31 May, 2010


Art Blakey - A Night at Birdland v1-2 (1954) (RVG) (eac-flac-cover)

Art Blakey - A Night at Birdland v1-2 (1954) (RVG)
jazz | 2cd | eac-flac-cue-log-cover | 575MB
BN RVG | rar +5% recovery
When Art Blakey founded the Jazz Messengers, his initial goal was to not only make his mark on the hard bop scene, but to always bring younger players into the fold, nurture them, and send them out as leaders in their own right. Pianist Horace Silver, trumpeter Clifford Brown, and saxophonist Lou Donaldson were somewhat established, but skyrocketed into stardom after this band switched personnel. Perhaps the most acclaimed combo of Blakey's next to the latter-period bands with Lee Morgan and Wayne Shorter, the pre-Messengers quintet heard on this first volume of live club dates at Birdland in New York City provides solid evidence to the assertion that this ensemble was a one of a kind group the likes of which was not heard until the mid-'60s Miles Davis Quintet. Three of Silver's greatest contributions to jazz before he turned to original soul and funkier sounds are here. "Split Kick" (introduced by the erudite Pee Wee Marquette) is a definitive hard bop vehicle, as Brown and Donaldson dig into their melody and solo lines with deep affection and joy for this music. "Quicksilver" is more of the same as the horns play in unison and pull the famous lyrical quote from "Hey, You Beautiful Doll." "Mayreh" is a happy reharmonized version of "All God's Children Got Rhythm," hard bop at its best, with Brown on fire. Of course, Donaldson's forte is soul, as emphasized during the slow "Blues," assimilating Charlie Parker's cooled tones nicely. A near ten-minute "A Night in Tunisia" establishes the loose-tight concept Blakey patented as he dominates the bandstand in loudness. J.J. Johnson's "Wee-Dot" is as definitive a bop flagwaver as there is, with a short head and plenty of solo space. Where Brown was always masterful in a ballad, "Once in a While" showcases his beautifully executed legato sound, but not at the expense of his innate ability to both invent and extrapolate without losing touch of this special melancholy song. This recording, as well as subsequent editions of these performances, launches an initial breakthrough for Blakey and modern jazz in general, and defines the way jazz music could be heard for decades thereafter. Everybody must own copies of all volumes of A Night at Birdland.

1. "Announcement by Pee Wee Marquette" – 0:58
2. "Split Kick" (Silver) – 8:44
3. "Once in a While" (Edwards, Green) – 5:18
4. "Quicksilver" (Silver) – 6:58
5. "A Night in Tunisia" (Gillespie, Paparelli) – 9:20
6. "Mayreh" (Silver) – 6:19
7. "Wee-Dot (alternate take)" (2001 bonus track) (Johnson, Parker) – 6:53
8. "Blues (Improvisation)" (2001 bonus track) (traditional) – 8:37
1. "Wee Dot" (Johnson, Parker) - 7:16
2. "If I Had You" (Campbell, Connelly, Shapiro) - 3:31
3. "Quicksilver [alternate master]" (Silver) - 8:46
4. "Now's the Time" (2001 bonus track) (Parker) - 9:02
5. "Confirmation" (2001 bonus track) (Parker) - 9:12
6. "The Way You Look Tonight" (Fields, Kern) - 9:59
7. "Lou's Blues" (Donaldson) - 3:58

* Art Blakey - drums
* Clifford Brown - trumpet
* Lou Donaldson - saxophone (alto)
* Curley Russell - bass
* Horace Silver - piano
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30 May, 2010


Coltrane, Jaspar, Sulieman, Young - Interplay for 2 Trumpets & 2 Tenors (1957) (eac-flac-cover)

Coltrane, Jaspar, Sulieman, Young - Interplay for 2 Trumpets & 2 Tenors (1957)
jazz | 1cd | eac-flac-cue-log-cover | 330MB
OJC | rar +5% recovery
John Coltrane (tenor sax) resumed his association with Rudy Van Gelder's Prestige label on a late March 1957 "all-star" session alongside Idrees Sulieman (trumpet), Webster Young (trumpet), Bobby Jaspar (tenor sax), Kenny Burrell (guitar), Paul Chambers (bass), Art Taylor (drums), and de facto arranger/songwriter Mal Waldron. Things really heat up after the core ensemble retires, leaving Coltrane and Red Garland (piano) to be supported by the Chambers/Taylor rhythm section. But more about that in a moment. This interesting blend of instrumentalists lives up to its potential as well as the equally intriguing Interplay for 2 Trumpets and 2 Tenors (1957). In fact, the appropriately named "Interplay" is up first with the melody extracting a feel that, while deeply entrenched in bop, has undeniable roots in Dixieland. Sulieman is exceptional for his melodic and thoughtful contributions, although it seems to be Coltrane who drives the theme the furthest. The tune's call-and-response structure doesn't fetter Coltrane as he pushes boundaries, pointing in the direction his music would continue to take. Kenny Burell gets some space to stretch on the understated and refined cool of "Anatomy." After the horns collectively establish the mid-tempo groove, listeners are treated to sublime solos via the stringed mastery of both the guitarist's fluid fret runs as well as Chambers' warm and playful bowed bass. Waldron picks back up for a few bars before handing things over to the brass. Note Sulieman's focus and strength as his flurry is a perfect springboard for Coltrane's criminally short interjections. Just like its name suggests, "Light Blue" presents the essence of the blues in a practically playful manner. After the short but sweet intro -- featuring some excellent comping by Burrell -- Waldron's presence evolves into weaving phrases clearly inspired by the guitarist. It is fascinating how Coltrane "gets up to speed" as if his portion is joined already in-progress and fully formed. According to Carl Woideck's liner notes -- accompanying Coltrane's Complete Prestige Recordings (1991) -- the straightforward elegance of "Soul Eyes" was "written by Waldron with Coltrane in mind." No doubt another reason the saxophonist chose to incorporate the selection into one of the signatures of his own "classic quartet." The trumpets and tenor saxes collectively create a warm, intimate, and inviting harmonic embrace. Burrell is sublime as are Waldon's accents to his detailed string work, while the muted sound of Young conjures the cool and sweetness of Miles Davis. Most CD incarnations of Interplay for 2 Trumpets and 2 Tenors also include a rousing reading of Jimmy Heath's "C.T.A." with Coltrane, the aforementioned Red Garland (piano), and timekeepers Chambers/Taylor. The experience here is certainly looser, with the quartet leaping into overdrive as Coltrane's confidence soars and his playing is unquestionably ahead of its time.


1. "Interplay" — 9:44
2. "Anatomy" — 11:51
3. "Light Blue" — 7:48
4. "Soul Eyes" — 17:29
5. "C.T.A." - 4:40

* John Coltrane — tenor saxophone
* Bobby Jaspar — tenor saxophone
* Idrees Sulieman — trumpet
* Webster Young — trumpet
* Mal Waldron — piano
* Kenny Burrell — guitar
* Paul Chambers — bass
* Art Taylor — drums
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Leonard Cohen - Death Of A Ladies' Man (1977) (eac-flac-cover)

Leonard Cohen - Death Of A Ladies' Man (1977)
rock | 1cd | eac-flac-cue-log-cover | 315MB
Columbia | rar +5% recovery
Death of a Ladies' Man is the fifth of Leonard Cohen's albums. Produced and co-written by the storied Phil Spector, it was a surprise to some fans when the voice of typically minimalist Cohen was surrounded, some critics said submerged, completely by Spector's Wall of Sound, which included mulitple tracks of instrument overdubs. The album was originally released by Warner Bros., but was later picked up by Cohen's longtime label, Columbia Records.
15 songs were written by the two over a course of three weeks, and Spector described it as "some great fuckin' music". Not everyone agreed with this assessment, preferring Cohen's earlier acoustic folk music to the jazz-, rock- and even funk-influenced arrangements. Among the seven unknown outtakes is probably "Do I Have to Dance All Night". A live recording was released in France as a single in 1976. Bob Dylan and Allen Ginsberg sang backup vocals on the chorus of "Don't Go Home with Your Hard-on".
Death of a Ladies' Man was recorded in Los Angeles, California. Before Cohen had completed his vocals, Spector barred him from the studio (supposedly under armed guard) and mixed the album by himself. For this reason some of the songs only have "guiding vocals" originally meant to be redone later. Interviewed for the 2005 documentary I'm Your Man, Cohen expressed disappointment in the record and felt that the songs "got away" from him; he also noted that it was a favorite among "punksters" as well as his daughter.

