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Jazz Blues Club » Music » Jazz » Fusion
2010: Cliff DeMarks - Outstanding Music Crossover Jazz, Smooth & Lounge
2010:  Cliff DeMarks - Outstanding Music
Artist: Cliff DeMarks
Album: Outstanding Music
Label: deMarks Studios (US)
Year: 2010
Format: mp3, 320 kbps CBR
Time: 54:27 min
Size: 124.59 Mb

Atlanta-based musician Cliff deMarks composes and produces music in a variety of styles and genres. He plays the piano, bass and drums, and is also an excellent reed man. Cliff plays lush Classic and Smooth Jazz, New Age Ambient, Electronic, Dance Music, and Neoclassical piano solos. He has produced over 45 CDs, with four more on the way. Cliff is always shepherding new music ideas from a concept in his head to a fully realized piece of music. His rich and inventive melodies and his bass and drum lines are a powerful armature for Cliff's well-crafted music projects.
1972: Gabor Szabo - Small World Post-bop, Crossover Jazz
1972: Gabor Szabo - Small World
Artist: Gabor Szabo
Album: Small World
Label: Four Leaf Clover Records
Year: 1972
Format: bitrate: mp3@320kbps (LP Rip)
Time: 45:14
Size: 81,6Mb
AMG rating: ****/*

Released in 1972 on LP and now part of a two-CD set along with Belsta River on In Stockholm on Four Leaf Records, Small World is one of the most unsung albums by Hungarian guitarist and composer Gabor Szabo. While it's true that the 1970s were not recognized as a great time for the artist, Small World is the exception rather than the rule. Recorded in two sessions, one with a trio and one with a quartet featuring guitarist Janne Schaffer, Szabo put his pop obsessions aside in order to concentrate on what he did best: being an improvising guitarist with an original tone. His cover of the Styne-Merrill classic "People" is merely a long, snaky intro to his own "My Kind of People," which wraps itself around twin guitar lines that explore
harmonic triads in minor keys. Lyrically, both tunes are wonderful, but they also showcase the truly exotic side of Szabo's playing, which was not unlike Jimi Hendrix's quieter moments. Other standouts include the guitar duo on the Szabo-composed "Mizrab" -- this is the original version -- and the rocked-up jazz of "Foothill Patrol." The album closes with one of the most moving and ethereal renditions of Joaquín Rodrigo's "Concierto de Aranjuez" in the jazz canon, in which Szabo plays his Spanish-key six-string into the stratosphere without once giving way to improvisational or jazz-rock excess. This is a stunner. Period.

~ Thom Jurek, All Music Guide.
1975: Hank Crawford - Don't You Worry 'Bout A Thing Music » Jazz » Fusion » Jazz-Pop
1975: Hank Crawford - Don't You Worry 'Bout A Thing
Artist: Hank Crawford
Album: Don't You Worry 'Bout A Thing
Label: Masterworks Jazz
Year: 1974 Released: 1975
Format: bitrate: mp3@320kbps (LP Rip)
Time: 35:02
Size: 73,9 Mb

Hank Crawfords album Dont You Worry Bout a Thing was originally released in 1974 on Kudu Records, an offshoot of Creed Taylors CTI label. For his fourth Kudu release, Crawford provides three original compositions along with two Stevie Wonder tunes, "Dont You Worry 'Bout a Thing" and All in Love Is Fair. The string arrangements of Bob James, who also plays electric keyboards on the date, provide a light touch of sophistication and blend well with Crawfords R&B-steeped alto saxophone. An impressive assortment of soul-jazz and modern jazz musicians joined Crawford on this date, including Pepper Adams, Randy Brecker, Ron Carter, Idris Muhammad, Joe Farrell, Jon Faddis, Bernard Purdie, and Hugh McCracken. Reissued for the first time on CD in 2011, Dont You Worry Bout a Thing was remastered but unfortunately without bonus tracks. .
~ Scott Yanow, All Music Guide.
1998: Clare Fischer / Netherlands Metropole Orchestra -The Latin Side Progressive Jazz, Modern Big Band, Fusion
1998: Clare Fischer / Netherlands Metropole Orchestra -The Latin Side
Artist: Clare Fischer
Album: The Latin Side
Label: KOCH International Jazz
Year: 1998
Format, bitrate: Mp3, 320 kBit/s
Time: 01:06:03
Size: 151.39 MB

Happy New Year!!!

