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Jazz Blues Club » Music » Jazz » Fusion
2005: Franco Cerri & Gianni Basso Take the "A" Train Music » Jazz » Fusion » Crossover Jazz

2005: Franco Cerri & Gianni Basso  Take the "A" Train
Artists: Franco Cerri & Gianni Basso
Album: Take the "A" Train
Label: VideoRadio VR CD 000589
Year: 2005; release: 2009
Format mp3, bitrate: 320 kbps
Time: 39:33
Size: 88,26 mb

Gianni Basso was one of the lights who began shining on the European jazz scene following the end of World War II. He began as a clarinetist and first played professionally in Germany and Belgium in the late '40s with the Raoul Falsan Big Band. By the beginning of the next decade, he was established as a commercial "GB" or "general business" player in Milan, but one with a steady presence at jazz events, including some of the early Italian attempts at post-fascist festivals. From about 1954, a collaboration with trumpeter and composer Oscar Valdambrini began that resembled the relationship between Duke Ellington and Billy Strayhorn, minus the former man's household-name status. Basso studied music in the busy northern city of Turin, where Valdambrini was a homeboy. It was more than just two Italian lads growing up with a fascination for American jazz -- this was a case of a tenor saxophone and trumpet finding each other. This led to all manner of musical possibilities, most notably the easy-to-maneuver-and-feed small combo (not that feeding anyone in Italy is a problem, ever).
The partners' group was without a doubt the most popular jazz band in Italy in the '50s, accompanying many touring stars such as Billie Holiday, Lionel Hampton, Gerry Mulligan, Slide Hampton, and Chet Baker. The engaging style of tenor saxophonist Stan Getz was the primary goal Basso set for himself in terms of having a main man on the saxophone. His many subsequent recordings provide documentation of how he discovered Sonny Rollins and developed his own style from these sources to the point where the Verve label signed him and a top-notch singer such as Sarah Vaughan wanted a Basso baste as sauce on her 1984 serving entitled Mystery of Man.
In the late '70s he founded the band Saxes Machine and subsequently fronted the Gianni Basso Big Band. In his senior years he settled into the comfort of the Rome studio scene, still playing in clubs and enjoying his growing historical stature on the European jazz scene. Even free jazz fans like him now.
~ Eugene Chadbourne
2014: Kirk MacDonald - Vista Obscura Music » Jazz » Fusion » Contemporary Jazz
2014: Kirk MacDonald - Vista Obscura
Artist: Kirk MacDonald
Album: Vista Obscura
Year: 2014
Label: Add One Creative
Format: mp3 320 Kbps
Total Time: 76:00
Total Size: 133,70 Mb

Kirk MacDonald is a JUNO winning jazz saxophonist from Toronto who composes much of his own material. His latest album, Vista Obscura, is a beautiful uptempo ride of sax-led instrumental jazz with piano (Harold Mabern), bass (Neil Swainson), and drums (André White). Fellow saxophonist Pat LaBarbera appears as a special guest, and you can hear somewhat of a duelling saxophone extravaganza on a few tracks. Robust flavour replete with pep and zeal, this works equally for late night cruises and afternoon jives.
~ thejazzbox
1968: The Clare Fischer Big Band - Thesaurus Modern Big Band, Fusion, Latin
1968: The Clare Fischer Big Band - Thesaurus
Artist: The Clare Fischer Big Band
Album: Thesaurus
Label: Atlantic/Warner/Rhino Records
Year: 1968
Release: 2012
Format, bitrate: Mp3, 320 kBit/s
Time: 40:39
Size: 92.88 MB

Clare Fischer's big-band release was only briefly available as an Atlantic LP but it has finally reappeared in the CD era after a brief appearance under another title on LP some ten years after its first release. Fischer's potent originals and first-rate arrangements bring out the best in his musicians, which include Warne Marsh and Conte Candoli (featured on "Miles Behind"), Bill Perkins on a work trumpeter Stewart Fischer specially composed for the baritone saxophonist ("Calamus"), and alto saxophonist Gary Foster featured with Marsh on Lennie Tristano's "Lennie's Pennies." A well-conceived chart of Billy Strayhorn's "Upper Manhattan Medical Group" swings mightily. The leader even makes a rare appearance on alto sax in the brief "In Memoriam" dedicated to the assassinated Kennedy brothers.
~ Ken Dryden, All Music Guide
2015: Joey Alexander - My Favorite Things Music » Jazz » Fusion » Contemporary Jazz

