Member Login
What's new?

Site navigation
Basic Categories:
Main page
            - Jazz
            - Blues
            - Rock music
Music video
            - Online-Video
FAQ & Support
«    November 2014    »

Top News
» 1961: Grant Green - Grantstand
» 1979: Oscar Peterson - Digital At Montreux
» 1954/1960: Duke Jordan & Bud Powell - New York & Paris
» 1963: Grant Green - Blues For Lou
» 1957: Neal Hefti and His Orchestra - Concert Miniatures
» 1976: Bill Berry & His L.A. Big Band - Hello Rev
» 1959/1960: George Roberts Meet Mr. Roberts & Bottoms ...
» 1972-1973: James Brown The Singles vol 8
» 1967: Pharoah Sanders - Tauhid
» 1960: Bill Russo And His Orchestra - School Of Rebellio ...

News library
November 2014 (69)
October 2014 (82)
September 2014 (99)
August 2014 (78)
July 2014 (85)
June 2014 (76)
May 2014 (99)
April 2014 (112)
March 2014 (143)
February 2014 (90)
January 2014 (113)
December 2013 (152)
November 2013 (126)
October 2013 (138)
September 2013 (89)
August 2013 (86)
July 2013 (104)
June 2013 (95)
May 2013 (153)
April 2013 (150)
March 2013 (149)
February 2013 (122)
January 2013 (138)
December 2012 (158)
November 2012 (113)
October 2012 (137)
September 2012 (125)
August 2012 (146)
July 2012 (129)
June 2012 (149)
May 2012 (142)
April 2012 (175)
March 2012 (188)
February 2012 (190)
January 2012 (245)
December 2011 (275)
November 2011 (250)
October 2011 (260)
September 2011 (321)
August 2011 (273)
July 2011 (255)
June 2011 (261)
May 2011 (339)
April 2011 (318)
March 2011 (322)
February 2011 (355)
January 2011 (388)
December 2010 (411)
November 2010 (327)
October 2010 (334)
September 2010 (349)
August 2010 (298)
July 2010 (260)
June 2010 (312)
May 2010 (292)
April 2010 (174)
March 2010 (282)
February 2010 (227)
January 2010 (418)
December 2009 (491)
November 2009 (359)
October 2009 (320)
September 2009 (320)
August 2009 (328)
July 2009 (341)
June 2009 (316)
May 2009 (488)
April 2009 (470)
March 2009 (434)
February 2009 (361)
January 2009 (528)
December 2008 (317)
November 2008 (458)
October 2008 (339)
September 2008 (324)
August 2008 (330)
July 2008 (256)
June 2008 (232)
May 2008 (257)
April 2008 (310)
March 2008 (312)
February 2008 (222)
January 2008 (307)
December 2007 (156)
November 2007 (220)
October 2007 (170)
September 2007 (150)
August 2007 (247)
July 2007 (144)
June 2007 (175)
May 2007 (60)

No copyrighted files at site! The resulted links serve only for an illustration of the published news, familiarity and decision-making on purchase of a license copy on CD or DVD. All music files is located on outside independent servers and we beside the point. Links are taken from the open public sources of internet.
Who is on-line?
On Line:34
Guests: 25
Robots: 3

Visitor's list:
liawcoinc, BtqsvIqm, EnduncVen, CeamParefab, OrlindaFug, xunkfcvoj
Robot's list:, Yandex, Yahoo

Into the Rhythm

For Administration
Jazz Blues Club » Music » Jazz » Fusion
1957: Neal Hefti and His Orchestra - Concert Miniatures Music » Jazz » Fusion » Jazz-Pop
1957: Neal Hefti and His Orchestra - Concert Miniatures
Artist: Neal Hefti and His Orchestra
Album: Concert Miniatures
Label: RCA Victor
Year: 1957; release: 2002
Quality: MP3@320 kbps
Size: 82,9 mb
Total time: 35:41
Lovely interpretation of classical music!