1. "True Love Leaves No Traces" – 4:26
2. "Iodine" – 5:03
3. "Paper Thin Hotel" – 5:42
4. "Memories" – 5:59
5. "I Left a Woman Waiting" – 3:28
6. "Don't Go Home with Your Hard-On" – 5:36
7. "Fingerprints" – 2:58
8. "Death of a Ladies Man" – 9:19

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28 May, 2010


Astor Piazzolla & Gary Burton - The New Tango (1986) (eac-flac-cover)

Astor Piazzolla & Gary Burton - The New Tango (1986)
jazz, latin, contemporary | 1cd | eac-flac-cue-log-cover | 310MB
WEA | rar +5% recovery
Recorded at the Montreux Festival of 1986, The New Tango is an album of collaboration between the undisputed leader of the nuevo tango movement, Astor Piazzolla, and American vibe master Gary Burton. All of the pieces on the album were written by Piazzolla over the course of some 40 years of work, along with one special composition, "Vibraphonissimo," written expressly for Burton's usage. Surprisingly enough -- given the virtuosity and coherence that one receives on the album -- there were a mere three rehearsals prior to the recorded performance. As the listener finds out, the vibraphone is perfectly suited to the tango; or at the very least, that Gary Burton is fully capable of the job. As with all of Piazzolla's albums, the chances of disappointment are quite slim, with a special amount of attention given here to details by all musicians involved. Any fan of the nuevo tango or Piazzolla will be pleased as usual. Fans of Gary Burton or jazz vibes may find the album surprisingly good as it shows the versatility of the vibraphonist. As Fernando Gonzalez once said, "this music knows many dialects. And listens. There are no lines drawn and no sides to defend. This is new tango."


1. Milonga Is Coming
2. Vibraphonissimo
3. Little Italy 1930
4. Nuevo Tango
5. Laura's Dream
6. Operation Tango
7. Muerta del Angel

Piazzolla (Astor) - bandoneon
Burton (Gary) - vibes
Ziegler (Pablo) - piano
Suarez Paz (Fernando) - violin
Malvicino (Horacio) - guitar
Console (Hector) - bass
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Pepper Adams - Encounter! (1968) (eac-flac-cover)

Pepper Adams - Encounter! (1968)
jazz | 1cd | eac-flac-cue-log-cover | 295MB
OJC | rar +5% recovery
Baritonist Pepper Adams and tenor saxophonist Zoot Sims (who rarely performed together) make a surprisingly compatible team on this CD reissue of a 1968 Prestige session. With pianist Tommy Flanagan, bassist Ron Carter and drummer Elvin Jones forming a fairly adventurous rhythm section, Pepper and Sims sound inspired on material that includes obscurities by Flanagan, Thad Jones and Adams in addition to the Ellington-Strayhorn ballad "Star-Crossed Lovers" and a pair of Joe Henderson songs. The setting is more advanced than usual for Sims, who rises to the challenge

1. Inanout – 5:47
2. The Star-Crossed Lovers – 3:54
3. Cindy’s Tune – 5:58
4. Serenity – 6:27
5. Elusive – 7:15
6. I’ve Just Seen Her – 7:17
7. Punjab – 4:05
8. Verdandi - 3:57

Pepper Adams – baritone sax, brass
Zoot Sims – tenor sax
Ron Carter – bass
Tommy Flanagan – piano
Elvin Jones – drums
read the comments

27 May, 2010


Charles Mingus - Mingus at Carnegie Hall (1974) (japanese 24bit rem) (eac-flac-cover)

Charles Mingus - Mingus at Carnegie Hall (1974) (japanese 24-bit remaster)
jazz | 1cd | eac-flac-cue-log-cover | 360MB
Atlantic/Wea | rar +5% recovery
Atlantic Records, somewhat perversely, chose to release two performances from this concert that had the strongest aura of "jam session" about them. But the show included a solid opening set by the working band of the time, as well as a freer finale, all of which remains unissued. This is a fun 45 minutes, particularly for the jovial interplay between saxophonists Kirk and Adams, but in its released form, only hints at the strength of The Jazz Workshop in 1974.

1. "C Jam Blues" (Barney Bigard, Duke Ellington) - 24:32
2. "Perdido" (Juan Tizol) - 21:53
* Recorded on January 19, 1974 at Carnegie Hall, New York City

* Charles Mingus - bass
* Jon Faddis - trumpet
* Charles McPherson - alto saxophone
* John Handy - tenor saxophone, alto saxophone
* George Adams - tenor saxophone
* Rahsaan Roland Kirk - tenor saxophone, stritch
* Hamiet Bluiett - baritone saxophone
* Don Pullen - piano
* Dannie Richmond - drums

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Charles Mingus - Mingus at Carnegie Hall (1974) (MFSL) (eac-flac-cover)

Charles Mingus - Mingus at Carnegie Hall (1974) (MFSL)
jazz | 1cd | eac-flac-cue-log-cover | 340MB
MFSL | rar +5% recovery
Atlantic Records, somewhat perversely, chose to release two performances from this concert that had the strongest aura of "jam session" about them. But the show included a solid opening set by the working band of the time, as well as a freer finale, all of which remains unissued. This is a fun 45 minutes, particularly for the jovial interplay between saxophonists Kirk and Adams, but in its released form, only hints at the strength of The Jazz Workshop in 1974.

1. "C Jam Blues" (Barney Bigard, Duke Ellington) - 24:32
2. "Perdido" (Juan Tizol) - 21:53
* Recorded on January 19, 1974 at Carnegie Hall, New York City

* Charles Mingus - bass
* Jon Faddis - trumpet
* Charles McPherson - alto saxophone
* John Handy - tenor saxophone, alto saxophone
* George Adams - tenor saxophone
* Rahsaan Roland Kirk - tenor saxophone, stritch
* Hamiet Bluiett - baritone saxophone
* Don Pullen - piano
* Dannie Richmond - drums

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Brahms - Complete Symphonies 4cd (Haitink-LSO) (2005) (eac-flac-cover)

Brahms: Symphonies Nos. 1-4; Double Concerto; Serenade No. 2 (2005)
Bernard Haitink - London Symphony Orchestra
classical | 4cd | eac-flac-cue-log-cover | 1160MB
LSO live | rar +5% recovery
In context of, say, recordings of the symphonies of Raff performed by Hans Stadlmair and the Bamberg Philharmoniker or of the symphonies of Draeseke performed by Jörg-Peter Weigle and the Radio-philharmonie NDR, these recordings of the symphonies of Brahms performed by Bernard Haitink and the London Symphony Orchestra sound absolutely splendid. In context of, say, recordings of Brahms' symphonies by Furtwängler, Klemperer, or Walter, Haitink's performances sound teary, dreary, and ultimately weary. Even in context of Haitink's earlier recordings of Brahms' symphonies with the Concertgebouw Orchestra, Haitink's current recordings sound tired, listless, and dull. Because while it is true that Brahms is, in the right performances, a far greater composer than Raff or Draeseke, Brahms is, in the wrong performances, just as tediously boring as Raff and Draeseke, and these performances are entirely the wrong performances. Of course, Haitink is a far more skilled conductor than either Stadlmair and Weigle, and the London Symphony Orchestra is a far more polished ensemble than the Radio-philharmonie and the Philharmoniker, but in these recordings, at least, they sound less committed to the music than their colleagues, and their performances of Brahms symphonies are as likely to induce sleep as Raff's or Draeseke's. LSO Live's sound is clean and open, but distant.

26 May, 2010


Oliver Nelson - Main Stem (1961) (eac-flac-cover)

Oliver Nelson - Main Stem (1961)
jazz | 1cd | eac-flac-cue-log-cover | 230MB
OJC limited edition | rar +5% recovery
Unlike most of Oliver Nelson's recordings, this one has the feel of a jam session. A CD reissue of a Prestige set, Nelson (on tenor and alto) teams up with trumpeter Joe Newman (in exciting form), pianist Hank Jones, bassist George Duvivier, drummer Charlie Persip and Ray Barretto on congas for two superior standards ("Mainstem" and "Tangerine") and four of Nelson's more basic originals. The spirited solos of Nelson and Newman are strong reasons to get this colorful session.

01 - Main Stem
02 - J & B
03 - Ho!
04 - Latino
05 - Tipsy
06 - Tangerine

Oliver Nelson - sax
Joe Newman - trumpet
Hank Jones - piano
George Duvivier - bass
Charlie Persip - drums
Ray Barretto - congo
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25 May, 2010


David Bowie - Space Oddity (1969) (2009 SHM cd)

David Bowie - Space Oddity (1969) (2009 SHM cd)
rock | 1cd | xldrip-flac-cue-log-cover | 390MB
EMI | rar +5% recovery
Originally released as Man of Words/Man of Music, Space Oddity was David Bowie's first successful reinvention of himself. Abandoning both the mod and Anthony Newley fascinations that marked his earlier recordings, Bowie delves into a lightly psychedelic folk-rock, exemplified by the album's soaring title track. Bowie actually attempts a variety of styles on Space Oddity, as if he were trying to find the ones that suited him best. As such, the record isn't very cohesive, but it is charming, especially in light of his later records. Nevertheless, only "Wild Eyed Boy from Freecloud" and "Memory of a Free Festival" rank as Bowie classics, and even those lack the hooks or purpose of "Space Oddity."

