Artist: Duke Jordan Trio
    Album: Flight To Denmark
    Label: Steeplechase/Video Arts
    Year: Nov 25 - Dec 2, 1973 ; release: 1973
    Genre: Piano Jazz
    Format mp3, bitrate: 320 kb/s
    Time: 1:11:44
    Size: 170 Mb (full covers)
    AMG Rating:



Upon Duke Jordan's initial visit to Copenhagen, Denmark, followed by his decision to make the move as an expatriate permanent, he was tempted to stay by playing with some extraordinary Scandinavian rhythm sections. Bassist Mads Vinding, one of many skilled Danish jazz bassists, is here on the date performing in fine style. Drummer Ed Thigpen, who left the U.S. to take up permanent residence in Europe, was an even bigger influence in making Jordan's decision a good one, and is an equally skillful musical partner on this date. This is an expanded edition from the previous original issue on the Steeplechase label; a Japanese import with several alternate takes. It's an understated session for the most part, equal parts melancholy and hopeful, as one might expect with the trepidation of leaving home for new, unknown horizons to be discovered in a foreign land. The upbeat songs, as the modal, popping, tom-tom driven "No Problem" (from the movie soundtrack Les Liason Dangereuses) and the famous bop flag-waver "Jordu," bookend the CD. The bulk of the recording showcases the softer side of Jordan, with takes of the somber ballad "Here's That Rainy Day," the slightly brighter "Everything Happens to Me," and two versions of the polite waltz "Glad I Met Pat," dedicated to a nine-year-old girl Jordan knew in New York City prior to her being kidnapped. The pianist employs chiming piano chords for "How Deep Is the Ocean?," is lighthearted in his slight interpretation of the well worn "On Green Dolphin Street," does two takes on the light, bluesy swinger "If I Did, Would You?," and ramps up to midtempo the bluesy original "Flight to Denmark," reflective of the insecurity and consequential optimism that followed his leaving the States. This is Duke Jordan at his most magnificent, with the ever-able Vinding and expert Thigpen playing their professional roles perfectly, producing perhaps the second best effort (next to Flight to Jordan from 13 years hence) from the famed bop pianist.

      Artist: Sonny Rollins
      Album: Moving Out
      Label: Prestige/OJC
      Year: 1954
      Format: FLAC
      Time: 31:29
      Size: 68MB x 3
     Time: 31:38
      AMG Rating:

REPOST With new link from M-r. canito

      Sonny Rollins' "Movin' Out" is a classic set of hard bop from the mid-50s. Four of the albums songs feature the personnel of Kenny Dorham, Elmo Hope, Percy Heath and Art Blakey joining Sonny, while on one track, the lenghty ballad "More Than You Know," the band consists of Sonny, Monk, Tommy Potter and Art Taylor. The standout tune on this recording is "Solid," one of Sonny's most covered compositions, and this is the definitive version. But the other songs are no slouches -- the title track and "Swinging for Bumsy" are hard driving, straight ahead boppers, while the high point on the mid-tempo "Silk N' Satin" is a glorious, distant echo-like trumpet line from Dorham. "Movin' Out" doesn't net a fifth star in my opinion because this is very short CD, only around 30 minutes. But the music is excellent, so "Movin' Out" may be short, but it is definitely sweet.
   Michael B. Richman (Portland, Maine USA) Amazon.com

    Artist: Keith Jarrett
    Album: Radiance (Live in Japan 2CD)
    Label: ECM
    Year: 2002
    Release: 2005
    Style: Post-Bop/Modern Creative
    Format mp3, bitrate: 320 kb/s
    Time: 2:19:53
    Size: 325 Mb (full covers)
    AMG Rating:

Keith Jarrett returned to performing and recording solo concerts in 1995 with La Scala (released in 1997) after recovering from an illness. That fine recording followed his manner of working that he had begun on Köln Concert in 1975: That is, completely improvised concerts from beginning to end that had melodic and "motivic" centers. The double-disc set that is Radiance, recorded in Japan in 2002, is a new fork in the road. The work has no conceptual center. Jarrett says he wanted to let some of the music "happen" to him while he sat at the piano, deep in thought. He states: "I wanted my hands (particularly the left hand) to tell me things." And happen it does. Each piece, after the first one, comes out of the work that immediately precedes it. There are 13 linked pieces that mark the Osaka concert spread over the first disc, and one-third of disc two. The effect is startling at first because Jarrett is constantly working with what comes, whether dissonant or assonant; he uses the small essences, quick phrases, and themes that come out of each piece to dig further, to extend wider his discovery. Whispers of many musics enter, from classical and jazz to pop to Latin to folk. Nothing feels like a direct quote, but all of it gels together as elemental. Each piece is an aspect of a transformational construction. Most of the music very is exciting; it walks, then runs on edges before turning and stopping, then dances, crawls and rolls, ever-somewhere just past the reach of what preceded it. Some of Radiance is quiet and lyrical (part three, for instance), because it has been suggested by the intensity of the chaotic and forceful harmonic and rhythmic notions preceding it. Jarrett admits in his liner notes "The listener has to bear with me here. The whole thing is risky, but I've taken you places before and I'm not aiming to disappoint." This is born out in the way the audience responds. Some sections get no applause because of the quick, shape-shifting manner in which Jarrett seemingly careens from one place to the next. But intent listening reveals the sometimes very subtle links between themes, spaces, and harmonic and rhythmic invention. Two-thirds of disc two come from a concert in Tokyo conducted in much the same way, though he includes the first two pieces — a cut from the second-half of the concert and the final track — as the performance's closer. These do not distract from the Osaka gig. In fact they contain a beautiful, if momentarily disjointed flow. This is Jarrett the artist taking chances, lots of them. His process is immediate, poignant, and utterly engaging throughout and marks a new phase in his solo recordings that will spur great interest in any open-minded listener interested in improvisational music. There is a DVD of the Tokyo performance being prepared by ECM for release.

    Artist: Horace Parlan , George Tucker & Al Harewood
    Album: Us Three
    Label: Blue Note
    Year: 1960
    Format: mp3, bitrate: 320 kb/s
    Time: 48:39
    Size: 94MB
    AMG Rating:

     On this recording made in 1960 during his tenure with Lou Donaldson, pianist Horace Parlan is situated nicely alongside bassist George Tucker and drummer Al Harewood. The trio had its own gig on Sundays at Minton's in Harlem, and had established a repertoire and reputation for being able to lay down both hard bop and soul-jazz stylings with equal verve. (And yeah, that jazz/hip-hop group from the 1990s was named after this disc.) The proceedings here are straight-ahead with some cool soul-jazz touches. Parlan's "Wadin'" moves the off-minor key of "Wade in the Water" and funkifies the rhythm, paraphrasing and improvising as the rhythm section struts it out. On the title track, there is a gorgeous lilt in his playing that corresponds to a behind-the-beat walk by Tucker that makes Harewood slip and shimmy constantly on the cymbals with his brushes. There and on "I Want to Be Loved" as well as "Return Engagement" (another Parlan original), something else starts to creep into his playing: the spacy, spare feel of Ahmad Jamal, who Parlan cited as a contemporary influence. The economy of touch, which stands in stark contrast to the hard bop he played with Donaldson and the energetic music he played with Mingus, is in some ways more complex harmonically, and more emotionally satisfying. This is a fine effort from an underappreciated trio.

    Artist: Hampton Hawes
    Album: The Challenge
    Label: Storyville
    Year: 1968
    Format mp3, bitrate: 320 kb/s vbr (vinyl rip)
    Time: 41:27
    Size: 68,5 Mb
    AMG Rating:


Although it does not say it anywhere on this LP (originally recorded in Japan for RCA), the "challenge" was that this was Hampton Hawes' first set of unaccompanied piano solos. Although based in bop, Hawes was always much more than a one-handed pianist, and he proves up to the challenge. The repertoire includes jazz standards, three originals, and the current pop tune "Who Can I Turn To." Throughout the date, the pianist shows that he could create stirring music without the assistance of a rhythm section. Unfortunately, this music (last put out on a Storyville LP) has yet to be reissued on CD.

