28 February, 2011


Art Pepper - Art Pepper Quartet (1954) (eac-log-cover)

Art Pepper - Art Pepper Quartet (1954)
jazz | 1cd | eac-flac-cue-log-cover | 150MB
Originally released on the defunct Tampa label and then on CD by the small V.S.O.P. label, this album features the great altoist Art Pepper with pianist Russ Freeman, bassist Ben Tucker and drummer Gary Frommer. Despite the inclusion of five alternate takes, there is still only around 41 minutes of music but the quality is high; even with his erratic lifestyle, Pepper never made a bad record. Highlights include Art's original "Diane," "Besame Mucho" and "Pepper Pot." Fine music, but not essential when one considers how many gems Art Pepper recorded during his rather hectic life.


-01. "Art's Opus" -Pepper - 5:48
-02. "I Surrender, Dear" -Barris, Clifford - 5:31
-03. "Diane" -Pepper - 3:35
-04. "Pepper Pot" -Pepper - 5:03
-05. "Besame Mucho" -Skylar, Velazquez - 4:00
-06. "Blues at Twilight" -Jones, Pepper - 3:58
-07. "Val's Pal" -Pepper - 2:03
-08. "Pepper Pot" -Pepper - 2:27
-09. "Blues at Twilight" -Jones, Pepper - 4:02
-10. "Val's Pal [Take 1]" -Pepper - 2:26
-11. "Val's Pal [Take 4]" -Pepper - 2:22
-12. "Val's Pal [Take 5]" -Pepper - 2:14

*Art Pepper (alto saxophone)
*Russ Freeman (piano)
*Ben Tucker (bass)
*Gary Frommer (drums)

27 February, 2011


John Lewis - Evolution (HDCD) (1999) (eac-log-cover)

John Lewis - Evolution (1999)
jazz | 1cd | eac-flac-cue-log-cover | 210MB
Atlantic | HDCD
John Lewis, a founding member of the Modern Jazz Quartet (and architect, with Gunther Schuller, of the "Third Stream" movement that attempted a fusion of classical music and jazz), has always been known for the delicacy and refinement of his playing and for the quality of his compositions. This solo album will only add to his reputation in both regards. That he's able to make "Sweet Georgia Brown" sound like a recital piece is testament to his sophistication (and perhaps his sense of humor); that his own "Two Degrees East, Three Degrees West" manages to evoke New Orleans and Ravel simultaneously speaks to the depth of his musicianship. "Django," perhaps Lewis' most famous composition, is given a stop-action tango treatment here, and his "At the Horse Show" is as graceful as a colt. However, Lewis' voice is far too well-miked, which means he mutters and grunts in the left channel throughout the proceedings. Recommended nevertheless.

-01. "Sweet Georgia Brown" - 2:54
-02. "September Song" - 5:25
-03. "Afternoon In Paris" - 5:10
-04. "Two Degrees East, Three Degrees West" - 4:17
-05. "I'll Remember April" - 3:09
-06. "Django" - 7:30
-07. "Willow Weep For Me" - 3:22
-08. "Cherokee" - 4:04
-09. "For Ellington" - 5:35
-10. "Don't Blame Me" - 3:50
-11. "At The Horse Show" - 2:49

John Lewis: solo piano.

26 February, 2011


Bireli Lagrene - Live Jazz A Vienne (2002) (music video)

Bireli Lagrene - Live Jazz A Vienne (2002)
jazz | DVD9 NTSC | DD 2.0 | iso, cover | 8100MB
Dreyfus jazz | rel: 2004
This DVD captures Bireli's world renowned 'Gipsy Project' in front of 8,000 rabid fans in the beautiful setting of France's Vienne Jazz Festival. Nearly a dozen guest stars: Dorado Schmitt, Richard Galliano, Sylvain Luc, David Reinhardt (Django's grandson), and many more!
The career of Bireli Lagrene began at the tender age of 11, when he completed an astonishing album called "Routes to Django." This record saw the young guitarist interpreting the songs of the legendary Django Reinhardt, a task most musicians would find daunting, but one which Lagrene took to like a duck to water. Subsequent releases allowed him to carve out his own niche in the music world, while still tipping his hat to Reinhardt by incorporating many similar techniques into his playing style. This release features Lagrene's "Gipsy Project" in full swing at the Vienne Jazz Festival in France, where an expectant crowd gathers to bask in the glory of his exquisite tunes. Special guests come thick and fast throughout, with Richard Galliano, Dorado Schmitt, and Django Reinhardt's grandson, David Reinhardt, all adding to the occasion.

