Artists: Charlie Haden & Chris Anderson
     Album: None But The Lonely Heart
     Label: Naim
     Year: 1997
     Format: FLAC
     Time: 01:12:41
     Size: 289 Mb
     AMG Rating


Chris Anderson is one of the unsung heroes of modern jazz piano. A revered figure among musicians, largely for his role as mentor to a young Herbie Hancock, Anderson has long been hindered by illness from aggressively pursuing his rightful place in the jazz limelight. A Chicago native reared on the blues and the music of Nat King Cole, Art Tatum, and Duke Ellington, Anderson years ago developed a rich harmonic sensibility that bears the influence of Ravel and Debussy. His playing remains moody and impressionistic, built on chordal improvisation rather than speedy right-hand runs, yet he never strays too far from his blues roots. One hopes that this outstanding, quietly brilliant duo effort with bass master Haden helps earn him some richly deserved acclaim.

    Artist: Lennie Tristano
    Album: The Complete Atlantic Recordings Of Lennie Tristano, Lee Konitz & Warne Marsh
    Label: Mosaic Records
    Year: 1954-1961
    Release: 1997
    Formate, bitrate: MP3, 192 kbps
    Size: 475 mb
    Time: 06:24:09
    AMG Rating:


    While the hard bop music of the 1950s and 1960s has seen a considerable revival and now prospers in the hands of scores of talented youngsters, other historical genres have not been so fondly remembered nor have fared as well. The cerebral music of pianist Lennie Tristano and his cohorts has been largely neglected by all but a few historians and the small number of surviving players that came under the spell of the iconoclast pianist during his brief period in the spotlight. A recent six-disc or ten-LP boxed set from Mosaic provides a very valuable and logical package in that is presents Tristano's ground-breaking sessions for Atlantic and also brings to the forefront long out-of-print dates from two of his closest associates, alto saxophonist Lee Konitz and tenor saxophonist Warne Marsh . . . .

    Artist: Blood, Sweat & Tears
    Album: New City
    Label: Columbia
    Year: 1975
    Format, bitrate: MP3@192 kbit/s
    Time: 43:26
    Size: 60 MB

    In the late '60s and early '70s, Blood, Sweat & Tears was at the forefront of the rock with horns movement. But after lead singer David Clayton-Thomas' 1972 departure, both he and the band lost their commercial footing. New City finds Clayton-Thomas reconvening with Blood, Sweat & Tears after a three-year absence. Jimmy Lenner, who produced hits with the Raspberries, Grand Funk Railroad, and Three Dog Night, is behind the boards for this 1975 album. It does sound promising, but, in all honesty, New City fortunes seemed doomed from the start. The cover of the Blues Image's "Ride Captain Ride" turns out to be more than a perfunctory exercise and gives the band a chance to show its jazz chops, and Clayton-Thomas wails to his heart's content. Allan Toussaint's "Life" gets an irreverent and funky treatment. Strangely enough, the workouts on here pale in comparison to the ballads. The best track, the poignant "I Was a Witness to a War," is delicately arranged in the perfect key for Clayton-Thomas' subdued vocals. Janis Ian's "Applause" sustains interest, even as Clayton-Thomas' dramatic flourishes make Richard Harris seem remote. After a few ho-hum tracks, this closes with an energetic but anti-climatic cover of the Beatles' "Got to Get You Into My Life." Although New City failed to get the band back to the top of the charts, a listener might be pleasantly surprised to hear that the band did proceed through the '70s accordingly.
    ~ Jason Elias, AMG

   Artist: Walter Trout Band
   Album: Life In The Jungle
   Label: Ruf
   Year: 1990
   Format, bitrate: mp3@320 kbps
   Time: 53:53 + Time: 39:19
   Size: 130 Mb

