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Jazz Blues Club » Music » Jazz » Fusion
Billy Chaise group Music » Jazz » Fusion » Jazz-Rock
Hej guys I,m looks Billy Chaise jazz group. If somebody have this fantastic albums please upload asap! Thanks in advance!
2007 Contemporary Swedish Jazz Music » Jazz » Fusion » Contemporary Jazz
2007 Contemporary Swedish Jazz
Artist: V/A
Album: Contemporary Swedish Jazz
Label: Caprice
Year:2007
Format, bitrate:mp3,320
Time: 2:21:52
Size: 322 mb

As is often the case with a Best of or, a Greatest Hits package of various artists or, primers of a certain genre of music, the results can be at times uneven, with so much to offer. Such is the case here in this latest collection package of various and, contemporary Swedish Jazz Artists. CONTEMPORARY SWEDISH JAZZ 2007 is a mixed bag of musicians plying their craft in varying styles.
Big Band, Female Vocalists, Trios and Quartets and, Avante Garde styles all on one program can be jolting to the senses. This musical collection goes from the mellow to the booming from track to track. Like a salad bowl or, even a smorgasbord of sounds, this program has many surprises.
A Two-CD set featuring 25 separate tracks of already known and, not-so-well known, artist on the Swedish Jazz scene and, it gives the listener a broader peek into just what that scene is all about. This assessment by this reviewer is not so much a look at how the program was assembled but, the placement of the artists from opening track to the final song.
My list of performances of note include……
The Magnus Lindgren Quartet, heard playing their song, BLUE STAR on Disk Two, is one Nordic Jazz group that made the journey over, to perform before a North American audience this year. While Lina Nybergs soft vocals on track two of Disk One, Madalena, are lovely and, largely unknown to Jazz enthusiasts on these shores, one would have to ask why the selection of this track? Nyberg recorded four earlier CDs and, thus, has a larger repertoire of songs and performances available,that would have done her better justice that what is offered here.
The song, LOCHIELS WARNING by the Peter Asplund Quartet sounds like a 1980s-era Miles Davis riff, or even a rip-off, from beginning to end. With the sound of the muted trumpet fluttering to the rhythm, the influence of Davis is unmistakable. Asplunds band is another superb Swedish group who made it over to North American shores this year. With his LIVE performance at New Yorks Scandinavia House in June, the Davis influence was not apparent, this song was omitted and, his sound was fresh and original. Asplund is too talented a composer and musician to get caught into the, well, he sounds like Miles,” sort of trap. Willy nilly, this is the sort of box many Jazz critics will place on Asplund with the selection of this track here.
HITMAN, by the Jonas Kullhammer Quartet, is pure straight-ahead Jazz, taking one to a Greenwich Village caf. It is a fun and lively track with a lusty Saxophone, grabbing you around by the neck and, its melodic piano riffs forms part of the song theme which sometimes clashes with drum and sax riffs that demands attention. It is a friendly clash of musical ideas that leaves the listener wanting more.