Continuing its series of collaborations with wellknown American Jazz musicians, the Netherlands Metropole Orchestra travels south of the border, figuratively speaking, for a program of Latin Jazz by one of its leading exponents, composer/pianist Clare Fischer. The eight studio tracks, conducted by longtime music director Rob Pronk, were recorded in 1991; the ninth, C.P., was recorded in concert at The Hague in 1997 and conducted by Vince Mendoza. Fischer arranged every number and composed all but Eubie Blake/Andy Razafs ballad, Memories of You, which the twotime Grammy Award winner plays unaccompanied. If arranging for the relatively large and stringladen Metropole Orchestra presented a challenge, Fischer shows that he was up to the task, scrupulously dotting every i and crossing every t. The charts, in other words, are firstclass. To further assure their success, the former director of the vocal group known as the HiLos brought with him one of its alumni, Don Shelton, who doesnt sing but displays his superior talents on soprano saxophone (Como Come?), clarinet (Pensativa, a duet with Fischer) and flute (on five selections). Fischer also recruited his son, Brent, to play bass with the orchestra. Fischer plays acoustic piano on three numbers (C.P., Blues Bossa, Memories of You), digital piano (which sometimes sounds like a harpsichord) on the others. Its an acquired taste, but hes such an accomplished musician that it charms more often than it annoys. Pensativa is perhaps Fischers bestknown composition, but each of the others deserves comparable recognition. Shelton and Fischer are the principal soloists, with a handful of earnest but uncredited ad libs by members of the orchestra. Unlike some of the Metropole Orchestras recordings, this one is generously timed at 66:43, and is easily recommended to those who appreciate Latin Jazz, especially when written by a superlative composer and performed by a worldclass orchestra.
~ Jack Bowers,
1961: Billy Butterfield The Golden Horn Music » Jazz » Fusion » Jazz-Pop
1961: Billy Butterfield  The Golden Horn
Artist: Billy Butterfield
Album: The Golden Horn
Label: Columbia Records CS 8473
Year: 1961
Quality: MP3@320 kbps (LP-rip)
Size: 74,5 mb
Total time: 35:03

The golden horn of Billy Butterfield soars through twelve great trumpet hits in this exciting new collection. Billy´s famous tone is burnished to a dazzling polish as he re-creates the magic of these famous solos, one of them is his own superb version of "Stardust."
Billy first gained recognition as a member of the Bob Crosby Bobcats when he was in his twenties. The hit ballad, "What´s New," written in collaboration with Bobby Haggart, made him even more famous. Later, Billy joined forces with Artie Shaw, doubling with the famous Gramercy Five from to time, then played with the Benny Goodman orchestra until service with the Armed Forces temporarily interrupted his career.
On his return Billy found himself one of the most sought-after sidermen in New York. The demand for his services kept him close to New York radio, television and recording studios for several years, but eventually he was prevailed upon to form his own touring band. Despite enthusiastic receptions wherever the group played, Billy found his New York work more rewarding, and returned to resume his status as one of the city´s most prominent musicians.
His latest Columbia collection opens with his notable performance of "Stardust," then moves on to "Wonderland by Night," which established the American fame of Bert Kaempfert. "And the Angels Sing" is Billy´s tribute to Ziggy Elman, followed by the haunting Love Theme from the film "La Strada." The music making of Harry James is recalled in "You Made Me Love You," while "Melancholy Serenade" salutes Jackie Gleason´s memorable theme.
Billy´s memento of the great Louis Armstrong is "When It´s Sleepy Time Down South," followed by "Oh, Mein Papa," originally introduced by Eddie Calvert. Perez Prado´s "Cherry Pink and Apple Blossom White" comes next, along with Ralph Marterie´s great hit, "Pretend." "Tenderly," as played by Charly Tabor with Bert Kaempfert, is Billy Butterfield´s next salute, and he closes with "Memories of You" as a tribute to Sonny Dunham.
~ liner note
1950: Eddie Heywood - The Touch Of Eddie Heywood Music » Jazz » Fusion » Jazz-Pop
1950: Eddie Heywood - The Touch Of Eddie Heywood
Artist: Eddie Heywood
Album: The Touch Of Eddie Heywood
Label: RCA/Victor
Year: 1950; release: 1958
Format: bitrate: mp3@320kbps (LP-Rip)
Time: 35:25
Size: 75,0Mb

