30 June, 2010


Max Roach - Drums Unlimited (1965) (eac-log-cover)

Max Roach - Drums Unlimited (1965)
jazz | 1cd | eac-flac-cue-log-cover | 270MB
Atlantic |  rar +5% recovery
Other than a trio set with the legendary pianist Hasaan Ibn Ali, this set was Max Roach's only recording as a leader during 1963-67. Three of the six numbers ("Nommo," "St. Louis Blues" and "In the Red") find Roach heading a group that includes trumpeter Freddie Hubbard, altoist James Spaulding, pianist Ronnie Mathews, bassist Jymie Merritt and, on "St. Louis Blues," Roland Alexander on soprano. Their music is essentially advanced hard-bop with a generous amount of space taken up by Roach's drum solos. The other three selections ("The Drum Also Waltzes," "Drums Unlimited" and "For Big Sid") are unaccompanied features for Max Roach and because of the melodic and logically-planned nature of his improvisations, they continually hold on to one's attention.

1.The Drum Also Waltzes
3.Drums Unlimited
4.St. Louis Blues
5.For Big Sid
6.In the Red (a Xmas Carol)

Max Roach (drums); Roland Alexander (soprano saxophone); James Spaulding (alto saxophone); Freddie Hubbard (trumpet); Ronnie Mathews (piano); Jymie Merritt (bass)


Ron Carter - Pick 'Em & Super Strings (1978&81) (eac-log-cover)

Ron Carter - Pick 'Em & Super Strings (1978&81)
jazz | 1cd | eac-flac-cue-log-cover | 480MB
Milestone |  rar +5% recovery
Ever since Charlie "Bird" Parker recorded his first Charlie Parker With Strings sessions in 1949 and 1950, jazz artists have hoped to enjoy the backing of lush string orchestras. But most will never get the chance because of the expense; it's a lot easier to pay four or five musicians than 15, 20, or 25. Ron Carter, however, did fulfill that dream in the late '70s and early '80s -- first on 1978's Pick 'Em, then on 1981's Super Strings. In 2001, Fantasy reissued those Milestone dates back to back on this 78-minute CD. Typically, a jazz-with-strings project will emphasize overdone standards, but Carter's own material dominates this CD; the only tunes that he didn't write are Gordon Parks' "Don't Misunderstand" and Miles Davis' "All Blues." Carter's composing is solid throughout, and the material he provides ranges from introspective ballads ("Tranquil," "Opus 2") to a funky, gospel-minded offering ("Uptown Conversation") and a melodic, Brazilian-flavored piece ("Bom Dia"). Meanwhile, "Eight" is a modal number that is obviously based on John Coltrane's "Impressions" and Miles Davis' "So What." Parts of the CD swing hard, and parts are unapologetically lush -- nonetheless, Carter maintains his integrity and avoids getting into elevator muzak. The bassist obviously realizes that lush doesn't have to mean muzak. Although not among Carter's essential CDs, Pick 'Em/Super Strings is an enjoyable disc that will appeal to those who have a taste for lavish orchestral jazz.

01 - All Blues
02 - Opus 2
03 - B and a
04 - Pick Em
05 - Tranquil
06 - Eight
07 - Bom Dia
08 - Don't Misunderstand
09 - Super Strings
10 - Bitin'
11 - No Flowers Please
12 - Uptown Conversation

Ron Carter, Kenny Barron, Buster Williams, Ben Riley
Ron Carter, Kenny Barron, John Tropea, Jack DeJohnette, Ralph McDonald, + orchestra


29 June, 2010


John Zorn - Spy vs. Spy_The Music of Ornette Coleman (1988) (eac-log-cover)

John Zorn - Spy vs. Spy_The Music of Ornette  Coleman (1988)
jazz | 1cd | eac-flac-cue-log-cover | 295MB
Elektra/Musician - Russian reissue | rar +5% recovery
John Zorn teams up with fellow altoist Tim Berne, bassist Mark Dresser and both Joey Baron and Michael Vatcher on drums to perform 17 Ornette Coleman tunes which range chronologically from 1958's "Disguise" to four selections from 1987's In All Languages. The performances are concise with all but four songs being under three minutes and seven under two, but the interpretations are unremittingly violent. The lack of variety in either mood or routine quickly wears one out. After about ten minutes, boredom sets in although, when taken in short doses, the performances have the potential of shocking (or at least annoying) most listeners.

01- WRU (Ornette Coleman) 2:38
02- Chronology (Ornette Coleman) 1:08
03- Word For Bird (Ornette Coleman) 1:14
04- Good Old Days (Ornette Coleman) 2:44
05- The Disguise (Ornette Coleman) 1:18
06- Enfant (Ornette Coleman) 2:37
07- Rejoicing (Ornette Coleman) 1:38
08- Blues Connotation (Ornette Coleman) 1:05
09- C&D (Ornette Coleman) 3:05
10- Chippie (Ornette Coleman) 1:08
11- Peace Warriors (Ornette Coleman) 1:20
12- Ecars (Ornette Coleman) 2:28
13- Feet Music (Ornette Coleman) 4:45
14- Broadway Blues (Ornette Coleman) 3:42
15- Space Church (Ornette Coleman) 2:28
16- Zig Zag (Ornette Coleman) 2:54
17- Mob Job (Ornette Coleman) 4:24

Recorded at Power Station, New York City on August 18 and 19, 1988

John Zorn: alto; Tim Berne: alto; Mark Dresser: bass; Joey Baron: drums;
Michael Vatcher: drums.

28 June, 2010


Cannonball Adderley - Dizzy's Business (1963) (eac-log-cover)

Cannonball Adderley - Dizzy's Business (1963)
jazz | 1cd | eac-flac-cue-log-cover | 520MB
Milestone | rar +5% recovery
Although the nine songs on this new Cannonball Adderley reissue were originally done live at concerts in Japan and San Francisco in 1963, they nevertheless make a nice tribute to departed jazz giant Dizzy Gillespie. The assembled group was among the finest Adderley ever led, with Yusef Lateef providing a dynamic, unpredictable third solo voice on flute, tenor sax, and oboe, contrasting with Cannonball's pungent alto sax and Nat Adderley's pithy cornet solos. Bassist Sam Jones and drummer Louis Hayes were a top-flight tandem, while Joe Zawinul was then playing bluesy, funky piano in his pre-synthesizer, Miles Davis/Weather Report phase. Everything is illustrative of a prime band enjoying some great nights.

1. Autumn Leaves 7:22
2. Dizzy's Business 5:59
3. Primitivo 12:12
4. Jive Samba 10:36
5. This Here 11:27
6. Bohemia After Dark 4:50
7. Never Say Yes 8:41
8. Peter And The Goats 6:45
9. New Delhi 9:38

Cannonball Adderley Sextet: Cannonball Adderley (alto saxophone); Yusef Lateef (tenor saxophone, flute, oboe); Nat Adderley (cornet); Joe Zawinul (piano); Sam Jones (bass); Louis Hayes (drums).
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27 June, 2010


Donald Byrd - Fuego (RVG) (1959) (eac-log-cover)

Donald Byrd - Fuego (RVG) (1959)
jazz | 1cd | eac-flac-cue-log-cover | 295MB
BN | RVG 2005 | rar +5% recovery
Fuego -- a title that might be somewhat misleading -- is the final Blue Note recording exclusively pairing Donald Byrd with Jackie McLean, a fruitful partnership that set the yin of the (in this case) restrained trumpeter, against the yang of the tart and extroverted alto saxophonist. While not quite a unified whole, the two were involved in turf battles that were based on mutual respect, here exuding a quieter fire that toned down McLean and muted Byrd to attain an intriguing harmonic balance. Duke Pearson's clever piano in the middle, with Doug Watkins playing bass and favored drummer Lex Humphries, made for one of the more diverse sounds in modern jazz circa 1959-1960. Of course hard bop is at the core of this band, but Byrd is moving further into post-bop, as served up heartily by the two horns during the modal, rambling, and staggered theme of the title selection. It's more a cool flame than burning inferno, as the drum inserts of Humphries fill the cracks of the horns' bluesy ideas. "Bup-A-Loup" is a harder bop theme, with distinct staccato accents identifying the melody priming McLean's quintessential solo. "Low Life" also takes into account the burgeoning original soul-jazz aesthetic in a jaunty mood that parallels the Bobby Timmons evergreens "Dis Here" and "Dat Dere." As Byrd's father was a preacher, "Amen" pays tribute to the spirit-soul in a gospel shuffle straight from the pulpit with some static drum accents. "Lament" is not the J.J. Johnson standard, but a light, soul-jazz original with ultimate feeling, depth, and sophistication -- a real beauty. The title "Funky Mama" fools you a bit into thinking it is a typical soul-jazz number, while it is, in fact, a long, striding, loping, cushy, and dusky blues, very patient and elegant, embellished by McLean's singing alto. This is where Pearson in particular shines, wringing out all of the combined pain and joy so prevalent in the styles of previous masters like Teddy Wilson, Duke Ellington, Erroll Garner, and Tommy Flanagan. On the front cover, a contemplative Donald Byrd is depicted, perhaps pondering his next move and his band five years after successfully joining the New York City jazz scene from his native Detroit. It also represents his thoughtful role in Fuego, as he takes a break from forceful interaction to play a more democratic role on this refined and mature album that is less brash, a prelude for his more powerful statements yet to come.