STONER, the opening track on Disk one by Oscar Schonning is a jolting and abstract song. As such, a curious beginning for a program essentially introducing the uninformed to the showcase, which makes one wonder why the producers would have this composition placed as the lead-off? The next dozen tracks that follow have no relation to the Schonning composition at all.
Disk Two opens with a lovely composition by the Bobo Stensen Trio called, GOODBYE, from the CD of the same name. Stensens collaborative work with several Jazz Masters on the Nordic scene has been reported in this magazine in recent issues. Here again, his mastery of the keyboards and his melodic touch continues to please the ear.It is clear why Stensen is a musician in high demand.
In short, Disk Two contains superior performances and should have been flipped-flopped with the opening program as the performances there are considerable weaker than disk two. The second disk could have been a stand alone program featuring perhaps, just instrumentalists. The aforementioned BLUE STAR, Jonas Knutssons THE KANGEROO WOMEN, Lars Jansson trios LATOUR and Fabian Kallerdahl Galores RAGGA-EXCERPTS are among four of the strongest tracks on the second disk.
Yet, there are a number of fine vocalists featured among the artists on this two-disk showcase. VIKTORIA TOLSTOY, RIGMOR GUSTAFSSON and LINA NYBERG, who is featured on disk one, are all extremely talented singers. Tolstoys composition, SOUTH, is a particularly moving and colorful song featured here. She will be one Nordic vocalist to watch in the coming months and years.
Yet, even with the strong performances by all of the above vocalists, one thought becomes sadly apparent. The search for the next female Swedish Jazz vocalist with broad range and coloring continues, following the tragic death of Monika Zetterlund in 2005. Zetterlund was a giant among her peers and contemporaries and, her passing has left an equally giant void among Swedish Jazz singers. There will never be another like her. One would have to ask the producers why didnt they merely cluster the vocalists featured here on consecutive tracks, rather than spread them out, on this two disk program?
Swedish Jazz vocalists, especially the women on the scene, are just as important as other vocalists and, instrumentalists anywhere. Their contribution is an important cog that helps to push all musical movements and, perhaps, the producers of this program may want to consider a showcase CD of just contemporary Jazz vocalists in the future.
Like any GREATEST HITS presentation there are bound to be peaks and valleys along the way. Again, such is the case with this CD program. Yet, for those who want an even wider glimpse into the current Jazz scene in Sweden, this two CD set is recommended. It is important to note that: Unevenness in this collection does not suggest a weakness, or even a thinning of available talent among Swedish Jazz artists. Some tracks may light your fire while others may not move you at all. Those featured here come from a variety of Scandinavian record labels and, the information on this disk makes them accessible for further review.
RUNNING THOUGHTS by the Tolvan Big Big closes the program on a high note and, warms the sense as both the year-end holiday and Winter season moves in.
~ Eric Williams
1974: Hubert Laws - In the Beginning Fusion, Crossover Jazz
1974: Hubert Laws - In the Beginning
Artist: Hubert Laws
Album: In the Beginning
Label:Columbia
Year: 1974
Format, bitrate: Mp3 320kbps
Time: 63:12
Size: 146 MB
AMG Rating: 1974: Hubert Laws - In the Beginning

