Artist: Toshiko Akiyoshi Jazz Orchestra featuring Lew Tabackin and Frank Wess
     Album: Wishing Peace (from"Liberty Suite")
     Label: Ausverkau
     Year: 1986
     Format, bitrate: Flac
     Time: 44;28
     Size: 263 MB
     AMG rating:


     Ironically after Toshiko Akiyoshi and Lew Tabackin broke up their West Coast big band, relocated to New York and put together a new orchestra, they seemed to get less publicity than previously. In fact, since this 1986 recording for their own Ascent label, Akiyoshi's ensemble has made relatively few albums. For the Ascent LP, the 16-piece big band performs a remake of "Feast in Milano" (which is more complex than Akiyoshi's earlier version), Tabackin's ballad "Unrequited Love" and Akiyoshi's three-part sidelong "Liberty Suite." The soloists include trombonist Conrad Herwig, Walt Weiskopf on tenor, trumpeters John Eckert and Brian Lynch, altoist Jim Snidero, flutist Frank Wess and Tabackin on tenor and flute. All of the Toshiko Akiyoshi Jazz Orchestra's recordings are well worth acquiring.

     Artists: Gil Evans/Laurent Cugny Big Band Lumiere
     Album: Golden Hair
     Label: EmArCy
     Year: 1987
     Format, bitrate: Flac
     Time: 59:03
     Size: 301 MB

      Artist: Toshiko Akiyoshi Jazz Orchestra feat. Lew Tabackin
      Album: Desert Lady/Fantasy
      Label: Sony
      Year: 1994
      Format, bitrate: Flac
      Time: 57:25
      Size: 322
      AMG rating:

     Recordings by the Toshiko Akiyoshi Jazz Orchestra are surprisingly few, particularly from the 1990s. The pianist/arranger Akiyoshi is near the top of her field, and her 1993 orchestra is heard in excellent form on this CD interpreting four of her originals, Lew Tabackin's "Broken Dreams" (a ballad feature for his tenor), and Dizzy Gillespie's "Bebop." Other key soloists include trombonist Conrad Herwig; trumpeters Joe Magnarelli, John Eckert, and Greg Gisbert; and altoists Jerry Dodgion and Jim Snidero. The music mostly swings hard, and there are many exciting moments along the way, making one wonder why this important orchestra has recorded so little since this time. Worth searching for.

      Artists: Gil Evans/Laurent Cugny Big Band Lumiere
      Album: Rhythm A Ning
      Label: EmArCy
      Year: 1987, release: 2003
      Format, bitrate: Flac
      Time: 54:35
      Size: 300 MB


     This is a very interesting recording. Aging arranger/pianist Gil Evans agreed after much persuasion to come to Paris and play his music at a few concerts with Laurent Cugny's Orchestra. After only one rehearsal, the first event took place, and it gratified Evans to realize that the young French musicians were not only excellent players but big Gil Evans fans. Their interpretations of Thelonious Monk's "Rhythm-A-Ning," "London" and "La Nevada" rank with the best versions of Evans's regular Monday Night Band, and Cugny's "Charlie Mingus' Sound of Love" (an answer to Mingus' "Duke Ellington's Sound of Love") is also excellent. Few of the sidemen, other than tenor-saxophonist Andy Sheppard and percussionist Marilyn Mazur, are known in the U.S., but they did an excellent job of bringing Gil Evans's music to life.

~ Scott Yanow, All Music Guide

      Artist: Art Blakey & The Jazz Messengers
      Album: 1958 Paris Olympia
      Label: Universal Music (France)
      Year: 1958
      Release: 2001
      Format, bitrate: Flac
      Time: 55:59
      Size: 322 Mb


     The 1958 version of The Jazz Messengers was widely recorded during their stay in Paris, but this CD does not duplicate any of the other recordings previously released. This band (with trumpeter Lee Morgan, Benny Golson on tenor and pianist Bobby Timmons) was particularly strong, and it is quite enjoyable to hear them stretch out on such songs as "I Remember Clifford," "Moanin'," "Blues March" and "Whisper Not." Hard bop at its best, all of it propelled by the powerful drumming of Art Blakey.

