Artist: The Modern Jazz Quartet
     Album: Echoes
     Release Date: Mar 6, 1984
     Label: Pablo
     Genre,Styles: Jazz,Third Stream,Cool
     Qality: FLAC(tracks)
     Size: 213 MB
     Time: 44:51

     

     Artist: Glenn Miller
     Album: Platinum Glenn Miller
     Original Release Date: February 4, 2003
     Label: RCA
     Years:1939-1942
     Format, bitrate: lossless, APE(image + .cue)
     Time: 2:04:16
     Size: 431 mb
AMG Rating:

     After a long period of neglect, in 2001 RCA began doing right by Glenn Miller (via its rejuvenated jazz and swing arm Bluebird) with a four-disc set of 1943-44 performances by Glenn Miller & the Army Air Force Band. The 2002 compilation America's Bandleader was short and idiosyncratic but the following year, Platinum Glenn Miller offered the perfect summation of the war era's number one bandleader. With 40 tracks spread over two CDs, it's slightly shorter than 1995's The Essential Glenn Miller, but excellent sound and thoughtful compiling make up for any shortcomings. The Miller Orchestra was a perennial on the charts from 1939 until 1943, not only soundtracking the war years but exerting a sizable influence on pop music until the '50s via its heavy reed sound, feature soloists like Bobby Hackett and Tex Beneke, and the arrangements of Bill Finegan and Jerry Gray. They were bright and bouncy (as on "Don't Sit Under the Apple Tree," "Chattanooga Choo-Choo," "[I've Got a Gal In] Kalamazoo," "Pennsylvania 6-5000"), or calm and reflective ("Stairway to the Stars," "In the Mood," "A Nightingale Sang in Berkeley Square"), and always clear, melodic, and unabashedly emotional (none of which made them any friends with jazz crowds). Yes, the mellow Miller did have plenty to offer his pop audience, but as Platinum Glenn Miller illustrates, his was one of the most talented groups of the '40s. ~ John Bush, AMG

     Artist: Oscar Peterson
     Album: Three Originals
     Release Date: Dec 21, 1993
     Recording Date: 1970-1973
     Label: Polygram
     Genre, Styles: Jazz, Bop
     Quality: APE
     Size: 629 mb
     Time: 114:31

     "Oscar and Orchestra. Very Beautiful, August 18, 2005"
     These 2 CDs contains the songs of 3 long-plays. My father had all of them. The first is named Motions and Emotions, the second I need to check (the LPs are in my father's house) but I think it was Oscar's Choice. The third is named Tristeza. The first one (Motions and Emotions LP) contains singular recordings (Oscar and Orchestra) that prove the enormous versatility of Oscar. Very beautiful. Listen for example Sunny song sample at Amazon. ~ By Flavio Cipparrone, Amazon.com

     Artist: Charlie Parker
     Box: CHARLIE PARKER - PERFECT COMPLETE COLLECTION
     Genre: Jazz,Bop
     Label: SOUND HILLS
     Product Details: 18 Compact Discs
     Year Of Release: February 15, 2006
     Quality: FLACK(tracks)
     Size: 4,21 Gb

All CoversThis incredible collection is a must-have for Charlie Parker fans and collectors. This set includes all known live and private material that Charlie Parker recorded. Many of these tracks are not available in any other set on CD. This is the most complete compilation of live Charlie Parker recordings. Includes comprehensive booklet with full personnel and recording dates.

All CoversЭта невероятная коллекция должна быть у фанатов и коллекционеров Чарли Паркера . Этот набор включает все известные живые и приватные материалы, записанные Чарли Паркером. Многие из этих треков недоступны в любой другом комплекте CD. Это наиболее полная подборка живых записей Чарли Паркера. Включает текст с полной информацией о персоналиях и записи.

     Artist: Toots Thielemans
     Album: Toots 75
     Release Date: Jul 1 1997
     Genre: Jazz,Contemporary Jazz,Mainstream Jazz,Bop
     Quality: FLAC (tracks)
     Size: 350.28 Mb

     Джазмен из Бельгии, гитарист и мастер хроматической губной гармоники Жан-Батист Тилеманс по прозвищу ”Тутс” уже был представлен в Клубе. Вот его юбилейный альбом. Наслаждайтесь!