2015: Joey Alexander - My Favorite ThingsArtist: Joey Alexander
Album: My Favorite ThingsLabel: Motema Music
Label: Motema Music
Year: 2015
Format: mp 3, bitrate: 320 kbps
Time: 58:00
Size: 130 mb

Born on the island of Bali in the city of Denpassar in 2003, Joey Alexander first encountered a piano at the age of six, and was immediately able to pick out the melody of Thelonious Monk's "Well, You Needn't" and other jazz standards from his father's record collection by ear. Despite no formal jazz education, Joey rose quickly in the Indonesian jazz scene and beyond. In 2013 he was featured at jazz festivals in both Jakarta and Copenhagen, and won the international improvisation contest in Odessa, Ukraine - besting over 200 adult contestants. In 2014, Joey performed at star-studded galas for Jazz At Lincoln Center at the Rose Room, The Jazz Foundation of America at the Apollo and the Arthur Ashe Foundation. The 12 year old Joey has signed with Motema records and is rapidly growing in demand on the international circuit.

Driven by Alexander's imagination, sophisticated arrangements and dazzling playing, `My Favorite Things' is soulful and joyful. It is also statement of intent, a compelling introduction to a budding young leader, performer and composer, who plays with power and elation. From his impressionistic introduction to "Giant Steps" to the spirited interplay with his band mates on "It Might As Well Be Spring," to his singular closing rendition of "Over The Rainbow," Joey proves himself a true and distinctive jazz professional.
~ Grady Harp
1963: Hal Blaine & The Young Cougars - Deuces,T's,Roadsters & Drums Music » Jazz » Fusion » Jazz-Rock

1963: Hal Blaine & The Young Cougars - Deuces,T's,Roadsters & Drums
Artist: Hal Blaine & The Young CougarsAlbum: Deuces,T's,Roadsters & DrumsLabel: RCA Victor
Year: 1963
Genre: Jazz-Rock-Surf
Format, botrate: MP3 256 (LP-rip)
Time: 56:02
Size: 100.4MB

Hal Blaine was one of the most innovative and gifted session drummers ever to come down the pike, at least the pike that was the L.A. studio scene in the '60s and '70s. Being a talented man with friends in high places, it was perhaps only natural that he managed to record a solo album or two. However, his career as a highly used session drummer and percussionist didn't leave him a whole lot of time to develop as a songwriter or singer, so it's not surprising that his solo albums are nothing to write home about, including this one. Deuces, "T's," Roadsters & Drums is the better of the two albums Blaine recorded, and it also contains the most original material. The songs are solid surf instrumentals that Blaine mostly co-wrote with album producer Lee Hazlewood, no slouch himself in the surf music composing department. In this case, the surf genre appears in the guise of the car genre, and every song on the main portion of the disc is preceded by loud drag-racing sound effects taken from the RCA library. Bad move -- the music would be much more listenable without them. It's jaunty, catchy stuff, if not terribly memorable. Blaine's percussion work lends a touch of exotica to the surf-and-drag twang of the guitars. The album sounds at times like a cross between Duane Eddy and Martin Denny. There are also several bonus tracks recorded at a different session, and they're better than many of the main album tracks. There's an R&B flavor to the latter part of the CD, with a female vocal chorus on some of the songs. And at least the extra tracks are free of car-racing sound effects. ~ Mary Grady, All Music Guide

1962-1971: Lalo Schifrin - Mission Impossible And Others Thrilling Theme Music » Jazz » Fusion » Crossover Jazz
1962-1971: Lalo Schifrin - Mission Impossible And Others Thrilling Theme
Artist: Lalo Schifrin
Album: Mission Impossible And Others Thrilling Theme
Label: Verve
Years: 1962-1971; release: 2008
Style: Soundtracks
Quality: MP3@320 kbps
Size: 132 mb
Total time: 57:38

The Jazz Club series is an attractive addition to the Verve catalogue. With its modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music. Like many other artists from any given musical genre, there's more to Lalo Schifrin than his best known track: 'Mission Impossible (included here). He was a Jazz and Soundtrack composer, arranger, conductor and pianist born in Argentina who had been a professional musician for more than a decade before scoring the theme from the Peter Graves TV series Mission Impossible. This collection by Schifrin features 18 tracks including ''Machinations', The Man From Thrush', 'Bossa Antique', Mission Impossible' and more. ~
1958: Andre Previn & David Rose Orchestra - Secret Songs For Young Lovers Music » Jazz » Fusion » Jazz-Pop
1958: Andre Previn & David Rose Orchestra - Secret Songs For Young Lovers
Artists: Andre Previn & David Rose Orchestra
Album: Secret Songs For Young Lovers
Label: MGM Records
Year: 1958; release: 1959
Quality: MP3@320 kbps (LP-rip)
Size: 77,2 mb
Total time: 36:08

