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Jazz Blues Club » Users » Frasco
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1974: Marian McPartland & Others: Concert in Argentina Music » Jazz » Mainstream
1974: Marian McPartland & Others: Concert in ArgentinaArtists: Marian McPartland, Teddy Wilson, Ellis Larkins, Earl Hines
Album: Concert in Argentina
Label: The Jazz Alliance TJA 10008 (CD)
Year: 1974; release: 1992
Format: Lossless
Time: 66:36
Size: aprox. 288 MB
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This Buenos Aires concert, originally released as a two-LP set, features four different but complementary pianists in solo performances: Marian McPartland, Teddy Wilson, Ellis Larkins and Earl Hines. McPartland shows off her versatility on a Duke Ellington medley, Wilson swings impeccably, Larkins is typically subtle on his ballads and Hines is the most reckless (and exciting) improviser. ~ Scott Yanow, All Music Guide
1999: Joao Gilberto and Caetano Veloso Live in Buenos Aires Music » Jazz » Latin » Bossa Nova
1999: Joao Gilberto and Caetano Veloso Live in Buenos AiresArtist: Joao Gilberto, Caetano Veloso
Album: Joao Gilberto and Caetano Veloso Live in Buenos Aires 2CD
Year: 1999
Format, bitrate: mp3, 320 Kbps
Time: 46 min
Size: 192,3 MB; 162 NB
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I travelled 300 km to hear this concert. That evening Joao Gilberto was particularly communicative and joyful - he's usually modest and shy.
Perhaps he was conscious of the homage the argentine public, so fond of brazilian music, and Caetano Veloso himself, were paying to him.
That's the reason why I preferred to keep some of the many speeches the great master delivered that night: before "Farolito", which was a request, he excuses telling the audience that it's been 30 years he played it, and maybe he forgot the song.... and then he plays it superbly.
Later, on track 7, he introduces Caetano Veloso who then plays "S Joao":
"no one can sing and play like Joao".
Finally we can hear the two great masters playing their guitars and singing together in the last two songs, closing a truly unforgettable evening.

This record is a complement to the CD "Joao Gilberto and Caetano Veloso ao vivo em Buenos Aires" - none of these tracks are present on that record
1963: Bud Powell in Paris Music » Jazz » BeBop
1963: Bud Powell in Paris
Artist: Bud Powell
Album: Bud Powell in Paris
Label: Warner 9362-45817-2
Year: 1963
Release: 1995 (CD)
Genre: Jazz
Format: FLAC + full graphics
Time: 49:30
Size: 180+140 MB
AMG rating 1963: Bud Powell in Paris

REPOST with add. FLAC-links from Mr.cvllos


Considering how late it was in his career, Bud Powell was in surprisingly good spirits at this live session with bassist Gilbert Rovere and drummer Kansas Fields. The innovative pianist stretches out on nine bop standards including two he had written ("Reets and I" and "Parisian Thoroughfare"); in addition there are previously unreleased versions of "Indiana" and "B-Flat Blues." Far superior to most of his 1955-1958 sessions, this was one of Powell's best late-period recordings; he is in near-prime form throughout. ~ Scott Yanow, All Music Guide

Nina Simone - Private Collection Music » Jazz
Nina Simone - Private Collection Artist: Nina Simone
Album: Private Collection
Label: Pilz 448241-2
Year: 1975
Release: 1993
Format: mp3@200 kbps VBR
Time: 66 min
Size: 95 MB





Unique talents appear all too infrequently. Nina Simone is such a talent. Her exceptional song writing abilities and vocal style made her stand apart from others. Nina Simone's string of hits "I put a spell on you", "Ain't got no-I got a life", "Do what you gotta do", "My baby just cares for me", etc, all became evergreen classics.
Thelonious Monk, Vol. 2 : Epistrophy Music » Jazz » BeBop » Post-bop
Thelonious Monk, Vol. 2 : EpistrophyArtist: Thelonious Monk
Album: Thelonious Monk, Vol. 2: Epistrophy
Label: A Jazz Hour With JHR 73546
Year: 1961/1964
Release: 1990
Format, bitrate: mp3@320 kbps
Time: 62:41
Size: 150 MB

