Artist: Grencsó Kollektíva Plusz
     Album: Seven Songs to the Last Mohicans
     Format: FLAC & mp3 (320k/s)
     Size: 266 & 112 MB (scans)
     Label: Bahia
     Total time: 46:02

     Artist: Paul Horn
     Album: Africa
     Format: FLAC & mp3 (320k/s)
     Size: 265 & 106 MB (scans)
     Label: Kuckuck (1994)
     Total time: 45:54
     Genre: jazz, world fusion, african

     West African tradition is upheld in Paul Horn's Africa. Horn delicately adds color to the texture of the original compositions by Guinean musician Sekou Camara Cobra. The music falls squarely within the realm of griots--hereditary West African storytellers and minstrels. The jazzy overtones of Horn's flute and saxophone blend well with the syncopated rhythms of Sekou's percussion and guitar work. The songs are sung in the traditional languages of Malinke and Susa. ~ MusD, AMG

     Artist: Woody Shaw
     Album: Little Red's Fantasy
     Label: 32 Jazz
     Year: 1976, release: 1999
     Format: FLAC & mp3 (320k/s)
     Size: 269 & 92 MB (scans)
     Total time: 39:02

     Woody Shaw was one of the great trumpeters of the 1970s. Although his sound was influenced by Freddie Hubbard, Shaw's more advanced improvisations on his modal originals were quite original and fiery. This Muse set has three of his compositions (including "In Case You Haven't Heard") and a song apiece from pianist Ronnie Mathews and bassist Stafford James; altoist Frank Strozier and drummer Eddie Moore complete the quintet. The varied originals give the musicians strong foundations for their freewheeling and spontaneous solos, making this one of Woody Shaw's better recordings. ~ Scott Yanow, AMG

     Artist: Freddie Hubbard
     Album: The Black Angel
     Format: Ape & mp3@320Kbps
     Size: 279 MB & 127 MB (scans)
     Label: Atlantic (1999)
     Total playing: 45:35



     Freddie Hubbard released The Black Angel in the same year as the landmark Miles Davis album Bitches Brew. Its obvious Hubbard wanted to appeal to the emerging crossover rock/jazz crowd of the era. The presence of bop, however, still permeated Hubbard's playing, unlike Miles who had long since dropped the form. The opening Hubbard composition "Spacetrack" contains fiery avant garde interplay between Hubbard, James Spaulding on alto and Kenny Barron's electric piano. Thanks to Spaulding and bassist Reggie Workman, much of the playing here maintains intensity. The other Hubbard penned originals, "Gittin Down" is an urgent hard swinging boogaloo and the ballad "Eclipse" features Spaulding on flute and Barron on piano. "Coral Keys" written by Walter Bishop, Jr. and Barron's "Black Angel have a Latin tinge highlighted by Spaulding's soaring flute and the congas of Carlos "Patato" Valdes. An enjoyable session leaving the impression Hubbard was preparing to take a different musical direction. - by Al Campbell, AMG

     Artist: Larry Coryell
     Album: Lady Coryell
     Format: Flac & mp3 (320k/s)
     Size: 233 & 92 MB (scans)
     Label: Vanguard
     Total time: 39:29
     Genre: fusion, jazzrock

     On Lady Coryell, the 25-year-old Larry Coryell already possessed a virtuoso's technique and a rich harmonic and melodic imagination. He uses these gifts here to build swirling, multi-tracked, oftentimes intensely psychedelic performances that range seamlessly across the jazz and rock landscape. The most important tracks are "Treats Style" and "Stiff Neck." On the former, the guitarist is teamed with jazz masters Jimmy Garrison (bass) and Elvin Jones (drums) in a power trio of cool swagger and screaming blues. "Stiff Neck"is a furious duet between Jones and the guitarist. Coryell begins in a driving, post-bop vein, segues to a raw, acid blues and then out into a splintered, barrage of power chords and feedback.Jones navigates the way ahead, countering Coryell's audacity with controlled fury and an assured, muscular pulse. On the rest of the session, Bob Moses, a bandmate from the guitarist's first recordings, takes the drum chair, while Coryell overdubs the bass parts. Together they calmly probe the shifting sections and layers of the title track before transforming a Junior Walker R&B shuffle, "Cleo's Mood," into a mind-bending, rave-up. Even Coryell's hoarse-throated singing is effective. On "Sunday Telephone," -- over a maelstrom of phased, fuzzed, and wah-wahed guitars -- he yowls dementedly, "One more dime operator, can't you see it's Dr. Strange on the line." The album's only lapse is the country corn of "Love Child Is Coming Home," where Coryell tries to transcend one genre too many. ~ Jim Todd, AMG