1974: Hubert Laws - In the Beginning

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This double album features flutist Hubert Laws at his finest. The music ranges from classical-oriented pieces to straight-ahead jazz with touches of '70s funk included in the mix. The supporting cast includes keyboardist Bob James on most tracks, guitarist Gene Bertoncini, bassist Ron Carter, drummer Steve Gadd, three strings, and Hubert's brother Ronnie on tenor (his solo on John Coltrane's "Moment's Notice" is arguably Ronnie's best ever on record). Whether it be works by Satie or Sonny Rollins, this recording is one of the most rewarding of Hubert Laws' career.
~ Scott Yanow , All Music Guide
1971: Freddie Hubbard - First Light Post-bop, Fusion, Soul-Jazz, Funk-Jazz
1971: Freddie Hubbard - First Light
Artist: Freddie Hubbard
Album: First Light
Year: 1971
Release: 1989
Label: CTI
Format, bitrate: Flac
Time: 42:55
Size: 213.08 MB
All Music Guide Rating: 1971: Freddie Hubbard - First Light1971: Freddie Hubbard - First Light1971: Freddie Hubbard - First Light1971: Freddie Hubbard - First Light1971: Freddie Hubbard - First Light

Repost with new links from hungaropitecus

Jazz giant Freddie Hubbard, who played with legends such as John Coltrane, Miles Davis, Oscar Petsron, Ornette Coleman, McCoy Tyner, Art Blakey, Herbie Hancock and others died on Dec. the 29th 2008 at the age of 70 in Sherman Oaks, Calif. He was one of the most influential trumpeters in jazz history and will stay the one forever. We will always remember his wonderful music he performed alone and with other giants, and his musical genius will always accompany us through his everlasting recordings...
Let's spend some time commemorating his genius and listening to his Grammy Award winning masterpiece...
Freddie Hubbard, , John Coltrane, Miles Davis, Oscar Petsron, Ornette Coleman, McCoy Tyner, Art Blakey, Herbie Hancock , 29 2008 70 Sherman Oaks, Calif. . , , ...
Freddie Hubbard , Grammy Award...
1971: Dreams - Imagine My Surprise Fusion, Jazz-Rock
1971: Dreams - Imagine My Surprise
Artist: Dreams
Album: Imagine My Surprise
Label: Sony Music Special Products
Year: 1971;Release:1997
Format, bitrate: Flac / Mp3, 320 kBit/s
Time: 40:32
Size: 263.3 MB / 101.41 MB

The amazing pop-funk-jazz-rock group Dreams was at the forefront of what was to become fusion music (a unique blend of jazz, rock and funk) but recorded only two albums before they broke up in 1971. Members of the band included some of the best improvisational soloists of the time: the funky Brecker Brothers (Michael on tenor sax and Randy on trumpet), Billy Cobham (drums), Barry Rogers (trombone), John Abercrombie (guitar) who was later replaced by Bob Mann (guitar), Jeff Kent (keyboards) who was replaced by Don Grolnick (keyboards), Doug Luban (bass) who was replaced by Will Lee (bass) and Edward Vernon (vocal).

Unfortunately for the group, they were signed to the same label as Blood, Sweat & Tears and Chicago, so apparently Dreams didn't get the label backing that they deserved. After the release of their second album "Imagine My Surprise" they disbanded. Randy and Michael then formed their ground-breaking jazz-funk group "The Brecker Brothers Band," Billy Cobham joined guitarist John McLaughlin's "Mahavishnu Orchestra" (which also featured Jan Hammer on keyboards) and later played several sessions with Miles Davis, and Will Lee went back to being New York's premier studio bassist and eventually ended up in Paul Shaffer's band on the Dave Letterman Show, a gig he still currently holds.
~ amazon.com
1985: Jean-Luc Ponty - Fables Music » Jazz » Fusion
1985: Jean-Luc Ponty - Fables
Artist: Jean-Luc Ponty
Album: Fables
Label: Atlantic
Year:1985
Genre: Crossover Jazz,Fusion,Post-Bop
Format, bitrate: Flac & Mp3@320
Time: 35:12
Size: 217.4 MB, 86.68 MB

Apparently Ponty was lonely for some company in the studio, for he brought in a full rhythm section (Scott Henderson, guitar; Baron Browne, bass; Rayford Griffin, drums) to accompany his impressive battery of electric violins, keyboards, drums and sequencers. The sound has opened up considerably, but again, Ponty continues to explore the high-tech, electronic, sequenced ostinato world that he opened the door to on Individual Choice. The music floats, gleams, and rocks along to sometimes rigid grooves in this mostly successful attempt to merge the sequencer-driven Ponty of the '80s with his jazz-rock incarnation of the '70s. It's a very even album, without any extreme peaks or dips, and Ponty dispenses with his sidemen entirely on the final two tracks, the last of which concludes the CD on a gently percolating electronic groove.
~ Richard S. Ginell, All Music Guide
2000: Gilad Atzmon - Gilad Atzmon & the Orient House Ensemble Music » Jazz » Fusion » Crossover Jazz
2000: Gilad Atzmon - Gilad Atzmon & the Orient House Ensemble
Artist: Gilad Atzmon
Album: Gilad Atzmon & The Orient House Ensemble
Label: Enja
Year: 2000
Quality: eac-flac, cue, log, artwork
Time: 58:54
Size: 274 MB