A collection of live concert recordings from 1963-1964, this is Monk's excellent quartet shining brightly. Tenor saxophonist Charlie Rouse in particular is playing at a very high level, and Monk is inspired, playing a handful of his compositions and standards in extended form. The sound is as good as it gets. Highly recommended.
~ Michael G. Nastos AMG
Thelonious Monk - Blue Monk Music » Jazz
Thelonious Monk - Blue Monk Artist: Thelonious Monk
Album: Blue Monk
Label: A Jazz Hour With JHR 73501
Year: 1961 - 1965
Release: 1989
Format, bitrate: mp3@320 kbps
Time: 64:40
Size: 147 MB

We are not quite sure about the date and place where this music was played.
We even doubt of the musicians. Effectively it is Thelonious, and Charlie Rouse at the sax. But the bass and drums? They could be:
John Ore and Frankie Dunlop, or
Butch Warren and Frankie Dunlop, or
Butch Warren and Ben Riley, or
Larry Gales and Ben Riley.
It was recorded in Europe at some big concert hall like the Koncerthuset in Stockholm, or the Olympia in Paris. (There's one comment at the blogosphere claiming the record was made in California, but no, nyet, nichevo) The date could extend between 1961 and 1965. The only reasonably sure thing is the excelent quality of the music!
And if you behave yourselves, dear drugi, next week you'll get Vol. 2.
Enrique "Mono" Villegas - Encuentro Music » Jazz » Mainstream
Enrique "Mono" Villegas - EncuentroArtist: Enrique "Mono" Villegas
Album: Encuentro
Label: Random RR742
Year: 1968
Release: 2000
Format, bitrate: mp3@256 kbps
Time: 41 m
Size: 77 MB



In september '68 Duke Ellington and his band visited Buenos Aires. The local jazz pianist Horacio "Mono" Villegas invited Duke's trumpetist Willie Cook and tenorman Paul Gonsalves to a reunion in a recording studio. They have never met before, there they joined a bassist and a drummer and in a very spontaneous way they produced what later was edited under the name of "Encounter".
Paul Desmond Quartet & Don Elliott Music » Jazz » BeBop » Cool
Paul Desmond Quartet & Don ElliottArtist: Paul Desmond, Don Elliott
Album: Paul Desmond featuring Don Elliott (with bonus track)
Label: Fantasy 3235/OJC-119
Year: 1956
Format, bitrate: mp3@320 kbps
Time: 42 min
Size: 96 MB

This post can be seen as a complement to "Paul Desmond Quintet/Quartet":

Desmond takes an emphatic step forward as a stylist here, even while giving featured co-billing to his brass sideman Don Elliott. Again, he chooses to omit the piano so as not to compete with his Brubeck recordings (Brubeck and Desmond had an informal agreement to that effect), and his musical imagination here doesn't really require a piano's harmonic support anyway. Desmond sounds much more confident and witty than at any time on his debut LP (1954), knocking out a really great solo on his own "Jazzabelle" for starters, bowing to no outside style ogres. Desmond's other composition "Sacre Blues" is a clever takeoff from the first few notes of Stravinsky's "The Rite of Spring," with a walking bass counting off the beat; and the normally self-effacing saxophonist even goes way up high for one of the few times in his solo career. Elliott, who bailed out of jazz later to find success writing music for commercials, is a fine swinging player on trumpet and mellophone (moonlighting liner annotator Mort Sahl indicates four instruments but doesn't identify them), and Elliott and Desmond exchange many fine contrapuntal ideas. Norm (Bob) Bates is on bass and "Joe Chevrolet" (Joe Dodge, of course) clicks swingingly on drums. This session can also be heard on the Quintet/Quartet CD.
~ Richard S. Ginell, AMG
Gil Evans & the Monday Night Orchestra - Live at Sweet Basil Vol. 2 Music » Jazz » BeBop » Third Stream
Gil Evans & the Monday Night Orchestra - Live at Sweet Basil Vol. 2Artist: Gil Evans
Album: Gil Evans & the Monday Night Orchestra - Live at Sweet Basil Vol. 2
Label: Evidence
Year: 1984
Release: 1992
Format, bitrate: mp3@320 kbps
Time: 75 min
Size: 177 MB


