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Jazz Blues Club » Music » Jazz » Fusion
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. ~ cduniverse.com
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, Amazon.com
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
1998: Fairy Tale Trio - Jazz Across the Border Music » Jazz » Fusion
1998: Fairy Tale Trio - Jazz Across the Border
Artist: Fairy Tale Trio
Album: Jazz Across the Border
Label: Wirgo
Year: 1998
Format: FLAC
Size: 242 MB (with scans)
Total time: 52:21
REPOST with new links

The Fairy Tale Trio plays a kind of hybrid music combining elements of Bulgarian folk music and jazz. Kaval player Theodosii Spassov has developed a style that allows him more chromatic and timbral possibilities than previously associated with that instrument, while soprano saxist Anatoly Vapirov can go from tricky folk melodies to Coltrane-like wailing in the space of a few notes. The trio is rounded out by percussionist Stoyan Yankoulov, who uses mostly the traditional tupan (a double-headed drum, played with sticks) with a few modern additions. The music, composed by the trio, makes full use of their resources. There are a few odd-meter rave-ups, but there are also some quieter, textural pieces. The kaval and soprano sax take turns soloing and supporting each other, while the percussion supplies a sturdy rhythmic framework. There are also a few solos and duets that, along with great attention paid to dynamics, help keep the sound varied and interesting. In its more peaceful moments this reminds me a little of Codona, the old Don Cherry-Collin Walcott project. Then the musicians turn up the heat and could be mistaken for an Art Ensemble of Chicago offshoot. But the approach taken here is a melding rather than a juxtaposition, with the jazz elements logically flowing from the Bulgarian roots, and as such is one of the more successful folk-jazz fusions I've heard in some time. ~ Joe Grossman, RootsWorld
1967: Trombones Unlimited - Big Boss Bones! Music » Jazz » Fusion » Jazz-Pop
1967: Trombones Unlimited - Big Boss Bones!
Artist: Trombones Unlimited
Album: Big Boss Bones!
Label: Liberty
Year: 1967; release: 1968
Quality: MP3@320 kbps (LP-rip)
Size: 55,1 mb
Total time: 27:27

Swingin groovers from Trombones Ulimited a great little group that's way more than you'd expect! Frank Rosolino's one of the trombones in the frontline, and the arrangements have a lot more jazz than you'd guess from the easy instrumental approach of the record! Put together wonderfully by Tommy Oliver, with some cool 60s mod elements that really make the best tracks sparkle nicely and titles that include "Sunny", "Hurt So Bad", "Turn Down Day", "Poco A Poco", "Mexico", and a fab cover of "Bauble Bangles & Beads".
1996-2015, Dusty Groove, Inc.
2004: Ronny Jordan - After 8 Contemporary Jazz, Crossover Jazz

2004: Ronny Jordan - After 8
Artist: Ronny Jordan
Album: After 8
Label: Encoded
Year: 2004
Format, bitrate: Mp3 320kbps
Size: 121 MB
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Signed to the N-Coded label after leaving Blue Note, guitarist and composer Ronny Jordan is apparently reconsidering his past directions. Where Jordan fiercely applied and defended his gritty fusion of smooth jazz, funk, and hip-hop throughout the '90s, it appears that After 8 backs off from the ferocity of his earlier music. Gone are the duets with Mos Def and the presence of DJ Spinna, and in their place is elegantly played, stylishly wrought, sheen-filled smooth jazz. The drum loops are still present, but their jagged edges are glossed over and rounded. While it's true that Jordan was going for a late-night groove sound, one that employed more traditional jazz elements like horns ("7th Heaven"), he waters these things down so much that they are of little to no effect in the overall picture. On "Search to Find," Jordan goes acoustic with a female vocalist warbling the title as a chorus. It feels more like a new age cum blanched soul experiment than anything else. Only on "Steppin' Out," with its popping bassline, slippery loop, and edgy guitar, does Jordan comes close to being the monster stylist he created over a decade ago. His version of the standard "I Remember You" sounds like dentist-office jazz. The album's closer, "Bahia Magic," driven by a burning samba rhythm by composer Dario Boente, generates some heat, with its alternately programmed and played drums and a beautiful wordless choral layer, but this track is almost all Boente, with Jordan filling the edges with a solo and some chord progressions. Listeners can't blame N-Coded for this set, because in the liners Jordan claims the entire idea was his. That's too bad. Perhaps now that this is out of his system, Jordan will return to his particular brand of restless beat musicology; After 8 just doesn't cut it.
~ Thom Jurek , All Music Guide
2005: Kankawa & Hiram Bullock - Jam Jam the heavy cats live at BST139 Music » Jazz » Fusion » Jazz-Rock

2005: Kankawa & Hiram Bullock - Jam Jam the heavy cats live at BST139
Artist: Kankawa & Hiram Bullock
Album: Jam Jam the heavy cats live at BST139, Roppungi, Tokyo
Label: Cool River
Year: 2005; Release: NNCJ6003
Format MP3, bitrate: 192 kb/s
Time: 1:00:09
Size: 81.9MB

Some jazz pundit once wrote the material is immaterial. If so, why arent there albums like Merry Christmas from Miles Davis or Stan Getz plays Abba? Bullock has been a well-known jazz session guitarist since 1977, on everything from disco to avant garde jazz. Kankawa is a Japanese organist whose avowal of bringing the power of rock to jazz has led to an OTT dress code and eccentric sunglasses (six lenses facing in different directions) that would make George Clinton blink.

On this record, the material is not even slightly immaterial. Apart from two Kankawa originals, the material all comes from the world of rock, be that Miles Davis Jan Jan, Abbas Venus, or Deep Purples Smoke on The Water. Bullock sings quite a bit soul style mostly and plays very appropriate heavy guitar solos. And Kankawa makes the most of the opportunities provided by A Whiter Shade of Pale. Hot enough for central heating!
~ real-reviews.blogspot.de
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