     ”I can say without hesitation that Toots is one of the greatest musicians of our time on his instrument. He ranks with the best that jazz has ever produced" ~ Quincy Jones

     Artist: John Mclaughlin
     Album: This Is Jazz, Vol. 17
     Release Date: Sep 24, 1996
     Label: Columbia/Legacy
     Year - 1996
     Genre,Styles: Jazz,Fusion,Post-Bop
     Quality: FLAC(tracks)
     Size: 298mb
     Time: 55:38


Though purists will find John McLaughlin's This Is Jazz, Vol. 17 frustratingly incomplete, it isn't designed for them. The entire This Is Jazz series is targeted at casual fans and neophytes who only want a sampling of a famous jazz artist. In that sense, this disc does its job quite well, featuring cuts by the Mahavishnu Orchestra, Shakti and One Truth, as well as collaborations with Carlos Santana, Tony Williams and Katia Labeque. Of course, this only is the tip of the iceberg as far as McLaughlin's work goes — after all, it only features his music for Columbia — but it's enough to spark the interest of anyone wanting to explore his vast catalog. ~ Thom Owens, AMG

     Artist: Charlie Parker
     Album: The Cole Porter Songbook
     Label: Verve
     Genre: Bop
     Release Date: 1991
     Quality: FLAC(tracks)
     Size: 221 MB
     Time: 54:47

     With the release of this songbook collection, Charlie Parker achieves instrumentally what labelmate Ella Fitzgerald (and, of course, Frank Sinatra) did vocally: join an elite group of first - rate Cole Porter interpreters.
     It helps having fine support (including drummers Buddy Rich, Max Roach, and Art Porter, bassist Teddy Kulick and pianist Oscar Peterson). It also helps to overcome obstacles (some fussy big-band/string arrangements and an dissapointing pop rendition by Gil Evans on the first "In The Still Of The Night.") Highlights include a blues-based "I Love Paris" (featuring bass/drum interplay sounding like a funereal rumba), Parker floating sheets of jazz like a magic carpet above the sweet strings of "Easy to Love," and an unusually somber version of the wistful "Just One Of Those Things." This provides an outstanding first step in appreciating Parker; to know the lyrical master Porter better, check out "Frank Sinatra Sings The Classic Cole Porter" on Capitol, or Ella Fitzgerald's legendary "Cole Porter Songbook" on Verve. (By Anthony G Pizza. Amazon.com)

     Artist - Sonny Rollins
     Album - The Bridge
     Label: RCA
     Quality: MP3/320kbps
     Recording Date: 1962
     Size: 85,3 mb + 3%

     If you're thinkin' about buying one or two jazz records for your collection, let this be the other one (the 1st is of course Miles Davis' "Kind of blue"). This is simply great music by the tenor master himself. The music is innovative, it flows, it has charm and the interplay between Jim Hall and SR is awesome. Don't hesitate, buy this one - you can listen to it for many years to come. I bought my vinyl version back in 1965. And has never tired of listening to the tracks here. And with the CD you get even more out of these recordings. Truly great music (I said that already, did I not?). -- By A Customer, amazon.com

REPOST! Today Sonny's Birthday! Happy Birthday, mr. Rollins!

Artist: Gil Evans
Album: New Bottle, Old Wine
Release Date: Apr 9, 1958-May 26, 1958
Genre/Styles: Jazz,Progressive Big Band
Label: Blue Note
Quality: FLAC(tracks)
Size: 244mb + 3% recovery
Time: 38:26

Gil Evans' second album as a leader (a World Pacific set that has been reissued by Blue Note) features his reworking of eight jazz classics including "St. Louis Blues," "Lester Leaps In" and "Struttin' with Some Barbecue." Evans' charts utilize three trumpets, three trombones, a french horn, a prominent tuba, one reed player, altoist Cannonball Adderley and a four-piece rhythm section. Most memorable is a classic rendition of "King Porter Stomp" featuring the exuberant altoist Cannonball Adderley, who is the main soloist on most of the selections. Other key voices include Evans' piano, guitarist Chuck Wayne and trumpeter Johnny Coles. This is near-classic music that showed that Gil Evans did not need Miles Davis as a soloist to inspire him to greatness.--Review by Scott Yanow,AMG

