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 Jazz 2 Rock
 jasapaal
Into the Rhythm
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1958: Kenny Burrell & John Coltrane |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Kenny Burrell & John Coltrane Album: Kenny Burrell & John Coltrane Label: Prestige/OJC Year: rec. March 7, 1958/rel.2006 Format: MP 3@ 320Kb/s + lossless format (flac, cue, log, scans ) Time: 37:30 Size: mp3 - 71.4 Mb; lossless - 259 MB AMG rating:  With lossless links from m-r hungaropitecus During his final months with Miles Davis' group, John Coltrane participated in a number of recording sessions for Prestige independently of Davis. This album is but one such recording. In 1958, when this recording was made, Coltrane may have been at his creative peak. During this period, his work began to transcend "bebop" and "cool," anticipating even more modern developments in jazz-changes that would affect a whole generation of musicians. On KENNY BURRELL WITH JOHN COLTRANE, we hear the two jazz masters creating time-honored renditions of tunes such as "Why Was I Born," a duet that highlights the musicians' ability to not only savor each note, but to take a rather plaintive composition and develop it organically. Burrell, Coltrane, and company swing "Freight Trane" with great authority, thanks to the drumming acumen of Jimmy Cobb. On this tune, Coltrane uses a variety of sudden flourishes and lyrical lines, while Burrell comps chords in simpatico. Most importantly, this album represents the one-time chemistry of Burrell and Coltrane. That alone makes this CD a must. |
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1957: Kenny Drew Quintet/Quartet - This Is New |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Kenny Drew Album: This Is New Label:Riverside Year: rec.April 3, 1957 Format: MP 3 @ 320 Kb/s Time: 42:00 Size: 99 MB Repost with a new link from mr. bultra Очень приятный альбом уже знакомого Всем пианиста Kenny Drew, с не менее звездным составом. Приятного прослушивания. Pianist Kenny Drew teams up with other young hard bop players on this CD reissue. Trumpeter Donald Byrd, tenor saxophonist Hank Mobley (who is on the first three tracks), bassist Wilbur Ware, and drummer G.T. Hogan perform four standards (including "It's You or No One" and "Why Do I Love You?") and selections by Drew, Byrd, and Sonny Rollins ("Paul's Pal"). Kenny Drew's recording career was quite consistent (none of his releases were throwaways) and this session should appeal to straight-ahead bop collectors.
~ Scott Yanow, All Music Guide |
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1959: Coleman Hawkins with Red Garland Trio - Swingville |
Music » Jazz » Mainstream |
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 Artists - Coleman Hawkins with Red Garland Trio Album - Swingville Label:OJC Year: Rec. 1959 Format/Bitrate - mp3, 320kb/s Size - 85 mb + Covers Repost with a new link from mr. peer57
Великолепная совместная работа гениальных музыкантов. Приятного прослушивания. One of Hawkins's better Prestige sessions (originally on its Swingville subsidiary) finds him fronting a then-modern rhythm section for a variety of basic originals, the ballad "I Want to Be Loved" and "It's a Blues World." The lengthy "Bean's Blues" is the highpoint of this generally relaxed session. ~ Scott Yanow, All Music Guide |
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1952: Lester Young With The Oscar Peterson Trio |
Music » Jazz |
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 Artist: Lester Young and Oscar Peterson Album: Lester Young With The Oscar Peterson Trio Year: rec.November, 28 1952/rel.1997 Label: Verve Master Edition Format: MP3 & FLAC Time:62:59 Size: 146.06MB / FLAC: 225.33MB Repost with new links from mr. belab Как и обещал, раритет и альбом из серии "настоящий шедевр", Lester Young with the Oscar Peterson Trio. Приятного прослушивания. |
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1969-71: Frank Sinatra - Sinatra & Company |
Music » Jazz » Latin » Bossa Nova |
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  Artist: Frank Sinatra Album: Sinatra & Company Label:Reprise records Year:rec. 1969-1971/ rel.2010 Format:MP3 @ 320 Kb/s Time:40:27 Size:92 Mb To my dear friend lex! Happy Birthday to you!