Andre Previn began his professional career writing and arranging music for Hollywood films in 1946 and over the course of seven decades has pursued many musical goals. Whilst in Hollywood he discovered bop and would tour and record as a jazz trio during the 1950s. He then turned his back on jazz and became a classical conductor, leading the London Symphony Orchestra and Royal Philharmonic Orchestra. This album, originally released in 1959, which includes the hit single Like Young, became the first of his albums to make the top twenty in the US and showcases his undoubted talent for jazz. The album that spawned the big hit Like Young. This is one of the last Jazz like albums from Previn before he switched to conducting Classical music. Twelve tracks all light Jazz with strings conducted by David Rose. All songs have young in the title.
1961: Manny Albam and His Orchestra More Double Exposure Music » Jazz » Fusion » Jazz-Pop
1961: Manny Albam and His Orchestra  More Double Exposure
Artist: Manny Albam and His Orchestra
Album: More Double Exposure
Label: RCA Victor
Year: 1961
Quality: MP3@320 kbps (LP-rip)
Size: 66,2 mb
Total time: 27:38
Nice music for a romantic evening. Here you can hear the most famous musicians!

In the early years of stereo LPs, many releases, such as Manny Albam's More Double Exposure, sought to show off the ability to move instruments between channels. The arranger's follow up to his earlier Top Rank LP, Double Exposure, once again features ten pairs of tunes, two interwoven with one another as opposed to playing them in a medley. While in some cases the pieces have complimentary chord structures, "In a Mellow Tone" is actually based upon the changes to its partner, "Rose Room," so Albam is hardly breaking new ground by combining the two. While the music is pleasant, it isn't particularly remarkable, nor did the label bother to identify the musicians taking part in the sessions. This long-unavailable RCA Victor LP will be of interest exclusively to die-hard fans of Manny Albam. ~ Ken Dryden, All Music Guide
1996: Andrei Kondakov / Igor Butman / Eddie Gomez / Lenny White: Blues for 4 Music » Jazz » Fusion » Contemporary Jazz
1996: Andrei Kondakov / Igor Butman / Eddie Gomez / Lenny White: Blues for 4
Artists: Andrei Kondakov / Igor Butman / Eddie Gomez / Lenny White
Album: Blues for 4
Year: 1996; release: 2011
Label: Butman Music Records
Quality: MP3@320 kbps
Sise: 136 mb
Total time: 60:38

Russian music has a mile-wide streak of tragedy and sorrow running through it. If Americans hadn't invented it first, the blues could have been born on the banks of the Volga River, instead of the Mississippi. But it wasn't, so the closest thing to seeing how that might have turned out is Blues for 4, featuring a pair of Russian musicians, saxophonist Igor Butman with pianist Adrei Kondakov, along with American veterans, drummer Lenny White and the great bassist, Eddie Gomez. Recorded in 1996 and released in Russia on the Soyuz label, the album has now been re-released on Butman's own American imprint.

They nailed it. The compositions, all written by Kondakov, make for a terrific set of straight-ahead grooves, betraying no sign of their Cyrillic origins. By 1996, Butman had spent almost a decade in New York, steeping himself in the jazz world and circulating among the music's A- listers. Kondakov, still based in Russia, had been playing with a diverse, high quality selection of American and European players. By the time this record was cut their chops were down cold.

Opening with "Love and Hope" Butman's tenor work is creamy smooth, emotive, and engaging to hear. He perfectly combines terrific technical facility with an equally developed sense of taste and emotion. Switching to soprano for "Sundial," he deftly lays the soft melody over the rest of the band.

Of course, as the composer, Kondakov has a lot to say on this album. His playing, too, is smooth and well-considered, developing melodies with a combination of tight comping and expressive lead playingthe anchor of consistency for the album's overall feel. There is a lot of great piano playing, but the closing title track delivers it best: Kondakov using the full harmonic depth of the eighty-eight keys to lay down some heavyweight, two-handed blues chords with resultant room-filling sound.

