Size: 194 + 82 MB (cover) Label: DCC Jazz Total time: 34:19 REPOST with new links In the late '60s, many jazz artists were ignoring the rock and soul hits of the day -- when called upon to interpret popular songs, they stuck to their favorite Cole Porter, George Gershwin, and Irving Berlin standards and didn't see Beatles or Marvin Gaye hits as vehicles for jazz improvisation. But there were some jazz artists who didn't feel that way; Grant Green, Herbie Mann, and Charles Earland -- just to give three examples -- saw no reason why rock and soul tunes couldn't receive instrumental jazz makeovers. And on 1969, Gazor Szabo puts a jazz spin on popular songs of the 1960s, including "Walk Away Renee" (a major hit for the Four Tops), the Beatles' "In My Life," and Joni Mitchell's "Both Sides Now." Again, there were many jazz artists who wouldn't have touched these songs in 1969 -- they would have insisted on providing yet another version of "Our Love Is Here to Stay" or "My Funny Valentine." But Szabo acknowledges that worthwhile popular music didn't die with George Gershwin. The Hungarian guitarist doesn't always stretch out as much as he could on this album; at times, he ends a solo that probably should have lasted a few more minutes. But Szabo still deserves credit for bringing a jazz perspective to songs that so many other improvisers were ignoring. Produced by Gary McFarland, this 1969 date originally came out on vinyl and was finally reissued on CD in 1998. ~ Alex Henderson, All Music Guide |
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1961: The Montgomery Brothers - The Montgomery Brothers In Canada |
Music » Jazz » BeBop » Post-bop |
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 Artist: The Montgomery Brothers Album: The Montgomery Brothers In Canada Label:Fantasy records, Japan Year:rec.Dec 1961 / rel.1997 Format: MP3 @ 320 Kb/s Time: 39:33 Size: 83 Mb AMG rating:  To my friends in JBC! Please enjoy.
Buddy Montgomery, who often played the piano with the Montgomery Brothers, sticks exclusively to vibes on this club date, which in addition to Wes and Monk has Paul Humphrey on drums. It's a solid set of cool but not cold bop with a low-key mood and uniformly tasteful playing. There's only one original on here (by Buddy), but it's a beaut: the buoyant "Beaux Arts" has gorgeous alternations of single-note solos and chording by Wes. In a different vein, "Angel Eyes," which begins with a long drumless passage, shows his skill with a delicate slow ballad. The album has been reissued (minus the overdubbed crowd noise on the original LP), together with 1960's The Montgomery Brothers, on the single-disc Milestone CD The Groove Brothers (which is billed to Wes Montgomery, rather than the Montgomery Brothers).~ by Richie Unterberger, AMG.
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2005-2006: Sonny Rollins - Sonny, Please |
Jazz, Post-bop |
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 Artist: Sonny Rollins Album: Sonny, Please Year: 2006 Label: Doxy Records Format: Mp3, Bitrate: 320 Time: 54:20 Size: 135 Mb (5% Recovery Info) Most musicians would at least be considering the idea of retirement by the time they reach their mid-seventies, but most musicians aren't Sonny Rollins. After a five-year recording hiatus, Rollins returned from a Japanese tour and took his band into the studio to cut Sonny, Please. It's the first release on his own Doxy label, coming after a monumental 35-year stay at Milestone that produced some of the most forward-looking, trend-setting jazz ever captured on tape. It would be a stretch to say that Rollins is still the innovator he was in the '50s and '60s, but it would be a mistake to underestimate his capabilities as an elder, because Sonny, Please is a respectable, occasionally brilliant effort. It doesn't hurt that Rollins surrounds himself with such fine players as his perennial bassist Bob Cranshaw, with whom he has worked since his late '50s comeback from an extended vacation; the ubiquitous drummer Steve Jordan; trombonist Clifton Anderson (who is Rollins' nephew); guitarist Bobby Broom; and percussionist Kimati Dinizulu. As supportive as they all are, though, Rollins remains the focus, blowing his sax as assuredly as ever, if with a little less abandon than during his heyday. Rollins splits the program between new self-composed tunes -- among which "Nishi" and the opening title track are the most exhilarating -- and standards, including "Stairway to the Stars" and Noël Coward's "Someday I'll Find You." Rollins' soloing is, as ever, full of both fire and fancy. The album closer, the tropical-toned original "Park Palace Parade," is somewhat typical: Rollins' tenor glides effortlessly from the start, exploring the tune's melodic nuances. He takes a break while Broom peels out tasty licks, then Rollins returns to approach the song from another angle. Most of his playing here is relatively easygoing. Rollins still enjoys taking it to the limit, just not as often as he once did. He doesn't need to, though; with nothing left to prove, he can afford to stand back and just enjoy being Sonny Rollins. ~ Jeff Tamarkin, All Music Guide |
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