Eddie Haywood was a composer, rhythmic leader and a distinctive soloist and who perhaps was best known primarily for his compositions such as 'After Thoughts' and his huge hit Sitting On A Moonbeamt' both of which are featured on this collection.With this collection Eddie is back in the context which fits his highly personal piano style like a carefully molded glove. With him on these sides are veteran bass man Al Lucas And drummer Bobby Donaldson, whose time and technique are highly respected in all of jazz and whose smile is certainly one of the brightest in all of music There was a challenge in the material too. Eddie has drawn heavily on show tunes, contributed two originals and selected several pop standards. ~ from the backcover of this LP

1989: VA - The Full Spectrum Of Music Music » Jazz » Fusion » Jazz-Pop

1989: VA - The Full Spectrum Of Music
Artists: Various Artists
Album: The Full Spectrum Of Music
Label: Pickwick PXSD 16999
Years: (1940's & 50's); release: 1989
Genre: Jazz, Big Band, Easy Listening
Format, bitrate: MP3 320KPS
Time: 58:30
Size: 137.5 MB (music & scans)

This album contains records of musicians, singers and orchestras that were popular in the 1940 - 1950 years.

1956: Eddie Heywood - Canadian Sunset Music » Jazz » Fusion » Jazz-Pop
1956: Eddie Heywood - Canadian Sunset
Artist: Eddie Heywood
Album: Canadian Sunset
Label: RCA Victor
Year: 1956; release: 1958
Format: bitrate: mp3@320kbps (LP Rip)
Time: 33:24
Size: 72, 5Mb

After spending a four-year period (1947-1951) recovering from partial paralysis of his hands, pianist Eddie Heywood made a comeback in the 1950s. Unlike in his earlier days, he emphasized easy listening music rather than jazz, preferring to play pretty melodies rather than to wander too far from the themes. On this out-of-print LP, Heywood performs a remake of "Canadian Sunset" in addition to 11 of his other originals. Half of the selections showcase his piano in front of an orchestra conducted by Sid Reman, while the other six numbers are played with a trio. Unfortunately, the personnel is unidentified but Heywood is the main star throughout anyway. Enjoyable and pretty music, even if nothing unexpected occurs.
~ Scott Yanow, All Music Guide.
1956: Doc Severinsen High Wide and Wonderful Music » Jazz » Fusion » Jazz-Pop
1956: Doc Severinsen  High Wide and Wonderful
Artist: Doc Severinsen
Album: High Wide and Wonderful
Label: Command Records
Year: 1956; release: 1972
Quality: MP3@320 kbps (LP-rip)
Size: 77 mb
Total time: 33:30
Beautiful music for a romantic evening!