Repost with new links

Gilad Atzmon & The Orient House Ensemble's eponymous debut album was originally released in 2000 on the Enja/Tiptoe label. This is contemporary jazz that is still clearly recognizable as jazz, yet with a distinct World Jazz twist. Equally, one could argue, this is (at least in part) contemporary Ladino/Sephardi (Judeo-Spanish) music or Middle Eastern music with a strong jazz twist. No matter, for either way, this is an outstanding and exciting album that remains refreshing even nearly three years after its release. The Orient House Ensemble is led by Gilad Atzmon, an Israeli-born secular Jew living in self-imposed exile in London, England. Atzmon is an outstanding saxophonist and clarinetist with a superb, distinctive voice on both instruments and a flawless technique. The other members of the ensemble are Asaf Sirkis, an Israeli-born drummer/percussionist, and two young Cambridge musicians, Frank Harrison on piano and melodica and Oli Hayhurst on bass. The ensemble playing is tight and empathic. On Gilad Atzmon & The Orient House Ensemble, Atzmon is revealed as a supreme improviser of flowing melodies, deeply steeped on the one hand in swing and bebop as well as post-bop, on the other in Ladino/Sephardi and other Middle Eastern melodies and rhythms. In essence, the music is a successful fusion of post-bop jazz with traditional Ladino and other Sephardic, as well as klezmer and Turkish and other Middle Eastern elements. The results are often hauntingly beautiful and leave much of what generally calls itself contemporary World Jazz or World Fusion Jazz sounding like the shallow, artificial, inorganic constructs that they too often are. Atzmon's powerful music is true world jazz at its best, in the best tradition of the genre's great pioneers such as Yusef Lateef and Ahmed Abdul-Malik who practically invented the genre decades before it acquired its name. Of the eight tracks on this utterly compelling album, three are Atzmon originals, two traditional Ladino songs, and one each by Miles Davis and Wayne Shorter, and one traditional Turkish. Each has its own strengths, and none is weaker than the others, and such consistency is alas only too rare particularly on many contemporary jazz albums. Gilad Atzmon & The Orient House Ensemble is great music, with great charm, powerful emotions and great, haunting beauty. There is no flashy showiness for the sake of it here, instead, there is solid musicianship and great depth and passion. It is remarkably fresh and wonderfully refreshing. Ignore genre labels, just enjoy this fabulous music!
~ www. rainloresworldofmusic.net
1996: John Surman - Proverbs and Songs Post-bop, Crossover Jazz
1996: John Surman - Proverbs and Songs
Artist: John Surman
Album: Proverbs and Songs
Label: ECM
Year: 1996
Format: Flac (cue, log,)
Time: 49:28
Size: 252 MB (artwork)
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John Surman has produced a magnificent piece of 20th century choral writing, confirming that he should no longer be regarded simply as one of Britain's leading improvisors and instrumentalists, but also as a composer of imagination, vision and power" - so raved The Times of the premiere of Surman's Proverbs And Songs, the event documented on this disc. Enhanced by powerful saxophone and bass clarinet soloing from Surman and from John Taylor at the massive Salisbury Cathedral organ, this oratorium based on Old Testament texts will be perceived as bold shift of direction in Surman's discography. Yet it also throws light on an undocumented aspect of his biography, for Surman was himself a chorister before jazz fired his imagination... ~ Album Description, Amazon.com
1976-1981: Bratsch - Live A La Potiniere Post-bop, Fusion, Country & Folk
1976-1981: Bratsch - Live A La Potiniere
Artist: Bratsch
Album: Live a la Potiniere
Label: Le Chant Du Monde
Years 1976-1981
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Size: 97,40 Mb


These are the three discs Bratsch in 1976 to 1981. They were never published on the cd but now these discs are converted to digital. Someone who listens Bratsch much could recognize the difference in the sound of their early years. They sometimes played more experimental, often changing their instruments and trying to make their first arrangements of gypsy songs. Anyway, they played with passion and freedom of a group of street musicians that they also kept in their later years. The group has not yet Nano Peylet clarinet and accordion Franois Castiello.
1992: Mick Karn - Bestial Cluster Music » Jazz » Fusion
1992: Mick Karn - Bestial Cluster
Artist: Mick Karn
Album: Bestial Cluster
Label: CMP Records
Year: 1992; release: 1993
Quality: eac-flac, cue, log, full artwork
Time: 45:04
Size: 279 MB