1 Fuego;
2 Bup a Loup
3 Funky Mama
4 Low Life
5 Lament
6 Amen

Donald Byrd: trumpet; Jackie McLean: alto saxophone; Duke Pearson: piano; Doug Watkins: bass; Lex Humphries: drums.
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26 June, 2010


Fred Frith - Cheap At Half The Price (1983)

Fred Frith - Cheap At Half The Price (1983)
rock, avantgarde | 1cd | eac-flac-cue-log-cover | 260MB
ESD | rar +5% recovery
Frith's last album for Ralph Records stepped back from the progressions of Speechless to a concoction of pop-like ditties and instrumentals recorded at home on a four track. And for the first time, Frith sings, in a strange high-pitched tone. A little more production and sound manipulation and this could almost be a Residents album, circa 1978. As a pop-song writer, Frith is okay; he shrouds socialist discussion in lyrics about dogs and insects while keeping the song structure simple and repetitive. "Too Much Too Little" and "Some Clouds Don't" are whimsical songs, simple beauty overshadowed by fear of Reagan-administration nuclear holocaust. Frith saw the danger in the upbeat early '80s as threatening to the lessons of history and a derailment to the cause; one wonders if the sunny moments of the album aren't actually one big joke. The instrumentals reside less in the pop vein, but like "The Great Healer" or "Heart Bares" they don't go further than moody experiments in Frith's home studio. Only "Absent Friends," a traditional Swedish melody rearranged by Frith, breaks that mold.

1. "Some Clouds Don't" – 3:12
2. "Cap the Knife" – 2:47
3. "Evolution" – 3:21
4. "Too Much, Too Little" (Frith, Curran) – 2:09
5. "True Love" – 2:58 **
6. "The Welcome" – 2:28
7. "Same Old Me" – 2:58
8. "Some Clouds Do" – 2:49
9. "Instant Party" – 1:53
10. "Person To Person" – 2:20 **
11. "Walking Song" – 3:13
12. "Flying in the Face of Facts" – 2:38
13. "Heart Bares" – 4:56
14. "Absent Friends" (Frith/Trad. Swedish) – 3:58
15. "The Great Healer" – 2:07

* Fred Frith – guitar, 6-string bass, Casio-101, violin, xylophone, homemade instruments, voice
* Frank Wuyts – drums
* Fred Maher – drums
* Paul Sears – drums
* Hans Bruniusson – drum samples
* Tina Curran – bass guitar ("Too Much, Too Little")
* Bill Laswell – bass guitar ("Same Old Me")
* Aksak Maboul – clapping ("Absent Friends")
* Sheena Dupuis – voice ("True Love")
* George Cartwright – alto saxophone ("Person To Person")
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25 June, 2010


Art Blakey - Holiday For Skins (v1-2) (1958) (BN Connoisseur) (eac-log-cover)

Art Blakey - Holiday For Skins (v1-2) (1958) (BN Connoisseur)
jazz | 1cd | eac-flac-cue-log-cover | 350MB
BN-EMI | Connoisseur series 24-b remaster | rar +5% recovery

Art Blakey, who visited Africa several times, has been cited as saying jazz couldn't have happened there, that it could only have happened in America when and where it did, but Blakey was also fully aware of where those polyphonic rhythms and call-and-response patterns that underscore all of jazz came from. In the mid-'50s he began experimenting with large drum ensembles that slid African and Latin rhythms beneath hard bop horn and piano structures, resulting in a kind of worldbeat jazz hybrid years before the idea of worldbeat became codified as a musical concept. Holiday for Skins has an even larger drum ensemble than the one that Blakey used for 1956's similar Drum Suite, consisting this time around of three jazz drummers (Philly Joe Jones, Art Taylor, and Blakey himself) and a host of Latin and African percussionists, including Ray Barretto and Sabú Martínez, as well as Donald Byrd on trumpet and Ray Bryant on piano. With the exception of Bryant's two compositions, "Swingin' Kilts" and "Reflection," all the tracks were worked out during one long studio session which ran from 11 p.m. until 5 a.m. the next morning. The end result sounds very joyous, tribal, and ceremonial, helped along in that regard by interspersed vocal chants, yelps, howls, and whistles with occasional bursts of straight jazz texture from Byrd or Bryant. The lengthy session was originally released by Blue Note as two separate LPs labeled Volume 1 and Volume 2, and this CD reissue combines both into one seamless sequence running a little over an hour in length. As one might suspect, there isn't a whole lot of melody or harmony being worked on here, but the rhythms are extraordinarily interesting, with the various bongos, congas, and trap kit formations constantly responding to each other in ever expanding and overlapping circles. It may not be everyone's idea of jazz, but jazz it most certainly is, and many of the rhythm experiments Blakey was trying out at the time in albums like this one, Drum Suite, and 1962's African Beat are now standard approaches in contemporary jazz and pop, which is why all three of these drum-centric releases sound so eerily current years later.

1. The Feast 8:52
2. Aghano 6:03
3. Lamento Africano 8:21
4. Mirage 10:26
5. O' Tinde 6:13
6. Swingin' Kilts 8:48
7. Dinga 8:56
8. Reflection 9:06

Art Blakey: drums; Philly Joe Jones: drums, tympani; Art Taylor: drums, gong; Sabu Martinez: bongos, congas; Ray Barretto, Chonguito Vicente: congas; Victor Gonzalez: bongos; Andy Delannoy: maracas, cencerro; Julio Martinez: congas, tree log; Fred Pagan Jr: timbales; Donald Byrd: trumpet; Ray Bryant: piano; Wendell Marshall: bass; Blakey, Jones, Martinez, Austin Cromer, Hal Rasheed: chants.
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Albert Ayler - Love Cry (1967) (eac-log-cover)

Albert Ayler - Love Cry (1967)
jazz | 1cd | eac-flac-cue-log-cover | 350MB
Impulse!-GRP | rar +5% recovery
From the time he was signed to Impulse in 1966, it was assumed that Albert Ayler's releases on that label would be motivated by an attempt at commercialism. While the music was toned down from his earlier ESP recordings, by no means did Ayler ever make commercial records. Much in the same way John Coltrane's later-period Impulse releases weren't commercial, Ayler simply took advantage of a larger record company's distribution, trying to expose the music to more people. Ayler's uncompromising musical freedom mixed with his catchy combination of nursery rhythms and brass band marches remained prominent on Love Cry. The interplay between the Ayler brothers also remained fiery as younger sibling Donald is heard playing trumpet for the last time on a recording with his brother. Donald was fired from the band (at the suggestion of Impulse) and, unfortunately, was committed to a mental institution for a short stay after these sessions were made. The rhythm section of Alan Silva on bass and Milford Graves on drums continually instigates and propels this music into furious militaristic march territory. Unhappily, the four tracks in which Call Cobbs is featured on harpsichord tend to drag the music down; it's unfortunate his gospel-inspired piano or organ playing couldn't have been utilized instead. The CD reissue contains alternate takes of "Zion Hill" and "Universal Indians."

01. Love Cry
02. Ghosts
03. Omega
04. Dancing Flowers
05. Bells
06. Love Flower
07. Love Cry II (Previously Unissued)
08. Zion Hill (Alternate Take)
09. Universal Indians (Alternate Take)
10. Zion Hill
11. Universal Indians (Previously Unissued Full Length Version)

Alan Silva - bass
Albert Ayler - vocals, alto & tenor saxophones
Donald Ayler - trumpet
Milford Graves - drums
Call Cobbs - harpsichord
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24 June, 2010


A Piazzolla & Kronos Q - Concierto para Bandoneon_Tres Tangos & Five Tango Sensations (eac-log-cover)

A Piazzolla & Kronos Q  - Concierto para Bandoneon_Tres Tangos &  Five Tango Sensations (1988)
classical, latin, contemporary | 1cd | eac-flac-cue-log-cover | 320MB
Landy Star | rar +5% recovery
Five Tango Sensations
The undisputed lord of nuevo tango, Astor Piazzolla conceived of five tangos, written for himself on bandoneon, and the Kronos Quartet on strings. The neo-classical style of Kronos fits surprisingly well on Piazzolla's new style of tango and provides a wonderful backing for the maestro at work. Though there are only five songs on the album, the title fits well, Five Tango Sensations. Each of the tangos presented is a sensation and conveys the full emotion or scene given in the titles: "Asleep," "Loving," "Anxiety," "Despertar" (waking up), and "Fear." Piazzolla plays his heart out on his trusty bandoneon, and the Kronos players accompany to perfection. If it's the tango that the listener wants, Piazzolla is the man to listen to.
Concierto para Bandoneon_Tres Tangos
This recording with a classical orchestra is Piazzolla's apotheosis. For years he has been turning a dance form into an art music. Here he essentially crosses into the regional conservatory style called national music.