This is one of the first recorded works for Command by American trumpeter and bandleader Carl Hilding Doc Severinsen (Oregon, 1927) leading his own instrumental group. Doc in 1967 became conductor and since then his big band became one of the country views on The Tonight Show on NBC. During his career collaborated on many occasions with the Command label. From the 80s directed various orchestras in the country until he left in 2007. But he still continues to act with the group Doc Severinsen & The Saint Miguel 5. In this album he also shows his quality with the trumpet. ~ Rate Your Music
1998: Terence Blanchard - Jazz In Film Music » Jazz » Fusion » Contemporary Jazz

1998: Terence Blanchard - Jazz In Film
Artist: Terence Blanchard
Album: Jazz In Film
Year: 1998
Label: Sony
Format: mp3, 320 Kbps
Total Time: 60:08
Total Size: 150,30 Mb

Terence Blanchard covers classic motion picture scores with an expressive jazz trumpet and approach to straight-ahead jazz on the 1998 Sony Classical release Jazz In Film. Scores by Duke Ellington (Anatomy of a Murder), Quincy Jones (The Pawn Broker) and Jerry Goldsmith (Chinatown) are immersed in the world of jazz and resurface complete with Blanchard's imprint and eloquent style that is reminiscent of mid-'60s Miles Davis. Accompanied by contemporary jazz masters such as Kenny Kirkland, Joe Henderson and Donald Harrison, the set features the precision and emotional flair Blanchard is known for. His interpretations of Goldsmith's score from Chinatown and Martin Scorsese's Taxi Driver remain true to the original compositions. However, Blanchard's jazz execution develops and adds another dimension to the psychological turmoil their themes explore. His masterful use of a jazz ensemble with an orchestra to exemplify the music of such great composers as Elmer Bernstein (Man with the Golden Arm) exudes maturity and surpasses the excellence of his previous scoring efforts on the jazz-flavored score for Eve's Bayou. ~ Paula Edelstein, All Music Guide
2015: Kamasi Washington - Epic Music » Jazz » Fusion » Contemporary Jazz
2015: Kamasi Washington - Epic
Artist: Kamasi Washington
Album: The Epic
Label: Brainfeeder
Year: 2015
Quality: MP3@320 kbps
Size: 382 mb
Total time: 02:53:28
AMG rating: ****

The Epic is saxophonist Kamasi Washington's aptly titled, triple-length, 172-minute debut album for Brainfeeder. He is a veteran of L.A.'s music scene and has played with Gerald Wilson, Harvey Mason, Flying Lotus, and Kendrick Lamar (his horn is prominently featured on To Pimp a Butterfly), to name but a few. Most of his bandmates have played together since high school, and it shows. There are two drummers (including Ronald Bruner), two bassists (including Stephen "Thundercat" Bruner on electric), two keyboardists, trumpet, trombone, and vocals (Patrice Quinn). In various settings, they are supported by a string orchestra and full choir conducted by Miguel Atwood-Ferguson. Washington composed 13 of these 17 tunes; he also meticulously arranged and produced them. At just over six to nearly 15 minutes, the jams leave room for engaged improvisation. The Epic is based on a concept, though it's unnecessary to grasp in order to enjoy. The music reflects many inspirations -- John Coltrane, Horace Tapscott's Pan-African People's Arkestra, Azar Lawrence's Prestige period, Donald Byrd's and Eddie Gale's jazz and choir explorations, Pharoah Sanders' pan global experiments, Afro-Latin jazz, spiritual soul, and DJ culture. A formidable soloist (he plays his ass off here), Coltrane is his greatest influence, but his tone is rawer, somewhere between Sanders and Albert Ayler. Disc one's "Change of the Guard" is an overture that commences with confident modal piano, a labyrinthine ensemble head, testifying choir, and bright, expansive solos from piano, trumpet, tenor, and upright bass, creating openness and drama. There's balladic progressivism ("Isabelle"), strident Afro-Latin grooves ("Final Thought"), and Central Avenue roots ("The Next Step"), before it turns toward soulful futurism on "The Rhythm Changes," with vocals from Quinn. Disc two features the carooming electric post-bop of "Miss Understanding" with explosive choir, nasty Rhodes piano, and killer solos by Washington and trumpeter Igmar Thomas. "Re Run" emerges as sun-kissed spiritual jazz with trilling strings and choir before it evolves swinging, with a funky swagger amid popping keys, fleet electric bass, and trombone solos and strident breaks. "The Magnificent 7" contains an obvious cinematic reference with its swirling kinetic strings and airy chorale, but the ground is roaring electric, spiritual jazz-funk courtesy of Thundercat and Brandon Coleman's organ and Rhodes. Disc three features the groove-drenched single "Re Run Home." Its head is straight on; Horace Silver and Harold Land come to mind, but the body spirals and turns left toward South L.A. funk. Traditions are bridged by a sunshiny soul cover of Ray Noble's standard "Cherokee," Terence Blanchard's poignant "Malcolm's Theme" (a gorgeous duet between Quinn and Dwight Trible), and a lithe read of Debussy's "Clair de Lune" before closing with the propulsive, Latin-tinged, funky vanguardism of "The Message." The Epic isn't fusion, retro, or remotely academic. It's 21st century jazz as accessible as it is virtuosic -- feel matters to Washington. Holistic in breadth and deep in vision, it provides a way into this music for many, and challenges the cultural conversation about jazz without compromising or pandering.
~ Thom Jurek, All Music Guide
1995-1996: Bill Evans - Escape Music » Jazz » Fusion » Crossover Jazz
1995-1996: Bill Evans - Escape
Artist: Bill Evans
Album: Escape
Label: Escapade Music
Years: 1995-1996
Format: bitrate: mp3@320kbps
Time: 74:03
Size: 163 Mb
AMG rating: ****/*