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His best effort sees Karn team up with David Torn (and Jansen/Barbieri). Better production and excellent musicianship combined for the awesome title track and pieces -- such as "Saday Maday" -- that showcase his frenetic wonder and a Chilean backing vocal. But Karn can only deliver a half-decent record, with the murky "Bones of Mud" concluding. ~ Kelvin Hayes, All Music Guide
1994: Michel Camilo - One More Once Big Band, Contemporary Jazz, Latin
1994: Michel Camilo - One More Once
Artist: Michel Camilo
Album: One More Once
Label:Columbia
Year: September 27,1994
Format: Flac
Time: 63:30
Size: 436 MB + artwork
AMG rating: 1994: Michel Camilo - One More Once

REPOST with LOSSLESS links from Mr.hungaropitecus

Michel Camilo is a very powerful Latin jazz pianist who is quite capable of playing several rhythms at once. He emulates an orchestra even when playing solo, so it is not surprising that this outing with 21 other musicians in an impressive all-star band is intense and passionate. Camilo performs ten of his originals on this date including the blues "One More Once," an atmospheric "Dreamlight," "Caribe," "Just Kidding" and his "hit" "Why Not." Among the notables heard from are tenor saxophonist Ralph Bowen, altoist Paquito d'Rivera, Chris Hunter on soprano and alto, and trumpeter Michael Mossman, but Camilo is the main star throughout. The catchy rhythms make the music accessible but the pianist never coasts or takes it easy, constantly challenging himself. Recommended.
~ Scott Yanow, All Music Guide
2002: Eric Vloeimans Hidden History Music » Jazz » Fusion » Contemporary Jazz

2002: Eric Vloeimans  Hidden History
Artist: Eric Vloeimans
Album: Hidden History
Label: Challenge Jazz CHR 70109
Year: 2002 release : 2003
Format mp3, bitrate: 256 kbps
Time: 59:58
Size: 109 mb

After we have heard the more experimental side of Eric Vloeimans on Brutto Gusto (CHR 70102), and his laid-back, loungy side on VoizNoiz (JJT 77009), he brings us with Hidden History a completely different album. Together with the Italian pianist Rita Marcotulli he has made a truly "sweet" album, with lovely composed melodies interwoven with Eric's always surprisingly soft sound. An album to play at the fire-place during a cold winter-day, and think back of all good memories sometimes Hidden in History.
Eric Vloeimans: Actually, the make-up of the group was clear right from the start. From the moment I heard Roberto in Rita's band I felt as if I belonged to Roberto's fan club. It was crystal clear that he, if he could and wanted to, should be in the group. The participation of Palle Danielsson was also a foregone conclusion. Rita plays more often with Palle and we are both very much taken with him. The matter was quickly settled. There was a tour in which pieces contributed by various band members were tried out and worked out, and the CD was made straight afterwards. "Hidden History" had become a fact.
~ challengerecords.com
1976: Passport - Infinity Machine Fusion, Funk-Jazz
1976: Passport - Infinity Machine
Artist: Passport
Album: Infinity Machine
Label: WEA International
Year: 1976; Release:1999
Format,bitrate: Flac / Mp3, 320 kBit/s
Time: 37:53
Size: 211.1 MB / 93 MB

Passport was at the height of their popularity in 1976, playing a blend of cosmopolitan fusion that owed little to the traditional Jazz-Rock style pioneered by MILES DAVIS or JOHN McLAUGHLIN. The music leaned more in an easy listening Prog-Jazz direction, with a silver lining of Space Rock and a healthy dose of boilerplate mid '70s Funk. It sounds like an awkward combination, but with this quartet of talent, led by the indefatigable saxophonist Klaus Doldinger, their music has stood the test of time surprisingly well.

The funkiness is front and center on the signature track here, the album opener "Ju-Ju-Man": one of those definitive 1970s dance hits, and likely familiar to even the most casual listener (although I doubt very many people recognized it at the time as coming from a German band). The brass fanfares, mock disco beat, and that crunchy clavinet sound, along with lively virtuoso solos on sax and synth, are almost guaranteed to make you twitch your sequined butt and tap your platform shoes.