REPOST by request

An obscure early gem from Neal Hefti an amazing set of jazzy tracks, arranged with a style that's similar to some of his better soundtrack work of the 60s! The group on the album's a tentet with 2 trumpets, trombone, reeds, guitar, bass, and lots of percussion and Neal's at the head, coming up with some very groovy arrangements that swing the tunes with lots of hi-fi tricks and gimmicks! Players include Urbie Green on trombone, Romeo Penque on reeds, Tony Mottola on guitar, and the team of Rosengarden and Krauss on drums and percussion. Titles include "On The Trail", "Love Theme", "The Girl With The Flaxen Hair", "Merry Go Round", "Dagger Dance", and "Song Of India".
1996-2014, Dusty Groove, Inc.
1996: Dave Douglas - Stargazer Music » Jazz » Fusion » Contemporary Jazz
1996: Dave Douglas - Stargazer
Artist: Dave Douglas
Album: Stargazer
Label: Arabesque Recordings
Year: 1997
Format, bitrate: Mp3, 320 kBit/s
Time: 60:04
Size: 137 MB
AMG rating: 1996: Dave Douglas - Stargazer
With a new link

Trumpeter Dave Douglas, continuing the innovative approach to tribute records he began in 1994 with the Booker Little homage In Our Lifetime, dedicates Stargazer to the great Wayne Shorter. Only three tracks, however, are Shorter compositions: "Pug Nose," "On the Milky Way Express," and "Diana." The rest are Douglas originals that are inspired by Shorter, although Douglas is far too clever to make the inspiration obvious. Listeners will have to rely on their imaginations to make the Shorter/Douglas connection, which is as it should be with creativity on so high a level. "Goldfish," with its awe-inspiring, chant-like main riff, is the album's highlight. The fast, complex unison lines and free jazz episodes of "Stargazer," with solo spots by drummer Joey Baron and pianist Uri Caine, are also wonderful. Hard-swinging numbers like "Spring Ahead" and "Intuitive Science" contrast strikingly with the tension-filled dissonance of "Four Sleepers" and "Dark Sky." Douglas's writing and playing are highly unpredictable and emotionally rich. His remarkable sextet delivers every note with conviction and finesse. Along with Baron and Caine, bassist James Genus, tenor sax/clarinetist Chris Speed, and trombonist Josh Roseman join forces with Douglas to create music full of character and beauty.
~ David R. Adler, All Music Guide
1957: Russell Garcia and Strings with Roy Eldridge - That Warm Feeling Music » Jazz » Fusion » Jazz-Pop
1957: Russell Garcia and Strings with Roy Eldridge - That Warm Feeling
Artists: Russell Garcia and Strings with Roy Eldridge
Album: That Warm Feeling
Label: Sinetone AMR
Year: 1967; release: 2014
Quality: MP3@320 kbps
Size: 71,3 mb
Total time: 33:21
Beautiful music for a romantic evening!

Roy Eldridge was renowned for his exciting, brassy trumpet work on high-energy flag-wavers. On this 1957 set, Verve recast Eldridge as a sensitive balladeer who follows the melodies while Russ Garcia backs him up with a string orchestra. The romantic, cinematic make-out music closely resembles Jackie Gleason's best-selling sides with swing trumpeter Bobby Hackett. Hey, is that Oscar Peterson and Herb Ellis breaking through the mist on occasion?
~ Nick Dedina
1978: Jon Hassell - Earthquake Island Music » Jazz » Fusion
1978: Jon Hassell - Earthquake Island
Artist: Jon Hassell
Album: Earthquake Island
Label: Tomato (1989) ‎
Year: 1978
Format, bitrate: Mp3, 320 kBit/s
Time: 39:09
Size: 94 MB

Composer/trumpeter Jon Hassell is the visionary creator of a style of music he describes as Fourth World, a mysterious, unique hybrid of music both ancient and digital, composed and improvised, Eastern and Western. After composition studies and university degrees in the USA, he went to Europe to study electronic and serial music with Karlheinz Stockhausen. Several years later, he returned to New York where his first recordings were made with minimalist masters La Monte Young and Terry Riley, through whom he met the Hindustani raga master, Pandit Pran Nath, and embarked on a lifelong quest to transmute his teacher's Kirana vocal mastery into a new trumpet sound and style. In the last two decades, he has recorded albums which have, over the years, become so widely appropriated that many of their innovations have become woven anonymously into the texture of contemporary music high and low.
1972: Cannonball Adderley Quintet - Live at the Stadthalle, Vienna, Austria Music » Jazz » Fusion
1972: Cannonball Adderley Quintet - Live at the Stadthalle, Vienna, Austria
Artist: Cannonball Adderley Quintet
Album: Live at the Stadthalle, Vienna, Austria
Label: Crescent Records [bootleg]
Year: 1972 ; Release:2006
Format, bitrate: Flac / Mp3, 320 kBit/s
Time: 43:59
Size: 247.0 MB / 106.22 MB

Repost with a new Mp3 link

Live at the Stadthalle, Vienna, Austria; November 4, 1972. Excellent FM broadcast.