01. "Space Oddity" – 5:15
02. "Unwashed and Somewhat Slightly Dazed" – 6:55
03. "(Don't Sit Down)" * – 0:39
04. "Letter to Hermione" – 2:28
05. "Cygnet Committee" – 9:33
06. "Janine" – 3:18
07. "An Occasional Dream" – 2:51
08. "Wild Eyed Boy From Freecloud" – 4:45
09. "God Knows I'm Good" – 3:13
10. "Memory of a Free Festival" – 7:05
thx to mgubarenko


Cannonball & Nat Adderley - Adderley Brothers_ The Savoy Recordings 2cd (1955) (eac-flac-cover)

Cannonball & Nat Adderley - Adderley Brothers_ The Savoy Recordings 2cd (1955)
jazz | 2cd | eac-flac-cue-log-cover | 610MB
Brilliant Jazz | released 2006 | RAR +5% recovery
Re-edited release of: The Adderley Brothers - The Summer of '55 (Savoy '99)
Julian "Cannonball" Adderley and Nat Adderley are both legendary names in jazz now, but when the material on these two discs was recorded in 1955, they were newcomers on the New York jazz scene. These 21 tracks were originally released on three separate LPs: the first as Bohemia After Dark (with drummer Kenny Clarke billed as leader), the second under Cannonball's name as Spontaneous Combustion, and the third titled That's Nat. This reissue leaves the tracks in the same order as that found on the original LPs (with the addition of several alternate takes). The playing is stupendous, and Cannonball's alto sax is particularly reminiscent of Charlie Parker at the peak of his powers. Cannonball and Nat's compositions, especially the very boppish "Chasm" and the bluesy "Hear Me Talkin' to Ya" simultaneously hark back to and expand the bebop tradition in a way that would lead directly to the hard bop sound of Art Blakey and others. On his solo date, Nat's trumpet style is a bit more individualized than Cannonball's alto; his tone is sweet, his phrasing fluid. The packaging is attractive and there are excellent liner notes. Highly recommended.


cd 1
01. Willow Weep For Me [06:23]
02. Bohemia After Dark (Take 2) [06:06]
03. Bohemia After Dark (Take 1) [05:45]
04. Late Entry [03:16]
05. Spontaneous Combustion [10:07]
06. With Apologies To Oscar (Take 3) [05:44]
07. With Apologies To Oscar (Take 2) [05:45]
08. Chasm [04:22]
09. Hear Me Talking To Ya [09:13]
10. Still Talking To Ya [08:52]
cd 2
01. I Married An Angel [04:33]
02. Caribbean Cutie [07:04]
03. Flamingo [07:01]
04. Porky [05:16]
05. Big E [10:42]
06. We'll Be Together Again [06:57]
07. You Better Go Now [06:00]
08. Kuzzin's Buzzin [05:11]
09. A Little Taste (Take 2) [05:10]
10. A Little Tast (Take 3) [05:01]
11. Ann Springs [06:17]

Nat Adderley (Cornet), Wendell Marshall (Bass), Kenny Clarke (Drums), Hank Jones (Piano), Horace Silver (Piano), Jerome Richardson (Flute), Cannonball Adderley (Sax), Donald Byrd (Trumpet), Jerome Richardson (Sax (Tenor)
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Leonard Cohen - I'm Your Man (1988) (eac-flac-cover)

Leonard Cohen - I'm Your Man (1988)
rock | 1cd | eac-flac-cue-log-cover | 265MB
Columbia | rar +5% recovery
A stunningly sophisticated leap into modern musical textures, I'm Your Man re-establishes Leonard Cohen's mastery. Against a backdrop of keyboards and propulsive rhythms, Cohen surveys the global landscape with a precise, unflinching eye: the opening "First We Take Manhattan" is an ominous fantasy of commercial success bundled in crypto-fascist imagery, while the remarkable "Everybody Knows" is a cynical catalog of the land mines littering the surface of love in the age of AIDS.

1. "First We Take Manhattan" – 6:01
2. "Ain't No Cure for Love" – 4:50
3. "Everybody Knows" (Cohen, Sharon Robinson) – 5:36
4. "I'm Your Man" – 4:28
5. "Take This Waltz" (Cohen, Federico García Lorca) – 5:59
6. "Jazz Police" (Cohen, Jeff Fisher) – 3:53
7. "I Can't Forget" – 4:31
8. "Tower of Song" – 5:37

24 May, 2010


Art Blakey - Keystone 3 (1982) (eac-flac-cover)

Art Blakey - Keystone 3 (1982)
jazz | 1cd | eac-flac-cue-log-cover | 325MB
Concord | SACD | rar +5% recovery
This third live recording at San Francisco's Keystone Korner in the late '70s and early '80s of drummer Art Blakey's Jazz Messengers is significant for many reasons. It marks the final ushering out of the famous band that was fronted at times by David Schnitter, Curtis Fuller, Bobby Watson, and Valery Ponomarev, with Bill Pierce then the lone holdout. It is the first recording to include alto saxophonist Branford Marsalis (who specialized on tenor and soprano sax,) and teams him with brother Wynton Marsalis and Pierce on a formidable, compact front line. Memphis continues to be represented as Donald Brown takes over for James Williams, and New Orleans bass wizard Charles Fambrough remains. The result is an ultra-melodic band of Messengers who instrumentally sing together, swing hard, and are completely commanded by an energetic and powerful rhythm machine in Blakey, at the time in his early sixties. The show starts with a rousing version of "In Walked Bud," with the front line instrumentally singing this famous melody, Wynton growling on his solo, and Branford lyrically sounding like Charlie Parker. "In a Sentimental Mood" is a feature for Pierce without the brothers, as Brown's chiming comping piano buoys the measured tenor sax. The next three pieces are remainders of the previous bands. "Fuller Love," the Bobby Watson tribute to Curtis Fuller, is a 6/8 modal line full of energy, as biting and precise harmonic bass and horns stab with Blakey's driving rhythms all signify the best hard bop offers in modern times. "Waterfall" is the magnum opus of the set, as the horns ascend and descend dynamically in perfect in and out changes, Wynton's solo double-timed to bop pace the highlight. "A La Mode" is the famous composition of Fuller's played to exacting specs in hushed tones with Brown perfectly shadowing the horns, while Blakey dominates and commands the troops in building tension, then halting them at will. Of the many live recordings with different Jazz Messengers lineups, this ranks among their best, and is a springboard for what the Marsalis brothers would offer as artists in their own right. With Blakey, this combination was special.

01 - In walked bud
02 - In a sentimental mood
03 - Fuller love
04 - Waterfalls
05 - A la mode

Bass - Charles Fambrough
Drums - Art Blakey
Piano - Donald Brown
Saxophone [Alto] - Branford Marsalis
Saxophone [Tenor] - Bill Pierce
Trumpet - Wynton Marsalis
thx to sokostark


22 May, 2010


Clifford Brown & Max Roach - At Basin Street (1956) (24b rem) (eac-flac-cover)

Clifford Brown & Max Roach - At Basin Street (1956) (24b rem)
jazz | 1cd | eac-flac-cue-log-cover | 275MB
Verve Master Edition | 24-bit remastered | rar +5% recovery
The last official album by the Clifford Brown/Max Roach Quintet is the only one that featured the great Sonny Rollins on tenor. With pianist Richie Powell and bassist George Morrow completing the group, this CD reissue is a hard bop classic. Brownie and Rollins fit together perfectly on memorable versions of "What Is This Thing Called Love," "I'll Remember April," and a witty arrangement of "Love Is a Many Splendored Thing." Highly recommended.

01 What Is This Thing Called Love? 7:33
02 Love Is A Many Splendored Thing 4:14
03 I'll Remember April 9:13
04 Powell's Prances 3:28
05 Time 5:03
06 The Scene Is Clean 6:05
07 Gertrude's Bounce 4:09
08 Step Lighlty (Junior's Arrival) 3:33
09 Flossie Lou 3:55
10 What Is This Thing Called Love? - Alternative Take 8:19
11 Love Is A Many Splendored Thing - Breakdown 0:45
12 Love Is A Many Splendored Thing - Alternative Take 3:53
13 I'll Remember April - Breakdown 1:25
14 I'll Remember April - Alternative Take 9:43
15 Flossie Lou - Alternative Take 4:01

Bass - George Morrow
Drums - Max Roach
Piano - Richie Powell
Saxophone [Tenor] - Sonny Rollins
Trumpet - Clifford Brown

21 May, 2010


Oliver Nelson - Taking Care Of Business (1960) (eac-flac-cover)

Oliver Nelson - Taking Care Of Business (1960)
jazz | 1cd | eac-flac-cue-log-cover | 290MB
OJC limited edition | rar +5% recovery
Oliver Nelson would gain his greatest fame later in his short life as an arranger/composer but this superior session puts the emphasis on his distinctive tenor and alto playing. In a slightly unusual group (with vibraphonist Lem Winchester, organist Johnny "Hammond" Smith, bassist George Tucker and drummer Roy Haynes), Nelson improvises a variety of well-constructed but spontaneous solos; his unaccompanied spots on "All the Way" and his hard-charging playing on the medium-tempo blues "Groove" are two of the many highpoints. Nelson remains a vastly underrated saxophonist and all six performances on this recommended CD reissue (four of them his originals) are excellent.