The rhythm section is also first-rate and an integral part of this unit. "Lights of the Foggy Highway" opens with a Gomez vamp that repeats, retreats, and reemerges throughout the piece, as White drives a syncopated pattern under him.

In general, the recording quality is excellent, particularly on the horn and piano, perfectly complementing the music. The bass, though, is emphasized more than it should be, sounding boosted and over-ripe. In fact, during the title track, Gomez (or someone near him) bumps a microphone, sending a loud, startling thud through the speakers. Forewarned is forearmed.

A terrific album, where the music is tops and the performances are first-rate, Blues for 4 makes a strong case for the international universality of music.
~ Greg Simmons, All About Jazz
1987: Paul Cacia - The Alumni Tribute To Stan Kenton Music » Jazz » Fusion » Contemporary Jazz

1987: Paul Cacia - The Alumni Tribute To Stan Kenton
Artist: Paul Cacia
Album : The Alumni Tribute To Stan Kenton
Year: 1987
Label: Happy Hour Music
Format, bitrate: MP3; 320 kb/s
Size: 142 mb (with scans)

A fine first trumpeter, Paul Cacia has long had a love for the music of Stan Kenton. On this CD, he brings back 11 arrangements from Kenton's prime periods plus an eight-song medley. Among the Kenton alumni who are heard from are trumpeters Jack Sheldon and Buddy Childers, trombonists Carl Fontana and Dick Shearer, and altoist Lee Konitz. Singer Janine Cameo fills in for June Christy. In addition, some of the Kenton alumni have opportunities to reminisce briefly about the bandleader. The music is heartfelt yet creative, sounding like performances that could have been recorded by Kenton. Well worth searching for.
~ Scott Yanow, All Music Guide
1972: Curtis Fuller - Smokin' Music » Jazz » Fusion » Contemporary Jazz
1972: Curtis Fuller - Smokin'
Artist: Curtis Fuller
Album: Smokin'
Label: Mainstream
Year: 1972; release: 1974
Quality: MP3@320 kbps (LP-ri)
Size: 91,4 mb
Total time: 40:31

A surprisingly nice album for Mainstream and one that features this legendary hard bop trombonist playing with a slightly-funky electric combo that includes Cedar Walton, Earl Dunbar, Mickey Bass, Jimmy Heath, and Billy Higgins. The tracks are long and open-ended, with a good rolling groove handled nicely by Fuller. Titles include "Sop City", "Smokin", and "Jacques' Groove".
1996-2015, Dusty Groove, Inc.
1987: Michael Brecker - Michael Brecker Contemporary Jazz, Crossover Jazz
1987: Michael Brecker - Michael Brecker
Artist: Michael Brecker
Album: Michael Brecker
Year: 1987
Label: MCA/Impulse!
Format: mp3 320 Kps
Total Time: 46:01
Total Size: 119,20 Mb
AMG Rating: 1987: Michael Brecker - Michael Brecker

Although he had been a major tenor saxophonist in the studios for nearly 20 years and was quite popular for his work with the Brecker Brothers, this MCA/Impulse set was Michael Brecker's first as a leader. Playing in a quintet with guitarist Pat Metheny, keyboardist Kenny Kirkland, bassist Charlie Haden, and drummer Jack DeJohnette, Brecker performs three of his originals, two by producer Don Grolnick, and Mike Stern's "Choices." The music in general is straight-ahead but far from predictable; the tricky material really challenges the musicians and Michael Brecker is in consistently brilliant form, constantly stretching himself. Highly recommended. ~ Scott Yanow, All Music Guide
1968: Herb Alpert & & The Tijuana Brass- The Beat Of The Brass Music » Jazz » Fusion » Jazz-Pop
1968: Herb Alpert & & The Tijuana Brass- The Beat Of The Brass
Artist: Herb Alpert & The Tijuana Brass
Album: The Beat Of The Brass
Label: A&M/Shout! Factory
Year: 1968; Release:2005
Style: Latin, Bossa Nova,Jazz-Pop
Format, bitrate: MP3 @320kbps
Time: 32:17
Size: 83.74 MB