      Artist: Erich Kunzel & Cincinnati Pops Orchestra
      Album: Mancini's Greatest Hits
      Label: Telarc
      Year: 1989
      Format, bitrate: Flac
      Time: 67:59
      Size: 332




     With the unmistakably sneaky lope of the notorious "Pink Panther Theme," Erich Kunzel's survey of the music of Henry Mancini begins in the best possible way -- perhaps the only possible way for some. Yet the misadventures of Inspector Clouseau play only a small part not only in this album, but also in Mancini's gigantic film output, which includes marches on par with any -- zany scherzos, injections of jazz, outbreaks of a lively musical wit, and, of course, a massive quantity of memorable tunes. There is no specific credit in the booklet for the arrangements, but they sound like Mancini's own, especially the cooing choral charts. However, some of the identical titles that Mancini recorded with the RPO Pops for Denon a year earlier are markedly different from these arrangements, while others ("The Thorn Birds") are virtually the same. The film themes, some of which are among the most inventive ever conceived for celluloid, come at you in airplay-sized shots, seldom over three minutes in length -- and when they are, sometimes it's because Kunzel's tempos are slower than those of Mancini himself. At times, this could have been a sequel to Mancini's long string of best-selling easy listening RCA Victor albums of the mid-century -- albeit with larger orchestral forces (the Cincinnati Pops) and really superb digital sound in a fine concert hall (the Cincinnati Music Hall). Yet, Kunzel does take listeners off the beaten path now and then in order to include some of Mancini's short, symphonic concert pieces like "Symphonic Soul," "Strings on Fire," and "Drummers' Delight" -- pleasing miniatures that are not all that removed in style from his film scores. The irrepressible Kunzel is able to persuade his large orchestra to swing the jazzier numbers, and they give the big tunes their lush due. ~ Richard S. Ginell

      Artist: Louis Jordan and His Tympany Five with guest stars Louis Armstrong & Ella Fitzgerald
      Album: The Entertainers
      Label: Circle
      Year: 1944-1945
      Format, bitrate: Flac
      Time: 61:44
      Size: 290 Mb
      AMG Rating:




     Wondrous cuts that combined hip vocals, robust solos, and inventive lyrics into a sound that was later called R&B. These are also available in other collections on Charly and Jukebox Lil.

     
     Artist: Bill Watrous
     Album: Live at the Blue Note
     Label: Half Note Records
     Year: 2000
     Format, Bit Rate: Flac
     Time: 68:22
     Size: 141 Mb

    

 Another in the series of live performances from New York's Blue Note released by Halfnote, this time it's trombonist Bill Watrous and his quartet with Derek Smith, Russell George, and Joe Ascione. Watrous applies his effortless virtuosity and fluid expressive solo style to a program of classic pop and jazz standards, dealing with them in depth and from a variety of rhythmic perspectives. The average running time per track is almost ten minutes, allowing for extensive examination of improvisational opportunities offered by each tune. Watrous gets a warm, rich, buttery sound from the slide instrument. When he needs it, he also has enormous technique producing those fast-tongued notes that contrast with and set off his long flowing lines. He brings both into play on such cuts as "Always," flirting with a bit of tailgating along the way. Watrous has the merited reputation of being one of jazz's more prominent bop-oriented trombonists, as he reminds listeners on Thelonious Monk's "Blue Monk." There's a long, strong piano solo here by Smith and marvelous interplay between Ascione's drums and George's bass in support of creative, freewheeling modern trombone playing by Watrous, which draws an appreciative response from the audience. "I Want to Be Happy" opens with Watrous a cappella, having some fun with a variety of curious sounds coming out of the instrument before leaping into a fast-paced rendition of the melody line with the other members jumping in. This tune is the album's swinger, as everyone moves along helter-skelter, supported by clashing Ascione cymbals, punctuated drum breaks, and staunch basslines by George, producing a rousing coda to an outstanding live performance. Recommended. ~ Dave Nathan, All Music Guide