1 Trane Whisle 9:54
2 Doxy 6:56
3 In Time 5:30
4 Lou's Good Dues 6:16
5 All The Way 7:32
6 Groove 6:26

Bass - George Tucker
Drums - Roy Haynes
Organ - Johnny "Hammond" Smith*
Saxophone [Tenor And Alto] - Oliver Nelson
Vibraphone - Lem Winchester
Engineer [Recording] - Rudy Van Gelder
Remastered By - Phil De Lancie


Roy Harper - Come Out Fighting Ghengis Smith (1967) (eac-flac-cover)

Roy Harper - Come Out Fighting Ghengis Smith (1967)
Rock | 1cd | eac-flac-cue-log-cover | 290MB
Awareness  | rar +5% recovery
On Harper's second album (and first for a major label), he strode further into folk-rock as opposed to folk, with sympathetic production from Shel Talmy; there was light electric backing and drums, as well as occasional orchestration. Harper remained, however, overly verbose, his observational lyrics tending to jam too many thoughts into too little time. Often this is stream-of-consciousness songwriting, proving that such a strain existed in alternative rock long before Jandek and Lambchop's Kurt Wagner. Harper is far more tuneful, and a much better singer and instrumentalist, than either Jandek or Wagner, which makes this much more accessible on a surface level. Still, it's music that demands a lot of concentration to apprehend, and ultimately doesn't fully reward the effort, the listener's attention tending to drift off amidst Harper's inscrutability. Far be it from a mere critic to suggest such a thing decades after the fact, but it may have been that Harper could have well done with a songwriting collaborator who could have extracted Roy's most coherent ideas and sanded off the most incoherent ones. Especially befuddling are the epic-length cuts ("Circle" and the title track), which seem to wish to be making a grand point, but are only intermittently interesting winding roads, the pseudo-humorous spoken dialogue in "Circle" falling especially flat. He is best when he is most restrained, as on "All You Need Is" and "What You Have." The CD reissue on Science Friction adds seven bonus tracks. Two are from his 1969 album Folkjokeopus; two are from a 1967 single that is only marginally more commercial than the album; and the remaining three are from 1969-1970 BBC sessions.

01. "Freak Street" – 3:06
02. "You Don't Need Money" – 2:27
03. "Ageing Raver" – 4:11
04. "In A Beautiful Rambling Mess" – 2:51
05. "All You Need Is" – 5:49
06. "What You Have" – 5:16
07. "Circle" – 10:40
08. "Highgate Cemetery" – 2:22
09. "Come Out Fighting Ghengis Smith" – 8:58
Bonus tracks on 1991 CD reissue
10. "Zaney Janey" - (from the US release of - Folkjokeopus)
11. "Ballad Of Songwriter" - (from the US release of Folkjokeopus)
12. "Midspring Dithering" - (A-side from the 1967 single)
13. "Zengem" - (B-side from the 1967 single)
14. "It's Tomorrow And Today Is Yesterday – 4:11 – (John Peel - BBC Radio Show 1970)
15. "Francesca – 1:32 – (recorded for 'Top Gear' at the BBC, June 3, 1969)
16. "She's The One – 4:45 – (recorded for 'Top Gear' at the BBC, June 3, 1969)


Dandy Warhols - The Black Album / Come On Feel The DW (eac-flac-cover)

Dandy Warhols - The Black Album / Come On Feel The Dandy Warhols
alternative, indie | 2cd | eac-flac-cue-log-cover | 820MB
Dandy Warhol Music | rar +5% recovery
The Black Album was originally recorded in 1996 by The Dandy Warhols as a follow up to their debut album, Dandys Rule, OK?, but was rejected by the band's label Capitol Records. The songs "Good Morning", "Minnesoter" and "Boys" (as "Boys Better") were later rerecorded and appeared on the …The Dandy Warhols Come Down album.
After many years of being traded by fans, the album was officially released by the band on their own Beat the World Records label in 2004, available exclusively from their official website, as part one of a two disc set along with the B-sides compilation Come on Feel the Dandy Warhols.
The name of the album is a reference to the Beatles' album "The Beatles" which is more widely known as The White Album. Taylor-Taylor has said in many interviews that he is a big Beatles fan.

disc 1: The Black Album (47:10)
1. Appreggio Adaggio
2. Crack Cocaine Rager
3. Good Morning
4. Head
5. White Gold
6. Boys
7. Shiny Leather Boots
8. Earth To The Dandy Warhols
9. Minnesoter
10. Twist
11. The Wreck

disc 2: Come On Feel The Dandy Warhols (72:47)
1. Not If You Were The Last Junkie In Tony's Basement
2. Retarded
3. Free For All (Ted Nugent)
4. Dub Song
5. Call Me (Blondie)
6. Relax (Frankie Goes To Hollywood)
7. Head
8. Thanks For The Show
9. Lance
10. Ohio (Neil Young)
11. One Saved Message
12. Hell's Bells (AC/DC)
13. The Jean Genie (David Bowie)
14. Stars
15. Dick
16. One Ultra Lame White Boy
17. We Love You Dick
18. The Wreck Of The Edmund Fitzgerald (Gordon Lightfoot)

20 May, 2010


Cannonball Adderley - Pyramid (1974) (eac-flac-cover)

Cannonball Adderley - Pyramid (1974) (OJC)
jazz | 1cd | eac-flac-cue-log-cover | 235MB
OJC | rar +5% recovery
Cannonball Adderley is in generally good form on this 1974 recording. His Quintet at the time featured cornetist Nat Adderley, keyboardist Hal Galper, bassist Walter Booker and drummer Roy McCurdy. Guests on some selections include guitarist Phil Upchurch, keyboardist George Duke and (on "Bess, Oh Where's My Bess") veteran pianist Jimmy Jones. The emphasis is on recent group originals including the three part "Suite Cannon," two Galper compositions and Cannonball's "Pyramid." Nothing too earthshattering occurs but this is an improvement over many of Adderley's Capitol recordings.

1. "Phases" (Hal Galper) - 6:00
2. "My Lady Blue" (Galper) - 4:45
3. "Book-Ends" (David Axelrod) - 5:35
4. "Pyramid" - 3:40
5. "Suite Cannon: The King and I" - 3:13
6. "Suite Cannon: Time In" - 4:33
7. "Suite Cannon: For Melvin Lastie" - 2:36
8. "Oh Bess, Oh Where's My Bess?" (George Gershwin, Ira Gershwin) - 3:36
* Recorded at Fantasy Studios in Berkeley, CA in 1974

* Cannonball Adderley - alto saxophone
* Nat Adderley - cornet
* Hal Galper - electric piano
* Walter Booker - bass
* Roy McCurdy - drums
* Phil Upchurch - guitar
* George Duke - clavinet, ARP synthesizer
* Jimmy Jones - piano (track 8)

19 May, 2010


Yusef Lateef - The Golden Flute (1966) (eac-flac-cover)

Yusef Lateef - The Golden Flute (1966)
jazz | 1cd | eac-flac-cue-log-cover | 265MB
Impulse! | 2004rem | rar +5% recovery
The emphasis is on older tunes and styles on this Yusef Lateef Impulse! album. Lateef (switching between tenor, flute, and oboe) plays such numbers as "Straighten Up and Fly Right," "Ghost of a Chance," "Exactly like You" (on oboe), and "Rosetta" along with some group originals. Lateef has long been a true original, and he revitalizes the standards while always swinging and being a bit unpredictable. Well worth searching for, this was Lateef's final Impulse! album before switching to Atlantic.