From the Miles Davis sextet in 1959 to appearing on the Kung Fu TV series in 1975; and even getting a tribute by Joe Zawinul on Weather Reports Black Market album, thats a big arch for anyone, but probably all in a days work for Cannonball Adderley.

This is a fine electric jazz show from a finely-honed unit. Keyboardist George Duke has some stellar moments on Black Messiah while Cannonballs brother, Nat, gets to shine on Hummin. Meanwhile, Soli Tomba entrances with its Asian feel. For those not familiar with this show (seems well circulated among Cannonball fans), you will be easily tempted to leave it on repeat mode. Thanks to Dan Augen who shared the tracks on the net back in 2006. ~
1978/1980: Yochk'o Seffer - Neffesh Music Ghilgoul Music » Jazz » Fusion » Jazz-Rock

1978/1980: Yochk'o Seffer - Neffesh Music Ghilgoul
Artist: Yochk'o Seffer
Album: Ghilgoul
Label: Musea
Year: 1978/1980; release: 1995
Format, bitrate: 320kbps
Size:158 MB

Although front-cover credit is given to saxophonist/pianist Yochk'o Seffer, 1978's Ghilgoul is actually the second album recorded by his ill-starred combo Neffesh Music (loosely translated as "Music of the Mind"). This short-lived group was part of the second wave of the French art rock scene, with Seffer and bassist Dominique Bertram having done time in scene overlords Magma and Zao, and this album is roughly equivalent to, say, Hatfield and the North's The Rotter's Club: a relaxed, playful record that extends and refines the work of the participants' earlier bands. Arguably more accessible than the more difficult Magma and Zao, Seffer, Bertram, and company (drummer Francois Laizeau and a string quartet) play a surprisingly melodic version of art rock akin to the lighter moments of David Cross-era King Crimson and the Italian group PFM. The 15-minute title track, alternating passages of ghostly overdubbed, wordless vocals and liquid saxophone solos, is the standout, but all five tracks are superlative avant-garde rock. The 1995 CD reissue includes three previously unreleased tracks recorded by Seffer and an entirely different lineup in May 1980. ~ Stewart Mason, All Music Guide
1973: Joe Farrell - Penny Arcade Post-bop, Fusion, Crossover Jazz
1973: Joe Farrell - Penny Arcade
Artist: Joe Farrell
Album: Penny Arcade
Label: Wounded Bird
Year: 1973; Release: 2011
Format,bitrate: FLAC/Mp3 @320kbps
Time: 36:10
Size: 240.42 MB/92.89 MB

Joe Farrell gained his greatest fame with his popular string of CTI recordings. For this set, he performs three of his originals (none of which caught on), guitarist Joe Beck's "Penny Arcade," and a 13-minute version of Stevie Wonder's "Too High." Farrell (heard on tenor, soprano, flute and piccolo) is in excellent form, as are keyboardist Herbie Hancock, Beck, bassist Herb Bushler, drummer Steve Gadd and Don Alias on conga. As is true of his other CTI sets, this Joe Farrell effort expertly mixes together some slightly commercial elements and superior recording quality with strong solos.
~ Scott Yanow, All Music Guide

Killer CTI work from Joe Farrell with grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion a combo that's got a harder, tighter feel than most CTI groups a key reason why Joe's records of this time are so legendary! The album features a fantastic version of Stevie Wonder's "Too High" one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream". 1996-2014, Dusty Groove, Inc.
1975: Tom Scott - New York Connection Fusion, Crossover Jazz
1975: Tom Scott - New York Connection
Artist: Tom Scott
Album: New York Connection
Label: Epic/Sony Music Distribution
Year: 1975; Release: 1996
Format, bitrate: FLAC/Mp3 @320kbps
Time: 45:14
Size: 263 MB/108.67 MB