-01 - Coquette
-02 - Blues Clair
-03 - Embraceable You
-04 - Troublant Boléro
-05 - What Is This Thing Called Love
-06 - When Day Is Done
-07 - Djangology
-08 - Si Tu Savais
-09 - Festival 48
-10 - Flobi
-11 - Sweet Georgia Brown
-12 - Viper's Dream
-13 - Belleville
-14 - My One and Only Love
-15 - Dinah
-16 - I'll See You in My Dreams
-17 - Made in France
-18 - Nuages
-19 - Tears
-20 - Waltz for Nicky
-21 - J'Attendrai
-22 - Them There Eyes
-23 - There Will Never Be Another You
-24 - Les Yeux Noirs
-25 - I Can't Give You Anything But Love
-26 - Vienne Song (Solo)
-27 - I've Found a New Baby
-28 - Night and Day
-29 - Swing Gitan
-30 - Daphné
-31 - Donna Lee (1st Finale)
-32 - Minor Swing (2nd Finale)
235 min

25 February, 2011


Anthony Braxton - 3 Compositions of New Jazz (1968) (eac-log-cover)

Anthony Braxton - 3 Compositions of New Jazz (1968)
jazz, avantgarde | 1cd | eac-flac-cue-log-cover | 230MB
While it is not as powerful or as revelatory as For Alto, Anthony Braxton's second album for Delmark, 3 Compositions of New Jazz is his debut as a leader and showcases just how visionary -- or out to lunch depending on your point of view -- he was from the very beginning. Recorded nine months after his debut with Muhal Richard Abrams on Levels and Degrees of Light, Braxton's compositional methodology and his sense of creating a band are in full flower. For one thing, there is no use of a traditional rhythm section, though drums and a piano are used. The band is comprised of Leroy Jenkins on violin and percussion, Braxton on everything from alto to accordion to mixer, Leo Smith on trumpet and bottles, and Abrams on piano (and alto clarinet on one track). All but one track -- "The Bell" -- are graphically titled, so there's no use mentioning titles because computers don't draw in the same way. There is a sonorous unity on all of these compositions, which Braxton would draw away from later. His use of Stockhausen is evident here, and he borrows heavily from the melodic precepts of Ornette Coleman. The use of Jenkins' violin as a melodic and lyric device frees the brass from following any kind of preset notion about what should be done. Abrams plays the piano like a percussion -- not a rhythm -- instrument, and colors the textural figures in, while Smith plays all around the open space trying hard not to fill it. This is a long and tough listen, but it's a light one in comparison to For Alto. And make no mistake: It is outrageously forward-thinking, if not -- arguably -- downright visionary. Braxton's 3 Compositions of New Jazz is an essential document of the beginning of the end.

1. "(840m)-Realize-44M-44M" 20:03*
comp 6 E
2. "N-M488-44M-Z" 12:57*
comp 6 D
3. "The Bell" (Leo Smith) 10:31
*These first two tracks are graphically titled. This is an attempt to translate the title.
* All songs written and composed by Anthony Braxton, except where noted.
* Recorded at Sound Studios, Chicago, IL on March 27 (track 1) and April 10 (tracks 2 & 3), 1968

* Anthony Braxton: alto saxophone, soprano saxophone, clarinet, flute, oboe musette, accordion, bells, snare drum, mixer
* Leroy Jenkins: violin, viola, harmonica, bass drum, recorder, cymbals, slide whistle
* Wadada Leo Smith: trumpet, mellophone, xylophone, kazoo
* Muhal Richard Abrams: piano (track 2 & 3), cello, alto clarinet (track 3)

24 February, 2011


John Coltrane - Live At Birdland (1963) (20-bit SBM) (eac-log-cover)

John Coltrane - Live At Birdland (1963)
jazz | 1cd | eac-flac-cue-log-cover | 320MB
Impulse!/GRP | 20-bit SBM
Arguably John Coltrane's finest all-around album, this recording has brilliant versions of "Afro Blue" and "I Want to Talk About You"; the second half of the latter features Coltrane on unaccompanied tenor tearing into the piece but never losing sight of the fact that it is a beautiful ballad. The remainder of this album ("Alabama," "The Promise," and "Your Lady") is almost at the same high level.