    Artist: George Russell Septet
    Album: The Stratus Seekers
    Label: Riverside Records/Original Jazz Classics
    Year: 1962; release: 1989
    Genre: Jazz/Third Stream
    Format mp3, bitrate: 320 kb/s
    Time: 45:22
    Size: 104 Mb
    AMG Rating:

In 1962, the George Russell Septet included both obscure names in alto saxophonist John Pierce, tenor saxophonist Paul Plummer, drummer Joe Hunt, (who would later work with Bill Evans) and future stars - trumpeter Don Ellis, trombonist Dave Baker who would become a significant jazz educator, and bassist Steve Swallow. The six selections, plus a "new" alternate heard on the CD reissue, are highlighted by "Blues In Orbit" (later recorded by Gil Evans) and the title cut. Two other numbers were written by the sidemen. It is particularly interesting to hear the young Ellis in this setting. The music has its own logic, is somewhat difficult to classify, yet deserves further attention by jazz historians and analysts. - Scott Yanow at All Music Guide

    Artist: Tete Montoliu & Jordi Sabates
    Album: Vampiria
    Label: Nuevos Med (Galileo Music Communication)
    Year: 1974 ; release: 1994
    Format mp3, bitrate: 320 kb/s; FLAC
    Time: 44:24
    Size: 104 Mb


A unique issue in Tete's discography "Vampiria" is a collaboration with pianist Jordi Sabates: Tete on Feder rhodes and Sabates on classic piano. A combination of classicism and contemporary jazz improvisation Vampiria sends us to the spirit of grand masters as Scott Joplin and Art Tatum.
JAC magazine named Vampyria best jazz album in history Catalan music. Jordi Sabates composed all tracks. It seems that vampirism is a topic that Sabates likes to play. Sharpen your fangs and get ready to dive into the dark night in Transylvania, where only the dim light of a projector seems to disturb the undead.

     Artist: Wes Montgomery
     Album: Fusion! Wes Montgomery with Strings
     Label: Riverside/OJC
     Year:1963; release: 1992
     Format mp3, bitrate: 320 kb/s
     Time: 43:10
     Size: 99,2 Mb
     AMG rating



Although most Wes Montgomery fans associate his playing with strings with his later A&M and Verve recordings, the influential guitarist actually fronted a string section for the first time on this Riverside date from 1963, which had the ironic name of Fusion. As with his later albums, Montgomery's guitar solos here are brief and melodic but the jazz content is fairly high even if the emphasis is (with the exception of "Tune Up") on ballads. This CD has three additional performances not included on the original LP and is worth picking up; the music is quite pretty and pleasing.

    Artist: Bobby Timmons
    Album: Workin' Out
    Label: Prestige Records
    Year: 1964; release: 1994
    Format mp3, bitrate: 320 kb/s vbr
    Time: 1:17:53
    Size: 109 Mb
    AMG Rating:

This CD reissues the contents of two of pianist Bobby Timmons most advanced recordings of the 1960s. For an example of how the popular pianist had continued to evolve after his early funk hits, listen to his often-bitonal solo on "Bags' Groove" from 1964. That session features Timmons in a quartet with vibraphonist Johnny Lytle, bassist Keter Betts and drummer William "Peppy" Hinnant and is filled with subtle surprises. The second recording is even more interesting for Timmons is teamed with tenor-saxophonist Wayne Shorter, bassist Ron Carter and drummer Jimmy Cobb in 1966. The immediately recognizable Shorter in particular plays very well (this version of his "Tom Thumb" is its earliest recording) and the very modern playing of Carter pushes Timmons to really stretch himself. Both of these generally overlooked sessions (even Shorter's best fans may not know about his collaboration with Timmons) were formerly rare and are quite adventurous, making this a highly recommended acquisition that falls somewhere between hard bop and the early avant-garde.

    Artist: Nils Landgren Funk Unit
    Album: Paint It Blue (A Tribute To Cannonball Adderley)
    Label: ACT
    Year: ; release: 1997
    Genre: Funk Jazz
    Format mp3, bitrate: 256 kb/s
    Time: 1:01:40
    Size: 113 Mb
    AMG Rating:

One of trombonist Nils Landgren's early inspirations was Cannonball Adderley's group. Paint It Blue is dedicated to Adderley with Landgren performing five songs associated with the altoist plus seven originals that pay tribute to Cannonball's bands. Some of the music is in the soul-jazz vein while other tunes (particularly the originals) are more modern, even incorporating a little bit of rap in a couple places. Landgren is a fine trombonist (sometimes a little reminiscent of Wayne Henderson) and he manages to keep up with Michael and Randy Brecker, who in this situation are superior supportive soloists. Without merely copying the past, Landgren expands on the legacy of Adderley quite successfully. - Scott Yanow at All Music Guide