Artist: Dizzy Gillespie and Charlie Parker
Album: Town Hall, New York City, June 22, 1945
Year: June 22, 1945, release June 21, 2005
Label: Uptown Jazz
Genre: Jazz, Bop
Quality: FLAC(tracks)
Time: 40:46
Size: 221mb

Dizzy Gillespie and Charlie Parker first became aware of each other in 1940 when the former was playing in Cab Calloway's band and the latter with Jay McShann. Two years later they were both living in New York City and a real friendship developed. By 1945 they were recording and gigging together, culminating in this Town Hall concert on June 22, 1945. These recordings languished for sixty years as acetates that weren't even known to exist in their entirety. That this set captures these two formidable players in their ascendancy and with such clarity is a staggering find. Here, with host Symphony Sid announcing the songs (this would have been for his radio show, but apparently never ended up in his possessions), an important chapter in American music is now restored. By the end of the summer of '45 Gillespie and Parker went their separate ways, both emerging with their own bands and reaching new heights of commercial success. -- by David Greenberger. Amazon.com

   Artist: Mark Isham
   Album: Afterglow
   Year: 1998
   Label: Columbia
   Genre/Styles: New Age,Original Score,Crossover Jazz,Soundtracks
   Quality: APE(tracks)
   Size: 296.24 MB
   Time: 59:41

   Isham's soundtrack to the Alan Rudolph drama Afterglow is typical of his film work, a moody and frequently moving record distinguished by his signature trumpet sound; his support unit includes saxophonist Charles Lloyd, vibist Gary Burton, violinist Sid Page, bassist Jeff Littleton, pianist Geri Allen and drummer Billy Higgins.
   -- by Jason Ankeny,AMG

     Artist: Duke Ellington
     Album: Blues in Orbit
     Recording Date: Feb 5, 1958-Dec 3, 1959
     Label: Columbia
     Genre: Jazz, Swing
     Quality: FLAC
     Size: 255 mb
     Time: 36:23

     Blues in Orbit lacks the intellectual cachet of the suites and concept pieces that loomed large in Ellington's recordings of this period, but it's an album worth tracking down, if only to hear the band run through a lighter side of its sound — indeed, it captures the essence of a late-night recording date that was as much a loose jam as a formal studio date, balancing the spontaneity of the former and the technical polish of the latter. Ellington and company were just back from a European tour when the bulk of this album was recorded, at one after-midnight session in New York on December 2, 1959, to arrangements that had to be hastily written out when the copyist failed to appear for the gig. So on the one hand, the band was kicking back with these shorter pieces; on the other, the group was also improvising freely and intensely at various points. The title-track, recorded more than a year before most of the rest, is a slow blues that puts Ellington's piano into a call-and-response setting with the horns, with Ellington getting in the last word. "Villes Ville Is the Place, Man" is a bracing, beat-driven jaunt, highlighted by solos featuring Ray Nance, Harry Carney, and Johnny Hodges on trumpet, baritone sax, and alto, respectively. "Three J's Blues" shows off composer Jimmy Hamilton playing some earthy tenor sax in a swinging, exuberant blues setting. "Smada" features Billy Strayhorn on piano and Johnny Hodges on alto, in a stirring dance number. "Pie Eye's Blues" is a hot studio improvisation featuring Ray Nance and Jimmy Hamilton trading three solos each, while Ellington's piano and the rest of the band try their emphatic best to get in a word or two. Nance shows up on violin as part of a string of soloists (including Matthew Gee, Paul Gonsalves, Bootie Wood, and Jimmy Hamilton) for "C Jam Blues," whose four minutes' running time affords the group a chance to jam without overdoing it, or extending matters past the breaking point. Wood is the featured player on muted trombone on the slow, smooth "Sweet and Pungent." A pair of more reflective, less extroverted numbers show off the more subtle side of the band, the slow, downbeat "Blues in Blueprint," with Jimmy Woode's bass and Harry Carney's bass clarinet as the major featured players, with Strayhorn sitting in on piano and Ellington snapping his fingers; and "Swingers Get the Blues, Too," featuring Matthew Gee on baritone horn. The finale, "The Swinger's Jump," does just that, with Ellington, Hodges, Nance, Gee, Hamilton (on tenor and clarinet), Wood, and Johnson romping and stomping all over the basic riff. The CD edition of Blues in Orbit offered a trio of tracks off the same sessions when the album came — the bracing "Track 360," an unpretentious jazz band's impression of a train ride; and the soaring, lovely "Brown Penny," a number originally written for Ellington's attempted interracial musical Beggar's Holiday 13 years earlier; and the moody, reflective "Sentimental Lady," both featuring Johnny Hodges very prominently. Blues in Orbit was issued on CD by Columbia records in 1988 in a good-sounding edition. ~ Bruce Eder, AMG