In 1969, Frank Sinatra recorded a second album with Antonio Carlos Jobim. For unknown reasons, Reprise decided not to release Sinatra-Jobim, but seven of the ten songs intended for the record did appear on the first side of 1971's Sinatra & Company. The selections from Sinatra-Jobim have a decidedly different flavor than the material on Francis Albert Sinatra and Antonio Carlos Jobim, largely due to the charts of arranger Eumir Deodato. Where Claus Ogerman's arrangements were quite subdued and understated, Deodato's charts are looser and more relaxed; consequently, the music is lighter, more immediate, and arguably more fun. Sinatra responds to the arrangements with more forceful singing than on the previous Jobim collaboration, but his phrasing is still more nuanced than even his soft pop/rock-oriented material. Nevertheless, that subtle phrasing carries over into the second side of Sinatra & Company, a collection of pop-oriented tracks. Although the music on the second half of the album is neither as adventerous or as compelling as that on the first, it is still highly entertaining. The seven songs were arranged by Don Costa, who keeps the material shiny and commercially oriented. In the case of "Close to You," "Leaving on a Jet Plane," "I Will Drink the Wine," "Bein' Green," and "Sunrise in the Morning," that isn't bad -- this is material that demands to be delivered in slick, polished arrangements. Under Costa's direction, these songs are given arrangements that feature both strings and gentle folk-rock underpinnings, particularly strummed acoustic guitars. Taken on its own terms, the second half of Sinatra & Company ranks as some of his best soft rock-influenced material of the late '60s, even if it doesn't sit comfortably with the excellent bossa nova that comprises the first side of the record. ~ by Stephen Thomas Erlewine, AMG.
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1964:Frank Sinatra, Count Basie and His Orchestra - It Might As Well Be Swing |
Music » Jazz » Swing |
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 Artist: Frank Sinatra, Count Basie and His Orchestra Album: It Might As Well Be Swing Label:Universal/Sony Year:rec.Jun 9, 1964-Jun 12, 1964/ rel.2010 Format:MP3 @ 320 Kb/s Time:27:23 Size: 59,4 Mb To my friends in JBC! Please enjoy. Frank Sinatra and Count Basie's second collaboration, It Might as Well Be Swing, was a more structured, swing-oriented set than Sinatra-Basie, and in many ways the superior album. The album consists of then-recently written songs, arranged as if they were swing numbers. The results work splendidly, not just because arranger/conductor Quincy Jones found the core of each of the songs, but because Basie and his band were flexible. Adding a string section to their core band, Basie plays a more standard swing than he did on Sinatra-Basie, but that doesn't mean It Might as Well Be Swing is devoid of jazz. Both Basie and Sinatra manage to play with the melodies and the beat, even though the album never loses sight of its purpose as a swing album. However, what makes It Might as Well Be Swing more successful is the consistently high level of the performances. On their previous collaboration, both Sinatra and Basie sounded a bit worn out, but throughout this record they play with energy and vigor. ~ by Stephen Thomas Erlewine, AMG |
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2003: Big Dave McLean - Blues From The Middle |
Blues, Modern electric blues, Harp |
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 Artist: Big Dave McLean Album: Blues From The Middle Label:Stony Plaine Records Year:rel.Sep 23, 2003 Format:MP3 @ 320 Kb/s Time:61:52 Size: 134.5 Mb To my friends in JBC! Please enjoy.
Big Dave McLean is finally getting his recognition, at an age when the rest of us are getting around to contemplating retirement. Only in the last decade or so has there been significant inroads into recording this definitive Canadian bluesman.
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1960: Tina Brooks - Back To The Tracks |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Tina Brooks Album: Back To The Tracks Label: Blue Note 21737 Year: rec. September 1, and October 20, 1960/rel.1998 Format: MP 3 @ 320 Kbps Time:38:39 Size:72 Mb Repost with a new link from mr. tom cat Последнее время основательно решил переслушать все то, что у меня есть в коллекции из моего любимого стиля - hard bop. И вспомнил про Tina Brooks. Вашему вниманию почти 5 звездочный по AMG (4 - 1/2) и очень приятный на "слух" альбом - Back To The Tracks. Все слушаем, состав такой великолепный, аж дух захватывает. Приятного прослушивания. Хорошей музыки должно быть много! |
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Reminder! Напоминание! |
Main page |
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Dear JBC members! I want to remind that accordance our Club rules, need to posting not less than 1 time per month. If I don't see new own posting from Club members, this members will be put down on one step and will be again the "registered user"! Sorry for this deal but rules, is rules! Thank you very much for your understanding!
Дорогие члены JBC! НАПОМИНАЕМ, что согласно правилам нашего Клуба, каждый его член должен выкладывать свои альбомы не реже, чем 1 раз в месяц! Если я не увижу новых альбомов от членов Клуба, то этот человек будет переведен на один шаг назад и станет опять только " зарегистрированным пользователем"! Извиняюсь за такие действия, но правила есть правила! Большое спасибо за Ваше понимание!