From Miles Davis' Doo-Bop to albums by Greg Osby and Steve Coleman, much of the "jazz/rap fusion" released has been more hip-hop than jazz -- essentially, hip-hop with jazz overtones. Bill Evans, however, has featured rappers in much the way a hard bopper would feature a singer -- on "Reality" and the poignant, reggae-influenced "La Di Da," rapper Ahmed Best successfully interacts with an actual, spontaneous, improvisatory band instead of merely pre-recorded tracks. Best's rapping style -- a cerebral approach akin to De La Soul and A Tribe Called Quest instead of more hardcore rappers like Tupac Shakur and Ice-T -- is well-suited to this challenging and complex jazz-fusion setting. On the instrumental side, Escape's triumphs range from the hard-edged jazz-funk pieces "Undercover" and "Rattletrap" to the sensuous, Brazilian-influenced "Coravillas." Though capable of tenderness and vulnerability, Evans has the good sense to avoid bloodless "smooth jazz" altogether. ~ Alex Henderson, All Music Guide.
1957: Hugo Montenegro And His Orchestra - Ellington Fantasy Crossover Jazz, Smooth & Lounge
1957: Hugo Montenegro And His Orchestra - Ellington Fantasy
Artist: Hugo Montenegro And His Orchestra
Album: Ellington Fantasy
Label: Vik
Year: 1957; release: 1972
Quality: MP3@320 kbpd (LP-rip)
Size: 74,4 mb
Total time: 32:13

Whether you are 'the good, the bad or the ugly' The name Montenegro carries with it a measure of high esteem when it comes to exciting and imaginative music.
Here we feature two fantastic albums in Loves of My Life and Ellington Fantasy. The first album offers romantic and voluptuous versions of these tantalizing and most often tender tunes. The second offers the grandiose, sweeping strings and Hugo & his talented musicians eloquently express their gratitude to the great Duke Ellington. These are indeed sounds of good taste.
A deep respect runs through every track on this wonderful LP and the excellent orchestral arrangements within. All in all this is brilliant music by brilliant musicians and is quite simply a must have!
~ jasmine-records
1959: Jean-Luc Ponty With Kurt Edelhagen and His Orchestra Music » Jazz » Fusion » Crossover Jazz
1959: Jean-Luc Ponty With Kurt Edelhagen and His Orchestra
Artists: Jean-Luc Ponty With Kurt Edelhagen
Album: Jean-Luc Ponty With Kurt Edelhagen and His Orchestra
Label: Stardust Records
Year: 1959; release: 2001
Quality: MP3@320 kbps
Size: 100 mb
Total time: 37:56