01. Asleep
02. Loving
03. Anxiety
04. Despertar
05. Fear
06. Allegro Marcat
07. Moderato
08. Presto
09. Allegro Tranquillo
10. Moderato Misitco
11. Allegretto Molto Marcato
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22 June, 2010


Ginger Baker - Do What You Like 2cd (1970-72) (eac-log-cover)

Ginger Baker - Do What You Like (1970-72)
rock | 2cd | eac-flac-cue-log-cover | 1020MB
Polygram | rar +5% recovery
Polygram/Chronicles' Do What You Like is a double-disc compilation that contains all of Ginger Baker's first three albums -- Airforce, Airforce 2 and Stratavarious -- plus several previously unreleased recordings from this era. Although these albums were a little uneven, they were frequently provocative and remain quite interesting years after their original work. Hardcore fans will certainly need it, but it's an effective introduction for the curious as well.

Ginger Baker's Air Force 1970
01 - Da Da Man (7:13)
02 - Early In The Morning (11:14)
03 - Don't Care (12:28)
04 - Toad (12:58)
05 - Aiko Biaye (13:00)
06 - Man Of Constant Sorrow (3:55)
07 - Do What You Like (11:39
08 - Doin' It (5:29)
single 1970
01 - Man Of Constant Sorrow (3:32)
Ginger Baker's Air Force 2 1970
02 - Let Me Ride (4:22)
03 - Sweet Wine (3:35)
04 - Do U No Hu Yor Phrenz R (5:28)
05 - We Free Kings (4:26)
06 - I Don't Want To Go On Without You (3:54)
07 - Toady (8:19)
08 - 12 Gates Of The City (4:02)
unreleased bonus
09 - Sunshine Of Your Love (5:50)
Stratavarious 1972
10 - Ariwo (11:07)
11 - Tiwa (It's Our Own) (5:43)
12 - Something Nice (4:18)
13 - Ju Ju (4:20)
14 - Blood Brothers (6:54)
15 - Coda (2:33)
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21 June, 2010


John Coltrane - The Believer (1958) (eac-flac-cover)

John Coltrane - The Believer (1958)
jazz | 1cd | eac-flac-cue-log-cover | 290MB
OJC | rar +5% recovery
On the first three tracks, the masterful tenor saxophonist is joined by pianist Red Garland, bassist Paul Chambers, drummer Louis Hayes, and either Donald Byrd or a young Freddie Hubbard on trumpet. An interesting aspect to the set is that it is the first example of Coltrane being associated with pianist McCoy Tyner. Tyner is not on the date, but he contributed "The Believer," which Coltrane performs along with Calvin Massey's "Nakatini Serenade" and the Rodgers & Hammerstein ballad "Do I Love You Because You're Beautiful?" [Reissued as an individual compact disc through the OJC imprint, The Believer is also available on CD as part of John Coltrane's huge Prestige box set, Fearless Leader. However, the original LP as included in the box set only contains half an hour of music, and is here supplemented by two bonus tracks of over seven minutes each, "Filidia" and "Paul's Pal," performed by the Ray Draper Quartet featuring Coltrane and originally included on an album released by the New Jazz label.]

1. "The Believer" — 13:51
2. "Nakatini Serenade" — 11:05
3. "Do I Love You Because You're Beautiful?" — 5:14
4. "Filidia" — 14:00 (bonus track)
5. "Paul's Pal" — 6:01 (bonus track)

* John Coltrane — tenor saxophone
* Donald Byrd — trumpet (tracks 1-2)
* Freddie Hubbard — trumpet (track 3)
* Ray Draper — tuba (track 4-5)
* Red Garland — piano (tracks 1-3)
* Gil Coggins — piano (tracks 4-5)
* Paul Chambers — bass (tracks 1-3)
* Spanky DeBrest — bass (tracks 4-5)
* Louis Hayes — drums (track 1-2)
* Art Taylor — drums (track 3)
* Larry Richie — drums (tracks 4-5)
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Paul Chambers - Paul Chambers Quintet (1957) (RVG) (eac-flac-cover)

Paul Chambers - Paul Chambers Quintet (1957) (RVG)
jazz | 1cd | eac-flac-cue-log-cover | 320MB
BN/EMI | RVG 2008 rem | rar +5% recovery
Recorded at a single session on May 19, 1957, the simply titled Quintet features one of bassist Paul Chambers' rare outings as a bandleader, and it teams him with Detroiters Donald Byrd (trumpet), Tommy Flanagan (piano), and Elvin Jones (drums), and Chicagoan Clifford Jordan (tenor sax). It's a low-key affair, with the quintet running through a couple of standards ("Softly, as in a Morning Sunrise," "What's New"), a pair of compositions from Chambers ("The Hand of Love," "Beauteous"), and two pieces by the prolific Benny Golson ("Minor Run-Down," "Four Strings"). The Golson tunes are the most striking, really, with "Minor Run-Down" starting things off with an easy, gliding swing, and "Four Strings" (an alternate take is also included here) gives Chambers a chance to show off his abilities bowing the bass. Jordan is impressive here as well, sounding a bit like Dexter Gordon as he rounds out these tracks nicely on the tenor. Nothing is particularly innovative with this set, but these tracks don't push or pull against themselves, either, and there's a clear joy coming off of the floor as these musicians, all in the early phases of their careers, do what they do with comforting assurance.

01 - Minor Run-Down
02 - The Hand Of Love
03 - Softly As In A Morning Sunrise
04 - Four Strings
05 - What's New
06 - Beauteous
07 - Four Strings (Alt Tk)

* Donald Byrd - Trumpet
* Paul Chambers - Bass
* Clifford Jordan - Sax (Tenor)
* Tommy Flanagan - Piano
* Elvin Jones - Drums
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20 June, 2010


Roy Harper - Work Of Heart (1982)

Roy Harper - Work Of Heart (1982)
rock | 1cd | eac-flac-cue-log | 280MB
 RAR +5% recovery
The years between the excellent Bullinamingvase in 1977 and the underrated Whatever Happened to Jugula? in 1985 were artistically unkind to Roy Harper. Work of Heart was released in 1982, and is typical of this over-produced era. The technological overkill apparent on the album would be more forgivable if the songwriting was strong. But except for "Jack of Hearts," nothing really impresses on this set, including the epic-length title track. For those interested in completing their Harper collection, Science Friction reissued Work of Heart in 1994 with Born in Captivity, which included the same songs in demo form. Casual fans should stick with earlier albums, such as Stormcock or HQ, for a more representative look at Harper's ability.

The original album was released on Harpers own label, Public Records, formed with Mark Thompson, (son of nuclear campaigner E.P. Thompson). Additionally, the album was chosen by Derek Jewell of the The Sunday Times as "Album of the Year" in 1982

1. Drawn To The Flames (6:34)
2. Jack Of Hearts (4:14)
3. I Am A Child (3:10)
4. Woman (4:42)
5. I Still Care (4:51)
6. Work Of Heart (21:32)
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Roy Harper - Born In Captivity (1985)

Roy Harper - Born In Captivity (1985)
rock | 1cd | eac-flac-cue-log-cover | 270MB
Awareness | RAR +5% recovery
Here's an admirable example of creative recycling. After learning that fans preferred his rough tapes to their finished counterparts on Work of Heart (1985), Harper duly issued them on the short-lived Awareness label. The quality and format are pretty scrappy -- being just Harper's double-tracked vocals and guitar -- but hardcore fans won't care. "Ravedown" might be the best way of describing the mood here. "Elizabeth" should be the most familiar title; it's pretty close to the track that graced Harper's album with Jimmy Page, Whatever Happened to Jugula? (1984). However, its sparkling melody shines through, even in this relatively stripped-down context. Elsewhere, songs like "No Woman Is Safe" maintained Harper's profile as a proud provocateur.
The stripped-down "Work of Heart" fits into the Harper tradition of extended ruminations at the state of the world ("We Are the People") and distaste for Christianity's premises ("No One Ever Gets out Alive"). This album's obviously a minor entry in Harper's discography, but offers some worthwhile enough insight into his creative process.