      Artist: James Brown
      Album: Hell
      Label: Polydor
      Year: 1974
      Format, bitrate: MP3, 320
      Time: 69:36
      Size: 138 MB
      AMG Rating:


     Brown's early-'70s run of classic singles and good-to-great albums is still impressive. Hell was the double album released a year after the gold selling The Payback. To some, the title might put this effort in the realm of kitsch, but in many ways Hell was one of Brown's strongest albums. The album was the pinnacle of his work as the Minister of the Super New New Heavy Funk. From the tough and nimble Latin rhythms of "Coldblooded," and "Sayin' It and Doin' It" to the title track, all are prime pre-disco Brown. "My Thang" is probably as hard and unrelenting as he got without spontaneously combusting. The biggest surprise of Hell is that no matter how odd the song choices seemed, practically everything worked, excluding a few key songs of course. Both "When the Saints Go Marching In" and "Stormy Monday" don't belong in James Brown's catalogue, let alone the same album. Ballad-wise, Brown fares better. "These Foolish Things Remind Me of You" has him getting all warm and fuzzy as he inexplicably throws in an "I'm hurt, I'm hurt" for good measure. That song, as well as the weepers "A Man Has to Go to the Cross Road Before He Finds Himself" and "Sometime," were produced by David Matthews who could always get good ragged yet poised vocals from Brown. Although Brown did roll snake eyes on all of side three, he did leave Hell on a good note. "Papa Don't Take No Mess" is laid-back, funky jazz that's worth each of its 13-plus minutes. Despite a few detours, Hell is worth listening to.

     Artists: Julian Priester
     Album: Keep Swingin'
     Label: Riverside/Original Jazz Classics
     Year: 1960 (CD 1995)
     Format, bitrate: MP3, 320 Kbps
     Time: 36:23
     Size: 82,4 MB
     AMG rating

Repost with new link

Trombonist Julian Priester sounds very much under the influence of J.J. Johnson during his debut as a leader, a Riverside date reissued on CD in the Original Jazz Classics series. The repertoire is comprised of four Priester originals, one apiece by Jimmy Heath (whose tenor makes the group a quintet on five of the eight songs) and baritonist Charles Davis, and two standards. Priester is heard in his early prime on a warm version of "Once in a While" and plays solid hard bop with pianist Tommy Flanagan, bassist Sam Jones, drummer Elvin Jones, and sometimes Heath on this swinging, modern, mainstream session. ~ Scott Yanow, All Music Guide

      Artist: Buddy Rich And His Big Band Machine
      Album: Speak No Evil
      Label: Wounded Bird Records
      Year: 1976
      Format, bitrate: Mp3, 320 Kbps
      Time: 40:57
      Size: 81,8 MB

     Released in 1976, Buddy Rich's Speak No Evil is one of the most unusual dates in his long career. For starters, it was produced and arranged by the legendary Richard Evans, house producer and arranger at Chess Records' Cadet imprint. Amazingly enough, this set comes off beautifully as a funky, soulful jazz date. And for a change, it seems, Rich allowed his producer to do his job without inserting himself at every turn. Some jazz fans may write off the date simply because the great drummer is decked out in kung fu garb and is sporting a pair of nunchucks on the back cover. That's too bad for them, because this one is a killer. As usual, Rich surrounded himself with some of the great soloists and session players available for the date -- saxophonists Joe Farrell, Steve Marcus, Dave Tofani, and Turk Mauro; trumpeters Lew Soloff and Jon Faddis; bassist Bob Cranshaw; guitarist Ross Traut (who co-produced the session with Evans); and Kenny Barron on electric piano -- amidst the other brass and percussion and trio of female backing vocalists including Vivian Cherry, Lani Groves, and Rhetta Hughes. The program walks a free-flowing line between funky and progressive big-band jazz, sophisticated pop, and soulful instrumental tunes that border on disco (especially the Natalie Cole-Chuck Jackson tune "Sophisticated Lady [She's a Different Lady]"), but for the most part stays on the funk side of the street. The program features some of the bigger tunes of the day, including a burning, break-laden rendition of the Isley Brothers' "Fight the Power," Gino Vanelli's "Storm at Sunup," the Spinners' "Games People Play," and the Pointer Sisters' "How Long (Betcha Got a Chick)." The charts are simply infectious. Evans, scoring for the popping bass and guitar-driven rhythm section, is always at the core. Add Barron's smoking choppy Fender Rhodes lines and you have a bottom the drummer (who is amazingly restrained here) can play off of. Evans gives plenty of solo space to the principals while keeping things taut and grooving -- check out the Brecker Brothers' "Sneakin' Up Behind You," with killer breaks by Rich and a rubbery bassline by Cranshaw. The counterpoint in the horn chart between trombones and trumpets is virally infectious. Rich may not have scored commercially with this set at the time, but it has become a favorite of beat hunters since the dawn of sampling. Speak No Evil was released -- finally -- on CD by Wounded Bird in 2008.