But the song is something of a novelty, and doesn't really give a full account of the band's true range. Listen to the nervous, optimistic energy of "Morning Sun", or the romantic delicacy of "Blue Aurora", an all-too brief idyll before the unexpected electronic double-whammy of the two standout selections on the album: the title track and the aptly titled "Ostinato". The former is a balls-to-the-walls space jazz blowout with energy to spare; the latter is a lush, galloping synthesizer and sequencer-driven jam, ending in a spacey coda highlighting the world-class drumming of Curt Cress, who at the time should have been ranked somewhere near the top of the percussion pyramid. The album ends with "Contemplation", an almost symphonic sounding chill-out with a name that speaks for itself.

Klaus Doldinger would continue to record as Passport for decades to come, with a revolving door roster of backup musicians and in a variety of jazz-rock styles (including a vocalist at one point in the late '70s). But this album represented the end of a particularly fertile era for the band, marked by the last appearance of that striking Wandrey's Studio cover art. It's a strong album, still worth a listen after all these years; just don't judge them by "Ju-Ju-Man" alone.
~ M.Neumann, jazzmusicarchives.com
1959: Mongo Santamaria - Sabroso! Fusion, Latin, Afro-Cuban Jazz
1959: Mongo Santamaria - Sabroso!
Artist: Mongo Santamaria
Album: Sabroso!
Label: Original Jazz Classics / Fantasy
Year: 1959; Release:1995
Format,bitrate: Mp3, 320 kBit/s
Time: 41:20
Size: 100.43 MB
AMG Rating: 1959: Mongo Santamaria - Sabroso!


At the time that Sabroso was recorded, Mongo Santamaria's group was essentially a charanga band with two trumpets added, a combination that works quite well. The group has superior playing by Jose "Chombo" Silva on both violin and tenor (helping "Para Ti" to become a classic), two little-known but talented trumpeters (Louis Valizan and Marcus Cabuto), the great flutist Rolando Lozano, pianist Rene Hernandez, bassist Victor Venegas, and Willie Bobo on drums. Pete Escovedo is one of the background singers as Rudi Calzado takes the lead on a few numbers but does not dominate. There are many fine individual moments on this joyous and infectious set.
~ Scott Yanow, All Music Guide
1974: Placebo - Placebo Fusion, Jazz-Rock, Funk-Jazz
1974: Placebo - Placebo
Artist: Placebo
Album: Placebo
Label: Harvest-EMI
Year:; Release:1974
Format, bitrate: Mp3, 320 kBit/s (LP-rip)
Time: 40:02
Size: 98.51 MB

Special Note: This is the 1970's Belgian jazz-rock band, NOT The 90's Brit-Pop band of the same name!!! Most music discographies on the web have erroneous information on this band so beware!

Glossy, elaborate Benelux boogaloo. With its sterile '70s production sheen this album is very nearly too rich for my taste - and it's definitely over-complicated at times. There are nevertheless some seductive rhythms which, when combined with tasteful arrangements (including Wurlitzer EP, close mic'd drums and perfectly pitched brass), make this LP difficult to walk away from. Some would probably file this particular strain of jazz-funk (acid jazz?) under 'library music,' but I'm not entirely sure the band intended it to be used for such purposes (e.g. accompanying T.V., film and radio productions etc.). Regardless, it's not difficult to hear how the best of these instrumental pieces could complement the atmosphere of a '70s crime soap (even if the noodling does get a little out of hand at times). Which is how it holds my attention, bringing to mind sprawling cityscapes - the busy, vibrant streets but also the more neglected and less illuminated places (for the latter check out Moulin's Wurly on track 2). ~ trevor_mehchine,rateyourmusic.com
1995: Mark Isham - Blue Sun Music » Jazz » Fusion
1995: Mark Isham - Blue Sun
Artist: Mark Isham
Album: Blue Sun
Label: Columbia
Year: 1995
Genre: New Age
Format: lossless
Time: 60:37
Size: 353 MB
AMG rating:1995: Mark Isham - Blue Sun