Jean-Luc Ponty himself has denounced this release as a bootleg LP during interviews, and it's impossible to disagree with him. The erratically recorded audience tape that serves as its source material is frequently over-modulated and has one abrupt splice within the middle of a song. The first side does feature Ponty playing what's listed as "Concerto for Jazz Violin and Orchestra" with Kurt Edelhagen's big band; although one movement is clearly written by the violinist (it contains a theme he utilized again in his extended work "Sonata Erotica," recorded in 1972), the bulk of this 21-minute piece was actually written by Hollywood composer Michel Colombier, according to Ponty. It is fascinating to hear the violinist during his early years with a big band, though the liner notes' claim that it was recorded in 1959 is ludicrous, due to Ponty's use of echoplex to accompany himself and the presence of electric keyboards and electric bass that are too modern sounding to be of that vintage; 1969 is the more likely year of the performance. The rest of the disc isn't even Ponty; a very brief take of "Oh, Lady be Good" sounds more like Stephane Grappelli with a small acoustic group, while "Collage," a sloppy fusion of funk organ and pedestrian percussion, and the equally worthless "Under Pressure" (both unaccredited, as are all tracks on this release), reduce the anonymous violinist's role to supporting sideman within the big band. This release was reissued on a Cleopatra CD in 2001, and the concerto also reappeared on the Laserlight CD The Best of Jazz Violin in 1998. It's worth picking up so long as the buyer is aware of the album's shortcomings, if found for a reasonable price.
~ Ken Dryden, All Music Guide
1975: John Arpin - Direct-To-Disc Music » Jazz » Fusion » Smooth & Lounge
1975: John Arpin - Direct-To-Disc
Artist: John Arpin
Album: Direct-To-Disc
Label: RCA Records Stereo LP KPL1-0125
Format, bitrate: MP3, 320 kbps
Time: 31:16
Size: 73.7 MB

This direct-to-disc recording features the talented Canadian pianist, John Arpin in a performance of popular favourites. Two steps are eliminated in the recording process, (a) the recording to multiple tape tracks, e.g. 8 or 16 tracks, (b) the mixdown from the multiple tracks to regular stereo or two track tape. The result is enhanced fidelity and a clearer sound.
1968: Jo Basile & Orchestra - Jazz Accordion Music » Jazz » Fusion » Jazz-Pop
1968: Jo Basile & Orchestra - Jazz Accordion
Artist: Jo Basile & Orchestra
Album: Jazz Accordion
Label: Audio Fidelity
Year: 1968
Quality: MP3@320 kbps (LP-rip)
Size: 66,4 mb
Total time:30:56

The high talent and extraordinary versatility of Jo Basile is reaffirmed once more with this recording. Basile is an exceptionally gifted musician whose facility, artistry and imagination have placed him in the front rank of entertainers. He has played countless supper clubs and radio amd television shows throughout the United States and the continent and he toured several years with the famous French chanteuse. The coveted Grand Prix du Disque, the highest recording in France, was bestowed upon Basile in 1957.
The accordion in the jazz context is most often employed as a novelty, but Basile's jazz while is light, is also quite serious and this album throws heretofore only hinted at facets of his great talent into relief. He is assisted in his pursuits by a very fine and emphatetic group of subordinates and the quality of the 10 songs he has chosen to play further inspires his gifts.
~ From liner notes
1994: Toots Thielemans - East Coast West Coast Music » Jazz » Fusion » Contemporary Jazz
1994: Toots Thielemans - East Coast West Coast
Artist: Toots Thielemans
Album: East Coast West Coast
Year: 1994
Label: Private Music
Format: mp3, 320 Kbps
Total Time: 54:00
Total Size: 97,60 Mb