     Artist: The Dizzy Gillespie All-Stars Big Band
     Album: Dizzy's Business
     Label: Mcg Jazz
     Year: 2006
     Format, bitrate: Mp3, 320 Kbps
     Time: 70:39
     Size: 135 MB
     AMG Rating


     The Dizzy Gillespie All-Star Big Band's Dizzy's Business continues where 2002's Things to Come (credited to the Dizzy Gillespie Alumni All-Stars) left off. Gone is the fabulous trumpeter Jon Faddis, who also led that aggregation, but many of the other key players return, among them tenor saxman Jimmy Heath, baritone saxman Gary Smulyan, alto saxmen/flutists Antonio Hart and Frank Wess, trombonists Jay Ashby and Douglas Purviance, trumpeters Greg Gisbert and Claudio Roditi, guitarist Marty Ashby, drummer Dennis Mackrel, and bassist John Lee (who co-produced with the Ashbys). This time around, the all-star cast boasts even greater star power, however, with the additions of James Moody on tenor sax, flute and vocals, Randy Brecker on trumpet, and Mulgrew Miller playing piano. Trombonist Slide Hampton, who also performed on Things to Come, returns here as bandleader, trumpet hotshot Roy Hargrove appears as a guest soloist, and Italian vocalist Roberta Gambarini adds her deliciously sweet tones, scatting dizzily with Hargrove on Gillespie's steaming "Blue 'N Boogie" and turning in a sensitive, moody lead on the classic "Stardust." Not surprisingly, there's a lot of world-class blowing going on here, both in an ensemble format and in the solos. Miller does Thelonious Monk proud on the album-closing "Off Minor" and "I Mean You" (which Monk co-penned with Coleman Hawkins). Brecker shines on Gillespie's "Tour de Force" and the opening title track, and Hargrove proves himself up to the task of playing in the Gillespie vets' company with his solo turn on the classic "Hot House." The updated arrangements fashioned by Mackrel and Hampton remain faithful to Gillespie's vision without becoming trapped in retro-ville. Recorded live in Pittsburgh in 2005, Dizzy's Business accomplishes what it sets out to do: pay tribute to the master and nudge him into the future.

      Artist: The Dizzy Gillespie Alumni All-Stars Big Band
      Album: I'm BeBoppin' Too
      Label: Halfnote Records
      Year: 2008, release: 2009
      Format, bitrate: Mp3, 320 Kbps
      Time: 68:16
      Size: 127 MB
      AMG Rating