   Albums that combine live and studio tracks can, in some cases, be inconsistent. Some artists are so reliant on studio technology that they fall apart in a live setting; they sound stiff and awkward the minute they take the stage. And on the other hand, some artists are so fond of playing live that they become inhibited in the studio. But there is nothing inconsistent or uneven about Walter Trout's debut album, Life in the Jungle, a collection of live and studio recordings from 1989; on this release, the blues-rocker is as focused and inspired on-stage as he is in the studio. All of the tracks were recorded in Scandinavian countries; the live performances are from an appearance at the Midtfyn Festival in Denmark on July 2, 1989, while the studio material is from a session in Stockholm, Sweden, on June 21 and July 9 of that year. And in both settings, Trout really shines -- the singer/guitarist has no problem going that extra mile on original tunes (including the title song and "Good Enough to Eat"), as well as passionate versions of Jimi Hendrix's "Red House," Buddy Guy's "She's out There Somewhere," and John Lee Hooker's "Serves Me Right to Suffer." On the latter, Trout shows his appreciation of Canned Heat without allowing his own personality to become obscured. Life in the Jungle, which the German Ruf label reissued on CD in 2002, is blues-rock the way it should be: tough, gritty, rugged, and heartfelt. Not all of Trout's releases are strong or as consistent as Life in the Jungle, but this is one Trout album that blues-rock enthusiasts will be happy to get their hands on.
    ~ Alex Henderson, AMG

     Artist: Steve Oliver
     Album: Positive Energy
     Label: Native Language
     Release: 2002
     Format, bitrate: MP3, 192 kbps
     Size: 70 MB
     Time: 50:14

     Contemporary jazz guitarist and vocalist Steve Oliver offers something everyone will enjoy on his sophomore release as a leader, titled Positive Energy. The recording reflects Oliver's smooth, upbeat, joyous spirit through dynamic vocals and instrumentals on 12 brand-new originals. Working with Steve Oliver are such prominent contemporary jazz favorites as his labelmate, Jeff Kashiwa, on saxophone and Spyro Gyra keyboardist Tom Schuman alongside the multi-talented bassists Brian Bromberg and Larry Antonino. The recording opens with the radio-friendly "High Noon," the first single to be released from the CD. The song combines the freshest licks from Latin funk and the smoothest grooves from smooth jazz in an energetic presentation with a contemporary flair. Oliver's vocals set the song apart from the instrumentals on the set and give his listeners more than enough room to enjoy the "positive energy" emanating from his playing style. On the title track, Steve Reid adds his mighty percussion to the mix and not only provides an extra layer of rhythmic fuel, but inspires Oliver's excellent guitar playing to another level of performance. Oliver's ability to tell a story is quite evident on the vocal version of "Show You Love." This song has the potential to cross over to the R&B genre due to its funky backbeat and danceability and is reprised as an instrumental, with Brandon Fields' smooth tenor sax as the lead voice, to close the set. Positive Energy has no problem meeting the standards set by Oliver's 1999 debut, First View, and should garner additional smooth jazz and groove fans for Oliver. In the making for nearly three years, the new musical dimensions added by the guest stars, the romantic and sometimes-funky celebratory vibe, and Oliver's excellent musicality make Positive Energy another great opportunity to hear what Steve Oliver is all about.
    ~ Paula Edelstein, AMG

   Artist: Mike Stern
   Album: Give And Take
   Label: Atlantic
   Year: 1997
   Format, bitrate: mp3, 192 kbps
   Time: 01:03:47
   Size: 88,2 MB

   This is a relatively straight-ahead set by the distinctive guitarist Mike Stern, whose airy sound seems quite fresh in this context. Stern performs three standards ("I Love You," "Giant Steps" and "Oleo"), Jimi Hendrix's "Who Knows," and six originals, mostly in a trio with bassist John Patitucci and drummer Jack DeJohnette. Percussionist Don Alias helps out on a few tracks; pianist Gil Goldstein is on two, and tenor great Michael Brecker nearly steals the show with three high-powered solos. Actually, the biggest surprise is "That's What You Think," a straight-ahead blues that has a very credible alto solo from guest David Sanborn. All in all, an excellent outing.
   - Scott Yanow, AMG