The second volume recorded at Sweet Basil's by Gil Evans' Monday Night Orchestra puts more emphasis on his originals, with rollicking versions of "Jelly Roll" and "Snowflake Bop." The Hendrix outing this time is "Stone Free," and it is almost as relentless in its pace, solos, and arrangement as the previous disc's "Voodoo Chile." Howard Johnson again provides fabulous contributions on the bottom with rumbling tuba, mellow baritone sax, and effective bass clarinet. Trumpeter Marvin Peterson, tenor saxophonist George Adams, and Chris Hunter on alto sax are the top soloists. Evans concludes the discs with a poignant version of Charles Mingus' "Goodbye Pork Pie Hat," capturing the leader's intent to commemorate while also putting an '80s spin on the arrangement.
~ Ron Wynn, All Music Guide
Bud Powell - Autumn Sessions Music » Jazz » BeBop
Bud Powell - Autumn SessionsArtist: Bud Powell
Album: Autumn Sessions
Label: Magic Music 30007-CD
Year: 1953
Format, bitrate: mp3@320 kb/s
Time: 45:30
Size: 99 MB (+ full [but scarce] original art)
AMG Rating: Bud Powell - Autumn Sessions

These tracks come from three radio broadcasts; the second of which erraneously is dated sept 19, '53 on the CD when it was really the 9 sept. The first of these dates plays bassist George Duvivier, the others Curly Russell and the whole three are with drummer Art Taylor.

Says Gary Giddins in his excellent book "Visions of Jazz":
"The reason we read more deeply into Powell than into many of his contemporaries may be quite simple: no other pianist, and precious few musicians in any age, speak to us with such electrifying urgency. One paradox of Powell's career is that he influenced virtually every pianist who followed him, yet none fully captures his immediacy, emotional power, and vulnerability. He was our Schubert and Liszt rolled into one, perhaps the only jazz musician who could impart the stately melancholy of the former's Sonata in B flat and the demoniacal exhilaration of the latter's Sonata in B Minor.
For me, he remains the central figure in the holy hexagram of jazz piano- Hines, Wilson, Tatum, Powell, Monk, Taylor- but I can also imagine a day when a great interpreter will program transcriptions of Powell's masterpieces alongside those of the ninteenth-century icons, at which time Powell will be recognized as one of the most formidable creators of piano music in any time or idiom
."
Gil Evans - Bud and Bird - Live at the Sweet Basil Music » Jazz » BeBop » Third Stream
Gil Evans - Bud and Bird - Live at the Sweet BasilArtist: Gil Evans
Album: Bud and Bird - Live at the Sweet Basil
Label: Evidence
Year: 1986
Release: 1992
Format, bitrate: mp3@320 kb/s
Time: 66:30
Size: 156 MB (+ full original art)