Meant as the companion album to a Herb Alpert & the Tijuana Brass television special of the same name and packaged in a fancy double-fold LP jacket, The Beat of the Brass came out amid signs that Alpert's hot streak was finally beginning to run out. Not quite. Viewer requests for a new Burt Bacharach song, "This Guy's in Love with You" -- featuring an Alpert vocal -- were so strong that A&M released it as a single, which shot up to number one and took The Beat of the Brass with it to the top. Herb's vocal is touching in its strained naïveté; he sounds sincere, and that overrides the lush, overbearing Bacharach orchestral arrangement. The rest of the album generated an often nostalgic quality then and now; the tunes by John Pisano and Sol Lake are exquisite, and Alpert's arrangements of songs like "Thanks for the Memory" seem autumnal in quality, as if an era were about to close. The band still has the ability to groove; the vamp on Julius Wechter's bossa nova "Panama," with Wechter's jazzy vibes and Pisano's strong rhythm guitar, could have been stretched to half an hour. Yet Alpert's trumpet sounds a bit withered at times, and the band vocals and cloying children's chorus on "Talk to the Animals" could be done without.
~ Richard S. Ginell, All Music Guide
1996: Charlie Hunter Quartet - Ready...Set...Shango! Fusion, Jazz-Rock
1996: Charlie Hunter Quartet - Ready...Set...Shango!Artist: Charlie Hunter Quartet
Album: Ready...Set...Shango!
Quality: FLAC
Size: 355 MB (w. covers)
Year: 1996
Label: Blue Note
Total time: 52:34
Repost with a new link(FLAC)

Although it is never clear what "shango" is, this set by guitarist Charlie Hunter's quartet is quite accessible and enjoyable. Marketed as some type of new alternative jazz, the music in reality is bop-based and not that far from soul-jazz. The most unusual aspect of the set is that Hunter plays an eight-string guitar, which not only allows him to play basslines (there is no bassist on the CD) but at times to emulate an organ. Both tenorman Dave Ellis, who would soon start his own solo career, and altoist Calder Spanier have plenty of solo space, while drummer Scott Amendola keeps the music grooving and moving. The nine selections may all be originals, but the music is also tied to the swinging tradition. Recommended. ~ Scott Yanow, All Music Guide
1972: George Benson - San Francisco, 1972 (Immortal Concerts) Contemporary Jazz, Crossover Jazz
1972: George Benson - San Francisco, 1972 (Immortal Concerts)
Artist: George Benson
Album: San Francisco, 1972 (Immortal Concerts)
Label: Giants Of Jazz Recordings
Year: 1972; Release:1998
Format, bitrate: Mp3, 320 kBit/s
Time: 1:14:09
Size: 189.99 MB

From a vintage year in music. Things are cooking on this recording with Benson, George Duvivier, Mickey Tucker and Al Harewood. I'm not an expert on Benson, but these guys are fairly shedding it up on this live material. Not just the casual swing I'm used to with Benson's jazz guitar, this is a good selection of tunes from a time when there WAS no time limit on songs. People went with and where the inspiration took. Only 2 of the 7 songs are under 10 minutes and Love for Sale is 14 minutes long. I think you will find this a fairly inspired recording. Nice drum solo on Oleo with an excited crowd laughing and cheering him on. Exciting piano work too. Sound quality seems to vary a little between numbers.

There's an interesting career time line in the liner notes. I didn't know for example that Benson had played with Miles Davis "in one of the first records in which the celebrated trumpet player shows his rock tendencies (Miles In The Sky, 1968)." This 1972 SF performance is of the times - while not as dour or far out as say "Bitch's Brew", there IS a kind of openess and free intensity that borders on rock or jazz fusion.
~ By Green Manalishi,
2008: Simone Gubbiotti - The Hammond Trio Music » Jazz » Fusion » Contemporary Jazz
2008: Simone Gubbiotti - The Hammond Trio
Artist: Simone Gubbiotti
Album: The Hammond Trio
Label: Dot Time Records
Year: 2008; Remastered 2014
Quality: MP3@320 kbps
Size:122 Mb
Total time: 53:02

Simone Gubbiotti follows up his debut release on Dot Time Records with a new release titled The Hammond Trio. As you can guess the name says it all, a classic organ trio release featuring Joe Bagg on Hammond and Joe La Barbera on Drums. Recorded in 2008 this album has been re-mastered and released as a digital only release. ~ Product Description
1973: Zbigniew Namysłowski - Winobranie (Polish Jazz – Vol. 33) Post-bop, Fusion, Contemporary Jazz, Freejazz
1973: Zbigniew Namysłowski - Winobranie (Polish Jazz – Vol. 33)
Artist: Zbigniew Namyslowski
Album: Winobranie (Polish Jazz – Vol. 33)
Label: Polskie Nagrania Muza SXL 0952
Year: 1973
Format, bitrate: Mp3, 320 kBit/s (Lp-rip)
Time: 42;12
Size: 104.75 MB