1 Road Runner 4:47
2 Straighten Up And Fly Right 3:28
3 Oasis 4:23
4 (I Don't Stand) A Ghost Of A Chance With You 4:03
5 Exactly Like You 2:54
6 The Golden Flute 3:54
7 Rosetta 3:51
8 Head Hunters 4:33
9 The Smart Set 7:31

Herman Wright - Bass
Roy Brooks, Jr. - Drums
Yusef Lateef - Flute, Saxophone [Tenor], Oboe
Hugh Lawson - Piano
Bob Thiele - Producer
Rudy Van Gelder - Engineer


Meredith Monk - Book Of Days (1990) (eac-flac-cover)

Meredith Monk & Vocal Ensemble - Book Of Days (1990)
avantgarde, contemporary, soundtrack | 1cd | eac-flac-cue-log-cover | 225MB
ECM/AN | rar +5% recovery
This is in many ways (but not completely) the soundtrack to the Meredith Monk film of the same title. Many of the pieces from the film which are little more than fleeting musical passages are fleshed out here into fuller, more composition-oriented pieces. Very limited accompaniment here; pieces are primarily vocal compositions augmented with the occasional dulcimer, hurdy gurdy, or cello. The music has a medieval quality to it -- not surprising considering the subject nature of the film -- and unlike many soundtracks, this recording stands up well on its own as a body of recorded work. First-time listeners who have not seen the film will be compelled to see the film. A satisfying work.

01-Early Morning Melody 1:28
02-Travelers 1, 2, 3 2:31
03-Dawn 3:18
04-Travelers 4/Churchyard Entertainment 6:34
05-Afternoon Melodies 4:46
06-Fields/Clouds 2:21
07-Dusk 2:31 (Improvisation By Wayne Hankin)
08-Eva's Song 0:48
09-Evening 2:51
10-Travelers 5 1:55
11-Jewish Storyteller/Dance/Dream 4:54
12-Plague 3:10
13-Madwoman's Vision 7:40
14-Cave Song 3:48

Alto Vocals - Johanna Arnold
Artwork By [Design] - Barbara Wojirsch
Cello - Robert Een
Composed By - Meredith Monk (tracks: 1 to 6, 8 to 14)
Engineer - James Farber
Keyboards - Meredith Monk , Nurit Tilles
Mixed By - Jan Erik Kongshaug
Photography [Cover] - Dominique Lasseur
Producer - Manfred Eicher
Recorder [Bass] - Wayne Hankin
Violin - Naaz Hosseini
Voice - Andrea Goodman , Ching Gonzalez , Joan Barber (2) , John Eppler , Meredith Monk , Naaz Hosseini , Nicky Paraiso , Robert Een , Timothy Sawyer , Toby Newman , Wayne Hankin
read the comments

18 May, 2010


John Zorn 2002 - IAO: Music in Sacred Light (2002) (eac-flac-cover)

John Zorn 2002 - IAO: Music in Sacred Light (2002)
avantgarde, jazz | 1cd | eac-flac-cue-log-cover | 305MB
Tzadik | rar +5% recovery
This album, a studio suite, is wrapped in mysticism. The four cards that serve as a booklet feature cabalistic signs, esoteric diagrams, a quote from Alaister Crowley and a dedication to esoteric filmmaker Kenneth Anger. A short note by John Zorn establishing a parallel between the tools and craft of musical composition and magic is the only given explanation. The aura of mystery invites an analysis of the constituents and structures of the work, for better or worse -- and in any case it's fun to do on your own, so this reviewer will not expose his personal conclusions on the subject. The musicians involved are Cyro Baptista, Jennifer Charles, Greg Cohen, Beth Hatton, Bill Laswell, Rebecca Moore, Mike Patton, Jim Pugliese, and Jamie Saft. They appear only one, two or three at a time. Each of the seven movements is based on a specific, non-reoccurring instrumentation, and explores a form of meditation, trance or anything possibly leading to spiritual revelation. "Invocation" is a delicate piece based on organ drones, while the 13-minute "Sex Magick" takes the form of a tribal percussion mantra. The piano melody in "Sacred Rites of the Left Hand Path" provides the most soothing moments and together with the first track is reminiscent of the level of writing found in Duras. "Lucifer Rising" is made of overdubbed sensual female vocals, while "Leviathan" serves up an ear-splitting slab of death metal (which can be a source of trance too, you know). "Mysteries" completes the circle with electric piano and light percussion. "Leviathan" aside, I.A.O. makes a calm, enjoyable listen and beyond its mystical claims, it includes some strong compositions.

1. "Invocation" - 7:19
2. "Sex Magick" - 13:26
3. "Sacred Rites of the Left Hand Path" - 6:31
4. "The Clavicle of Solomon" - 9:28
5. "Lucifer Rising" - 5:23
6. "Leviathan" - 3:26
7. "Mysteries" - 5:50

* Cyro Baptista * Jennifer Charles * Greg Cohen * Beth Anne Hatton * Bill Laswell * Rebecca Moore * Mike Patton * Jim Pugliese * Jamie Saft * John Zorn

17 May, 2010


Sonny Rollins - The Complete Prestige Recordings (7-CD Box Set) (eac-flac-cover)

Sonny Rollins - The Complete Prestige Recordings (7-CD Box Set)
jazz | 7cd | eac-flac-cue-log-cover | 2980MB
Prestige | rec. 1949-56 | rar +5% recovery

This seven-CD box set lives up to its title, reissuing in chronological order all of tenor saxophonist Sonny Rollins' recordings for Prestige. Dating mostly from 1951-1956, these valuable performances find Rollins developing from a promising player to a potential giant; many of his best recordings would take place a year or two after this program ends. In addition to his own sessions, Rollins is featured with trombonist J.J. Johnson, on four dates with Miles Davis, and on sessions led by Thelonious Monk and trumpeter Art Farmer. Among the other musicians participating are trumpeters Kenny Dorham and Clifford Brown; pianists John Lewis, Kenny Drew, Horace Silver, Elmo Hope, Ray Bryant, Red Garland, and Tommy Flanagan; drummers Max Roach, Roy Haynes, Art Blakey, and Philly Joe Jones; the Modern Jazz Quartet; Julius Watkins on French horn; altoist Jackie McLean; and even Charlie Parker. Among the many highlights are the original versions of Rollins' compositions "Airegin," "Oleo," "Doxy," "St. Thomas," and "Blue 7," and his one recorded meeting with John Coltrane ("Tenor Madness"). Essential music that is treated as it should be. The attractive booklet is a major plus too.

Disc 1       1. Elysee 2. Opus V 3. Hilo 4. Fox Hunt 5. Morpheus 6. Down 7. Blue Room (take 1) 8. Whispering 9. I Know 10. Conception 11. Out of the Blue 12. Denial 13. Bluing 14. Dig 15. My Old Flame 16. It's Only a Paper Moon
Disc 2       1. Time on My Hands 2. Mambo Bounce 3. This Love of Mine 4. Shadrack 5. On a Slow Boat to China 6. With a Song in My Heart 7. Scoops 8. Newk's Fadeaway 9. Compulsion 10. Serpent's Tooth, The (take 1) 11. Serpent's Tooth, The (take 2) 12. 'Round About Midnight 13. In a Sentimental Mood 14. Stopper 15. Almost Like Being in Love 16. No Moe 17. Think of One (take 1) 18. Think of One (take 2)
Disc 3       1. Let's Call This 2. Friday the 13th 3. Soft Shoe 4. Confab in Tempo 5. I'll Take Romance 6. Airegin 7. Oleo 8. But Not For Me (take 1) 9. But Not For Me (take 2) 10. Doxy 11. Movin' Out 12. Swingin' For Bumsy 13. Silk 'N' Satin 14. Solid
Disc 4       1. I Want to Be Happy 2. Way You Look Tonight 3. More Than You Know 4. There's No Business Like Show Business 5. Paradox 6. Raincheck 7. There Are Such Things 8. It's All Right With Me 9. In Your Own Sweet Way 10. No Line 11. Vierd Blues
Disc 5       1. I Feel a Song Coming On 2. Pent-up House 3. Valse Hot 4. Kiss and Run 5. Count Your Blessings 6. My Reverie 7. Most Beautiful Girl in the World 8. Paul's Pal 9. When Your Lover Has Gone 10. Tenor Madness
Disc 6       1. You Don't Know What Love Is 2. St. Thomas 3. Strode Rode 4. Blue 7 5. Moritat 6. I've Grown Accustomed to Her Face 7. Kids Know 8. House I Live In
Disc 7       1. I Remember You (I) 2. My Melancholy Baby (II) 3. Old Folks (III) 4. They Can't Take That Away From Me (IV) 5. Just Friends (V) 6. My Little Suede Shoes (VI) 7. Star Eyes (VII) 8. B. Swift 9. My Ideal 10. Sonny Boy 11. Two Different Worlds 12. Ee-Ah 13. B. Quick


16 May, 2010


Cannonball Adderley - Somethin' Else (1958) (MFSL) (eac-log-cover)

Cannonball Adderley - Somethin' Else (1958) (MFSL)
jazz | 1cd | eac-ape-cue-log-cover | 310MB
MFSL UDCD | rar +5% recovery
It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue — aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, ""Alison's Uncle,"" closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming ""Dancing in the Dark"" as the final track). In many ways it's a surprise that this track was left off originally — it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem — certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection.