01. Stan (5:03)
02. Drawn To The Flames (4:44)
03. Come To Bed Eyes (4:21)
04. No Woman Is Safe (4:42)
05. I Am A Child (3:59)
06. Elizabeth (4:48)
07. Work Of Heart (19:21)

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19 June, 2010


Hank Mobley - Another Workout (1961) (RVG) (eac-flac-cover)

Hank Mobley - Another Workout (1961) (RVG)
jazz | 1cd | eac-flac-cue-log-cover | 270MB
BN/EMI | RVG 2006 rem | RAR +5% recovery
This LP has material from 1961 that for no real reason went unreleased until 1985. One song, "Three Coins in a Fountain," is from the same session that resulted in tenor saxophonist Hank Mobley's famous Workout session with guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers and drummer Philly Joe Jones. The other five numbers three obscure Mobley originals, plus "I Should Care" and "Hello Young Lovers" are from the previously unheard December 5, 1961 session with the same personnel except for Green. Hank Mobley was in a prime period around this time, and all of his Blue Note recordings are well worth picking up.


01 - Out Of Joe's Bag 5:04
02 - I Should Care 7:39
03 - Gettin' And Jettin' 7:42
04 - Hank's Other Soul 8:41
05 - Hello, Young Lovers 8:03

* Hank Mobley — tenor saxophone
* Wynton Kelly — piano
* Paul Chambers — bass
* Philly Joe Jones — drums
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18 June, 2010


Jose Gonzalez - Veneer (2003) (eac-flac-cover)

José González - Veneer (2003)
alternative, indie, rock | 1cd | eac-flac-cue-log-cover | 160MB
Peacefrog | RAR +5% recovery
Don't let the name fool you; singer/songwriter José González is a Swedish-born and -raised son of Argentine parents. His debut album, Veneer, is a striking collection of hushed and autumnal indie pop bedroom songs that reside on the hi-fi end of the lo-fi spectrum. González is definitely a member of the "quiet is the new loud" school as founded by Elliott Smith and the Kings of Convenience. Veneer is about as intimate as they come; it sounds like he is sitting right on the end of your bed singing just for you. At times, González is a little more forceful than most of his schoolmates, often working himself into a tightly spinning ball of emotion (as on the driving "Lovestain" and the bluesy "Hints"). At these moments his voice is reminiscent of Mark Kozelek, only without the wild flights of pretension. Mostly though, he is content to cruise along on mellow vocals double-tracked behind gently plucked and strummed acoustic guitars. The beautiful "Heartbeats," "Deadweight on Velveteen," and the gently rollicking "Stay in the Shade" are the high watermarks of a remarkably focused and promising debut. González is a welcome addition to the q-school of indie pop.

1. "Slow Moves" – 2:52
2. "Remain" – 3:45
3. "Lovestain" – 2:18
4. "Heartbeats" (The Knife) – 2:40
5. "Crosses" – 2:43
6. "Deadweight on Velveteen" – 3:27
7. "All You Deliver" – 2:20
8. "Stay in the Shade" – 2:23
9. "Hints" – 3:52
10. "Save Your Day" – 2:30
11. "Broken Arrows" – 1:58
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17 June, 2010


Donald Byrd & Pepper Adams - The Complete Blue Note D Byrd/P Adams Studio Sessions (MOSAIC)

Donald Byrd & Pepper Adams - The Complete Blue Note D Byrd/P Adams Studio Sessions (1958-67) (MOSAIC)
jazz | 4cd | eac-flac-cue-log-cover | 1860MB
Mosaic |  rel.: 2000 | RAR +5% recovery
Centered around the Byrd/Adams Blue Note dates Byrd in Hand, Chant, Royal Flush, The Cat Walk, and Off to the Races, Mosaic's Complete Blue Note Donald Byrd/Pepper Adams Studio Sessions finds the Detroit natives at the top of their game during 1959-1962. Writing and performing some of the most original and tight hard bop around, Byrd and Adams led a variety of combos that featured the likes of Herbie Hancock (his first session), Wynton Kelly, Duke Pearson (who also contributed material), Charlie Rouse, Sam Jones, and Billy Higgins. From distinct covers ("Lover Come Back to Me") to seamlessly complex originals ("Bronze Dance"), Byrd's pure-toned trumpet and Adams' angular baritone unexpectedly make a perfect match. And beyond a wealth of sides that prove the point, the collection also features -- in typically thorough and classy Mosaic fashion -- some stunning session photos by Blue Note lensman Francis Wolff and an extensive essay by Bob Blumenthal. A hard bop experience of the highest order.

cd 1:
01 - Lover Come Back To Me; 02 - When Your Love Has Gone; 03 - Sudwest Funk; 04 - Paul's Pal; 05 - Off To The Races; 06 - Down Tempo; 07 - Withchcraft; 08 - Here Am I; 09 - Devil Whip
cd 2:
01 - Bronze Dance; 02 - Clarion Calls; 03 - The Injuns; 04 - Samba Yantra; 05 - I Will Wait For You; 06 - Blues Medium Rare; 07 - The Creeper; 08 - Chico San; 09 - Early Sunday Morning; 10 - Blues Well Done
cd 3:
01 - I'm An Old Cowhand; 02 - You're Next; 03 - Chant; 04 - That's All; 05 - Great God; 06 - Sophisticated Lady; 07 - Say You're Mine; 08 - Duke's Mixture; 09 - Each Time I Think Of You
cd 4:
01 - The Cat Walk; 02 - Cute; 03 - Hello Bright Sunflower; 04 - Hush; 05 - I'm A Fool To Want You; 06 - Jorgie's; 07 - Shangri-La; 08 - 6 M's; 09 - Requiem

Donald Byrd- trumpet; Pepper Adams- baritone saxophone; Jackie McLean, Sonny Red- alto saxophone; Charlie Rouse- tenor saxophone; Wynton Kelly, Herbie Hancock, Walter Davis, Duke Pearson, Chick Corea- piano; Sam Jones, Doug Watkins, Laymon Jackson, Butch Warren, Miroslav Vitous- bass; Art Taylor, Teddy Robinson, Philly Joe Jones, Billy Higgins, Mickey Roker- drums
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16 June, 2010


RCA Living Stereo: Saint-Saens, Debussy, Ibert - Symphony No. 3, La Mer, Escales (1956-59) (eac-flac-cover)

RCA Living Stereo: Saint-Saëns, Debussy, Ibert  -  Symphony No. 3, La Mer, Escales (1956-59) 
Charles Munch, BSO
classical | 1cd | eac-flac-cue-log-cover | 390MB
RCA | SACD | rel.: 2004 | RAR +5% recovery
This is another of Charles Munch's blazing collaborations with the Boston Symphony Orchestra in the French repertory, and a fine example of how this conductor could take a warhorse and turn it back into a serious piece of music--serious but not dull. The opening Allegro is impassioned, the Adagio is intensely poetic and expressive, and the finale generates real edge-of-the-seat excitement. The "Living Stereo" remastering has restored the lifelike presence of the original recording and minimized the effects of tape saturation in the loudest passages. The glorious tone of the orchestra comes through loud and clear, along with a thrilling sense of Symphony Hall ambience. Debussy's La Mer and Ibert's Escales... make a generous coupling and are every bit as impressively performed. --Ted Libbey

Recorded in 1956 (Debussy, Ibert) and 1959 (Saint-Saëns), these jewels from stereo's golden age, all Munch specialities, receive their finest transfers yet. Close use of the microphone suits Munch's La Mer, a seascape illuminated in primary colors rather than conventional pastels. Ibert's colorful Escales ("Ports of Call") gets an intense, bracing reading, and so does the Saint-Saëns. Recorded balance in the latter's third movement, though, is distorted and fuzzy during loud tuttis when the organ and orchestra kick in simultaneously. And one might desire more contrasted dynamics and articulation in the finale's fugal build-up. But don't let tiny blemishes like these deter you from buying this lovable disc. --Jed Distler

Saint-Saëns: Symphony No. 3 in C Minor, Op. 78 "Organ"
1. Adagio; Allegro moderato (9'53)
2. Poco adagio (9'36)
3. Allegro moderato; Presto (7'33)
4. Maestoso; Allegro (7'40)
Debussy: La Mer
5. De l'aube à midi sur la mer (8'37)
6. Jeux de vagues (6'15)
7. Dialogue du vent et de la mer (7'58)
Ibert: Escales (Ports of Call)
8. Rome-Palermo: Calme (6'34)
9. Tunis-Nefta: Modéré très rythmé (2'42)
10. Valencia: Animé (6'04)
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Jack DeJohnette - The Elephant Sleeps But Still Remembers (2001) (eac-flac-cover)