          Artist: John Hammond
          Album: So Many Roads
          Year: 1965
          Quality: mp3@320Kbps
          Size: 86MB (covers) +240 Mb (flac)
          Label: Vanguard
          Total time: 38:33

     Artist: Ali Akbar Khan
     Album: Garden of Dreams
     Genre:Indian Folk, Indian Classical, Raga
     Format: FLAC & mp3 (320k/s)
     Size: 315 & 108 Mb (scans)
     Label: Triloka
     Total time: 64:37


     Maestro Ali Akbar Khan and a thirteen-piece East/West orchestra follow up his critically acclaimed Journey, performing classical ragas and Rajasthani folk songs. Combining sarod with Western classical instruments such as the cello, violin, bassoon and oboe, Khansahb brilliantly merges Eastern and Western musical traditions to produce an album of astounding beauty. The title song, "Garden of Dreams," explores memories of paradise and is an original raga composed by Khansahb. "Dhani," with guest artist Zakir Hussain, features a wind section of oboe, bassoon and native Australian didgeridoo. Also featured (and produced by) Jai Uttal. ~ MusD, All Music Guide

     Artist: Willie Bobo
     Album: Juicy
     Format: Flac & mp3 (320k/s)
     Size: 315 & 108 MB (scans)
     Label: Verve (1998)
     Total time: 37:03

     Willie Bobo's music is triangulated between Latin jazz (Mongo Santamaria's division; the percussionist first gained notice in Santamaria's band), what by the mid-'60s had come to be called soul-jazz, and good old-fashioned lounge-act kitsch. None of the three influences overwhelms the others on 1967's Juicy, although from the lubricious title and cover photo on down, there's a certain "swingin' at Hef's pad" vibe to the proceedings that makes this album of particular interest to latter-day hipsters. Most of the song selection consists of soul-jazz covers of popular hits of the day, from a funky take on Eddie Floyd's "Knock on Wood" to a bossa nova-fied version of Bob Crewe's "Music to Watch Girls By," but the real standouts are the small handful of band originals, particularly the fiery groove of the title track, on which Bobo's timbales get their hardest workout. The 1998 CD reissue includes a full half-dozen extras, mostly less-than-revelatory alternate takes and leftovers, but the restored full-length version of the swell "La Descarga del Bobo" is a nice touch. ~ Stewart Mason, AMG

     Artist: Azymuth
     Album: Crazy Rhythm
     Format: Flac & mp3 (320k/s)
     Size: 260 & 96 MB (scans)
     Label: Milestone
     Total time: 40:39


     With Crazy Rhythm, Azymuth may well have recorded its best album ever by rejecting gimmickry and focusing on what it does best -- sensuous, understated yet rhythmically exciting Brazilian jazz/pop/R&B. Brazilian artists have often been quite adept at creating music that has light and delicate qualities, but never degenerates into "elevator muzak." Like the bossa nova of the '60s, Crazy Rhythm is "easy listening" music with a difference -- some of it was soft enough for airplay on "quiet storm" and "smooth jazz" radio, but nothing on this CD comes across as contrived or calculated. Jose Roberto Bertrami delivers one of the finest solos of his career on the beautiful and enchanting "Diza," and special guest Joe Pass (guitar) is in fine form on "Tropical Horizon" and "Hobalala." ~ Alex Henderson, AMG

     Artist: Mose Allison
     Album: M. A. Sings the 7th Son
     Recorded between 1957-1959
     Label: OJC
     Format: mp3
     Bitrate: 320 Kbps
     Total time: 34:26
     Genre: bluesy jazz

     This is the first time an all-vocal Mose Allison album has been issued. It contains examples of the several types of material with wich he comprises his repertoire: the blues; the 'blues ballad'; and the ballad standard...