REPOST with new lossless links from Mr.hungaropitecus

A fine album by this trumpeter better known for film scores and Windham Hill new age electronics than for jazz. However, on this outing, Mark Isham struts his jazz stuff. Although the instrumentation includes electric bass, occasional electric piano, and a sprinkling of atmospheric electronics, the feel here is of an acoustic recording of the cool jazz school. Isham's quintet includes Steve Tavaglione on tenor saxophone and David Goldblatt on piano, both of whom inform this music with elegance and grace. Isham himself has never sounded better on record, recalling the Miles Davis of the '50s at times, and the rhythm section of drummer Kurt Wortman and bassist Doug Lunn keeps the music moving at a relaxed pace. Isham's work in his Windham Hill days was, while interesting, easily identifiable and properly classified in the new age bin. Here, he has moved into a new, classy direction, proving he can write and perform well-crafted music of substance. ~ Jim Newsom, All Music Guide
1991: Jean-Luc Ponty - Tchokola Music » Jazz » Fusion » Crossover Jazz
1991: Jean-Luc Ponty - Tchokola
Artist: Jean-Luc Ponty
Album: Tchokola
Label: Epic/Sony
Year: 1991
Quality: eac-flac, cue, log, full artwork
Size: 344 MB
Total time: 54:15
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Every eight years, it seems, Jean-Luc Ponty picks himself up, gives himself a good shake, and switches direction. In 1967, he made his first life-changing visit to the U.S.; 1975 found him going solo permanently as a jazz/rock icon; 1983 marked a switch to sequencer music; and in 1991, Ponty discovered African music. Taking advantage of the huge interest in African music in France, Ponty recorded his electric violin over the churning, hypnotic grooves of a coterie of visiting West African musicians in Paris, and the results, on Tchokola, are delicious. In one sense, not that much has changed, for while Ponty has thrown out the sequencers and electronic gizmos, his music remains grounded in repeated ostinato patterns -- those provided by the Africans. Ponty dabbles in all kinds of grooves -- the Nigerian juju, Cameroon's makossa (there is an especially swinging example of that on "Mouna Bowa"), the Afro-French Caribbean zouk, the sabar from Senegal, West Africa's mandingo, and a few others. On top of these, Ponty imposes his own distinctive melodic ideas on acoustic or electric violin, gingerly negotiating his way over the bumps of the tricky rhythms. At times, one feels that even this endlessly pliable virtuoso is not quite comfortable with these exotic idioms, but the music is so infectious that it usually sweeps him and us right along. ~ Richard S. Ginell, ALL Music Guide
2005: Lefteris Christofis - Nous Icons Music » Jazz » Fusion
2005: Lefteris Christofis - Nous Icons
Artist: Lefteris Christofis
Album: Nous Icons
Label: Blue Note Records/EMI
Year: 2005
Format: FLAC (cue+log)
Size: 418 MB (full covers)
Time: 56:12

A consonant jazz fusion delight with mediterenean scents that gives life to an imaginary musical result from a remarkable band which surprises and carries away its audience. The Greek lyrical guitarist Lefteris Christofis is the kind of an artist who through his music transfers internal images, visions and scenes from the realm of reality and fantasy. In his new CD "NOUS ICONS" released worldwidely by Blue Note Records he creates well – built melodic compositions with unusual rhythmical moods and a diversity of the colours of sound. Modal melodies, calidoscopic harmonies, lyrical vocals are supported by groovy rhythms in order to create the spirit of improvisation that gives space to the musicians for an impressive performing status.
~ All About Jazz
1976: Stuff - Live At Montreux 76 Fusion, Jazz-Rock
1976: Stuff - Live At Montreux 76
Artist: Stuff
Album: Live At Montreux 76
Label: Eagle Records
Year: 1976; Release:2008
Format,bitrate: Flac / Mp3, 320 kBit/s
Time: 58:53
Size: 394 MB / 140.35 MB