     Artists: VA
     Album: The Complete Norman Granz Jam Sessions
     Label: Verve
     Years: 1952-54, release - 2004
     Quality: MP3/320 kbps & FLAC
     Size: MP3: 141+140+149+174+118 = 726mb + 3%

     Review by Thom Jurek
     The historic Norman Granz Jam Sessions, recorded between 1952-1954 for Clef and Mercury, are among the most treasured jam sets of all time. The nine separate albums featured the crиme de la crиme of New York's jazz community from Charlie Parker to Roy Eldridge, Ben Webster, Johnny Hodges, Oscar Peterson, Lionel Hampton and Max Roach and dozens of others. This box set simply collects all nine LPs on five remastered CDs, containing original artwork in a slipcase that fits inside a handsome metal display box. The individual volumes are of consistently very high quality and are utterly indispensable to jazz aficionados. For those who already have the discs, this is merely superfluous. For those who don't, this is a pricey buy but a hell of a way to begin a jazz education.

     Artists: Lester Young & Nat King Cole
     Album: Complete Recordings
     Release: 1999
     Label: Definitive Records
     Genre: Jazz
     Quality: FLAC(tracks)
     Size: 193 mb + 3%
     Time: 65:00


     Definitive edition of the recordings made joint by Nat 'King' Cole and Lester Young on two studio dates and one transcription of the 'Jubilee' broadcasting program.

     Artists: Miles Davis & Sonny Rollins
     Album: Dig
     Label: Prestige Records
     Year: 1951
     Genre: Be Bop
     Format: FLAC (tracks)
     Time: 35.01
     Size: 222 mb + 3%

     Сонни Роллинз в течение 40 лет остается одним из истинных джазовых гигантов такого же класса, как великие тенор - саксофонисты всех времен: Колман Хокинс, Лестер Янг и Джон Колтрейн. И всё же при всей своей импровизационной гениальности Сонни Роллинз оставался, в какой то степени, ”гласом вопиющего в пустыне” до тех пор, пока Джон Колтрейн качественно преобразовал джазовую сцену в начале 60-х.

     One of Miles Davis' early dates as a leader, Diggin' has subsequently been released as part of a few different packages, including two-fers and single-album compilations. Taken as a distinct set of songs, Diggin' offers a fine view of Davis at his youthful best. This may not quite stand up to such later offerings as his Blue Note sessions and classic quartet work, but the LP does include such Davis highlights as "Dig," "It's Only a Paper Moon," and "Denial." The sound is cool bop and the solos come courtesy of a young Sonny Rollins, Jackie McLean, Walter Bishop, Jr., and Davis himself. Not essential listening maybe, but a enjoyable listen for Davis fans all the same. ~ Stephen Cook AMG

   Artist: Charlie Christian
   Album: The Genius Of The Electric Guitar [Box set]
   Year: 2002
   Label: Sony
   Format, quality: FLAC(tracks)
   Size: 853mb + 3%

   Once a musician's influence becomes widespread and absorbed, it's often a good idea to step back and remember how revolutionary their work was in its day. Charlie Christian's role as a forefather of the electric guitar was forged not just because he was among the first to use the then-new technology in the late '30s, but also because of his playing. He understood that an electric guitar is a different creature than an acoustic, and he explored this difference with fearless aplomb during his tragically short life (he died in 1942 at the age of 25).
   This four-disc set is a powerful celebration of Christian's legacy. As a young man playing alongside some of the giants of his day, he held his own. His fluid lines became part of basic and continuing language of the electric guitar, setting the stage for everyone from Les Paul to Jimi Hendrix. Beautifully mastered, the 98 tracks here include 17 previously unreleased performances (and another 27 never previously issued in the U.S.). Lovingly compiled, this is an essential title, not just for a jazz fan, but for any fan of the electric guitar--it all traces back to Charlie Christian. --David Greenberger. Amazon.com