     Artist: Betty Carter
     Album: Feed the Fire
     Label: Verve
     Format: FLAC & mp3 (320k/s)
     Size: 378 & 169 MB (scans)
     Recorded live at Royal Festival Hall, London, UK
     Total time: 73:03

     Taken from a live 1993 performance in London, Feed the Fire is an album filled with surprises. Betty Carter is known for her practice of featuring hot new up-and-coming musicians in her bands, but on this recording she is accompanied by established, world-class talent: Geri Allen, Dave Holland, and Jack DeJohnette. Dave Holland demonstrates why he is one of the greatest living bassists with his unerring sense of melody and pitch. Jack DeJohnette, an acknowledged master of the drums for 30 years, is nothing less than explosive, punctuating the solo statements of his bandmates with powerful flurries. Allen's touch is reminiscent of Keith Jarrett's at times, such as on her excellent solo on "Love Notes." Although Carter shares the spotlight unselfishly, her own contributions are clearly the focal point of Feed the Fire. On the fantastic title track, Allen sets up a percolating rhythmic figure, joined by Holland and DeJohnette. Then Carter enters, scatting her way through the changes, eschewing singing in the traditional sense. Her vocal improvisations are on par with any instrumentalists, a claim one cannot make about many singers. On ballads, such as the exquisite "Lover Man," Carter soars, caressing the melodies with a satin touch, dancing around the music with impeccable phrasing, dropping low into her register for punctuation. It is heady, hypnotizing stuff. Feed the Fire is an interesting album, with many wonderful moments, such as the unison ascending figures in "Sometimes I'm Happy" or the Carter/DeJohnette duet of "What Is This Tune?" However, it is not perfect, and tends to drag toward the end. Tracks go on for too long, and, as wonderful as Carter's singing is, and as compelling as it is to listen to the interaction of these four great musicians, the quality of the music itself tends to wander a bit. Nevertheless, it is a strong album, well worth searching out. ~ Daniel Gioffre, AMG

          Artist: Herbie Mann
          Album: Memphis Underground
          Label: Atlantic
          Year: 1969
          Format: MP3@320 Kbps+flac
          Size: 86 Mb (covers incl.)+(231 MB, scans)

     

        Artist: Etta James
          Album: 12 Songs of Christmas
          Format: FLAC & mp3 (320k/s)
          Size: 389 & 147 MB (scans)
          Label: Private Music
          Total time: 63:25



It's a little surprising to realize that after decades of recording, Etta James finally released her first holiday album, 12 Songs of Christmas, at the late date of 1998. Thankfully, she decided to make the record something of a special occasion. Working with arrangers Etta and Cedar Walton, producer John Snyder and a terrific lineup of musicians -- including Red Holloway, John Clayton, Billy Higgins, Cedar Walton, Josh Sklair and her son, Sametto -- James has created a terrific Christmas record, one that is firmly in her style yet contains surprises. First of all, she sings "O Holy Night" in both English and French. She also reworks "Silent Night" into a plaintive, bluesy plea. Each song on the album doesn't sound like a traditional carol, even if they're very familiar -- it all sounds like James, and it all sounds good. James fans may not feel like they need a Christmas album from her, but after hearing 12 Songs of Christmas, they'll be quite pleased indeed. ~ Stephen Thomas Erlewine, AMG

     Artist: Barbara Thompson
     Album: Heavenly Bodies
     Format: FLAC & mp3 (320k/s)
     Size: 273 & 111 MB (scans)
     Label: Intuition
     Total time: 49:48