-1. "Afro Blue" – 10:50
-2. "I Want to Talk About You" – 8:11
-3. "The Promise" – 8:10
-4. "Alabama" – 5:09
-5. "Your Lady" – 6:39
-6. "Vilia" – 4:38
* Tracks 1–3 recorded October 8, 1963 at Birdland, New York City, NY
* Tracks 4–5 recorded November 18, 1963 at Van Gelder Studio, Englewood Cliffs, NJ
* Track 6 recorded March 6, 1963 at Van Gelder Studio
* "Vilia" is the main melodic statement to the Franz Lehár piece "Vivias" set to a swing feel and chord changes.

* John Coltrane — tenor saxophone/soprano saxophone
* Jimmy Garrison — bass
* Elvin Jones — drums
* McCoy Tyner — piano


Sofia Gubaidulina - Orchestral Works & Chamber Music (1989)

Sofia Gubaidulina - Orchestral Works & Chamber Music (1989)
classical, contemporary | 1cd | eac-flac-cue-log-cover | 270MB
Col Legno
Sofia Gubaidulina info
Amazon customers:
Maestro Nikolaevsky was appreciated by Gubaidulina and Schnittke for his great sense of timing and steel rythm. His Baroque conducting was praised too and it is no surprise those Russian modern composers would enjoy working with him. Sadly, He passed away in November 2003. I had the chance to play Schnittke's concerto for Piano and Strings in April 2003 in Omsk, his last concert. Although he was a frail man, his determination was unaltered as soon as he stepped on the podium.
I would also recommend his recording of Schnittke's third violin concerto with Oleg Kagan.
I think this may be the only semi-available recording of G.'s "Night in Memphis" which is a barbaric whirlygig of a composition, and one of her most potent. Unfortunately, the sound quality is very poor, especially during the cantata, when the male singers enter. Plus, throughout the entire CD, there is lots of background sound, including what must be the inmates from the local tuberculosis sanatorium sitting in the front row.
All of this detracts somewhat from the music, but not bad enough to justify not buying this album. "Hour of the Soul" is another piece which is difficult to locate. It is a winding beast, with mezzo-soprano. The text is from a poem by Tsaetaeva.

On disc:
-1. Trio, for violin, viola & cello
*Composed by Sofia Gubaidulina (1988)
*Yevgenya Alikhanova, Olga Ogranovitch, Tatyana Kokhanovskaya (Members of the Moscow String Quartet)
-2. Hour of the Soul, for mezzo-soprano & wind orchestra
*Composed by Sofia Gubaidulina (1974)
*Performed by Leningrad Philharmonic Orchestra with Mark Pekarsky, Lina Mkrtchyan
-3. Night in Memphis, cantata for mezzo-soprano, male chorus & chamber orchestra (3 versions)
*Composed by Sofia Gubaidulina (1968)
*Moscow State Film Orchestra (Conducted by Yuri Nikolayevsky); Elena Dolgova (Mezzosoprano Voice)

23 February, 2011


Archie Shepp - St. Louis Blues (2001) (eac-log-cover)

Archie Shepp - St. Louis Blues (2001)
jazz | 1cd | eac-flac-cue-log-cover | 340MB
Jazz Magnet
By the late '90s, Archie Shepp was no longer the revolutionary he once was, but he had established himself as a fine performer of blues, standards, and original pieces. For this release, he takes his woozy, sometimes breathy tenor in front of an outstanding piano-less rhythm section of bassist Richard Davis and drummer Sunny Murray, with "guest" percussionist Leopoldo Fleming. All the characteristic Shepp elements are here: the vibrato, the slightly over-emotional renderings of standards ("St. Louis Blues" and "God Bless the Child"), his deep, poignant vocals ("St. Louis Blues"), and the somewhat overextended improvisations. Still, Shepp is a master, and one of the great tenor saxophonists of the 20th century. While there is little here to distinguish this recording from others on which the saxophonist appears (except for some great bass work by Davis, particularly on "Total Package," and some equally fine contributions throughout from Murray), the overall feel is one of someone who has absorbed many years of tradition. Shepp is not quite up to his playing from years ago, and sounds a little tired. His version of "Steam," for example, while perfectly adequate, has better antecedents. While there are superior examples of his playing elsewhere, this recording is nonetheless highly enjoyable. Too, the saxophonist's deep, baritone voice is heard to good effect on "St. Louis Blues," and never fails to impress.