     Artist: Thelonious Monk
     Album: Criss-Cross
     Recording Date: Nov 6, 1962-Mar 29, 1963
     Releases: 2003
     Label: Columbia
     Genre,Styles: Jazz,Bop,Hard Bop,Post-Bop
     Quality: FLAC(tracks)
     Size: 362 mb + 3%
     Time: 43:10

     Criss-Cross was Thelonious Monk's first recording for Columbia. His quartet at the time consisted of Charles Rouse, Frankie Dunlop, and John Ore. Legacy's deluxe reissue is a case in point for the high standards they've set in caring for Columbia's jazz catalog. Here are the original nine tracks -- plus three bonus cuts (both alternate takes), two of which are completely unreleased. In addition there is a wonderful set of liner notes by renowned Monkist Dick Katz and a slew of amazing photographs from the sessions. Packaging aside, the music found here is hotly debated by critics as one of two choices for Monk's best recording for the label. It is his first record for the label, and he decided to issue a set of his own compositions, all of which had been recorded previously (there are two standards on the set) but never in this hard-swinging, light-touch way. Monk's dissonance is tempered here by a sprightly accent on light, quick rhythm so that "Crepescule With Nellie" and "Tea for Two," which was a Monk mainstay during those years, are taken at brighter paces. Improvisationally everything was relegated to melodic construction, and while none of this music is inside, it doesn't have the percussive left-hand heaviness of other, earlier versions of tunes such as "Hackensack," "Eronel," or "Rhythm-a-Ning." In sum, Criss-Cross is one of Monk's finest; it may not have had the crash-and-burn fast-forward aesthetic of Underground -- his last album for the label, with a different rhythm section -- but it did possess its freshness and willingness to not only reinvent himself as a composer and improviser but to re-envision himself as a jazz statesman instead of its terminal, most famous outsider. Criss-Cross is rife with pride in the craft of its execution and with a renewed sense of purpose. -- Thom Jurek, All Music Guide.

     Artist: Wes Montgomery
     Album: Portrait of Wes
     Release Date: Oct 10, 1963
     Label: Riverside/OJC
     Genre, Styles: Jazz, Hard Bop
     Quality: FLAC (tracks)
     Size: 250 mb + 3%
     Time: 41:31

     It's a very hip guitar-organ-drums sound, with everyone at the top of their form. This is some of the most expressive music the master guitarist created in his too-brief career. Those who believe Wes Montgomery was never better than when playing strictly, and without augmentation, with small groups and especially his beloved guitar-organ-drums trio, should find this more than worthy of keeping company with "The Wes Montgomery Trio" and "Boss Guitar".

     Artist: Jimmy Smith
     Album: Bucket!
     Release Date: Feb 1, 1963
     Recording Date: Feb 1, 1962
     Label: Blue Note
     Genre, Styles: Jazz, Soul-Jazz, Hard Bop
     Quality: FLAC (tracks)
     Size: 236 mb
     Time: 45:08

     Recorded the first day of February in 1963, but not released for a few years, Bucket! is a fairly typical Jimmy Smith session, featuring the organist running through a selection of originals and standards with guitarist Quentin Warren and drummer Donald Bailey in tow.
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     Artist: Ahmad Jamal
     Album: Chicago Revisited: Live at Joel Segal's Jazz Showcase
     Genre: Jazz, Post-Bop, Mainstream Jazz
     Recording Date: Nov 13 - 14, 1992
     Release: 1993
     Label: Telarc
     Quality: FLAC (tracs)
     Size: 304 mb + 3%
     Time: 59:40

     Although it had been more than 40 years since his debut recording, pianist Ahmad Jamal's playing was as viable as ever in the 1990s. Jamal's style had developed since his early days, but his basic approach was unchanged while still sounding quite fresh. This date is an excellent example of Ahmad Jamal's unique sound and highly appealing music in the '90s.