The jazz/rock fusion group Stuff was a collection of New York's finest studio musicians, who were constantly in demand to play back-up to some of the biggest names in the music industry. Steve Gadd, Gordon Edwards, Cornell Dupree, along with Chris Parker, and the late Richard Tee and Eric Gale, when not backing up the likes of Grover Washington, Paul Simon, Joe Cocker, Aretha Franklin, etc, were busy making albums of their own. They played all over the world, and were especially popular in Japan. Their brand of high octane Jazz/rock fusion was one of a kind. This latest release "Stuff, Live In Montreux", was recorded during 1976, and finds the band in fine form, as they rip up the joint, with some explosive instrumentals like their signature song "Foots", "How Long Will It Last", "Signed Sealed Delivered", and "Stuff's Stuff". At the time they were backing and touring with Joe Cocker, so you have a kick-butt funkified version of "Feelin Alright", and a beautiful take on "You Are So Beautiful". The guitar work of Cornell Dupree and Eric Gale is something to behold. The driving rhythm section of Richard Tee's piano, and Steve Gadds drums come off like a machine gun in overdrive. Big Gordon Edwards as seen on the companion DVD[also highly recommended], is the man in charge , as he leads the group through a set that is truly memorable for its intensity as well as it's soft overtones, that mix and match the evening to perfection. This is the release that Stuff fans have been longing for, as well as any Jazz/fusion fan. If this release doesn't get you to jump up off your chair, nothing will, as this collection shows off the talent of a bunch of friends, who could jam with the best of them. I highly recommend both this CD and the companion DVD, to one and all, who enjoy well played music with a great feeling. Finally, this release is a testament to the talents of the late Richard Tee and Eric Gale, whose keyboard and guitar playing were heard by an entire generation of music lovers during the seventies and eighties, ~ By Anthony Accordino, amazon.com
1981: Mike Nock - Ondas Music » Jazz » Fusion
1981: Mike Nock - Ondas
Artist: Mike Nock
Album: Ondas
Label: ECM
Year: 1982
Format: FLAC (262 MB) + scans
Total time: 51:10
AMG Rating: 1981: Mike Nock - Ondas

1981: Mike Nock - Ondas

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At the time of this recording, New Zealand's Mike Nock was one of the great, unsung pianists in European stlyed jazz. His elegant phrasing and wildly inventive melodicism fly in the face of all notions that claim improvisation must be outside Western musical parameters and structures. On Ondas, Nock has assembled a rhythm section that, while never having played together before shared the ability to create the bedrock, however flexible, for the artist's crystalline compositions and solos. Eddie Gomez was a wise choice for this session because of his experience with Bill Evans, who is an obvious influence on Nock's own composing -- as is Keith Jarrett. His pizzicato flourishes and shifting timbres on "Forgotten Love" and "Visionary," while retaining an elemental sense of meter, are remarkable. Christensen is the greatest of all the drummers in the ECM stable. His style is one of paucity and sparse riffs, but his cymbal "dancing" is a trademark favorite of pianists and saxophonists everywhere. He has the ability to open up time, creating a window for improvisers to stretch each note, each interval, each mode, for all it's worth, suspending notions of time and space for the listener. Evidence is on the title track and "Land of the Long White Clouds." For his part, Nock is a magician of lyrical invention. His compositional architecture is created of minor modes and subtle textures. His chords are small enough to be their own rhythm section and large enough to fit all the notes in between them and the next octave in combinatory gestures of shimmering beauty. He does all of this in a manner in which tension and its resolution are in constant flux, never out of balance with one another. His solo on "Forgotten Love," that is based upon Gomez', is a case in point: towering ivy clusters of notes flex over darkened minor chords, up and through the middle and then upper registers of the instrument before inviting Gomez back in. In all, this is a glorious recording by a crack batch of musicians. It is also a stellar example of what Manfred Eicher's label and production offer to the world.
~ Thom Jurek, All Music Guide
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