-1. "St. Louis Blues" W. C. Handy 5:53
-2. "Et Moi" Sunny Murray 6:02
-3. "Blues Bossa" Kenny Dorham 7:06
-4. "God Bless The Child" Billie Holiday 10:00
-5. "Total Package" Richard Davis 12:56
-6. "Steam" Archie Shepp 7:02
-7. "Limbuke" Archie Shepp , Leopoldo Fleming 5:31
-8. "Omega" Archie Shepp 12:09

*Bass - Richard Davis
*Drums - Sunny Murray
*Saxophone [Tenor] - Archie Shepp

22 February, 2011


Leonard Cohen - Field Commander Cohen: Tour of 1979 (eac-log-cover)

Leonard Cohen - Field Commander Cohen: Tour of 1979
rock | 1cd | eac-flac-cue-log-cover | 340MB
Sony | rel: 2001
As he'd firmly established himself as a poet and novelist years before he made his first album, Leonard Cohen is often regarded less as a musician than as a writer who happens to sing. But his songs have always displayed a subtle but mesmerizing melodic sense that dovetails gracefully with his lyrics, and though his craggy voice has its limits, no one else interprets Cohen's songs with his degree of intelligence and quiet passion. In 1979, after the release of his album Recent Songs, Cohen set out on an international concert tour accompanied by members of the jazz-rock group Passenger; Field Commander Cohen was compiled from recordings of the 1979 tour, and it presents an especially strong argument for Cohen's gifts as a musician. Cohen's voice had gained a great deal of strength and nuance since the dates preserved on 1973's Live Songs, and the smoky rasp that began to scar his vocals on I'm Your Man had yet to set in; this may well be Cohen's best set of recorded performances as a singer, and having Jennifer Warnes and Sharon Robinson on hand as duet partners is especially rich icing on the cake. While the musicians take care to never intrude upon the songs, they play beautifully, with remarkable taste and skill; Passenger bring out the nuances of these songs with a sure but gentle hand (especially bassist Roscoe Beck and Paul Ostermayer on sax and clarinet), and Raffi Hakopian's violin and John Bilezikjian's oud add breathtaking punctuation to these performances (Cohen often cites his musicians after the songs, and it's not hard to imagine a singer being thrilled to work with musicians of this caliber). While it falls short of the stark emotional force of Songs of Leonard Cohen or Songs of Love and Hate, Field Commander Cohen makes clear that Cohen writes songs, not literature accompanied by incidental music, and here these 12 songs possess a passionate, aching beauty that's a wonder to behold; this is easily the best Leonard Cohen live recording to emerge to date.

-01. "Field Commander Cohen" – 4:25
-02. "The Window" – 5:51 * violin solo by Raffi Hakopian
-03. "The Smokey Life" – 5:34 * duet with Jennifer Warnes
-04. "The Gypsy's Wife" – 5:20 * violin solo by Raffi Hakopian
-05. "Lover Lover Lover" – 6:31 * includes two long oud solos by John Bilezikjian
-06. "Hey, That's No Way to Say Goodbye" – 4:04 * violin solo by Raffi Hakopian
-07. "The Stranger Song" – 4:55
-08. "The Guests" – 6:05 * violin solo by Raffi Hakopian
-09. "Memories" – (Cohen, Phil Spector) 4:38 * sax solo by Paul Ostermayer
-10. "Why Don't You Try" – 3:43 * duet with Sharon Robinson, solo by Paul Ostermayer
-11. "Bird on the Wire" – 5:10 * guitar solo by Mitch Watkins
-12. "So Long, Marianne" – 6:44
* Written by Leonard Cohen, except where noted.

21 February, 2011


Penguin Cafe Orchestra - When In Rome... (1988) (eac-log-cover)

Penguin Cafe Orchestra - When In Rome...  (1988)
new age, chamber jazz | 1cd | eac-flac-cue-log-cover | 380MB
Virgin EG Records

When in Rome... is a 1988 live album by the  Penguin Cafe Orchestra, and was recorded at The Royal Festival Hall, London, on the 9th of July 1987. It was produced by Simon Jeffes and published by EG Records. The cover painting is by Emily Young.