    Artist: Mike Stern
    Album: Voices
    Label: Atlantic
    Year: 2001
    Format, bitrate: mp3, 320 kbps
    Time: 58:59
    Size: 135 MB

      Most of Mike Stern's albums have been 100 percent instrumental; as a rule, he doesn't use vocalists because his guitar does all of the "singing." But Voices is an exception -- a highly engaging and memorable exception. This surprising and totally unexpected effort finds a 48-year-old Stern using wordless vocals in a manner that brings to mind fellow fusion guitarists Pat Metheny and Al DiMeola. Think of Metheny on Letter From Home and Still Life (Talking), or DiMeola on Orange and Blue, and one will know the type of approach that Stern is going for this time. While the wordless vocals that Stern uses on Voices add a lot to the album, his guitar is still the focal point. This isn't the type of project in which the leader brings in an acclaimed jazz singer like Dianne Reeves or Kitty Margolis and features her prominently on standards -- that isn't what he was going for. Ultimately, the vocalists who Stern employs (who include Arto Tuncboyaciyan and Elizabeth Kantomanou) are there to serve and compliment his guitar. If Voices were a cake, the vocalists would be the icing; the album still would have been meaningful even without them, but there's no doubt that they add a lot to it. Voices, which contains some of Stern's most lyrical and melodic playing, is full of world music influences. African and Spanish elements are incorporated, and Brazilian music is an especially strong influence. Going back to the Metheny and DiMeola comparisons, this album's world music influences will inevitably inspire comparisons to similar albums by those fellow fusion guitarists. But Stern is always his own man and his guitar playing never fails to sound distinctive -- Voices is most definitely a Mike Stern session. It's also one of the finest albums in his catalog.
      - Alex Henderson, AMG

   Artist: Trilok Gurtu
   Album: Crazy Saints
   Year: 1993
   Label: CMP
   Format, bitrate: MP3@320
   Time: 46:41
   Size: 87,6 МВ

   Percussionist Trilok Gurtu comes from a long line of respected Indian classical musicians, but he's best known for his genre-blending fusions of world music and jazz. Crazy Saints is one of his most complex and challenging releases to date, enlisting the aid of jazz legends like guitarist Pat Metheny and Joe Zawinul to create a thoroughly modern sound that moves from razor sharp ensemble work to dizzying solos. The most effective songs are those that mine Gurtu's myriad world music influences, including "Manini" and "Blessing in Disguise," both of which are blessed with the haunting vocal ululations of Indian music legend Shobha Gurtu, the drummer's mother. The genteel balladry of "Ballad for 2 Musicians" and the excessive ambient noodling of "The Other Tune" may tax the patience of those with a lower tolerance for modern jazz wankery. But ultimately songs like the title track, which marries blistering beats in quirky time signatures with heavenly vocals and dazzling instrumental interplay, make the album a fine foray into jazz/world fusion.
   ~Bret Love, AMG

      Artist: Pat Metheny
      Album: Pat Metheny Group
      Label: ECM
      Year: 1978
      Format, bitrate: MP3, 320 kbps
      Size: 95 MB
      Time: 41:30
      The first recording by the Pat Metheny Group features the innovative guitarist along with keyboardist Lyle Mays, bassist Mark Egan, and drummer Dan Gottlieb. The music is quite distinctive, floating rather than swinging, electric but not rockish, and full of folkish melodies. The best known of these six Metheny-Mays originals are "Phase Dance" and "Jaco." This music grows in interest with each listen.
      ~Scott Yanow, AMG

      Artists: Jaco Pastorius, Pat Metheny, Bruce Ditmas, Paul Bley
      Album: Jaco
      Label: Jazz Door
      Year: 1974
      Format, bitrate: Mp3@320
      Time: 36:40
      Size: 84 Mb