     Tribute bands are often bland affairs, because they become too predictable, while often omitting any artists who played with the deceased artist. Fortunately, this third CD by the Dizzy Gillespie All-Star Big Band mixes veterans who worked with the trumpeter and talented younger players who acquit themselves very well. Trombonist Slide Hampton contributed a fresh chart of Dizzy's "Manteca" that is a bit more introspective and less percussive and shouting, with potent solos by pianist Cyrus Chestnut. Tenor saxophonist Jimmy Heath scored the subtle, hip treatment of Kenny Dorham's "Una Mas," showcasing alto saxophonist Mark Gross, trombonist Douglas Purviance, and baritonist Gary Smulyan. Vocalist Roberta Gambarini's solid performance of "'Round Midnight" (and Hampton's fresh arrangement) trump those who claim that this landmark Thelonious Monk composition is recorded all too often; there is always room for a top-notch recording such as this one. Gambarini also guests in Heath's setting of Tadd Dameron's bittersweet ballad "If You Could Seem Me Now" and Hampton's snappy setting of "Lover, Come Back to Me." Nor should the brass players be overlooked: Roy Hargrove's lush playing in "I Can't Get Started," plus his comic vocal in the jive piece "I'm BeBoppin' Too," are complemented by Greg Gisbert's searing trumpet and Michael Dease's brief, effective trombone solo. Recommended.

~ Ken Dryden,All Music Guid

     Artist: The Dizzy Gillespie Alumni All-Stars Big Band
     Album: Things To Come
     Label: McG Jazz
     Year: 2000, release:2002
     Format, bitrate: Mp3, 320 Kbps
     Time: 60:20
     Size: 134 MB
     AMG Rating:

     The Dizzy Gillespie Alumni All-Stars are a "ghost" band of sorts run by trumpeter and Gillespie protégé Jon Faddis. Recorded to celebrate the music and memory of Gillespie, Things to Come is a fiery live recording made in September of 2000 at the Manchester Craftsmen's Guild; all proceeds from the sale of this disc go directly to the Craftsmen's Guild's minority-focused arts and learning center. Featuring various Gillespie band alumni, from saxophonist Jimmy Heath to trombonist Slide Hampton, the album features updated arrangements of Gillespie originals and songs associated with the innovative jazz icon. The supersonic trumpet of Faddis is featured throughout and, as he's been called upon to do many times, he does a terrific job of emulating his idol. While this is a pristine-sounding and flawless recording, the simple fact that these songs, such as "Manteca" and "Stablemates," are such warhorses of the jazz idiom makes the CD seem a tad predictable. Nonetheless, fans of straight-ahead modern jazz and bebop should be very pleased with the results.

     Artist: Ella Fitzgerald
   Album: Newport Jazz Festival , Live at Carnegie Hall
   Label: Sony Records (Japan)
   Year: 1973, release: 1995
   Format, bitrate: MP3, 320 Kbps
   Time: 70:58 (disc 1) + 70:06 (disc 2)
   Size: 135 MB + 151 MB (with scans)
   AMG Rating


The somewhat confusing title of this two-disc live set comes from the fact that although this July 5, 1973, concert took place at New York City's Carnegie Hall, it was sponsored by the Connecticut-based Newport Jazz Festival. This expanded version of what had been a heavily-condensed two-album set on vinyl contains the complete concert, which featured Ella Fitzgerald with a variety of backers, including a version of the Chick Webb Orchestra, the horn-heavy Jazz At Carnegie All-Stars, and most satisfyingly, the Tommy Flanagan Quintet (featuring sterling guitarist Joe Pass). She sounds terrific with all three bands. The eight previously unreleased tracks, including a dazzling scat rendition of "Stompin' at the Savoy," are as magnificent as the more familiar material.

      Artist: Bill Evans / Randy Brecker
      Album: Soul Bop Band Live
      Label: BHM Productions
      Year: 2004, release: 2006
      Format, bitrate: Mp3, 320 Kbps
      Time: CD 1 - 51:24; CD 2 - 45:35
      Size: CD 1 - 96,8 MB; CD 2 - 84,4 MB
      AMG rating

During the summers of 2004 and 2005, saxophonist Bill Evans and trumpeter Randy Brecker co-led the Soul Bop Band on tours. The music that they created was funky, heartfelt, and full of strong jazz solos. With a top-notch and versatile rhythm section comprised of guitarist Hiram Bullock, keyboardist David Kikoski, bassist Victor Bailey, and drummer Steve Smith, the sextet performed consistently stirring music. This two-CD set has plenty of heated instrumentals along with occasional ballads, all of it original music coming from either Evans, Brecker, or Bullock. Unfortunately a few of the selections have vocals from Brecker that are primitive at best and an acquired taste although the words to Bullock's "Greed" are worthy. If it were not for the singing, this two-fer would be rated higher, but it does contain some of the best playing of the era from Bill Evans and Randy Brecker, who consistently bring out the best in each other.