Jack DeJohnette - The Elephant Sleeps But Still Remembers (2001)
jazz | 1cd | eac-flac-cue-log-cover | 355MB
Golden Beams |  rel.: 2006 | RAR +5% recovery
This collaboration between drummer, pianist, and composer Jack DeJohnette and guitarist Bill Frisell, was recorded live at the Earshot Festival in 2001. But it doesn't end there. The pair, who had only played together once before on Don Byron's Romance with the Unseen, had a chance to listen to the tapes together and decided to add some additional production to the tracks. DeJohnette called in sound engineer Ben Surman, who added "additional production": basslines, ambient sounds, and other electronics and percussion. If you are raising your eyebrows in doubt, think again. One listen to the title track that opens the album should convince you otherwise. Here, a simple blues-like figure becomes a riff that the pair build upon, turn inside out, and make into a labyrinthine journey. Surman's added basslines root the proceedings deeper into the groove. His ambient and electronic sounds are far from distracting. They are more painterly, unobtrusive and yet colorful. Frisell and DeJohnette are such fine listeners and intuitive players that they anticipate one another without ever going over the line that makes free improvisation wankery. The art of the duo comes down to one concept ultimately, and that is true collaboration; musically the pair travel someplace different from where they began. Surman's added touch is a grounding exercise for the listener. And it's true it might have been a different recording if it had only been heard as an un-retouched performance. But in a sense, it is. It's here, mistakes and all, and it's far from covered. It's merely colored a bit. The electronic percussion that leads off "Entranced Androids" is actually coming from Frisell's guitar. Its seven-and-a-half minutes are a strange and terrible wonder of musical language pushed to the edge. DeJohnette's rim-shot percussion keeps it somehow grounded, but he's traveling, too -- Surman's post-production work brings out the true weirdness of Frisell's riffing. There are some truly, outrageously out moments here, too, in the brief "Cat and Mouse," "Otherworldly Dervishes," where Frisell plays a free-music banjo, and the sheer soundscape weirdness that is "Through the Warphole" are examples. They seem to be every other track. The edgy funk on "Storm Clouds and Mist," touches on blues, jazz, rock and deep funk. Frisell's response other rhythms being offered him are tough, lean, and fluid. The dub effects by Surman are tasty. DeJohnette plays piano on "Cartune Riots," and Frisell stays all but hidden until halfway through the cut. DeJohnette's pianism is lyrical, quirky, and deeply rooted in the lower-middle register. The duo really cut loose on "Ode to South Africa," which has Frisell quoting Dudu Pukwana, Johnny Dyani, and Abdullah Ibrahim, as DeJohnette's drumming rolls around in stretched time. Surman's added touch of vocals and regional percussion instruments makes the cut sing. The set ends with a reading of John Coltrane's "After the Rain," with DeJohnette once again on piano. Its balladic structure is preserved, and the space and silence that enter between the lyric phrases allow for Frisell and his digital delay to shape, color, and texturize its gorgeous melody. This is one of those records for the fan who has to have everything, but that said; it is thoroughly enjoyable on its own merit. Highly recommended.

The Elephant Sleeps But Still Remembers...; Cat and Mouse; Entranced Androids; The Garden of Chew-Man-Chew; Otherworldly Dervishes; Through the Warphole; Storm Clouds and Mist; Cartune Riots; Ode to South Africa; One Tooth Shuffle; After the Rain.

Jack DeJohnette: drums, percussion, vocals, piano; Bill Frisell: guitar, banjo; Ben Surman: additional percussion.
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15 June, 2010


Clifford Brown & Max Roach - Study in Brown (1955) (eac-flac-cover)

Clifford Brown & Max Roach - Study in Brown (1955)
jazz | 1cd | eac-flac-cue-log-cover | 205MB
EmArcy |  RAR +5% recovery
This CD reissue features the 1955 version of the Clifford Brown/Max Roach Quintet, a group also including tenor-saxophonist Harold Land, pianist Richie Powell and bassist George Morrow. One of the premiere early hard bop units, this band had unlimited potential. Highlights of this set are "Cherokee" (during which trumpeter Brownie is brilliant), "Swingin"' and "Sandu." All of the group's recordings (which have been included in the Clifford Brown ten-CD box set) are well worth acquiring.

1. "Cherokee" 5:44
2. "Jacqui" 5:11
3. "Swingin'" 2:52
4. "Lands End" 4:56
5. "George's Dilemma" 5:36
6. "Sandu" 4:56
7. "Gerkin for Perkin" 2:56
8. "If I Love Again" 3:24
9. "Take the A Train" 4:18

* Clifford Brown - Trumpet
* Max Roach - drums
* Harold Land - Tenor saxophone
* George Morrow - bass
* Richie Powell - piano
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Blue Mitchell - The Cup Bearers (1962) (eac-flac-cover)

Blue Mitchell  - The Cup Bearers (1962)
jazz | 1cd | eac-flac-cue-log-cover | 265MB
OJC | rar +5% recovery
Trumpeter Blue Mitchell and four-fifths of the Horace Silver Quintet (with Cedar Walton in Silver's place) perform a variety of superior songs on this CD reissue including Walton's "Turquoise," Tom McIntosh's "Cup Bearers," Thad Jones's "Tiger Lily" and a couple of standards. The music swings hard, mostly avoids sounding like a Horace Silver group, and has particularly strong solos from Mitchell, tenor-saxophonist Junior Cook and Walton; excellent hard bop.

1 Turquoise 5:03
2 Why Do I Love You? 5:28
3 Dingbat Blues 5:41
4 Capers 6:04
5 Cup Bearers 6:15
6 How Deep Is the Ocean? 6:43
7 Tiger Lily 8:31

* Roy Brooks - Drums
* Junior Cook - Saxophone, Sax (Tenor)
* Blue Mitchell - Trumpet
* Cedar Walton - Piano
* Gene Taylor - Bass
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14 June, 2010


Charlie Byrd - Classical Byrd (1960) (eac-flac-cover)

Charlie Byrd - Classical Byrd (1960)
classical (jazz) | 1cd | eac-flac-cue-log-cover | 365MB
Milestone | rar +5% recovery
Single-disc, 77-minute compilation of two long-unavailable classical LPs that Byrd recorded in 1958-60 for the Washington label, An Anthology of Music for the Guitar -- The Sixteenth Century and Lodovico Roncalli Suites. (Unfortunately, one of the tracks from An Anthology of Music for the Guitar -- The Sixteenth Century, "Tres Fantasies (Three Fantasies)," was deleted for space reasons). Byrd interprets courtly dances and folk songs of Spanish composers of the 16th century on Anthology, and presents four longer (average track length: ten minutes) suites from the 17th century by the little-known Italian composer Lodovico Roncalli on Lodovico Roncalli Suites. It's a fine compendium of Byrd's talents as a virtuoso classical interpreter, and one would guess that works such as this were an influence on guitarist Sandy Bull in the 1960s.

01 - Dos Sonetos
02 - Diferencias Sobre Guardame Las Vacas
03 - Tres Pavanes
04 - Diferencias Sobre El Conde Claros
05 - Gallarda
06 - Fantasia Que Contra Haze La Harpa En La Manera De Luduvico
07 - Pavane Y Villanesca
08 - Diferencias Sobre Guardame Las Vacas
09 - Cancion Del Emperador
10 - Baxa De Contrapunta
11 - Suite For Guitar No 1 In G Major
12 - Suite For Guitar No 2 In E Minor
13 - Suite For Guitar No 3 In B Minor
14 - Suite For Guitar No 4 In D Major
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Sonny Rollins - Sonny Rollins On Impulse! (1965) (20-b SBM) (eac-flac-cover)