      Although one often thinks of Jaco Pastorius' first solo album as being 1976's Jaco on Epic, producer/keyboardist Paul Bley actually gave Pastorius his first chance to lead a recording two years earlier. Coincidentally titled Jaco, this spontaneous set (which has been reissued on CD) is also significant for being among guitarist Pat Metheny's first recordings; completing the quartet are Bley on electric piano and drummer Bruce Ditmas. The music consists of three songs by Bley, five from Carla Bley, and "Blood" by Annette Peacock. Pastorius sounds quite powerful, but Metheny's tone is kind of bizarre, very distorted and not at all distinctive at this point. The recording quality is a bit shaky throughout the electronic set, and the group does not quite live up to its potential, but Pastorius shows that he was already an innovative player, making this a CD of historic interest.
      - Scott Yanow, AMG

     Artists: John Abercrombie & John Scofield
     Album: Solar
     Label: Quicksilver
     Year: 1982
     Format, bitrate: MP3, 192 kbps
     Size: 58,9 mb
     Time: 42:53

     Guitarists John Abercrombie and John Scofield join forces for these early-'80s sessions, mostly duets while occasionally adding bassist George Mraz and drummer Peter Donald. They delve into the jazz canon with an intricate duet of "Solar," a driving, Latin-fused take of "Four on Six" (in which Abercrombie overdubs an electric mandolin), and a dreamy duo interpretation of "If You Could See Me Now." The sole standard, "I Should Care," fares just as well in their hands, which settles into a relaxed exchange between the two players as if they are playing for themselves alone. Scofield's "Small Wonder" is scored for the quartet, a bristling post-bop vehicle with a feature for Mraz as well. Abercrombie's introspective "Sing Song" best contrasts the styles of the two leaders, with the composer a bit more melodic and Scofield with a more brittle attack. This is an enjoyable CD that has stood the test of time very well.
   - Ken Dryde, AMG

     Artist: Pat Methehy
     Album: New Chautauqua
     Label: ECM
     Year: 1979
     Format, bitrate: Mp3@320
     Time: 38:31
     Size: 88.2 Mb

     When Pat Metheny's New Chautauqua first appeared in 1979, it was his third album for ECM, and was greeted mainly on the strength of its title track, a euphoric, uptempo, multi-layered guitar and bass folk dance. His previous two outings for the label, Bright Size Life and Watercolors, showcased him in the company of other musicians: on the former with Bob Moses and Jaco Pastorius, on the latter with Lyle Mays, Danny Gottlieb, and Eberhard Weber. They'd both received critical acclaim and sold well in college towns across the United States and Europe. But this volume was his first true solo recording in that he played all the guitars and basses on the set. As wonderfully indicative of Metheny's signature as this title cut was, the rest of the date was a complete shock to fans. It's very sparse, spacious, and quietly contemplative. Produced by Manfred Eicher, New Chautauqua was, at the time, far more indicative of ECM's sound than it was the guitarist's. In 21st century retrospect, this first impression proves to be a mistake. Reconsidering the album upon its re-release in 2008 as part of the label's budget Touchstone series, it sounds more an extension of Metheny's complex, wide-ranging musical personality than anything else. His great debt to guitarists from Jim Hall to Pat Martino on the title cut and on "Daybreak," the closer, is balanced only by his impressionistic melodic sensibility that is informed as much by Paul Bley and Jimmy Giuffre ("Long Ago Child/Fallen Star") and latter day-John Lennon and Paul McCartney ("Hermitage") as it is by his mentor, Gary Burton ("Sueno con Mexico"). This is a very gentle and contemplative recording, but there is so much happening in the weave of six-, 12- and 15-string harp guitars and basses, it's easy to let it slip by in a dreamy reverie. If any of Metheny's early recordings deserves reconsideration, a real argument can be made for the skeletal, yet utterly beautiful New Chautauqua.
   - Thom Jurek, AMG