01. Autumn Leaves - 10:59
02. Love for Sale - 7:04
03. Somethin' Else - 8:14
04. One for Daddy-O - 8:25
05. Dancing in the Dark - 4:07
06. Alison's Uncle [bonus] - 5:03

Art Blakey (Drums)
Cannonball Adderley (Sax)
Hank Jones (Piano)
Miles Davis (Trumpet)
Sam Jones (Bass)


Cannonball Adderley - Somethin' Else (1958) (RVG) (eac-log-cover)

Cannonball Adderley - Somethin' Else (1958) (RVG)
jazz | 1cd | eac-flac-cue-log-cover | 340MB
Blue Note | RVG remaster | rar +5% recovery
It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, "Alison's Uncle," closes out Somethin' Else on a high note, changing the flow of energy in an interesting way (purists can still finish up on a quieter note, as with the original, by programming "Dancing in the Dark" as the final track). In many ways it's a surprise that this track was left off originally -- it's an excellent piece, with Adderley and Davis trading licks and solos while Jones and Blakey keep pace. Blakey also takes some terrific solos. The remastering job is the usual superb MFSL effort, producing clear sound with almost no background noise. Due to the original recording (made in 1958), Davis' trumpet sometimes seems a little shrill and metallic, but it's not an overwhelming problem -- certainly not when you consider Davis' style. Altogether, an excellent addition to any jazz collection. [This RVG edition corrects the name of the bonus track "Alison's Uncle" that appeared on earlier CD editions; the correct title of this track is "Bangoon."]

01. Autumn Leaves - 10:59
02. Love for Sale - 7:04
03. Somethin' Else - 8:14
04. One for Daddy-O - 8:25
05. Dancing in the Dark - 4:07
06. Bangoon [bonus] - 5:09

Art Blakey (Drums)
Cannonball Adderley (Sax)
Hank Jones (Piano)
Miles Davis (Trumpet)
Sam Jones (Bass)


Leonard Cohen - New Skin For The Old Ceremony (1974) (eac-flac-cover)

Leonard Cohen - New Skin For The Old Ceremony (1974)
rock | 1cd | eac-flac-cue-log-cover | 175MB
Columbia | rar +5% recovery
Leonard Cohen was a poet long before he decided to pick up a guitar. Despite singing in a dry baritone over spare arrangements, Cohen is a gifted lyricist who captivates the listener. New Skin for the Old Ceremony may be Leonard Cohen's most musical album, as he is accompanied by violas, mandolins, banjos, and percussion that give his music more texture than usual. The fact that Cohen does more real singing on this album can be seen as both a blessing and a curse — while his voice sounds more strained, the songs are delivered with more passion than usual. Furthermore, he has background vocalists including Janis Ian that add significantly to create a fuller sound. It is no surprise, however, that he generally uses simple song structures to draw attention to the words ("Who By Fire"). The lyrics are filled with abstract yet vivid images, and the album primarily uses the metaphor of love and relationships as battlegrounds ("There Is a War," "Field Commander Cohen"). Cohen is clearly singing from the heart, and he chronicles his relationship with Janis Joplin in "Chelsea Hotel No. 2." This is one of his best albums, although new listeners should start with Songs of Leonard Cohen.

All songs were written by Leonard Cohen, except where noted.
01. "Is This What You Wanted" – 4:13
02. "Chelsea Hotel #2" (Cohen, Ron Cornelius)– 3:06
03. "Lover Lover Lover" – 3:19
04. "Field Commander Cohen" – 3:59
05. "Why Don't You Try" – 3:50
06. "There Is a War" – 2:59
07. "A Singer Must Die" – 3:17
08. "I Tried to Leave You" – 2:40
09. "Who by Fire" – 2:33
10. "Take This Longing" – 4:06
11. "Leaving Green Sleeves" (trad./Cohen) – 2:38


David Bowie - The Rise and Fall of Ziggy Stardust_ (1972) (2009 SHM cd) (XLD-flac-cover)

David Bowie - The Rise and Fall of Ziggy Stardust_  (1972) (2009 SHM cd)
rock | 1cd | xldrip-flac-cue-log-cover | 330MB
EMI | RAR +5% recovery
Borrowing heavily from Marc Bolan's glam rock and the future shock of A Clockwork Orange, David Bowie reached back to the heavy rock of The Man Who Sold the World for The Rise & Fall of Ziggy Stardust and the Spiders from Mars. Constructed as a loose concept album about an androgynous alien rock star named Ziggy Stardust, the story falls apart quickly, yet Bowie's fractured, paranoid lyrics are evocative of a decadent, decaying future, and the music echoes an apocalyptic, nuclear dread. Fleshing out the off-kilter metallic mix with fatter guitars, genuine pop songs, string sections, keyboards, and a cinematic flourish, Ziggy Stardust is a glitzy array of riffs, hooks, melodrama, and style and the logical culmination of glam. Mick Ronson plays with a maverick flair that invigorates rockers like "Suffragette City," "Moonage Daydream," and "Hang Onto Yourself," while "Lady Stardust," "Five Years," and "Rock 'n' Roll Suicide" have a grand sense of staged drama previously unheard of in rock & roll. And that self-conscious sense of theater is part of the reason why Ziggy Stardust sounds so foreign. Bowie succeeds not in spite of his pretensions but because of them, and Ziggy Stardust — familiar in structure, but alien in performance — is the first time his vision and execution met in such a grand, sweeping fashion.

01 - Five Years
02 - Soul Love
03 - Moonage Daydream
04 - Starman
05 - It Ain't Easy
06 - Lady Stardust
07 - Star
08 - Hang on to Yourself
09 - Ziggy Stardust
10 - Suffragette City
11 - Rock 'n' Roll Suicide

15 May, 2010


Lou Donaldson - The Scorpion_Live At The Cadillac Club (1970) (eac-flac-cover)

Lou Donaldson - The Scorpion_Live At The Cadillac Club (1970)
jazz | 1cd | eac-flac-cue-log-cover | cover | 310MB
Blue Note Rare Groove | rar +5% recovery
This previously unreleased live set, which has been issued on Blue Note's Rare Groove Series, will bore anyone who listens closely. The repertoire is dominated by lengthy funk grooves that are quite danceable but never develop beyond the obvious. Altoist Lou Donaldson was using a baritone horn at the time that gave him a generic and unappealing tone, the obscure trumpeter Fred Ballard does his best to no avail and the enthusiastic rhythm section (guitarist Melvin Sparks, organist Leon Spencer, Jr., and drummer Idris Muhammad) keeps the grooves repetitious. Bob Porter's liner notes (which colorfully give readers the history of Newark jazz of the past 30 years) are superlative but, even with the inclusion of a fast blues, musically nothing much happens.

The Scorpion -10:47
Laura -5:55
Alligator Boogaloo -13:15
The Masquerade Is Over -4:15
Peepin' -5:30
Footpattin' Time -6:50
* Recorded at the Cadillac Club, Newark, NJ on November 7, 1970.

* Lou Donaldson - varitone alto saxophone, vocals
* Fred Ballard - trumpet
* Leon Spencer - organ
* Melvin Sparks - guitar
* Idris Muhammad - drums

14 May, 2010


Blue Mitchell - Out Of The Blue (1958) (eac-flac-cover)

Blue Mitchell - Out Of The Blue (1958)
jazz | 1cd | eac-flac-cue-log-cover | 325MB
OJC | rar +5% recovery
This early recording by Blue Mitchell finds the distinctive trumpeter in excellent form in a quintet also featuring tenor saxophonist Benny Golson (who contributed "Blues on My Mind"), either Wynton Kelly or Cedar Walton on piano, Paul Chambers or Sam Jones on bass and drummer Art Blakey. The consistently swinging repertoire includes a surprisingly effective version of "When the Saints Go Marching In." "Studio B," recorded in the same period but formerly available only in a sampler, has been added to the program. It's an enjoyable date of high-quality hard bop.

01 - Blues On My Mind
02 - It Could Happen To You
03 - Boomerang
04 - Sweet-Cakes
05 - Missing You
06 - When The Saints Go Marching In
07 - Studio B
Recorded at Reeves Sound Studios, New York, New York in December 1958. Originally released on Riverside

Personnel: Blue Mitchell (trumpet); Benny Golson (tenor saxophone); Wynton Kelly, Cedar Walton (piano); Paul Chambers, Sam Jones (bass); Art Blakey (drums).