Sonny Rollins - Sonny Rollins On Impulse! (1965) (20-bit SBM)
jazz | 1cd | eac-flac-cue-log-cover | 255MB
Impulse! | rar +5% recovery
In 1965 and 1966 tenor giant Sonny Rollins issued three albums for the Impulse label. They would be his last until 1972 when he re-emerged on the scene from a self-imposed retirement. This date is significant for the manner in which Rollins attacks five standards with a quartet that included pianist Ray Bryant, bassist Walter Booker and drummer Mickey Roker. Rollins, who's been recording for RCA and its Bluebird subsidiary, had spent the previous three years (after emerging from his first retirement) concentrating on standards and focusing deeply on intimate, intricate aspects of melody and harmony. He inverts the approach here, and digs deeply into pulse and rhythm and leaving melody to take care of itself. This is not a "new thing" date but instead focuses on playing according to the dictates of the rhythm section and on interchanging with Booker and Roker, leaving much of the melodic aspect of these tunes to Bryant. Rollins could never quite leave the melody out of anything he played because of his intense gift as a lyrical improviser; he nonetheless stripped his approach back and played tunes like "On Green Dolphin Street" by improvising according to theme rather than strict melody, where his interplay with the rhythm section becomes based on the dynamic and shifting times played by Roker. While things are more intimate and straight on "Everything Happens to Me," he nonetheless plays the edges, filling the space like a drummer. Melody happens throughout, the tune is recognizable, but it is stretched in his solo to a theme set by the shimmering cymbals and brushed snare work of Roker. The oddest cuts in the set are the last two; spaced out readings of "Blue Room," and "Three Little Words"; they sound as if he were preparing the listener for a true change in his approach. Melody gets inverted, with spaces and syncopation taking the place of notes. The swing is inherent in everything here, but it's clear that the saxophonist was hearing something else in his head, the way he squeezes notes tightly into some phrases where they might be placed elsewhere, and substitutes small, lithe lines inside Bryant's solos which dictate the harmonic intervals more conventionally with his singing approach. And speaking of rhythm, the album's hinge piece is the burning calypso "Hold "Em Joe." Here again, as Bryant's changes play it straight, Rollins shoves his horn inside them and draws out the beat on his horn over and over again. As strange and beautiful as this record sounds, it would have been wonderful if he had chosen to explore this track on his later records, but that restless spirit was already moving onto something else, as evidenced by his next offering, which were his original compositions for the film Alfie with arrangements by Oliver Nelson. If anything, Sonny Rollins on Impulse! feels as if it were a recording Rollins had to get out of his system. But thank goodness for us because it's a winner through and through.

1. On Green Dolphin Street
2. Everything Happens To Me
3. Hold' Em Joe
4. Blue Room
5. Three Little Words

Sonny Rollins - tenor saxophone
Ray Bryant  -piano
Walter Booker - bass
Mickey Roker - drums
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12 June, 2010


Cannonball Adderley - Phenix (1975) (eac-flac-cover)

Cannonball Adderley - Phenix  (1975)
jazz | 1cd | eac-flac-cue-log-cover | 600MB
Fantasy |  rar +5% recovery
Adderley's next-to-last recording (cut just four months before he died of a stroke at age 46) was ironically a retrospective of his career. While his then-current group (with cornetist Nat Adderley, keyboardist Mike Wolff, bassist Walter Booker, and drummer Roy McCurdy) was featured on half of this two-LP set (highlighted by "Stars Fell on Alabama," "74 Miles Away," and a medley of "Walk Tall" and "Mercy, Mercy, Mercy"), on the remainder of this two-fer the Adderleys welcome back several alumni (keyboardist George Duke, bassist Sam Jones, and drummer Louis Hayes) for new versions of "High Fly," "Work Song," "Sack O'Woe," "Jive Samba," "This Here," and "The Sidewalks of New York." A recommended set with plenty of excellent music, it serves as a fine overview of Cannonball Adderley's career.

01. High Fly - 6:04
02. Work Song - 6:28
03. Sack O' Woe - 5:06
04. Jive Samba - 5:19
05. This Here - 7:12
06. The Sidewalks of New York - 5:37
07. Hamba Nami - 5:24
08. Domination - 6:55
09. 74 Miles Away - 5:58
10. Country Preacher - 4:26
11. Stars Fell on Alabama - 5:48
12. Walk Tall / Mercy, Mercy, Mercy - 7:28

Cannonball Adderley - soprano & alto saxophones
Nat Adderley - cornet
George Duke - keyboards, synthesizer
Mike Wolff - keyboards
Walter Booker - acoustic & electric basses
Sam Jones - acoustic bass
Louis Hayes, Roy McCurdy - drums
Airto Moreira - congas, percussion
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11 June, 2010


Oliver Nelson & Lem Winchester - Nocturne (1960) (eac-flac-cover)

Oliver Nelson & Lem Winchester - Nocturne (1960)
jazz | 1cd | eac-flac-cue-log-cover | 240MB
OJC limited edition |  rar +5% recovery
This relaxed set (originally on the Prestige subsidiary Moodsville) puts the emphasis on ballads and slower material. Nelson (switching between alto and tenor) is joined by vibraphonist Lem Winchester, pianist Richard Wyands, bassist George Duvivier and drummer Roy Haynes for four standards and three of his originals (including the swinging "Bob's Blues"). Everyone plays well but the intentional lack of mood variation keeps this release from being all that essential.

1 Nocturne 3:44
2 Bob's Blues 5:28
3 Man With a Horn 6:05
4 Early Morning 4:44
5 In a Sentimental Mood 6:12
6 Azur'te 5:40
7 Time After Time 7:23

* George Duvivier - Bass
* Roy Haynes - Drums
* Oliver Nelson - Sax
* Lem Winchester - Vibraphone
* Richard Wyands - Piano
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10 June, 2010


Albert Ayler - Slug's Saloon 2cd (1966) (eac-flac-cover)

Albert Ayler - Slug's Saloon 2cd (1966)
jazz | 2cd | eac-flac-cue-log-cover | 490MB
ESP |  rar +5% recovery
Fruit Tree comes up with the second complete reissue in two years of Albert Ayler's seminal Slug's Saloon performance from May 1, 1966 which was originally released by Italy's BASE label. Two separate volumes have been released many times over the years, but this set faithfully reassembles the Slug's Saloon concert that featured Ayler on tenor, brother Donald on trumpet, drummer Ronald Shannon Jackson, violinist Michel Sampson, and bassist Lewis Worrell. These recordings helped to establish Ayler's reputation as an original voice on the tenor in the vanguard of the music. There are five tracks here, and the long, freewheeling versions of favorites like "Truth Is Marching In," "Ghosts," and "Bells" are among the finest on tape, offering fine evidence of Ayler's union of folk music, gospel, R&B, and marches as they collided with his iconoclastic sense of harmony and melody. Sound quality is a bit dodgy at times, but it draws nothing from the performance. While Ayler fans no doubt possess this music in some form, the uninitiated would be indeed gratified as well as educated by investigating them. Energetically and dynamically, there is simply nothing like them.

1. Truth is marching in 10:10
2. Our Prayer 12:19
3. Bells 18:00
1. Ghosts 23:08
2. Initiation 16:32

Albert Ayler: tenor saxophone
Donald Ayler: trumpet
Michel Samson: violin
Lewis Worrell: string bass
Ron Jackson: percussion
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09 June, 2010


Jose Gonzalez - In Our Nature (2007) (eac-flac-cover)

José González - In Our Nature (2007)
alternative, indie, rock | 1cd | eac-flac-cue-log-cover | 215MB
Mute Imperial | rar +5% recovery
José González earned himself a lot of fans with his first album, Veneer. Songs from it were placed in TV shows and featured in ads, he appeared on Top of the Pops and played festivals, and became a sought-after guest vocalist for electronic artists (Zero 7, Savath & Savalas, Plan B). His intimate, tender sound featuring just his voice and a skillfully played acoustic guitar struck a chord all around the world. The long lag between the recording of Veneer (which was originally released in Sweden during 2003 and only widely available in 2005) and the release of the follow-up, 2007's In Our Nature, might lead fans to think that time might bring about a change in González's sound. Those fears prove to be groundless. Despite teasing some changes with a fuller, more arranged sound featuring a backing band on the 2006 EP Stay in the Shade, In Our Nature is a near sonic clone of Veneer, right down to the cover of a classic electronica track (this time it's Massive Attack's "Teardrops"). This is great news for people looking for more of the same quiet, stark, but beautiful songs and performances, but if you were looking for some kind of change or progression, you're out of luck unless you listen quite intently and get past the smooth surface. What you'll find are more political lyrics (like on the opening "How Low," which shoots verbal daggers at war-mongering world leaders), more passionate vocals, some more forceful guitar playing, and a general sense of urgency and unease bubbling underneath the prettiness. It may take a few listens before the record reveals itself as a relative cauldron of restrained emotion, but it's worth the effort. Or you could choose to let the moody songs and melancholy atmosphere relax and sooth you. Either way the record is sure to please the fans who latched on to Veneer.