     Artist: Mingus Big Band
     Album: The Essential Mingus Big Band
     Label: Dreyfus
     Year: 2001
     Format, bitrate: Mp3, 320 Kbps
     Time: 71:20
     Size: 146 MB
     AMG Rating:


     A fine "best of" collection drawn from the Mingus Big Band's five-disc output since 1993. The disc captures the flow and live energy of the band's regular Thursday-night gig at Fez Under Time Café in New York. The highlights are many: Ronnie Cuber's baritone sax work on "Moanin'" and his touching narration on "Nostalgia in Times Square"; Kenny Drew, Jr.'s Eastern-tinged piano intro and monster solo on "Boogie Stop Shuffle"; Seamus Blake's tenor showcase on "Goodbye Pork Pie Hat"; the list goes on. Much has been written about the ability of this enterprise, under the direction of Sue Mingus, the legendary composer's widow, to transcend the "ghost band" category and capture the true spirit of Charles Mingus. The reports are true, and The Essential Mingus Big Band is an elegant and concise summation of the band's achievements thus far.

      Artist: Supersax & L.A. Voices
      Album: Straighten Up And Fly Right
      Label: Columbia
      Year: 1986
      Format, bitrate: Mp3, 320 Kbps
      Time: 37:46
      Size: 75,2 MB




     For the third and final Columbia LP by Supersax and the L.A. Voices, the five saxes, five voices (which include Sue Raney and Supersax leader Med Flory), rhythm section (with pianist Lou Levy) and trumpeter Conte Candoli, perform four songs recorded by Charlie Parker, John Coltrane's solo on "Someday My Prince Will Come," and Flory's arrangements on "Straighten Up and Fly Right" and three of the leader's originals (including one called "Super Sax"). The music is fun and swinging, but not as significant as Supersax's three Capitol recordings.

      Artist: Supersax & L.A. Voices
      Album: Supersax & L.A. Voices
      Label: Columbia
      Year: 1984
      Format, bitrate: Mp3, 320 Kbps
      Time: 38;32
      Size: 83,5 MB




     On the second of three LPs matching Supersax (five saxophonists, trumpeter Conte Candoli and a rhythm section) with the five singers of L.A. Voices (which include Sue Raney on lead and leader-altoist Med Flory as one of the vocalists), only three of the nine pieces were actually recorded by Charlie Parker ("Just Friends," "They Can't Take That Away from Me" and "Bloomdido"), while the other sax choruses were written by the versatile Med Flory. The music (which includes "He Ain't Got Rhythm," "Speak Low" and "As Time Goes By") is interesting and spirited, but not too essential.

      Artist: Supersax & L.A.Voices
      Album: Supersax & L.A.Voices
      Label: Epic Sony
      Year: 1983
      Format, bitrate: MP3, 320 Kbps
      Time: 39:23
      Size: 84,7 MB



      After recording several notable albums, Supersax teamed up with a five-voice vocal ensemble called the L.A. Voices. Sue Raney sang lead, and Med Flory (altoist and co-founder of Supersax) doubled as one of the singers. While "In the Still of the Night" and "Old Folks" were originally recorded by Charlie Parker and the Dave Lambert Singers, the other songs on this LP were either cut by Parker without voices or not even by the altoist (particularly Med Flory's "L.A."), so more liberties were taken than usual for a Supersax record. Still, the spirit of Charlie Parker is felt throughout this record and the vocal group (which would be heard on two other Supersax records) is excellent. Highlights include "Embraceable You," "The Song Is You," and "Star Eyes."