Члены Клуба, которые предлагают к публикации посты с использованием чужих ссылок будут удалены! Club members who offer to publish posts with external links will be deleted! |
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1956: Johnny Hodges and the Ellington All - stars without Duke - Duke's in Bed |
Music » Jazz » Swing |
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Artist: Johnny Hodges Album: Duke's In Bed Label:Verve/Universal Japan (24 bit remastered) Year: rel.1956/01.09 Format:MP3 @ 320 Kb/s Time:41:14 Size: 89 Mb Repost to my friends in JBC! Please enjoy, this is very rare album.
Пик творчества великого мастера и "необычного" солиста оркестра Дюка Эллингтона
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1939-47: Johnny Hodges - Who Struck John? |
Music » Jazz |
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Artist: Johnny Hodges Album: Who Struck John? Year: rec. 1939 - 47/rel.1999 Label: Definitive Records Format: MP3 @ 320 Kbps Time: 72:27 Size: 90.5 + 55.7 Mb REPOST to my friends in JBC! Please enjoy, links available for registered users also!
The rant in the previous review was off the mark. 1)This is great music; and 2)the major corporate labels have never been known to do a decent job with reissues, nor have they generally given the artists even a fraction of what they should get. Thanks to the European labels that keep great music available in hard/real copies that you can own. The major corporate labels are cutting the great recordings out, wanting you to download poor copies that have limited life...and have zero after purchase value. In just a few years, the European labels will be all there is...hope they survive!! Try to find this material elsewhere...often the European label reissues are far superior to the USA corporate reissues (eg. Armstrong's Hot Fives on JSP label compared with ANY Columbia/SONY reissue)
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The Jay McShann Trio - Hootie! (1997) |
Music » Jazz |
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Artist: Jay McShann Album: Hootie! Year: Rec.26,27,29 & 30 October, 1997/Rel. 2000 Label: CHIAROSCURO Records Format: MP 3@320Kb/s Time: 70:43 Size: 95.3+52.7 Mb AMG rating: REPOST!
Настоящий альбом записан на борту круизного морского лайнера. Где проводился очередной джазовый фестиваль SOS. В записи так, же участвовали звезды мировой величины: David 'Fathead' Newman, Flip Phillips и Phil Woods. Очень хороший альбом полюбившегося в нашем Клубе пианиста. Приятного прослушивания и приятного выходного дня. Самая лучшая музыка , только у нас в Клубе!
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1952-1957: Herbie Nichols Trio - Complete Studio Master Takes |
Music » Jazz » BeBop |
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 Artist: Herbie Nichols Album: Complete Studio Master Takes Label: Lone Hill Jazz, Spain Year:rec.Mar 6, 1952-Nov 10, 1957 / rel.2005 Format:MP3 @ 320 Kb/s; FLAC Time: 79:20, 66:48. Size: 163 Mb, 138 Mb. AMG rating:   REPOST with additional FLAC links from Mr.blbs1 In what appears to be the first Herbie Nichols compilation of its kind, Lone Hill Jazz presents each and every master take recorded by the Herbie Nichols Trio for both the Blue Note and Bethlehem labels between May 1955 and November 1957. Here Nichols acted in collaboration with bassists Al McKibbon, Teddy Kotick, and George Duvivier, and drummers Art Blakey, Max Roach, and Dannie Richmond; such percussive support was important because one very special aspect of Nichols' music is the manner in which the drummer often carries portions of the melodic line. All previous issues and reissues have maintained a separation along the lines of the original record labels, with most attention being focused upon the amazing Blue Note sessions while the Bethlehem material hovered around like a lesser-known sequel. With all the pieces of the puzzle assembled into one entity, a bigger picture emerges of this brilliant African-American composer and pianist struggling to get his music recorded during the Eisenhower Era, when the entertainment industry was mainly concerned with Elvis Presley, Pat Boone, and Patti Page. Herbie Nichols' original compositions are unique poetic manifestations comparable in many ways to the inventions of Thelonious Sphere Monk. The great surprise here is the appearance of three rare quartet tracks -- including a fine and noble piece of blues -- recorded in March 1952 with guitarist Danny Barker, bassist Chocolate Williams, and drummer Shadow Wilson. These bonus tracks form a stunning coda for this unprecedented portrait of the one, the only Herbie Nichols. ~ by arwulf arwulf, AMG.Гениальнейший боповый пианист, несправедливо забытый, альбом шикарнейший! Рекомендую! |
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1967: Sonny Stitt - Autumn In New York |
Music » Jazz » BeBop » Post-bop |
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 Artist: Sonny Stitt Album: Autumn In New York Year:rec.1962,October 18,1967 Label: 1201 Music Format: Mp3@320 Kb/s + (flac+cue+full can) Time: 47:20 Size:97 Mb, 308 Mb. Repost under requeste. Please enjoy!