For New York Connection, Scott left his L.A. Express in California and ventured to the Big Apple to join forces with keyboardists Bob James and Richard Tee, guitarist Hugh McCracken, drummer Steve Gadd and others who -- like the saxman -- had decent jazz chops, but devoted much of their time to R&B/soul session work. While Scott was never in a class with Stanley Turrentine, Grover Washington, Jr. or David "Fathead" Newman, gritty, down-home smokers like "Midtown Rush," "Dirty Old Man" and "Look Out for Number Seven" provide additional evidence that he was indeed a capable, enjoyable soloist who, at the time, played from the heart. Though softer pieces such as "Time and Love" and the CD's title song make for a sort of disco-ish "easy listening," they're far more substantial than the rubbish that was to come.
~ Alex Henderson, All Music Guide
1990: Yellowjackets - Greenhouse Music » Jazz » Fusion » Crossover Jazz
1990: Yellowjackets - Greenhouse
Artist: Yellowjackets
Album: Greenhouse
Label: MCA/GRP
Year: 1990; Release:1991
Format,bitrate: MP3@320 kbps
Time: 1:00:08
Size: 144.73 MB
AMG Rating: 1990: Yellowjackets - Greenhouse

The Yellowjackets' first release for GRP, Greenhouse, is a real gas. The disc starts innocently enough with "Freedomland," the kind of smart smooth jazz song that marked The Spin. It's on the following "Greenhouse" that listeners glimpse a change in the air: Strings (!) set the stage for dreamy, exotic jazz that melts in your mind, music that goes well beyond similar experiments on earlier Yellowjackets sessions. From this point on, the band travels back in time: Russell Ferrante's piano, the understated rhythm section, and Bob Mintzer's saxophones (Marc Russo had left, though Mintzer wasn't an "official" member yet) smoke with the fire of cool jazz. There are still some electronics employed, but generally they're arranged in a subordinate role to give the acoustic sounds an added presence. It would be tempting to call Mintzer the catalyst of change -- his saxophone playing is more note-filled and squeakier than Russo's, a style that evokes traditional jazz -- but the new direction in sound is just as evident in the piano playing of Ferrante, the softened attack of William Kennedy (plenty of cymbals, quieter snare hits), and the articulated playing of Jimmy Haslip (best heard on "Indian Summer"). The fresh start allows The Yellowjackets to escape from under the cloud of smooth jazz and expose their "serious" side, all while continuing to place composition and melody over individual musicianship. Calling this the band's most mature work to date belies a natural distrust of smooth jazz, so better to say that Greenhouse is loaded with personality. Mintzer's spooky bass clarinet on "Brown Zone," the wild bop workout unleashed on "Liam/Rain Dance," and the violin jig on "Freda" are among their most memorable musical moments. The Yellowjackets haven't changed the way they approach their music, but the newfound ability to communicate in a more traditional jazz setting casts them in a whole new (and flattering) light. ~ Dave Connolly, All Music Guide
2001: Harald Haerter - Cosmic Fusion, Contemporary Jazz
2001: Harald Haerter - Cosmic
Artist: Harald Haerter
Album: Cosmic
Label: TCB 21162
Year: 2001
Format, bitrate: Mp3, 320 kBit/s
Time: 46:05
Size: 113 MB (full scans)

Swiss guitarist Haerter studied from 1980 to 1984 at the Berklee College of Music and with John Scofield . In 1985 he founded the Intergalactic Maiden Ballet, with whom he toured Europe and recorded several albums: 1985 eponymous album was recorded, which appeared at ITM, the other productions Square Dance (1989) and Gulf (1994) contained some articles written by prominent guest musicians.
With Dewey Redman , he founded a quintet in 1994, which among other things with more than 150 concerts, Erik Truffaz , Arthur Blythe , John Enders , Joe Lovano and Nils Petter Molvaer occurred. After the saxophonist Michael Brecker album Haerter Mostly Live had heard, he invited him in 1997 to a European tour and held with him in 1999 an international concert series. To his band Catscan currently include Gitta Kahle and Hilaria Kramer .
1970: Ponty & Sato - Astrorama Music » Jazz » Fusion
1970: Ponty & Sato - Astrorama
Artist: Jean-Luc Ponty, 佐藤允彦 Satō Masahiko (Masahiko Sato)
Album: Astrorama
Label: Liberty/Toshiba - LPC-8039 / Far East Records - ETJ-65016
Year: 1970
Genre: Fusion, Modern Creative
Format: Alac - Lossless (16-Bit/44.1kHz vinyl transfer)
Time: 45:33
Size: 289.202 MB
AMG rating 1970: Ponty & Sato - Astrorama

Astrorama is an album by French Jazz-Fusion artist Jean-Luc Ponty and Japanese Avant-Garde artist Masahiko Sato, released in 1970. The album was recorded live in Tokyo on August 29, 1970.