    Artist: Keith Jarrett & Charlie Haden
    Album: Jasmine
    Label: ECM
    Year: 2007; release: May 2010
    Genre: Piano Jazz
    Format mp3, bitrate: 320 kb/s
    Time: 1:02:50
    Size: 151 Mb
    BH Rating:


Jarrett and Haden back together again! Thirty three years after the break-up of Keith Jarrett's great 'American quartet', the pianist and bassist Charlie Haden reunited for an album of standards, played with deep feeling. The programme on "Jasmine" includes such classic songs as "Body And Soul", "For All We Know", "Where Can I Go Without You", "Don't Ever Leave Me" and more. Intimate, spontaneous and warm, the album, recorded at Jarrett's home, has affinities, in its unaffected directness, with Keith's "The Melody At Night With You". Jarrett and Haden play the music and nothing but the music - as only they can. As Keith Jarrett says in his liner notes: "This is spontaneous music made on the spot without any preparation save our dedication throughout our lives that we won't accept a substitute... These are great love songs played by players who are trying, mostly, to keep the message intact." ~ ECM

    Artist: Ahmad Jamal
    Album: Volume 4
    Label: Argo
    Year: Sep 5, 1958-Sep 6, 1958; release: Mar 5, 1959
    Genre: Piano Jazz
    Format mp3, bitrate: 320 kb/s (vinyl rip)
    Time: 35:02
    Size: 80,9 Mb
    AMG Rating:

Performed the same day (but having completely different material) as Poinciana, this excellent LP (featuring pianist Ahmad Jamal, bassist Israel Crosby and drummer Vernell Fournier) gives one a fairly definitive sampling of the unusual sound of the group, which could play with great passion while lowering the volume. All of Jamal's recordings of the 1950s are highly recommended, and this one has memorable versions of "Taboo," "The Girl Next Door," "Cheek to Cheek" and "Secret Love." - Scott Yanow at All Music Guide

    Artist: Earl Hines
    Album: Blues in Thirds (remastered in 24 bit)
    Label: Black Lion
    Year: 1965; release: 2005
    Genre: Piano Jazz
    Format mp3, bitrate: 320 kb/s
    Time: 59:41
    Size: 137 Mb
    AMG Rating:

Earl Hines's solo piano sessions were always a joy. Freed from having to keep a steady rhythm to accommodate a bassist and a drummer, Hines was able to take wild chances with time, with his left hand playing broken patterns rather than sticking to a steady stride. [This Black Lion CD augments the eight selections originally released on an LP with two alternate takes and "Black Lion Blues.."] Hines made many exciting recordings during 1964-77; this set is a good place to start in exploring his frequently dazzling playing. - Scott Yanow at All Music Guide

    Artist: David Benoit & Russ Freeman
    Album: The Benoit/Freeman Project Vol. I
    Label: GRP Records
    Year: ; release: 1994
    Genre: Smooth Jazz
    Format mp3, bitrate: 256 kb/s
    Time: 52:06
    Size: 97,4 Mb
    AMG Rating:

The Benoit/Freeman project is a reunion of sorts, as both smooth jazz icons worked on 1986's landmark Rippingtons debut Moonlighting and together wrote Benoit's hit "Every Step of the Way." Since then, Freeman's career with that band and Benoit's as a solo artist spearheaded the smooth jazz movement while expanding the rules on just what modern jazz is. The new project combines the radio-friendly pleasures inherent in their separate endeavors with an exciting expansion and interplay of fresh and innovative ideas. Though the focus is clearly on the interplay between guitar and piano, the two are surrounded by all-star backing talent like Nathan East, Abe Laboriel, John Robinson, and former Rippingtons members Steve Reid and Tony Morales. Much attention was directed to Kenny Loggins' wonderful vocal performance of "When She Believed in Me," but the Phil Perry sung version of "After the Love Is Gone" is superfluous; it's beautiful but adds nothing to the original Earth, Wind & Fire arrangement. Instrumental highlights include "Mediterranean Nights" (a seven-minute meditation featuring symphonic elements and Freeman's rich electric guitar work), the percussive "Swept Away," moody "The End of Our Season," and a remake of "Mirage," one of Moonlighting's most beautiful tunes. The two seem to have been too busy for a follow-up, but smooth jazz could definitely benefit from another tandem brainstorm like this. - Jonathan Widran at All Music Guide