Arvo Part - Kanon Pokajanen 2cd (1998) (eac-flac-cover)

Arvo Part - Kanon Pokajanen (1998)
classical, contemporary | 2cd | eac-flac-cue-log-cover | 270MB
ECM | rar +5% recovery
Arvo Part's Kanon Pokajanen is a work of starkly radiant beauty, a deeply felt plea for forgiveness so resonant it seems to bear its own expiatory power. The piece is a choral setting of the Russian Orthodox Church's canon of repentance, believed to have been composed by St. Andrew of Crete sometime in the late seventh century. Part had experimented with the canon in earlier works, but when the Cologne Cathedral commissioned him to compose a choral piece for its 750th anniversary, he took the opportunity to immerse himself in it completely. Over two years of intense quality time with the work, Part produced an 80-minute choral setting of the entire canon that mines each word of the original Church Slavonic (a language used exclusively in ecclesiastical texts) for its maximum musicality and meaning. Part believes language to be more important to a choral work than the music. In the liner notes, he explains that he wants each word "to find its own sound, to draw its own melodic line." The result is a piece that moves slowly and deliberately through the canon, making ample use of the silences between the words. The juxtaposition of the deep bass men's voices with the high soprano women's voices, sung in the dissonant harmonic style of medieval chant, parallels the canon's night and day symbolism. Part's version, performed in an immaculate recording by the Estonian Philharmonic Chamber Choir, captures the sunrise feeling of a song that is still sung at the break of day in European monasteries. Marina Bobrik-Fromke's liner notes describe it beautifully: "The canon is heard in the nave, barely illuminated by the flickering candles, while the door to the sanctuary still remains closed. As soon as the canon has come to an end, this entrance...opens. The church is filled with light, signifying the presence of Christ." Asked by an interviewer how best to listen to the piece, Part laughed. "First of all," he said, "Turn off the television." If you're looking for background music, Kanon Pokajanen is not your best choice. This is music to soak in, music to meditate to. Music of searing intensity that finds that part of the soul, so often neglected in today's fast-paced lifestyle, that is starved for reverence, fear, and awe, longing to say "Come out to seek me; lead me up to Thy pasturage and number me among the sheep of Thy chosen flock. Nourish me with them on the grass of Thy Holy Mysteries."

1. Ode I [7:33]
2. Ode III [11:44]
3. Ode IV [7:13]
4. Ode V [8:00]
5. Ode VI [8:19]
1. Kondakion [2:22]
2. Ikos [2:58]
3. Ode VII [7:13]
4. Ode VIII [8:44]
5. Ode IX [8:14]
6. Prayer after the Canon [11:02]

13 May, 2010


David Bowie - The Man Who Sold The World (1970) (2009 SHM cd) (XLD-log-cover)

David Bowie - The Man Who Sold The World (1970)
rock | 1cd | eac-flac-cue-log-cover | 350MB
EMI | (2009 SHM cd) | rar +5% recovery
Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, is the beginning of David Bowie's classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie's strangled, affected voice. The sound of The Man Who Sold the World is odd, but the music is bizarre itself, with Bowie's bizarre, paranoid futuristic tales melded to Ronson's riffing and the band's relentless attack. Musically, there isn't much innovation on The Man Who Sold the World — it is almost all hard blues-rock or psychedelic folk-rock — but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums. [Rykodisc's 1990 CD reissue includes four bonus tracks, including the previously unreleased "Lightning Frightening," and the single "Holy Holy," and both sides of the 1971 "Arnold Corns" single, "Moonage Daydream" and "Hang On to Yourself," which are early and inferior versions of songs that would later appear on Ziggy Stardust.]

01 - The Width Of A Circle
02 - All The Madmen
03 - Black Country Rock
04 - After All
05 - Running Gun Blues
06 - Saviour Machines
07 - She Shook Me Cold
08 - The Man Who Sold The World
09 - The Superman
thx to mgubarenko


Thelonious Monk - Monk (1954) (RVG 2009) (eac-flac-cover)

Thelonious Monk - Monk (1954) (RVG2009)
jazz | 1cd | eac-flac-cue-log-cover | 230MB
Prestige | RVG remaster | rar +5% recovery
Thelonious Monk's Prestige recordings (reissued on three LP-length CDs) have been somewhat neglected through the years but, with the exception of a date for Vogue, they are the only documentation that exists of the unique pianist-composer's work as a leader during the latter half of 1952 through 1954. This set has four numbers (including Monk's originals "Wee See," "Locomotive" and the catchy "Hackensack") featuring Monk with trumpeter Ray Copeland (an underrated player), tenor saxophonist Frank Foster, bassist Curly Russell and drummer Art Blakey. However it is "Let's Call This" and the two versions of "Think of One" that are best-known, for Monk teams up with the French horn wizard Julius Watkins, bassist Percy Heath, drummer Willie Jones and the great tenor Sonny Rollins. Every Thelonious Monk recording is well worth getting although this one is not quite essential.

1. "We See" - 5:16
2. "Smoke Gets in Your Eyes" - 4:34
3. "Locomotive" - 6:23
4. "Hackensack" - 5:13
5. "Let's Call This" - 5:08
6. "Think of One" [Take 2] - 5:47
7. "Think of One" [Take 1] - 5:37

* Thelonious Monk - piano
* Ray Copeland - trumpet (tracks 1-4)
* Frank Foster - tenor saxophone (tracks 1-4)
* Curly Russell - bass (tracks 1-4)
* Art Blakey - drums (tracks 1-4)
* Julius Watkins - french horn (tracks 5-7)
* Sonny Rollins - tenor saxophone (tracks 5-7)
* Percy Heath - bass (tracks 5-7)
* Willie Jones - drums (tracks 5-7)

12 May, 2010


Jimmy Smith & Eddie Harris - All The Way Live (1981) (eac-flac-cover)

Jimmy Smith & Eddie Harris - All The Way Live (1981)
jazz | 1cd | eac-flac-cue-log-cover | 220MB
Milestone | rar +5% recovery
Strange as it seems, organist Jimmy Smith and tenor saxophonist Eddie Harris have to this date only played together once. Their recorded collaboration at San Francisco's Keystone Korner in 1981 has recently been released for the first time by Milestone on All the Way Live. Harris (who utilizes an electrified tenor) and Smith (along with drummer Kenny Dixon) jam a couple of blues, the funky "8 Counts for Rita" (which has some audience participation) and three familiar standards. The recording quality is not state-of-the-art but is certainly listenable and the high level of the playing overcomes any technical deficiencies. Essentially a hard bop stylist, Eddie Harris's brilliance and originality are sometimes hidden under his innovative use of electronics but he has long had his own sound while Jimmy Smith is the originator of his very influential style. Highlights of the date include "Autumn Leaves," "A Child Is Born" and "Old Folks" and this live set easily surpasses Smith and Harris's studio recordings of the time period. A reunion is long overdue.

01 - You'll See
02 - Autumn Leaves
03 - A Child Is Born
04 - 8 Counts For Rita
05 - Old Folks
06 - Ther Sermon

Personnel: Jimmy Smith (Hammond B-3 organ); Eddie Harris (Veriphone tenor saxophone); Kenny Dixon (drums).

11 May, 2010


Art Pepper - Meets The Rhythm Section (1957) (20-bit SBM) (eac-flac-cover)

Art Pepper - Meets The Rhythm Section (1957) (20-bit SBM)
jazz | 1cd | eac-flac-cue-log-cover | 285MB
OJC | 20-bit SBM | rar +5% recovery
By the time of this, Art Pepper's tenth recording as a leader, he was making his individual voice on the alto saxophone leave the cozy confines of his heroes Charlie Parker and Lee Konitz. Joining the Miles Davis rhythm section of pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones made the transformation all that more illuminating. It's a classic east meets west, cool plus hot but never lukewarm combination that provides many bright moments for the quartet during this exceptional date from that great year in music, 1957. A bit of a flip, loosened but precise interpretation of the melody on "You'd Be So Nice to Come Home To" gets the ball rolling, followed by a "Bags Groove" parallel with "Red Pepper Blues," and a delicate, atypical treatment of "Imagination." A compositional collaboration of Pepper and Chambers on the quick "Waltz Me Blues" and hard-edged, running-as-fast-as-he-can take of "Straight Life" really sets the gears whirring. Philly Joe Jones is a great bop drummer, no doubt, one of the all-time greats with Kenny Clarke and Max Roach. His crisp Latin-to-swing pace for "Tin Tin Deo" deserves notice, masterful in its creation and seamlessness. Pepper makes a typical "Star Eyes" brighter, and he goes into a lower octave tone, more like a tenor, for "Birks Works" and the bonus track "The Man I Love." It's clear he has heard his share of Stan Getz in this era. Though Art Pepper played with many a potent trio, this one inspires him to the maximum, and certainly makes for one of his most substantive recordings after his initial incarcerations, and before his second major slip into the deep abyss of drug addiction.