Jean-Luc Ponty recorded for a number of labels prior to his signing by Atlantic in the early '70s, but this 1970 session in Japan was among his most challenging albums to acquire until it was finally reissued in the fall of 2011 in Japan. He joined forces with Japanese keyboardist Masahiko Satoh, the great bassist Niels-Henning Ørsted Pedersen, guitarist Yoshiaki Masuo, and drummer Motohiko Hino for the studio date. "Golden Green" is best known from his 1976 meeting with Stéphane Grappelli; this longer version features Ponty's expressive violin, an understated electric piano solo by Satoh, and the virtuoso playing of Pedersen, with Masuo sitting out. Both "Astrorama" and "Nuggis" were performed by Ponty the following year at the Berlin Jazz Festival, though on this session, they are joined in a long medley. "Astrorama" is a tense, slashing work that starts with a bluesy riff before launching into avant-garde territory. As they wrap the piece up with a thunderous flourish, the quintet segues directly into the brisk, funky "Nuggis," with Satoh and Masuo frequently playing unison passages with the leader. Satoh's original "And So On" finds him taking a long solo on grand piano with the rhythm section, with Ponty making a late entrance to engage in a fiery exchange with the composer. Only available as an import from Japan, this pricey CD will be of great interest to fans of Jean-Luc Ponty.
~ Ken Dryden, All Music Guide
1976: Larry Coryell - The Lion And The Ram Music » Jazz » Fusion
1976: Larry Coryell - The Lion And The Ram
Artist: Larry Coryell
Album: The Lion And The Ram
Label: Arista
Genre: Fusion Post-Bop
Format,bitrate: mp3@320kbps [HQ vinyl rip]
Time: 36:43
Size: 86.88 MB

The Lion and the Ram is an underrated gem in the Coryell catalog. It contains mostly acoustic guitar music and several outstanding original compositions. "Bicentennial Head Fest," "The Fifties," "Domesticity," and "Bach Lute Prelude" are fine examples of exciting, yet subtle and eclectic, improvisation-oriented guitar music. A few songs, such as "Song for My Friend's Children," are less successful than the others because of their dated '70s studio gimmickry, but overall this recording is well worth picking up.
~ Wilson McCloy, All Music Guide
2011: Spectrum Road - Spectrum Road Fusion, Jazz-Rock
2011: Spectrum Road - Spectrum Road
Artist: Spectrum Road
Album: Spectrum Road
Label: Palmetto
Year: 2011; Release:2012
Time: 55:51
Size: 158 MB

Spectrum Road is a jazz-rock supergroup featuring bassist Jack Bruce, guitarist Vernon Reid, drummer Cindy Blackman-Santana, and organist John Medeski that formed as a tribute to the inspiration and music of Tony Williams' pioneering Lifetime group (of which Bruce was a member). In the process of playing Lifetime's music as a project, they became a bona fide band. All but two of these cuts are from Lifetime's catalog. The set begins with the scorcher "Vuelta Abajo," from 1970's Turn It Over album. All four members come storming out of the gate on a syncopated, intense series of riffs and stops. Blackman-Santana, a Williams disciple, plays furiously with countless rolls and fills yet never drops her sense of groove. She pushes hard at Bruce's bassline while Medeski washes it all with a counter pulse and Reid takes it over into the red zone. This is excess at its level best. The hippest thing is that not only does Bruce keep that insane pace, he revels in it and works with Blackman-Santana to keep the groove funky and weird. She takes the vocal on the spacey, 12-minute "Where," which builds via her rolls and Medeski's abstract painterly touches into a true freewheeling jam with Reid and Bruce going head to head. The group interplay on "Vashkar" (written by Carla Bley, and originally appeared on 1969's Emergency) is a manic showcase for Medeski and Reid, but it's the rhythm section that keeps moving the track further onto the ledge. Spectrum Road honors Williams' example by taking real chances with his music. The way they break down "There Comes a Time" ( from 1971's Ego) with Bruce's bluesy vocals holding the ground firm under the band's improvising moves it from a somewhat staid open modal blues into something more textured, aggressive, and expansive. Reid's jazz chops on "Coming Back Home" walk a line between swing and Hendrixian blues, as Medeski swells and feeds his every line. Reid's and Blackman-Santana's rock strut on "Wild Life" would be nearly processional were it not for Bruce's and Medeski's deeply funky undercurrent. Spectrum Road's self-titled debut delivers in full on the supergroup promise; in addition, they provide the kind of forward-looking tribute that a pioneer like Williams truly deserves. ~ Thom Jurek,
1967: Wes Montgomery - A Day in the Life Music » Jazz » Fusion » Jazz-Pop
1967: Wes Montgomery - A Day in the Life
Artist: Wes Montgomery
Album: A Day in the Life
Label: A&M
Year:1967: Release:2004
Format, bitrate: mp3@320
Size: 82.81 MB