This CD (plus In Memoriam, another Projazz set taken from the same sessions) contains the last recordings of arranger/pianist Gil Evans with his regular orchestra, other than a set backing rock singer Sting. As was typical for Evans's later-period work, he is content to play quietly while letting his ensemble run somewhat wild. The four pieces, which include the umpteenth remake of Jimi Hendrix's "Little Wing," are all overly long but not without interest; sidemen include trumpeter Lew Soloff, trombonist Dave Bargeron, John Clark on French horn, altoist Chris Hunter, Bill Evans on tenor and soprano, baritone saxophonist Hamiet Bluiett, guitarist Hiram Bullock and both Peter Levin and Gil Goldstein on synthesizers, while flugelhornist Johnny Coles is a welcome guest. Fans of Gil Evans's 1950s work may not much care for his 1980s electronic band, but this set is fairly coherent and has its exciting moments.
~ Scott Yanow, AMG
The Modern Jazz Piano Album Music » Jazz
The Modern Jazz Piano AlbumArtist: VA
Album: The Modern Jazz Piano Album
Label: Savoy
Year: 1946 - 1956
Release: 1986
Format, bitrate: mp3@320 kb/s
Time: 70 min
Size: 160 MB (+ full original art + 14 pages booklet)
AMG Rating: The Modern Jazz Piano Album

Bought in 1986, this is one of my first CDs - in fact, the second. It's full of tiny gems and well stuffed with generous liner notes.

"Reviewing these pianists chequered histories we can be sure on at least one point - they all created jazz that reflected their era and themselves. This is one of the most remarkable piano anthologies ever compiled and essential listening for anyone professing an interest in post-war piano developments. Our title is not a whimsical label for this truly is The Modern Jazz piano Album " Mark Gardner
Liner notes
Charles Mingus - Mingus Oh Yeah Music » Jazz » BeBop » Post-bop
Charles Mingus - Mingus Oh YeahArtist: Charles Mingus
Album: Mingus Oh Yeah
Label: Atlantic 790 667-2
Year: 1961
Release: 1987
Format, bitrate: mp3, 320 kb/s
Time: 68:36
Size: 160 MB + full original art
AMG Rating: Charles Mingus - Mingus Oh Yeah


After several sessions with Columbia and Candid, Charles Mingus briefly returned to Atlantic and cut the freewheeling Oh Yeah, which has to rank as the wildest of all his classic albums. Mingus plays no bass whatsoever, hiring Doug Watkins to fill in while he accompanies the group on piano and contributes bluesy vocals to several tracks (while shouting encouragement on nearly all of them). Mingus had always had a bizarre sense of humor, as expressed in some of his song titles and arranging devices, but Oh Yeah often gets downright warped. That's partly because Mingus is freed up to vocalize more often, but it's also due to the presence of mad genius Roland Kirk. His chemistry with Mingus is fantastically explosive, which makes sense -- both were encyclopedias of jazz tradition, but given over to oddball modernist experimentation. It's a shame Kirk only spent three months with the band, because his solo interpretations are such symbiotic reflections of Mingus' intent as a composer. Look no further than "Hog Callin' Blues," a stomping "Haitian Fight Song" descendant where Kirk honks and roars the blues like a man possessed. Mingus' vocal selections radiate the same dementia, whether it's the stream-of-consciousness blues couplets on "Devil Woman," the dark-humored modern-day spiritual "Oh Lord Don't Let Them Drop That Atomic Bomb on Me," or the dadaist stride piano bounce of "Eat That Chicken," a nod to Fats Waller's comic novelties. Elsewhere, "Passions of a Man" sounds almost like musique concrte, while "Wham Bam Thank You Ma'am" nicks some Monk angularity and "Ecclusiastics" adds some testifying shouts and a chorale-like theme to Mingus' gospel-jazz hybrid. Oh Yeah is probably the most offbeat Mingus album ever, and that's what makes it so vital. [The deluxe CD reissue adds three bonus tracks from the session, first released on Tonight at Noon.]
~ Steve Huey, AMG
Miles Davis - Relaxin' with the Miles Davis Quintet Music » Jazz » BeBop » Post-bop
Miles Davis - Relaxin' with the Miles Davis QuintetArtist: Miles Davis
Album: Relaxin' with the Miles Davis Quintet
Label: Prestige P-7129 OJCCD-190-2
Year: 1956
Release: 1987
Format, bitrate: mp3, 320 kb/s
Time: 36 min
Size: 82 MB + full original art
Miles Davis - Relaxin' with the Miles Davis QuintetMiles Davis - Relaxin' with the Miles Davis Quintet