    Artist: Dave Grusin
    Album: The Yakuza (Original Movie Soundtrack)
    Label: FSM (Film Score Monthly)
    Year: 1975 ; release: 2006
    Genre: OST
    Format mp3, bitrate: 320 kb/s
    Time: 1:10:24
    Size: 162 Mb
    AMG Rating:

David Grusin's score for Sidney Pollack's The Yakuza (1975) (starring Robert Mitchum) is a strangely compelling and seductive amalgam of Eastern and Western musical influences, laced with mystery and passion and an immense lyricism. The movie, which may have been made too soon -- its Japanese subject matter was too outré for mid-'70s American audiences to absorb easily -- was never hugely successful and the release of this CD, which comes complete with unused sections of the score (recorded but dropped from the final edit of the movie) and variant takes of some key sections, is almost miraculous in that context; no one thought that much of the music at the time it was new. The score benefits greatly from the contributions of top session players, including Lee Ritenour's electric guitar and Jerome Richardson's bass flute, but it is mostly Grusin's ability to shift between and also to meld the sounds of East and West that make this work as well as it does, and the source material has held up across three decades -- the timbres and textures of the music here are very close and rich, and the CD is exceptionally successful for a body of music that was never necessarily supposed to be heard fully exposed in this way. - Bruce Eder at All Music Guide

    Artist: The Crusaders with B.B. King and the Royal Philharmonic Orchestra
    Album: Royal Jam
    Label: MCA Records/GRP
    Year: 1981; release: 1982
    Format mp3, bitrate: 256 kb/s (LP rip)/ FLAC with scans (CD rip)
    Time: 1:03:37
    Size: 122 Mb (covers) / 420 Mb (covers)
    AMG Rating:


Around this time in their heyday, the Crusaders were experimenting with orchestral/jazz fusions in concert -- and MCA thought enough of them to capture the music in London's Royal Festival Hall one fine summer. Crusader pianist/sparkplug Joe Sample evidently arranged and orchestrated all of the Royal Philharmonic's parts himself, not necessarily with the expertise of a full-time practitioner of the craft. Too often, the orchestrations are piled on with a shovel; the orchestral "Overture" is a particularly mawkish piece of work. But the Crusaders still had their signature rhythm section pumping away, with drummer Stix Hooper in a particularly propulsive mood all night -- and they carry the excess weight easily along in the funky groove. Things come to a peak when fellow MCA signee B.B. King slips on to the stage, first in a stomping "The Thrill Is Gone" and then in one of the most infectious tracks he or the Crusaders ever cut, "Better Not Look Down." It's a master class in economy, every guitar note landing squarely in Stix's pocket, Sample matching every brief lick with a funky comment on the electric piano, the King's command over the British audience complete. King also tries out the big Crusaders vocal hit "Street Life," but this time, guest singer Josie James has him beat -- and there are some evidently unplanned numbers for King and the Crusaders as encores. Elsewhere, guitarist David T. Walker is on-hand to provide economic, to-the-point commentary in his own style; James is also featured in an exuberant "Burnin' Up the Carnival." Apart from his reliable comping on electric piano. Sample also provides some elaborate elegance on solo acoustic piano on "Fly With Wings of Love," while tenor player Wilton Felder acts as the genial emcee. The original double-LP issue took in the second half of the programs in London -- about an hour of music, easily transferable to one CD -- and it's one of the band's most enjoyable albums of that period.

    Artist: Abdullah Ibrahim
    Album: Ekaya
    Label: Ekapa Records
    Year: Nov 17, 1983; release: 1983
    Genre: Jazz
    Format mp3, bitrate: 320 kb/s (vinyl rip)
    Time: 40:28
    Size: 93,2 Mb
    AMG Rating:

Pianist/composer Abdullah Ibrahim had one of his strongest groups for this studio date, a septet LP with altoist Carlos Ward, tenor saxophonist Ricky Ford, baritonist Charles Davis, trombonist Dick Griffin, bassist Cecil McBee, and drummer Ben Riley. It is always enlightening to hear Ibrahim's originals, of which there are six on this out of print LP, being performed by a medium-size band. There is a great deal of beauty to be heard in these rich melodies; if only this highly enjoyable and spiritual set would be reissued on CD. - Scott Yanow at All Music Guide