By the time Wes Montgomery recorded this album (his debut for A&M), he was a major name in the pop world. Montgomery's melodic renditions of current pop hits caught on and were played regularly on Top 40 radio. In most cases the guitarist did little more than play the melody, using his distinctive octaves, and it was enough to make him saleable. Of his three A&M recordings, A Day in the Life (the first one) was by far the best and, although the jazz content is almost nil, the results are pleasing as background music. "Windy" was a bit of a hit; the other selections (which find Montgomery backed by muzaky strings arranged by Don Sebesky) include "Watch What Happens," "California Nights," "Eleanor Rigby" and the title cut. ~ Scott Yanow, All Music Guide
1986: Jerry Goodman - Ariel Music » Jazz » Fusion
1986: Jerry Goodman - Ariel
Artist: Jerry Goodman
Album: Ariel
Label: Private Music
Year:1986; Release:2000
Format, bitrate:mp3@320kbps
Time: 44:57
Size:107.31 MB

On the Future of Aviation, Jerry Goodman's first album after a ten-year hiatus, didn't sound much like the jazz-rock fusion he had played in the Flock and the Mahavishnu Orchestra earlier in his career. Instead, it was an album of new age electrified instrumental music that did not emphasize his violin playing particularly. For his second album of the 1980s, Goodman may have been prevailed upon or may have decided himself to give his fans something more familiar. Ariel leaves little doubt that its primary performer is a violinist. The background music, while often demonstrative, is still background music, supporting Goodman's soaring runs. And on "Topanga Waltz," there is a definite rock feel that recalls Mahavishnu, while "Rockers" has sections that would make you think some arena-rock band was playing. Goodman is still experimenting and mixing styles. "Broque," for example, has not only Celtic but also gypsy elements to go with its rock passages. But the album as a whole steps back from an emphasis on composition to allow for a display of sheer performing chops. As such, it gives old fans something to hold on to as well as continuing Goodman's new career as a new age artist. ~ William Ruhlmann, All Music Guide
1981 - 1987: Volker Kriegel - Journal/Palazzo Blue Fusion, Jazz-Rock
1981 - 1987: Volker Kriegel - Journal/Palazzo Blue
Artist: Volker Kriegel
Album: Journal/Palazzo Blue
Label: In-Akustik / Mood
Year:1981,1987; Release:2010
Format, bitrate:MP3@320kpbs
Size:187.77 MB
Digitally remastered sound.

Two discs,39, 39 minutes each approximately. The digitally remastered sound is very clean and spacious. The booklet has minimal information on (the late, died 2003) Volker Kriegel, and nothing about the songs (most composed by Kriegel), except title, song length, and composer. The second album lists accompanying musicians (bass, drums, sax, keyboards, and Kriegel's guitar. The first album (with no musicians listed) is similar in sound. He was also known, before his death, as an illustrator, cartoonist, translator, and author of childrens books.

These two albums (recorded in 1981 and 1987) were recorded for the Mood Records label, a label set up for musicians to record whatever they wanted, without label or commercial restraints. The label releases music other labels won't touch. Saying that-don't think this is some esoteric, far-out, free jazz you might hear on the ESP label for instance-its not. This music is a combination of reflective, quiet jazz guitar, and more straight ahead jazz, all with a sympathetic group of musicians who know how to play in and around Kriegel's guitar, and sometimes step forward for a solo.