Еще один альбом Sonny Stitt в Вашу коллекцию. Приятного прослушивания.
This Black Lion CD combines together four selections from a quintet session featuring altoist Sonny Stitt, trumpeter Howard McGhee, pianist Walter Bishop, bassist Tommy Potter and drummer Kenny Clarke (three boppish blues and a Stitt feature on "Lover Man") with four selections showcasing Stitt with unknown accompaniment from a 1962 date at Birdland. The saxophonist recorded so many sessions that it is not necesssary to acquire them all to get a good sampling of his playing (particularly since his style was virtually unchanged after the mid-'50s), but the CD has its heated moments. ~ Scott Yanow, All Music Guide |
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1980: Eddie Higgins Trio - Sweet Lorraine |
Music » Jazz » Mainstream |
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 Artist: Eddie Higgins Trio Album: Sweet Lorraine Label: EMI Music Distribution, Japan Year: rec.1980 / rel.2004 Format: MP3 @ 320 Kb/s + (flac, cue, covers) Time: 43:59 Size: 94 Mb, 224 Mb To my friends in JBC! Please enjoy, have a nice listening!
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1998: Galliano, Portal - Blow Up |
Music » Jazz » BeBop » Post-bop |
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 Artist: Richard Galliano, Portal Album: Blow Up Label:Dreyfus Records Year:rec.May 18, 1996,May 19, 1996 / rel.Apr 21, 1998 Format:MP3 @ 320 Kb/s Time:53:02 Size: 116 Mb AMG rating:  To my friends in JBC! Please enjoy.
The unique textures created by this duo, combining Galliano's masterful accordion with Portal's moody reeds, makes for a fascinating journey. Brilliant original works are interspersed with gems by Astor Piazzola and Hermeto Pascoal, making the rich tradition of accordion jazz that much richer. The crisp, 20-bit mastering rounds out the package as a delightful listening experience.~ by Tim Sheridan, AMG.
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1958: Tito Puente And Woody Herman - Blue Gardenia |
Music » Jazz » Latin » Latin Big Band |
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 Artist: Tito Puente And Woody Herman Album: Blue Gardenia Label: Laserlight Year: rec.Sep 1958-Dec 26, 1958 / rel.Jan 1, 1999 Format: MP3 @ 320 Kb/s Time: 41:24 Size: 89 Mb To my friends in JBC! Please enjoy.
Woody played clarinet and alto sax and was the leader. His 1958 "Herman's Herd" averaged 16-18 members. These selections were all recorded between Aug. lst and Dec. 26th of that year. I think I owned this on vinyl in '59 under the title "Tito Meets Woody" and I think it was on the Everest label. This CD reissue is a great deal of fun. In addition to Puente's Latin percussion and Herman's horn, Nat Adderly does some trumpeting, Charlie Byrd plays guitar a little, and Bob Brookmeyer can be heard on trombone. The other band members have less public recognition, but hey, nobody plays badly for a Herman band. The "Herd" could easily have been doing these tunes in the early 40's, in the glory days of big bands instead of the waning years. Tito brought the 50's fad of Cuban-style drumming into the mix, and the result is a total victory. You can probably get this at a good price used here in 2003, and if you like swing, jazz, percussion or big groups, this is for you. Not only does it make you feel like dancing, these sounds can lure you into thinking you actually can dance well. This is 41 minutes of joy.
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1957: Mundell Lowe - A Grand Night For Swinging |
Music » Jazz » BeBop » Cool |
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 Artist: Mundell Lowe Album: A Grand Night For Swinging Label: Riverside/OJC, Limited Edition Year:rec.Mar 7, 1957,Apr 10, 1957 / rel.2001 Format:MP3 @ 320 Kb/s Time:38:00 Size: 84:00 AMG rating:  To my friends in JBC! Please enjoy.