Relaxin' features the Miles Davis Quintet in a pair of legendary recording dates — from May and October of 1956 — which would generate enough music to produce four separate long-players: Cookin', elaxin', Workin', and Steamin'. Each of these is considered not only to be among the pinnacle of Davis' work, but of the entire bop subgenre as well. As with the other titles, Relaxin' contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet — who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) — to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" — from the play Guys and Dolls — includes some remarkable soloing via Coltrane and Garland. Davis' solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin' offers something for every degree of jazz enthusiast. Likewise, the quintet's recordings provide a tremendous introduction for the curious jazz consumer.
~ Lindsay Planer, AMG
Miles Davis - Walkin' Music » Jazz » BeBop » Cool
Miles Davis - Walkin'Artist: Miles Davis
Album: Walkin'
Label: Prestige P 7076/ OJCCD-213-2
Year:1954
Release: 1987
Format: FLAC+full original art
Time: 38 min
Size: 186 MB
AMG Rating: Miles Davis - Walkin'

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music — as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson — who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort.
~ Lindsay Planer, AMG
Charles Mingus - Charles Mingus in Buenos Aires Music » Jazz
Charles Mingus - Charles Mingus in Buenos Aires Artist: Charles Mingus
Album: Charles Mingus in Buenos Aires
Year: 1977
Format: mp3, 320 kb/s
Time: 46 min
Size: 100 MB

Mingus' "Three or four shades of Blues" album (1977) represented an attempt to broaden his appeal to the younger rock-loving generations by using guitars (Catherine, Coryell, Scofield) and young white musicians associated with pop-jazz fusion, summing up a band of ten.
When Mingus first heard the tapes, he was contemptuous and sent a scathing telegram to his producer, accusing the label of making him look ridiculous.
But when that record outsold all his others, he changed his mind....
In the present CD - recorded just three months later - the band is a mere quintette, retaining the same jazz musicians, the music pure distilled Mingus.
1979-1988: Chet Baker in Europe Cool, Baker Chet
1979-1988: Chet Baker in EuropeArtist: Chet Baker
Album: Chet Baker in Europe
Label: Nieswand Verlag b&w bwcd 001
Year: 1979 - 1988
Release: 1993
Format, bitrate: mp3, 320 kbps
Time: 54:24
Size: 123 MB

From 1975 until his death in 1988 Chet Baker chose to live in Europe, traveling ceaselessly from one corner of the continent to another, often driving by himself his sport car, his life in a suitcase.
In 1977 he recorded the classic "You can't go home again". What did it mean to Chet? "My desire is no too strong to go back (to the U.S.A.). Oklahoma is really a cultural waste land, and most of the states around it. People are listening to the most terrible kind of music in the world, hillbilly and rockabilly and all that crap. For a good time, to have to go out on the weekend and drink beer and have a fist fight is not my idea.... it's the rifle on the pick-up back window mentality..."
Joao Gilberto and Caetano Veloso Live in Buenos Aires Vol.2 Music » Jazz » Latin » Bossa Nova
Joao Gilberto and Caetano Veloso Live in Buenos Aires Vol.2Artists: Joao Gilberto, Caetano Veloso
Album: Joao Gilberto and Caetano Veloso Live in Buenos Aires, Vol. 2
Year: 1999
Format, bitrate: mp3, 320
Time: 66 min
Size: 130 MB



A most delightful evening with two masters of the Brazilian music... for more details refer to Vol. 1.
Diana Krall Live in Buenos Aires Jazz, Vocal Jazz
Diana Krall Live in Buenos AiresArtist: Diana Krall
Album: Diana Krall Live in Buenos Aires
Year: 2000
Format, bitrate: mp3, 320 kB/s
Time: 70:35
Size: 162 MB (with cover+back)

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Two years before her first commercialy edited live album, Live in Paris, and after a stormy tango night until five o'clock in the morning (as she confesses here) Diana swings fresh as a rose...
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