We have been waiting long for this album. Namysłowski's previous LPs the internationally-successful "Lola" (Decca SKL 4644) and "Polish Jazz Vol.6" (Muza XL 0305) were both relased in 1965. Since that time Namysłowski, for long one of the most creative jazz artists on the Polish scene, has made considerable progress in his development. This record proves it well enough, featuring Namysłowski playing his new compositions. The supporting group are actually co-makers of the music. Despite their youth, they belong to the top Polish jazzmen.
The music on this record, marked by the individuality of the composer-leader and his sidemen, is far from monotonous. In fact it is varied structurally, instrumentally and harmocically throughout, with changing tempos and times. What actually integrates it is the predominating cheerful mood. This climate is introduced from the very start with the title tune, Wine Feast, which opens and closes the record, fastening the whole music like a buckle. The mood is also present in the mostly humours titles of the other pieces. On all the tracks, despite their varying character, one can feel the freshness, ingenuity and spontaneity which has always been present in Namysłowski's music.
Wine Feast, a short piece based on a simple, catchy tune in 7/8, is linked with the next track, No Dough, No Kiks, featuring solos by the leader on alto, Jarzębski on bass and Jonkisz on drums. There is an amusing contrast between the slow, "Free" part of the piece, performed by the bowed cello-bas duo and the reprise of the theme, sung in Polish musicans slang.
The infulence of the folk music of both his own and another countries is ahother feature of Namysłowski's music. It is evident on this record while in Wine Feast we hear echos of Polish "kujawiak", Gogoszary, played in 11/8, includes some elements of Balkan folklore. The latter features a fine cello solo by the leader, with innovative use of an amplifier with wah-wah and fuzz effect, which results in a guitar-like sound.
Not Less Than Five Per Cent consist of two different parts. The first is of 12/8 and 13/8 alternately, the second is a tuneful ballad.
Side two begins with an extensive piece, composed of several parts which include the same theme but treated differently each time. The three different parts, changing smoothly one into another, are First Take, Ballad on the roost and Teddy Bears. The piece culminates in an develops dynamically, changing the original climate and tuning almost free, but keeping the timing and harmony, which gradually condenses.
Taj mahal deserves special mention as the group's successful attempt to achieve the sound of Indian music. It is interesting to note how the original Hindu instruments are replaced by their European counterparts. The sitar part is played by a piano, the bass takes on the role of tampura and the piccicato cello serves as the melodic solo instrument. The drummer plays an original tabla drum, and the trombonist odds to the rythm by playing assorted percussion. After hearing this piece on stage during Jazz Jambore 1972, the jazz expert Willis Conovar said it was the most perfect imitation of Hindu music he had ever heard. And the group's whole performance of the music featured on this record was the strongest experience he had during the whole festival.
This album guarantees a similar experience for anyone who enjoys good music.
~ Stefan Zondek, Original liner notes, 1973
2014: Hedvig Mollestad Trio - Enfant Terrible Fusion, Jazz-Rock
2014: Hedvig Mollestad Trio - Enfant Terrible
Artist: Hedvig Mollestad Trio
Album: Enfant Terrible
Label: Rune Grammofon
Year:; Release: 2014
Format, bitrate: Mp3, 320 kBit/s
Time: 35:35
Size: 84.77 MB
AMG rating: 2014: Hedvig Mollestad Trio - Enfant Terrible