The self explanatory title of Toots Thielemans' latest all-star party, East Coast West Coast only hints at part of the intense dichotomy involved. The harmonica master may divide his interplay with New York and L.A.'s greatest jazz stars, but the real difference has nothing to do with musical breeding or geography. It involves tempo. More specifically, when the arrangement is up and lively, Toots and his coasters swing; on ballads, even the strongest of melodic spirit can't save the tedium which results. As on his generally stronger Brazilian projects of late, there are some sporty, inspired moments. Terence Blanchard's trumpet and Joshua Redman's sax take on jet propulsion qualities on Monk and Dizzy and Coltrane covers, and Robben Ford's strings add a touch of rhythmic class to "Take Five." The Paul Desmond gem is also notable for a whimsical tonal dual between Toots and Jerry Goodman's sweeping violin. But bland experiments which waste the likes of Herbie Hancock and vibist Mike Mainieri crash in all too often, leading to all-too-maddening moodswings despite positive intentions. ~ Jonathan Widran, All Music Guide
1959: Jack Marshall And His Music - Soundsville! Music » Jazz » Fusion » Crossover Jazz
1959: Jack Marshall And His Music - Soundsville!
Artist: Jack Marshall And His Music
Album: Soundsville!
Label: Capitol Records
Year: 1959
Quality: MP3@320 kbps (LP-rip)
Size: 71,2 mb
Total time: 29:15

The great arranger in one of his grooviest settings a very jazzy album that features trombone from Milt Bernhart and Bob Enevoldsen, guitar from Barney Kessel, percussion from Larry Bunker, drums from Shelly Manne, and trumpe from Don Fagerquist! Marshall leads and whistles in a cool jazzy style and tracks include "Whistlin' Blues", "Should I", and "Hot Sombrero". (A beautiful stereo pressing!)
1996-2015, Dusty Groove, Inc.
1995: Dick Hyman & Niels-Henning Orsted Pedersen - Elegies, Mostly Music » Jazz » Fusion » Contemporary Jazz
1995: Dick Hyman & Niels-Henning Orsted Pedersen - Elegies, Mostly
Artists: Dick Hyman & Niels-Henning Orsted Pedersen
Album: Elegies, Mostly
Label: Gemini Records
Year: 1995; release: 2001
Quality: MP3@320 kbps
Size: 170 mb

With the phenomenal technique of both Dick Hyman and Niels Pedersen, it's surprising to hear them together in such a low key setting; that doesn't mean that this CD is dull! Hyman was clearly in a reflective mood following his appearance at the Oslo Jazz Festival, though he shows a touch of playfulness during his arrangement of Chopin's "Waltz in C# Minor" and romping take of "Summertime." Pedersen, a veteran who's accompanied many jazz greats (especially Oscar Peterson and Bill Evans), fits Hyman like a glove with his equally impeccable playing. Because it's an import, it takes a little more effort to acquire, but it's worth it. ~ Ken Dryden, All Music Guide
1964: Al Hirt - The Dawn Busters Music » Jazz » Fusion » Jazz-Pop
1964: Al Hirt - The Dawn Busters
Artist:Al Hirt
Album: The Dawn usters
Label: Wyncote Stereo LP W-9089
Format, bitrate: MP3 320 kbps
Time: 24:28
Size: 61.2MB (with scans)

New Orleans native and trumpet virtuoso Al Hirt wowed modern audiences with Dixieland music, becoming a popular Pop-Jazz recording artist on the level of Herb Alpert. Highly respected by his jazz peers, Hirt was one of the few post-'50s crossover stars to hold onto sound that brimmed over with notes, rather than streamlining it into a simpler style. Such Hirt hits as "Java" and "Fancy Pants" are still played on AM easy listening stations. This album "The Dam Busters" represents an unusual departure from Al Hirt's "Pop" recordings.
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