1. "You'd Be So Nice to Come Home To" (Cole Porter) –5:30
2. "Red Pepper Blues" (Red Garland) –3:39
3. "Imagination" (Johnny Burke–Jimmy Van Heusen) –5:56
4. "Waltz Me Blues" (Paul Chambers–Art Pepper) –2:58
5. "Straight Life" (Art Pepper) –4:02
6. "Jazz Me Blues" (Delaney) –4:50
7. "Tin Tin Deo" (Fuller–Pozo) –7:42
8. "Star Eyes" (DePaul–Raye) –5:12
9. "Birks Works" (Dizzy Gillespie) –4:15

* Art Pepper — alto saxophone
* Red Garland — piano
* Paul Chambers — bass
* Philly Joe Jones — drums


Dandy Warhols - Odditorium or Warlords of Mars (2005) (eac-flac-cover)

Dandy Warhols - Odditorium or Warlords of Mars (2005)
alternative, indie | 1cd | eac-flac-cue-log-cover | 445MB
Capitol/EMI | rar +5% recovery
Although Dig! covered the symbiotic, love-hate relationship between the Dandy Warhols and the Brian Jonestown Massacre more than thoroughly enough, more proof that the Dandies still want to be taken as seriously as the Massacre's misunderstood genius Anton Newcombe arrives with Odditorium or Warlords of Mars, an album that's half-inspired, half-embarrassing, and completely self-indulgent. As if the title weren't enough warning, Odditorium's opening track, "Colder Than the Coldest Winter Was Cold" -- in which A&E announcer/journalist Bill Kurtis explains how the Dandy Warhols invented rock & roll "after the great war" -- gets things off to a strange start. Unfortunately, in this case strange doesn't mean interesting or good. Odditorium is bookended by two of the most meandering, pointless tracks the band has ever recorded. "Love Is the New Feel Awful" is merely a song that could've been good if it weren't bloated with several minutes' worth of fruitless noodling. It's the closer, "A Loan Tonight," with its irritating, oddly strangled vocals, clunky keyboards, and listless guitars that go on and on for nearly 12 minutes, that is so infuriatingly bad you wish you could somehow un-hear it, and maybe the rest of the album while you're at it. Which is a shame, because the middle stretch of Odditorium has more than a few tracks that rank with the band's best work. "Down Like Disco" and "All the Money or Is It the Simple Honey" show off their skills as a smart, satirical pop group, while moody, hungover ballads like "Holding Me Up" and "Everyone Is Totally Insane" make emptiness seem profound. Meanwhile, "Easy," a slinky, hypnotic track that builds on a simple groove, and "There Is Only This Time," a spacious meditation with close harmonies and brass flourishes, balance the Dandies' pop and experimental leanings far better than anywhere else on the album. Taken as a whole, Odditorium is scattered and half-baked (in more ways than one), but its best moments are ripe for adding to play lists and mixtapes. Something this indulgent could only be a labor of love, but even die-hard Dandy Warhols fans might find embracing this album to be too much work.

01 - Colder Than The Coldest Winter Was Cold
02 - Love Is The New Feel Awful
03 - Easy
04 - All The Money Or The Simple Life Honey
05 - The New Country
06 - Holding Me Up
07 - Did You Make A Song With Otis
08 - Everyone Is Totally Insane
09 - Smoke It
10 - Down Like Disco
11 - There is Only This Time
12 - A Loon Tonight


Leonard Cohen - The Future (1992) (eac-log-cover)

Leonard Cohen  - The Future (1992)
rock | 1cd | eac-wv-cue-log-cover | 375MB
Columbia | rar +5% recovery
As with most every Leonard Cohen album, a new record means a new means of musical exploration. With The Future, Cohen adds chiming synthesizers and eerie orchestrations to his brooding anthems about life's darker half. One of the last of Cohen's full-length albums, The Future is definitely one of the most direct. More notable tracks include "The Future" and "Waiting for the Miracle," both of which were featured on the Natural Born Killers soundtrack. Closer to spoken word poetry set to music than simply songs, the entire album is one long manifesto calling all to challenge the concepts of righteousness and despair in our modern world. Regardless of the music behind the man, Cohen still manages to bring to The Future what he brought to his earlier recordings: one man against the world with nothing but a gruff voice and a cause.

01 "The Future" – 6:41
02 "Waiting for the Miracle" – 7:42
03 "Be for Real" – 4:32
04 "Closing Time"– 6:00
05 "Anthem" – 6:09
06 "Democracy" – 7:13
07 "Light as the Breeze" – 7:17
08 "Always" – 8:04
09 "Tacoma Trailer" – 5:57

10 May, 2010


Art Blakey - Roots & Herbs (24b SBM) (eac-flac-cover)

Art Blakey - Roots & Herbs (24b SBM)
jazz | 1cd | eac-flac-cue-log-cover | 470MB
BN | 24-bit SBM | rar +5% recovery
Originally recorded in 1961, Art Blakey & the Jazz Messengers' Roots & Herbs was first released in 1970 and then reissued on CD in 1999. Like many titles in the Blue Note catalog, this fine Blakey outing was initially shelved by Alfred Lion for unknown reasons; thankfully, considering Blakey's large array of available Blue Note albums, this wasn't necessarily a crisis. But now that it's out once again with a 24-bit digital makeover, Roots & Herbs is definitely a welcome addition to the drum master's CD catalog. Having already been a magnet for such talented hard bop players and writers as Hank Mobley, Benny Golson, Clifford Brown, Horace Silver (who helped form the original group), and Kenny Dorham, the Messengers' lineup of 1961 featured one of Blakey's best rosters: In addition to trumpeter Lee Morgan, who would alternate in the early '60s with Freddie Hubbard, the band featured tenor saxophonist Wayne Shorter, pianists Walter Davis, Jr. and Bobby Timmons, and bassist Jymie Merritt. Feeding off six early compositions by Shorter (the CD also includes three alternate takes), all the players reel off topnotch solos atop Blakey's fluidly galvanizing swing beat. Highlights include "Ping Pong," "Look at Birdie," and "Master Mind," compositions that, in their fetchingly askew way, nicely foreshadow the wealth of ideas to come from Shorter's pen throughout the '60s.

1. Ping Pong – 7:06
2. Roots and Herbs – 6:03
3. The Back Sliders – 7:49
4. United – 7:27
5. Look at the Birdie – 6:43
6. Master Mind – 6:52
7. The Back Sliders (alternate) - 7:12
8. Ping Pong (alternate) – 5:58
9. United (alternate) – 6:48

* Art Blakey — drums
* Walter Davis, Jr. — piano
* Jymie Merritt — double bass
* Lee Morgan — trumpet
* Wayne Shorter — tenor saxophone
* Bobby Timmons — piano


Hot Tuna 1970 - Hot Tuna (japan 24bit rem) (eac-flac-cover)

Hot Tuna 1970 - Hot Tuna (24b rem)
blues-rock | 1cd | eac-flac-cue-log-cover | cover | 470MB
BMG | japan 24bit remaster | rar +5% recovery
When Hot Tuna's self-titled debut album was released in May 1970, it seemed like the perfect spin-off project for a major rock group, Jefferson Airplane's lead guitarist and bass player indulging in a genre exercise by playing a set of old folk-blues tunes in a Berkeley coffeehouse. The music seemed as far removed from the Airplane's acid rock roar as it did from commercial prospects, and thus, it allowed these sometimes overlooked bandmembers to blow off some steam musically without threatening their day jobs. In retrospect, however, it's easy to hear that something more was going on. Friends since their teens, Jorma Kaukonen and Jack Casady had developed a musical rapport that anchored the Airplane sound but also existed independently of it, and shorn of the rock band arrangements and much of the electricity (Casady still played an electric bass), their interplay was all the more apparent. Kaukonen remained the accomplished fingerpicking stylist he had been before joining the Airplane, while Casady dispensed with the usual timekeeping duties of the bass in favor of extensive contrapuntal soloing, creating a musical conversation that was unique. It was put at the service of a batch of songs by the likes of the Reverend Gary Davis and Jelly Roll Morton with the occasional Kaukonen original thrown in, making for a distinct style. Kaukonen's wry singing showed an intense identification with the material that kept it from seeming repetitious despite the essential similarities of the tunes. (Harmonica player Will Scarlett also contributed to the mood.) The result was less an indulgence than a new direction.

01 - Hesitation Blues
02 - How Long, How Long Blues
03 - Uncle Sam Blues
04 - Don't You Leave Me Here
05 - Death Don't Have No Mercy
06 - Know You Rider
07 - Search My Heart
08 - Winin' Boy Blues
09 - New Song (For The Morning)
10 - Mann's Fate
11 - Keep Your Lamps Trimmed and Burning
12 - Candy Man
13 - True Religion
14 - Belly Shadow
15 - Come Back Baby

* Jorma Kaukonen – acoustic guitar, vocals
* Jack Casady – bass
* Will Scarlett – harmonica


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