On their third offering, Norwegian guitarist Hedvig Mollestad's trio move further into the dense forest of hard rock, though they maintain their root ties to electric jazz improvisation. Enfant Terrible is as heavy as Shoot! was dynamic, as sludge-like and forceful as All Them Witches was intricate and angular. While the band's earlier efforts contained these qualities, they weren't saturated in them. The focus here is a visceral exploration of hard rock as an instrumental language. Recorded live to eight-track, it captures the vibe of Black Sabbath and Budgie but also of Jimi Hendrix's Band of Gypsys. Clocking in at a mere 36 minutes, these six jams offer a densely populated soundworld where overdriven, thick, thudding sludge meets exceptionally buoyant (though somewhat disguised) harmony. The repetitive vamp on "Laughing John" quickly gives way to a charging onslaught of rhythmic invention by Ivar Joe Bjornstad's drum kit playing double-time, and the in-the-pocket bass playing of Ellen Brekken. They give Mollestad a jumping-off point. With fractured invention she explores the discoveries of John McLaughlin, Larry Coryell, and Tony Bourge. "Arigato, Bitch" is even slower, as a Sabbath-esque bass plod underscores the stone-cold tonnage in the guitar vamp based on a blues figure. Mollestad excavates its inside single notes on each turnaround pass, twisting them into one another as Brekken's pulsing, minimal upright bass solo becomes the bridge to sonic travel. "Liquid Bridges" is a detailed glimpse at the airiness under the muddy morass. Mollestad delivers her expressionistic melody with the elegance and attack of a young Terje Rypdal. "Rastapopoulos" is essentially a careening crescendo in free fall -- too bad it's only two minutes long. The Sabbath-ian intro to "La Boule Noire" is anvil-weight heavy, but far from menacing -- or boring. It eventually unfolds into a group improvisation that recalls the aggressive jazz inquiry of Lotus-era Santana. The jazz chords on closer "Pity the Children" highlight a more structurally open, minor-key melody with bowed bass. It ratchets up in intensity until it cracks and gradually returns -- à la a Moebius strip -- to where it began. Despite its more conventional root language, Enfant Terrible showcases the growth of the Hedvig Mollestad Trio. They can take any piece of music and shift its focus in a split second; they can move it as far afield or draw it out slowly and deliberately, in each case letting hidden undertones unmask themselves gradually. They command, at this stage of their development, the will and ability to do as they wish with confidence, savvy, and arresting presence.
~ Thom Jurek, All Music Guide
1980: Billie Harris I Want Some Water Music » Jazz » Fusion » Contemporary Jazz
1980: Billie Harris  I Want Some Water
Artist: Billie Harris
Album: I Want Some Water
Label: Nimbus West Records
Year: 1980; release: 1999
Style: Spiritual jazz
Quality: MP3@320 kbps
Size: 145 mb
Total time: 63:52

A spiritual jazz classic from the hip LA scene of the late 70s led by saxophonist Billie Harris, and featuring a group that includes Horace Tapscott on piano! We don't know much about Harris, but he's got a freewheeling spiritual sound that's very much in the Coltrane-inspired mode, yet also steeped in the creative improvised style of Tapscott's scene in LA. Tracks are all long, with a sound that builds majestically over time and the set leaves us wondering why Harris wasn't a bigger player at the time. The core tracks of the CD were recorded in the studio with Tapscott, Harris, and added bass, percussion, and guest vocals by the enigmatic Lorelei. An additional longer track was recorded live, with a larger group that also includes Adele Sebastian on flute and Sabia Mateen on tenor. And a last track is an 8 minute solo piano number by Tapscott. Titles include "Why Don't You Listen", "I Want Some Water", "Many Nights Ago", "The Advocate", and "Prayer Of Happiness". 1996-2015, Dusty Groove, Inc.
1958: Terry Gibbs - More Vibes On Velvet Music » Jazz » Fusion » Crossover Jazz
1958: Terry Gibbs - More Vibes On Velvet
Artist: Terry Gibbs
Album: More Vibes On Velvet
Label: Mercury
Year: 1958; release: 1961
Quality: MP3@320 kbps
Size: 86,8 mb
Total time: 39:17

More Vibes on Velvet, Terry Gibbs' sequel to his 1956 album Vibes on Velvet, pairs cheesecake cover art with Gibbs' economical, melodic vibes work on a dozen pop and jazz tunes, as well as a few originals. Gibbs' "Velvet" albums, as the titles suggest, are intended to showcase his soft and sentimental side, and his playing is accordingly restrained and subdued. The selections are all slow to midtempo ballads, from "Moonlight Serenade" and "Blues in the Night" to Gibbs' own "Lazy Sunday." In place of the sweet strings one might expect on a project such as this, Gibbs' vibraharp hovers over horn arrangements that feature Joe Maini and Charlie Kennedy, along with a piano and rhythm section that combine to create more of a jazz feel than an easy listening one. Gibbs' vibes virtuosity is on display elsewhere in his catalog -- More Vibes on Velvet is for those who enjoy soft instrumental music and the warm sound of the vibraharp. ~ Greg Adams, All Music Guide
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