     Artist: Keith Jarrett
     Album: Das Wohltemperierte Klavier, Buch II
     Composer: Johann Sebastian Bach (1685 - 1750)
     Label: ECM New Series
     Year: 1990
     Format, bitrate: MP3@320 kbit/s
     Size: 94,3+977+74,2+61,6 MB
     Time: 02:29:56


     Many comparisons have been made between Glenn Gould and Keith Jarrett's recordings of Bach's famous Well Tempered Clavier, and it turns out Jarrett's attempt has less artistic ego, fewer superfluous musical additions and less humming than the recording by the eccentric Canadian. The approach with this book, on a piano-forte, is evenhanded and stately. Jarrett's strong intuitive feeling for contrapuntal lines welcomes even novice listeners into Bach's intricate patterns.
    ~ Daphne Carr, Rhapsody.com

     Artist: Keith Jarrett
     Album: Das Wohltemperierte Klavier, Buch I
     Composer: Johann Sebastian Bach (1685 - 1750)
     Label: ECM New Series
     Year: 1987
     Format, bitrate: MP3, 320 kbit/s
     Size: 94,8+86,7+44,4 MB
     Time: 01:45:45



     Jarrett is among the artists most faithful to Bach's fair copy of the Book I. Listening through with the urtext, I couldn't find as much as a stray mordant. There are no extremes of tempo or dynamics, either. Tempi are ebullient, voices are articulated & clear, & the recorded sound is intimate & realistic. A textbook performance, one any piano teacher could recommend enthusiastically. Standout performance: D major Prelude & Fugue, BWV 850.
    - Todd M. Billeci, Jsbach.org

     Artist: Billy Cobham
     Album: Focused
     Label: Cleopatra
     Year: 1999
     Format, bitrate: MP3, 192 kbps
     Time: 01:12:39
     Size: 99,7 MB


     This is another fine effort from Cobham, who continues to turn out quality recordings that have gone largely unnoticed by both critics and consumers. Beginning with Incoming, Cobham toned down his thunderous approach in favor of a more controlled and complimentary style. His compositions also reflected consideration for the development of his fellow bandmates. Focused continues this trend with an overwhelming sense of honesty. Joining him are his former band mate Randy Brecker and fellow collaborator drummer/keyboardist Gary Husband. Most of the tunes here are over seven minutes long and allow each member to fully develop their statements. Brecker is particularly stunning on "Nothing Can Hurt Her Now." Gary Husband backs up Cobham's accolades of him as being a thoughtful keyboardist. Carl Orr makes his presence felt as well, proving adept at both jazz and fusion guitar styles. There is also plenty of Cobham here to satisfy his drum following; however, there is a level of maturity and depth here that sets this session apart from his previous efforts.

     Artist: Billy Cobham
     Album: Alivemutherforya
     Label: Columbia
     Year: 1978
     Format, bitrate: MP3, 192 Kbps
     Time: 41:06
     Size: 56,4 MB

     Drummer Billy Cobham is heard on this live set heading an all-star quintet also including Tom Scott on tenor, soprano and lyricon, keyboardist Mark Soskin, guitarist Steve Khan and electric bassist Alphonso Johnson. Although the music is mostly funky and uses plenty of electronics (Scott sounds quite faceless on lyricon), there are some strong solos, particularly from Khan and Scott (when he is on tenor). The six group originals are highlighted by "Bahama Mama," "Some Punk Funk" and "On a Magic Carpet Ride." Due to the amount of variety and spontaneity, Alivemutherforya is superior to most of these musicians' individual projects of the era.
   - Scott Yanow, AMG

     Artist: Al Di Meola
     Album: Splendido Hotel
     Label: Columbia
     Year: 1980
     Format, bitrate: mp3, 320kbps
     Time: 68:26
     Size: 90+72,4 Mb