    Artist: Richie Beirach, Gregor Huebner & George Mraz
    Album: Round About Bartók
    Label: Act
    Year: ; release: 2003
    Genre: Jazz/Third Stream
    Format mp3, bitrate: 320 kb/s
    Time: 1:08:01
    Size: 158 Mb
    BH Rating:

"Beirach and Huebner join up with Czech master bassist George Mraz who was born in 1944 in Pisek, Czech Republic. George finished his classical contra-bass studies at the conservatory in Prague in 1966, and moved to the United States in 1968. A member of the Oscar Peterson Trio, the Thad Jones Trio, the Tommy Flanagan Trio, and other major groups, he soon became one of the major bassists on the American jazz scene. He has worked regularly with Richie Beirach since 1967. Their playing reflects an intimate compatibility which flows from the depths of shared times and talents. On Round About Bartók the three master musicians collaborated for the first time on the ACT label to transpose motifs from European classical and folk compositions into the improvisatory language of jazz. Such a project has its dangers. Ever since Gunther Schuller began experimenting in the late 1950's with what became known as "Third Stream" music by bringing improvising jazz musicians into orchestral settings, classical and jazz musicians have been attempting to integrate the two musics with only occasional success. Round About Bartók may be counted as one of those successes; the unique concomitant sensibilities of Beirach, Huebner and Mraz make for a creative process which transforms motifs from Bartók, Scrijabin, Kodaly and Porumbescus, Russian and Romanian folk songs, and a Richie Beirach original composition into moving vehicles for the expression of the trio's own passions and discoveries." `ACT Records

    Artist: Thelonious Monk
    Album: Four Classic Albums 2cd
    Label: Avid Jazz
    Year: ; release: 2008
    Genre: Piano Jazz
    Format mp3, bitrate: 320 kb/s
    Time: 2:29:22
    Size: 355 Mb (full covers)
    BH Rating:

AVID Jazz presents four classic Thelonious Monk albums on a finely re-mastered and low priced double CD. CD1 kicks off in fine style with `Thelonious Monk Plays The Music Of Duke Ellington' recorded in New Jersey way back in 1955. Here Monk takes on an entire album of Ellington standards foregoing any of his own classic compositions in homage to the great man! CD1 continues with the meeting of two jazz giants on the classic album `Thelonious Monk & Sonny Rollins' recorded a couple of years earlier between 1953-4. The guys nearly didn't make the session when their cab was rammed by a motorcycle, on the way to the studio........... fortunately for us they made the date! CD2 continues with classic Monk.....'Brilliant Corners' recorded in 1956 again with Sonny Rollins on tenor, joined by Oscar Pettiford on bass and Max Roach on drums We round off this superb value for money double CD with an album entitled simply `Thelonious Monk' where we find the great man with two trio formations. Firstly, recorded in October 1952 he is accompanied by Gary Mapp on bass and Art Blakey on drums and then later that year in December he is joined again by Mapp with Max Roach replacing Blakey. The final tracks on this album recorded in 1954 feature Percy Heath on bass while Blakey returns on drums.
All four albums have been digitally re-mastered for probably the finest sound quality ever! - Amazon.com

    Artist: Nina Simone
    Album: In Concert
    Label: Philips
    Year: Mar 21 - Apr 6, 1964; release: 1964
    Genre: Vocal Jazz
    Format mp3, bitrate: 256 kb/s vbr
    Time: 35:54
    Size: 69,1 Mb
    AMG Rating:

This is probably the most personal album that Simone issued during her stay on Philips in the mid-'60s. On most of her studio sessions, she worked with orchestration that either enhanced her material tastefully or smothered her, and she tackled an astonishingly wide range of material that, while admirably eclectic, made for uneven listening. Here, the singer and pianist is backed by a spare, jazzy quartet, and some of the songs rank among her most socially conscious declarations of African-American pride: "Old Jim Crow," "Pirate Jenny," "Go Limp," and, especially, "Mississippi Goddam" were some of the most forthright musical reflections of the Civil Rights movement to be found at the time. In a more traditional vein, she also reprises her hit "I Loves You, Porgy" and the jazz ballad "Don't Smoke in Bed." - Richie Unterberge at All Music Guide