At one time a listener could place a CD like guitarist Mundell Lowe's A Grand Night for Swinging in the disc player and immediately date it to the 1950s. But the revival of many older styles by younger musicians like guitarist Howard Alden in the '80s and '90s has led to an overlapping of styles. This may make it difficult to match an album to a particular date, but it does help to make older styles more familiar and, thus, accessible. A Grand Night for Swinging is a nice set, featuring Lowe and a good supporting cast including pianist Billy Taylor, bassist Les Grinage, drummer Ed Thigpen, and, on three cuts, alto saxophonist Gene Quill. Known for his cooler tone and lighter touch at the time, Lowe had decided to record an album that proved he could swing a little harder. The set kicks off with the upbeat title track, a Taylor original, that finds Lowe bopping along with clean flowing lines, similar to Barney Kessel. The up-tempo pieces, like "Love Me or Leave Me" and "Crazy Rhythm," work best, pushing the band into fervent workouts. The addition of Quill on several selections adds depth and drive to cuts like "Blues Before Freud," creating something akin to Kenny Burrell's early-'60s work. That this recording should be re-released soon after 2000's Mundell's Mood is fitting; it's a reminder of a distinguished bop/cool tone guitarist who has recorded a number of fine albums since the 1950s. A Grand Night for Swinging will be a real treat for fans unfamiliar with Lowe's earlier work, and a satisfying selection for fans of good jazz guitar. ~ by Ronnie D. Lankford, Jr., AMG.
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1995: Al Grey - Centerpiece: Live At The Blue Note |
Mainstream, BeBop |
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 Artist: Al Grey Album: Centerpiece: Live At The Blue Note Label: Telarc Jazz Year: rec.Mar 23, 1995-Mar 26, 1995 / rel.1995 Format: MP3 @ 320 Kb/s Time: 59:17 Size: 128 Mb To my friends in JBC and personality to Mr. ninikoo! Please enjoy.
Basie-style blues and swing are the foundation of this amiable live set from 1995. This is no surprise, given Al Grey's and Harry "Sweets" Edison's work with the Count -- Grey most notably from 1957-1961 and Edison from 1938-1950. From that base, though, the two take divergent paths here. Renowned though he is for his brassy bravado and skill with the plunger mute, Grey seems too firmly planted in an earlier era, so much so that his playing can come across as nostalgic routines. It is actually elder statesman Edison (at 79, Grey's senior by almost a decade), who -- still working within the swing ethic -- creates some fresh sparks. His warm and slippery tone, technical finesse, and improvisational skills yield a choice handful of timeless statements. Rounding out the front line, Jerome Richardson plays well but his tenor saxophone sounds thin in the mix (Richardson is the only one who gets this treatment; otherwise the sound is quite good). In the rhythm section, pianist Junior Mance, working from a more boppish perspective, injects some drive and harmonic spice into the performances. Bassist Ben Brown and drummer Bobby Durham slug away in classic style and also get in a couple of credible solos each. Most of the music follows a predictable course, with some noteworthy exceptions. These include an energetic romp on "Lester Leaps In"; Barry Harris' "Nascimento," a bossa nova with a welcome flute solo from Richardson; and Edison's title track, a song popularized in versions by Lambert, Hendricks & Ross and, later, by Joni Mitchell. ~ by Jim Todd, AMG.
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2006: Bill Harris - Complete Fifties Sessions |
Swing, BeBop |
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 Artist: Bill Harris Album: Complete Fifties Sessions Label:Lone Hill Jazz, Spain (LHJ10252) Year: rec.1946,1952,1957/rel.July 10, 2006 Format: MP3 @ 320 Kb/s Time: 61:10, 61:39 Size: 123, 122 Mb. To my friends in JBC and personality to Mr. lex! Please enjoy this is very nice album.
Bill Harris was one of the few modern trombonists of the 1945-1960 era who was not influenced by J.J. Johnson. A very distinctive player almost from the start with a strong and highly original wit, Harris became a professional musician in 1938, and toured with the big bands of Gene Krupa, Ray McKinley, and Bob Chester. After playing with Benny Goodman (1943-1944) and Charlie Barnet, and guesting on a couple of Eddie Condon's Town Hall concerts, Harris became famous for his work with Woody Herman's First Herd (1944-1946); "Bijou" was a showcase, and the trombonist is heard at his best on Herman's many up-tempo (and often riotous) performances. One of the few First Herd members to also be in the Four Brothers Second Herd (1948-1950), Harris also re-joined Herman a few times during 1956-1959. He co-led a band with Charlie Ventura (1947), teamed up with Chubby Jackson (1953), and was a star with Jazz at the Philharmonic during 1950-1954. During the second half of the 1950s, Harris often collaborated with Flip Phillips, and their band formed the nucleus of Benny Goodman's group in 1959. He mostly retired to Florida, in the 1960s after a spell in Las Vegas, occasionally leading his own groups and playing with Red Norvo. Bill Harris led dates during 1945-1957 for Mercury, EmArcy, Dial, Capitol, Verve, Fantasy, and Mode, usually featuring alumni from the Woody Herman Orchestra. ~ Scott Yanow, All Music Guide.
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