     This is an important album for me. It represents two and a half years of soul-searching and experimenting, culminating in a broader and more orchestral concept. The use of real strings and brass has benn a delight, as I have always regarded myself as a composer/player rather than a player/composer. I have chosen to use percussion rather than drums and to give much of the rhythmic interest to other instruments. I weave my own improvisations into the fabric of the writing thoughout and there are also improvised solos from Peter Lemer (Extreme jonction and Flights of Fancy) and Paul Dunne (Elysian Fields). The inspiration for the Appia Suite came from five paintings by the Swiss artists Dominique Appia. The multi-layered fantasy, humour and beauty of his work fascinated me and I felt immediately that the pictures would come to life in musical terms. I have echoed his repetition of small motifs and detail by the introduction of recurring musical bridges and themes. In these compositions, space and beauty is of the essence; I would like to feel that you could play this album any time of the night or day and find music to suit your mood. ~ by Barbara Thompson

     Artist: Dollar Brand (Abdullah Ibrahim)
     Album: Voice of Africa
     Format: FLAC & mp3 (320k/s)
     Size: 362 & 142 MB (scans)
     Label: Kaz Records (1988)
     Total time: 61:45

Of the many element that have contributed to Dollar's diverse background, the sounds os Africa have understandably influenced him the most. African rhythms, folk tunes, gospel amd hymn blen skilfully with classical and jazz strains producing Dollar's unique style and bearing testimony to the African influence. He also pays tribute to his fellow countryman the alto sax player Kippie Moeketsi "...the father of us all, the first person to make us aware of the riches within South Africa...he convinced me to devote my entire life to music". This album includes the gold award winning recording of "Mannenberg". - by Ray Jenks (from CD cover)

     Artist: Larry Goldings
     Album: Caminhos Crusados
     Format: FLAC & mp3 (320k/s)
     Size: 372 & 148 MB (scans)
     Label: BMG
     Total time: 60:42
     Genre: jazz, bossa nova

Listening to this CD, it is surprising to note that few bossa nova records up to now have featured organs. Larry Goldings's subtle style (a laid-back Jimmy Smith) perfectly fits the idiom and some of the selections performed on his set are given straight-ahead sections for variety. The music is mostly easy listening with an appealing ensemble sound, consistently excellent concise solos from Goldings and
guitarist Peter Bernstein, and tasteful backup from drummer Bill Stewart and percussionist Guilherme Franco. The three guest appearances by Joshua Redman make one wish that he were on more tracks for his tenor fits very comfortably into this setting. ~ Scott Yanow, AMG

     Artist: Roland Kirk
     Album: Here Comes the Whistleman
     Format: FLAC & mp3 (320k/s)
     Size: 222 & 85 MB (covers)
     Label: Atlantic (1998)
     Total time: 35:27

               Artist: Teddy Edwards
               Album: Tango in Harlem
               Year: 1995
               Label: Gitanes Jazz/Verve
               Quality: mp3@320Kbps + flac
               Size: 158 MB (covers) + (340 MB, covers)
               Total time: 69:58



     

     Artist: Sonny Terry & Brownie McGhee
     Album: At Sugar Hill
     Format: FLAC & mp3 (320k/s)
     Label: Fantasy (Digital Remastered, 1991)
     Total time: 44:27



Sonny & Brownie at Sugar Hill is a live album recorded at the famous San Francisco nightclub. The two musicians were in fine form, with both getting chances to sing some of their standards, including "Sweet Woman Blues," "Born to Live the Blues," "Baby, I Knocked on Your Door," and "I Got a Little Girl." Their interplay is always a joy to hear, and while there are some better live shows available, this is thoroughly entertaining and worth the time of any of their fans. ~ Thom Owens, AMG

     Artist: John Coltrane
     Album: Coltrane
     Format: FLAC & mp3 (320k/s)
     Size: 346 & 109 MB (scans)
     Label: Impulse (20bit remastered, 1997)
     Total time: 47:18