1. How Low
2. Down the Line
3. Killing For Love
4. In Our Nature
5. Teardrop
6. Abram
7. Time to Send Someone Away
8. Nest, The
9. Fold
10. Cycling Trivialities
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Kenny Dorham - Trompeta Toccata (1964) (RVG) (eac-flac-cover)

Kenny Dorham - Trompeta Toccata (1964) (RVG)
jazz | 1cd | eac-flac-cue-log-cover | 245MB
BN/EMI | RVG 2006 |  rar +5% recovery
It seems strange and somewhat tragic that this was trumpeter Kenny Dorham's last full album as a leader; he was only 40 at the time and still in his prime. Dorham contributed three of the four selections to the session (Joe Henderson's catchy "Mamacita" also receives its debut), and his very underrated abilities as a writer, trumpeter, and talent scout are very much in evidence. This modern hard bop quintet set with Henderson on tenor, pianist Tommy Flanagan, bassist Richard Davis, and drummer Albert "Tootie" Heath serves as a strong (if premature) ending to Dorham's impressive career as a solo artist. [The 2006 Blue Note Rudy Van Gelder remastered edition includes improved sound quality.]

01 - Trompeta Toccata
02 - Night watch
03 - Mamacita
04 - The Fox


Joe Henderson - tenor sax
Kenny Dorham - trumpet
Tommy Flanagan - piano
Richard Davis - bass
Albert Heath - drums
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07 June, 2010


Ella Fitzgerald & Count Basie - The Perfect Match_Montreux '79 (music video) (DVD5) (iso-mds)

Ella & Basie - The Perfect Match_Montreux '79
DVD5 PAL | DD5.1; DTS5.1; PCM2.0 | 4:3 | 85 min | iso-mds | Covers | 4,7 GB
Eagle Vision - Norman Granz | Genre: jazz | rel. 2004 | RAR +5% recovery

Ella Fitzgerald was just a tad past her prime during this 1979 concert at the Montreux Jazz Festival with the Count Basie Orchestra, though she still is very much a swinging vocalist who can keep an audience in the palm of her hand. With her regular trio, including pianist Paul Smith, bassist Keter Betts, and drummer Mickey Roker accompanying her for most of the concert, plus the powerful Basie band pushing her, Ella gives her all on every number, interpolating quotes from a number of different songs, both familiar and obscure. She's at her best in the up-tempo swingers that were part of her repertoire for ages, among them "Sweet Georgia Brown" and "After You've Gone." Her vibrato is a bit more noticeable during "'Round Midnight," though it is still an effective interpretation. Ella's highlight is easily her scat treatment of "Flying Home," which mixes in so many song quotes that is difficult to track all of them ("Moose the Mooche," "On the Trail," and "I'se a Muggin'" are among them), while she also simulates a number of instruments, too. Basie finally takes over at the piano for the last two numbers, including an impromptu blues that gives way to "A-Tisket, A-Tasket," followed by Ella's touching interpretation of "I've Got a Crush on You," with Smith back on piano. The audio and video have some imperfections, as it is unlikely that producer Norman Granz documented the concert with the intention of commercial issue, but any fan of Ella Fitzgerald will want this rewarding DVD in his or her collection.

Presentation By Nat Hentoff; Please Don't Talk About Me When I'm Gone ; Sweet Georgia Brown; Some Other Spring; Make Me Rainbows; After You've Gone; Round Midnight; Dindi; Fine & Mellow; (I Don't Stand) A Ghost Of A Chance With You; Flying Home; You've Changed; Honeysuckle Rose; St. Louis Blues; B & E (Basella), A-Tisket, A-Tasket; I've Got A Crush On You.

Ella Fitzgerald, vocals; Count Basie, piano; Paul Smith, piano; Mickey Roker, drums; Keter Betts, bass. Also features the Count Basie Orchestra.
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06 June, 2010


John Coltrane - Olé Coltrane (1961) (japanese 24bit rem) (eac-flac-cover)

John Coltrane - Olé Coltrane (1961) (japanese 24bit remaster)
jazz | 1cd | eac-flac-cue-log-cover | 335MB
Atlantic/Wea | rar +5% recovery
The complicated rhythm patterns and diverse sonic textures on Olé are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- over and beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced -- two days prior to this session -- on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner -- the song's author -- and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. The CD reissue also includes an extra track cut during the Olé sessions. "To Her Ladyship" is likewise on the seven-volume Heavyweight Champion: The Complete Atlantic Recordings box set.

1. "Olé" (18:15)
2. "Dahomey Dance" (10:52)
3. "Aisha" (7:39)
4. "To Her Ladyship" [Bonus Track] (8:58)

* John Coltrane – soprano sax on "Olé," tenor sax on "Dahomey Dance" and "Aisha"
* Eric Dolphy (credited as "George Lane")[1] – flute on "Olé" and "To Her Ladyship", alto sax on "Dahomey Dance" and "Aisha"
* Freddie Hubbard – trumpet
* McCoy Tyner – piano
* Reggie Workman – bass
* Art Davis – bass on "Olé" and "Dahomey Dance"
* Elvin Jones – drums
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Thelonious Monk - Monk In France (1961) (eac-flac-cover)

Thelonious Monk - Monk In France (1961)
jazz | 1cd | eac-flac-cue-log-cover| 335MB
OJC | rar +5% recovery
In 1961, Thelonious Monk and his quartet toured Europe, producing a series of live albums for various labels. The First European Concert, as well as recordings of Monk in Paris, Italy, Bern, Copenhagen, and Stockholm all date from that year. The performances drew almost exclusively from a body of the pianist's best-loved original material, and Monk in France is no exception. While his playing here is less energized than it can be, Monk's singular philosophy is well intact. The pianist's lines are sparse and fluid. Characteristically, he maps out only the necessary notes in his off-kilter melodies, building solos from perfectly balanced melodic/rhythmic motifs. The European touring lineup is completed by drummer Frankie Dunlop, bassist John Ore, and tenor saxophonist Charlie Rouse. Rouse had joined Monk two years earlier, replacing Johnny Griffin on 1959's Evidence. He has a vibrant tone and fluid rhythmic sense best heard here on "I Mean You." Monk's responding solo seems slightly reserved, the fire and weight of his attack largely absent. The remaining two-thirds of the rhythm section, while accomplished, do little to drive him in that direction. Performing solo, Monk's reading of the standards "Body and Soul" and "Just a Gigolo" are two highlights. The former features the sort of ornate playing uncharacteristic of the date. Monk spins off dense lines that take many listens to untangle. The latter is given a brief rendition tinged with ringing dissonance. The 1960s would see Monk signing to Columbia Records, where he would release another string of excellent recordings like Monk's Dream, Criss Cross, and Solo Monk. Monk in France represents a pleasant but unessential sidetrack in the pianist's output.

1. "Well You Needn't" – 11:30
2. "Off Minor" – 11:41
3. "Just A Gigolo" – 1:42
4. "I Mean You" – 11:02
5. "Hackensack" – 9:46
6. "I'm Getting Sentimental Over You" – 8:30
bonus tracks:
7. "Body and Soul" – 2:48
8. "Crepuscule with Nellie" - 2:39

* Thelonious Monk – piano
* John Ore - bass
* Charlie Rouse - Tenor Saxophone
* Frankie Dunlop - Drums
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Quatermass - Quatermass (1970) (eac-flac-cover)

Quatermass - Quatermass (1970) (eac-flac-cover)
rock | 1cd | eac-flac-cue-log-cover | 570MB
Repertoire | rar +5% recovery
Quatermass' only album is a must-have for prog rock enthusiasts, especially lovers of the keyboard-dominated style which flourished in the early '70s. Although there are only three members of the band, their histories are just as colorful as the music they produced. Keyboard player Pete Robinson and bass man Johnny Gustafson met drummer Mick Underwood and founded Episode Six, a band which included Ian Gillan who later fronted Deep Purple. Underwood was also involved with the Outlaws as well as the Herd, only a few years before Peter Frampton arrived. When the band finally formed Quatermass in 1970, they had set their sights on a power rock format which would use Robinson's keyboards to shape their sound. Both "Black Sheep" and "One Blind Mice" were released as singles which fell mostly on deaf ears, but the band's sound was equally as moving as the Nice's repertoire, for example, at around the same time. Quatermass' sound is far from sounding hollow, isolated, or directionless, but all of the cuts are rather rock-sturdy and instrumentally voluptuous from all points. The string work that swoops in is encompassing, Underwood's drumming exhibits personality, and the keyboard portions are remarkably striking and distinct. Even Gustafson's robust vocals work well within the music's structure, subsiding and ascending when called for, and all of the cuts result in worthy examples of well-built progressive rock, in both ballad and power rock form. Following this album, the band broke up, with Gustafson later doing session work for Kevin Ayers, Steve Hackett, and Ian Hunter, among others, while Robinson found new life within the jazz-prog band Brand X. Beautifully packaged with informative liner notes, Quatermass sounds as resounding today as it did in 1970, and upon hearing it, one can only wonder why it was so overlooked during its release.