Kreigel's tone and approach to the guitar is a combination of Pat Metheny, Jim Hall, with a bit of Barney Kessel mixed in. Kriegel is probably most well known as a member of the UNITED JAZZ + ROCK ENSEMBLE. The music heard here combines two albums with varying degrees of atmosphere. The first album, from 1981, is more introspective. The music unfolds at its own pace, sometimes quite languidly. On several tracks Kriegel trades solos with vibes and keyboards-at times almost sounding like an ECM Records production, but without the vast, open spaces that label is known for. The second album (1987) is much more upbeat (some tracks are in 4/4 time) and more fully realized as a true jazz group feeling.

Having heard these albums 20 + years ago (as expensive imports), its nice to see them (and other albums from the label) cleaned up and re-released-at a good price. While there's nothing startingly new here, this is music that grows on you, if you take the time to not just listen-but hear what this group of fine musicians are playing. For listeners of jazz guitar/group playing there's much to recommend. Kriegel is a master guitarist, and the musicians in his responsive, sympathetic groups are on a similar level. From introspective, open compositions, to harder,straight-ahead (sometimes funkier) tracks, this release covers all the bases. This is beautiful, sometimes swinging jazz that will grow on you if you let it.
~ Stuart Jefferson,
2012: Gary Husband - Dirty and Beautiful, Volume 2 Jazz-Rock, Modern Jazz
2012: Gary Husband - Dirty and Beautiful, Volume 2
Artist: Gary Husband
Album: Dirty and Beautiful, Volume 2
Label: Abstract Logix/City Hall
Year: 2012
Format: FLAC
Time: 59:29
Size: 363 MB

Rather than releasing a double album, keyboardist/drummer Gary Husband split the jazz fusion songs he recorded with high-profile guests into two separate but equal hour-long discs. It's a logical, economically feasible way to get this music out and probably makes for a better overall listening experience, too, since the sound can get wearing, even over the length of a single platter. Anyone who enjoyed the first volume from 2011 will find the same pleasures here as Husband invites mostly guitar-shredding guests such as Mike Stern, John McLaughlin, Wayne Krantz, Robin Trower, Jimmy Herring, and old pal Allan Holdsworth, among others, for a good, old-fashioned '80s fusion fest. As is typical of the genre, the line between noodling and edgy improvisation can get awfully thin and there are moments that alternate on either side of that divide. That's the case within the confines of some songs such as the ten-minute John McLaughlin extravaganza "Sulley" that goes through multiple tempo changes, winding through its extended playing time with some terrific guitar soloing and some that just meanders. Props to bassist Mark King, whose husky yet malleable playing on the track holds down the rhythm and keeps the song vital even when the leads wander. Trower's Hendrix-inspired bluesy reverb on Miles Davis' "Yesternow-Epilogue" fades in where the first set's "Yesternow-Prologue" left off in a performance that blurs the border between rock and jazz. The energized nature of the disc is tempered on a short and lovely reading of Jan Hammer's "Rain." Hammer doesn't contribute to the track, but he does appear on Holdsworth's "Fred 2011," letting Husband -- who plays both drums and keyboards on eight of the eleven cuts -- concentrate on percussion. A similar dynamic applies to John McLaughlin's "New Blues, Old Bruise," where the guitarist is M.I.A. Rather, tenor saxist Sean Freeman, whose playing is strongly influenced by Wayne Shorter, gets free reign to strut his impressive stuff, which shifts from lovely to jagged as he blows his way through the ten-minute jam. Despite the obviously overdubbed nature of Husband's double-duty instrumental work, this album, and the previous one, sounds remarkably organic. That's especially true of the funky "East River Jam" featuring a relatively dialed down Wayne Krantz, whose innovative solos seldom go where you think they will. It adds up to a tasty, if somewhat inconsistent project that will please fans of both the old-school jazz fusion genre and of the prestigious musicians who help Husband bring it home.
~ Hal Horowitz, All Music Guide
1968: Volker Kriegel - With a Little Help from My Friends Music » Jazz » Fusion
1968: Volker Kriegel - With a Little Help from My Friends
Artist: Volker Kriegel
Album: With a Little Help from My Friends
Label: Art of Groove / MIG
Year: 1968 Release:2013
Format, bitrate: mp3@320kbps
Time: 1:17:19
Size: 226.22 MB