     Talk about ambitious. This two-LP set finds guitarist Al di Meola performing with his quintet of the time (featuring keyboardist Philippe Saisse), with studio musicians, solo, in a reunion with pianist Chick Corea, singing a love song, and welcoming veteran Les Paul for a version of "Spanish Eyes." Most of the music works quite well and it shows that di Meola (best-known for his speedy rock-oriented solos) is a surprisingly well-rounded and versatile musician.
   - Scott Yanow, AMG

     Artist: Al Di Meola
     Album: Tirami Su
     Label: Manhattan/EMI
     Year: 1987
     Format, bitrate: mp3@320 kbps
     Time: 01:07:24
     Size: 154 Мb
     AMG Rating:



     Al di Meola, who in his early days sometimes sacrificed feeling for speed (he always had remarkable technique), grew and developed through the years. His final of three Manhattan releases is his finest, a sextet outing with keyboardist Kei Akagi, electric bassist Anthony Jackson, acoustic bassist Harvie Swartz, drummer Tommy Brechtlein, and his longtime percussionist, Mino Cinelu. Having grown out of his fusion roots, di Meola's interest in world music and folk music from other countries is displayed throughout this colorful set, particularly on such numbers as "Beijing Demons," "Song to the Pharoah Kings," and the exciting "Rhapsody of Fire."
   ~ Scott Yanow, AMG

     Artist: Jean-Luc Ponty
     Album: Jazz Long Playing (Jazz in Paris Series)
     Label: EmArCy
     Year: 1964
     Format,bitrate: Mp3@192Kbps
     Time: 41:21
     Size: 56.8 MB
     AMG Rating:

     These 1964 sessions marked jazz violinist Jean-Luc Ponty's recording debut as a leader. In spite of his choice of instrument, he was mainly influenced by bop musicians (especially saxophonists and trumpeters) rather than fellow Frenchmen, swing violinist Stйphane Grappelli. At this stage in his career, he chose mostly compositions by European musicians of his generation, along with tunes American jazz compositions that had stood the test of time. His angular playing in Martial Solal's "Une Nui Au Violon" contrasts with his later venture into jazz fusion, while his dash through Charlie Parker's "Au Privave" is almost immediately halted to first showcase drummer Daniel Humair then flautist Michel Portal before he takes center-stage with a blazing solo. He also is quite comfortable in a ballad setting, with a warm treatment of Django Reinhardt's "Manoir de Mes Reves," though it is on his own turf, as it isn't played anything like Grappelli's recording with the legendary guitarist. The violinist's sole original is "YTNOP Blues," which opens with a pizzicato vamp then showcases bassist Guy Pedersen and pianist Eddy Louiss before Ponty finally opens things up with a slash-and-burn solo that evokes a bit of Stuff Smith influence for a moment. The only misfire is a dull treatment of "I Want to Talk About You" which is plagued by Louiss' dated sounding organ. Reissued as a part of the Jazz in Paris series in 2000, this valuable introduction to Jean-Luc Ponty has already lapsed from print.
~ Ken Dryden, All Music Guide

     Artist: Jean-Luc Ponty
     Album: Upon The Wings Of Music
     Label: Atlantic
     Year: 1975
     Release: 2002
     Format/bitrate: mp3/320kbps
     Size: 84,8 MB
     Time: 37:04
     AMG Rating:

     
   Jean-Luc Ponty, who at the time was still with the second version of the Mahavishnu Orchestra, is heard playing his own brand of fusion on this excellent recording. Upon the Wings of Music set the standard for his music of the next decade. With keyboardist Patrice Rushen, Dan Sawyer or Ray Parker on guitars, bassist Ralphe Armstrong and drummer Ndugu, the violinist performs eight of his highly arranged but spirited originals. His early Atlantic recordings (of which this is the first) remain underrated for their important contributions to the history of fusion.
   ~ Scott Yanow, All Music Guide