01. "Entropy" 1:10
02. "Black Sheep of the Family" 3:36
03. "Post War, Saturday Echo" 9:42
04. "Good Lord Knows" 2:54
05. "Up on the Ground" 7:08
06. "Gemini" 5:54
07. "Make up Your Mind" 8:44
08. "Laughin Tackle" 10:35
09. "Entropy (Reprise)" 0:40
#(bonus tracks on reissue)
10. "One Blind Mice" 3:15
11. "Punting" 7:09
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05 June, 2010


Paul Chambers - Bass on Top (1957) (RVG) (eac-flac-cover)

Paul Chambers - Bass on Top (1957) (RVG 2007)
jazz | 1cd | eac-flac-cue-log-cover | 265MB
BN/EMI | RVG 2007 | rar +5% recovery
Bass on Top is another thoroughly engaging set of straight-ahead, mainstream jazz from Paul Chambers. The bassist leads a quartet comprised of guitarist Kenny Burrell, pianist Hank Jones, and drummer Art Taylor through a selection of standards, including "Yesterdays," "You'd Be So Nice to Come Home To," and "Dear Old Stockholm," as well as a handful of contemporary jazz numbers and originals. There's a relaxed, friendly atmosphere to the music, both in its tone and in the fact that Chambers lets Jones and Burrell have some time in the spotlight. The result is a warm, entertaining collection of mainstream jazz that nevertheless rewards close listening.

1. Yesterdays 5:53
2. You'd Be So Nice To Come Home To 7:17
3. Chasin' The Bird 6:19
4. Dear Old Stockholm 6:44
5. The Theme 6:15
6. Confessin' 4:15
7. Chamber Mates 5:02

Kenny Burrell - guitar
Hank Jones - piano
Paul Chambers - bass
Art Taylor - drums
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04 June, 2010


Art Pepper - Art Pepper + Eleven: Modern Jazz Classics (XRCD2) (eac-flac-cover)

Art Pepper - Art Pepper+Eleven: Modern Jazz Classics (1959) (XRCD2)
jazz | 1cd | eac-flac-cue-log-cover | 370MB
JVC | RAR +5% recovery
This is a true classic. Altoist Art Pepper is joined by an 11-piece band playing Marty Paich arrangements of a dozen jazz standards from the bop and cool jazz era. Trumpeter Jack Sheldon has a few solos, but the focus is very much on the altoist who is in peak form for this period. The CD reissue adds two additional versions of "Walkin'" and one of "Donna Lee" to the original program. Throughout, Pepper sounds quite inspired by Paich's charts which feature the band as an active part of the music rather than just in the background. Highlights of this highly enjoyable set include "Move," "Four Brothers," "Shaw Nuff," "Anthropology," and "Donna Lee," but there is not a single throwaway track to be heard. Essential music for all serious jazz collections. [The Japanese release takes the three bonus tracks (alternate versions of "Walkin'" and "Donne Lee") and moves them to the end of the disc]

01. "Move" (Denzil Best) –3:26
02. "Groovin' High" (Dizzy Gillespie) –3:24
03. "Opus de Funk" (Horace Silver) –3:11
04. "'Round Midnight" (Hanighen, Thelonious Monk, Williams) –3:33
05. "Four Brothers" (Jimmy Giuffre) –2:58
06. "Shaw 'Nuff" (Brown, Fuller, Gillespie) –2:58
07. "Bernie's Tune" (Leiber, Miller, Stoller) –2:44
08. "Walkin' Shoes" (Gerry Mulligan) –3:30
09. "Anthropology" (Gillespie, Charlie Parker) –3:18
10. "Airegin" (Sonny Rollins) –2:59
11. "Walkin'" [Original Take] (Carpenter) –5:16
12. "Donna Lee" [Original Take] (Charlie Parker) –3:21
13. "Walkin'" [Alternate Take] (Carpenter) –4:57
14. "Walkin'" [Alternate Take] (Carpenter) –5:01
15. "Donna Lee" [Alternate Take] (Charlie Parker) –3:25

* Art Pepper — alto saxophone, tenor saxophone, clarinet
* Pete Candoli — trumpet
* Al Porcino — trumpet
* Jack Sheldon — trumpet
* Dick Nash — trombone
* Bob Enevoldsen — valve trombone, tenor saxophone
* Vince DeRosa — French horn
* Herb Geller — alto saxophone
* Bud Shank — alto saxophone
* Charlie Kennedy — alto saxophone
* Bill Perkins — tenor saxophone
* Richie Kamuca — tenor saxophone
* Med Flory — baritone saxophone
* Russ Freeman — piano
* Joe Mondragon — bass
* Mel Lewis — drums
* Marty Paich — arranger, conductor


Art Pepper - Art Pepper + Eleven: Modern Jazz Classics (MFSL) (eac-flac-cover)

Art Pepper - Art Pepper+Eleven: Modern Jazz Classics (1959) (MFSL)
jazz | 1cd | eac-flac-cue-log-cover | 250MB
MFSL | rar +5% recovery
This is a true classic. Altoist Art Pepper is joined by an 11-piece band playing Marty Paich arrangements of a dozen jazz standards from the bop and cool jazz era. Trumpeter Jack Sheldon has a few solos, but the focus is very much on the altoist who is in peak form for this period. The CD reissue adds two additional versions of "Walkin'" and one of "Donna Lee" to the original program. Throughout, Pepper sounds quite inspired by Paich's charts which feature the band as an active part of the music rather than just in the background. Highlights of this highly enjoyable set include "Move," "Four Brothers," "Shaw Nuff," "Anthropology," and "Donna Lee," but there is not a single throwaway track to be heard. Essential music for all serious jazz collections.

01. "Move" (Denzil Best) –3:26
02. "Groovin' High" (Dizzy Gillespie) –3:22
03. "Opus de Funk" (Horace Silver) –3:13
04. "'Round Midnight" (Hanighen, Thelonious Monk, Williams) –3:32
05. "Four Brothers" (Jimmy Giuffre) –2:57
06. "Shaw 'Nuff" (Brown, Fuller, Gillespie) –2:58
07. "Bernie's Tune" (Leiber, Miller, Stoller) –2:41
08. "Walkin' Shoes" (Gerry Mulligan) –3:31
09. "Anthropology" (Gillespie, Charlie Parker) –3:22
10. "Airegin" (Sonny Rollins) –3:04
11. "Walkin'" (Carpenter) –4:15
12. "Donna Lee"(Charlie Parker) –3:23

* Art Pepper — alto saxophone, tenor saxophone, clarinet
* Pete Candoli — trumpet
* Al Porcino — trumpet
* Jack Sheldon — trumpet
* Dick Nash — trombone
* Bob Enevoldsen — valve trombone, tenor saxophone
* Vince DeRosa — French horn
* Herb Geller — alto saxophone
* Bud Shank — alto saxophone
* Charlie Kennedy — alto saxophone
* Bill Perkins — tenor saxophone
* Richie Kamuca — tenor saxophone
* Med Flory — baritone saxophone
* Russ Freeman — piano
* Joe Mondragon — bass
* Mel Lewis — drums
* Marty Paich — arranger, conductor
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03 June, 2010


Cannonball Adderley - Bohemia After Dark (1955) (24-bit rem) (eac-flac-cover)

Cannonball Adderley - Bohemia After Dark (1955) (24-bit remaster)
jazz | 1cd | eac-flac-cue-log-cover | 230MB
Savoy Classic Masters | 24-bit rem 2003 | rar +5% recovery
(aka. Kenny Clarke - Bohemia After Dark)
The June 26, 1955 session is most notable for being the recorded debut of the recently discovered altoist Cannonball Adderley and his brother, cornetist Nat (who is also featured on the lone number from July 26, a quartet version of "We'll Be Together Again"). Although drummer Kenny Clarke is the nominal leader and the other sidemen include trumpeter Donald Byrd, Jerome Richardson on tenor and flute, pianist Horace Silver and bassist Paul Chambers, the impressive performance by the young Adderleys makes this a historic session that has often been reissued under Cannonball's name.

01 - Bohemia After Dark
02 - Chasm
03 - Willow Weep For Me
04 - Late Entry
05 - Hear Me Talkin' to Ya
06 - With Apologies To Oscar
07 - We'll Be Together Again
08 - Caribbean Cutie

Bass - Paul Chambers
Cornet - Nat Adderley
Drums - Kenny Clarke
Flute - Jerome Richardson
Piano - Hank Jones
Saxophone [Alto] - Julian "Cannonball" Adderley
Saxophone [Tenor] - Jerome Richardson
Trumpet - Donald Byrd
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