A great and groovy early album from Volker Kriegel the German guitarist who'd cut some very trippy work for the MPS label in the 70s but a player who steps out here in a sweet soul jazz mode at the end of the 60s! Volker's still got the same wickedly sharp style on guitar you'd know from his later fame but here, it's turned towards the kind of soulful guitar work you'd hear on Verve Records at the time somewhere in the territory of George Benson, or maybe a bit in that of Wes Montgomery but also with some occasional freewheeling moments that hint at the changes to come! The group's a trio on side one with Peter Trunk on bass and Cees See on drums but side two moves into wilder material with a quartet that features vibes by Claudio Szenkar, who adds in just the kind of psychedelic touches to really make the music open up! These cuts are much more modal, and show Kriegel's growing love of Eastern sounds and titles include "Na Na Imboro", "Morandi", "Interpunctuation", "Traffic Jam", and "With A Little Help From My Friends". CD features loads of great bonus tracks including more with the quartet, and some with Tony Scott and Gustl Mayer titles that include "Spanish Soul", "Teaming Up", "Na Na Imboro", and "Nina's Dance". 1996-2014, Dusty Groove, Inc.
2002: Toufic Farroukh - Drab Zeen Music » Jazz » Fusion
2002: Toufic Farroukh - Drab Zeen
Artist: Toufic Farroukh
Album: Drab Zeen
Label: Le chant du monde
Year: 2002
Genre: ethno jazz, arabic
Quality: FLAC (Artwork)
Total time: 53:12
Size: 339 Mb

Drab Zeen represents one of the finest examples of this important emerging new sub-genre, Arab-jazz. The genius of this disc is how Farroukh has effortlessly melded such disparate elements as jazz trombone and saxophone, chill-beats, French vocals, acoustic piano, oud, ney, and accordion into a singly tapestry of unique sounds, all the while retaining the essential elements of each instrumental voice even as he transforms the whole into something entirely new and heretofore unheard. Farroukh has grown in every facet of his music-making: tighter and more evocative compositions, a richer and more varied sound palette, cleaner production, superior sax blowing, and a deeper groove. An altogether remarkable disc. Highest recommendation.
~ Jan P. Denis,
1978: John McLaughlin - Electric Guitarist Music » Jazz » Fusion
1978: John McLaughlin  - Electric Guitarist
Artist: John McLaughlin
Album: Electric Guitarist
Label: Columbia
Year: 1978; Release:2008
Genre: Fusion,Post-Bop
Format, bitrate: mp3@320kbps
Time: 38:38
Size: 99.44 MB

Since John McLaughlin's first two post-Shakti albums -- Electric Guitarist and Electric Dreams -- featured the word "electric" in their titles, it seems that the guitarist wanted to emphasize his more plugged-in side to those who might not have followed along on three previous releases featuring his acoustic world music band. He also thumbed through his impressive phone book to call in some of the cream of the 1977 crop of jazz fusionists to help him out on Electric Guitarist, a true return to form. Ex-Mahavishnu members Jerry Goodman and Billy Cobham assist in kicking things off just like in the old days with "New York on My Mind," a tune that could have been an outtake from his earlier Mahavishnu Orchestra work. Also along for the ride are Chick Corea, Stanley Clarke, David Sanborn, Carlos Santana, Jack Bruce, and four legendary drummers including Cobham, Tony Williams, Jack DeJohnette, and Narada Michael Walden. Unfortunately, the credits don't specify who plays on which track (well-written liner notes would help there), but anyone familiar with the distinctive styles of these artists can easily pick them out. McLaughlin is in fine form throughout, especially when playing clean, staccato, bent notes on the ballad "Every Tear from Every Eye." The majority of the selections stay in a more subtle but amped-up groove as McLaughlin shifts from dreamy to a faster, more straight-ahead tempo on the seven-minute "Do You Hear the Voices that You Left Behind?" A duet with Billy Cobham on "Phenomenon: Compulsion" provides the set's most frantic fireworks as both musicians air out their chops on a breathless, galloping piece with some of the guitarist's most furious picking. ~ Hal Horowitz, All Music Guide
Main page | Registration | Add the news | Site updates | Statistic Copyright © 2007-2010. Jazz Blues Club. All Rights Reserved