-01. Air a Danser (5.17)
-02. Yodel 1 (4.46)
-03. Cutting Branches for a Temporary shelter (2.27)*
-04. From the Colonies (3.30)
-05. Southern Jukebox Music (4.53)
-06. Numbers 1 to 4 (7.44)
-07. Telephone and Rubberband (4.05)*
-08. Air (4.00)*
-09. Beanfields (4.28)
-10. Paul's Dance (2.19)
-11. Oscar Tango (3.20)
-12. Music for a Found Harmonium (3:18)
-13. Isle of View (Music for Helicopter Pilots) (4.39)
-14. Prelude and Yodel (3.56)
-15. Dirt (5.27)*
-16. Giles Farnaby's Dream (4.13)
* *Not included on original vinyl LP


Gerry Mulligan & Chet Baker - Carnegie Hall Concert (SBM 24kt Gold) (1974)

Gerry Mulligan & Chet Baker - Carnegie Hall Concert (1974)
jazz | 1cd | eac-flac-cue-log-cover | 660MB
EPIC | SBM 24kt Gold
At this 1974 concert baritonist Gerry Mulligan and trumpeter Chet Baker had one of their very rare reunions; it would be only the second and final time that they recorded together after Mulligan's original quartet broke up in 1953. Oddly enough, a fairly contemporary rhythm section was used (keyboardist Bob James, vibraphonist Dave Samuels, bassist Ron Carter, drummer Harvey Mason, and in one of his first recordings, guitarist John Scofield). However, some of the old magic was still there between the horns, and in addition to two of Mulligan's newer tunes, this set (the first of two volumes) also includes fresh versions of "Line for Lyons" and "My Funny Valentine."


-1. "Line For Lyons" 8:16
-2. "Margarine" 6:00
-3. "For An Unfinished Woman" 8:52
-4. "My Funny Valentine" 8:43
-5. "Song For Strayhorn" 9:42
-6. "It's Sandy At The Beach" 9:39
-7. "K-4 Pacific" 11:46
-8. "There Will Never Be Another You" 6:53
-9. "Bernie's Tune" 7:55


Baritone Saxophone - Gerry Mulligan
Bass - Ron Carter
Drums - Harvey Mason
Guitar - John Scofield
Piano, Electric Piano - Bob James
Trombone - Ed Byrne
Trumpet - Chet Baker
Vibraphone, Percussion - Dave Samuels

20 February, 2011


Jimmy Raney - Featuring Bob Brookmeyer (1956) (eac-log-cover)

Jimmy Raney - Featuring Bob Brookmeyer (1956)
jazz | 1cd | eac-flac-cue-log-cover | 120MB
Verve/Decca originals
Though Jimmy Raney recorded under his own name as early as 1953, this 1956 set is regarded as his arrival as a leader. Raney is as fine an arranger as he is a guitarist. These eight tracks with Bob Brookmeyer on trombone (another fine arranger in a soloist's role) shine with the ease and fluidity of the best of the cool sessions recorded at the dawn of hard bop. One of the finest examples of the interplay between Raney and Brookmeyer occurs at the beginning of the album's second track, "How Long Has This Been Going On?," where the pair engage in a brief contrapuntal dialogue before Brookmeyer solos on the melody and Raney gently fills the space behind him by whispering his chords and fills through the trombonist's phrasing, before taking his own solo and slipping an inverted harmonic pattern on the tune's lyric line. The pair re-engage about halfway through before Dick Katz solos on piano with a bluesy series of runs in the upper register. Raney's own tunes, such as "The Flag Is Up," are strident and swinging without losing the breezy cool feel . Raney's solo is a mix of bop phrasing and heated arpeggios that glide effortlessly into Katz's comping. Brookmeyer's "Get Off That Roof" is another swinging mini-opus that offers a new view of the trombonist as soloist. Hank Jones plays piano here and is stellar at creating a solid backdrop for both front-line players. This is as fine a set from the end of the cool jazz period as one is likely to hear.

-1. "Isn't It Romantic?" 4:03
-2. "How Long Has This Been Going On?" 4:26
-3. "No Male for Me"
-4. "The Flag Is Up" 4:07
-5. "Get Off That Roof" 4:04
-6. "Jim's Tune" 4:00
-7. "Nobody Else But Me" 4:53
-8. "Too Late Now" 4:13

*Jimmy Raney (guitar)
*Teddy Kotick (bass guitar)
*Bob Brookmeyer (valve trombone)
*Dick Katz, Hank Jones (piano)
*Osie Johnson (drums)

17 February, 2011


Dave Brubeck - Plays And Plays And Plays (1957) (eac-log-cover)

Dave Brubeck - Plays And Plays And Plays (1957)
jazz | 1cd | eac-flac-cue-log-cover | 95MB
Dave Brubeck's second solo piano album differs from the first in that only two of the nine songs he performs are his originals. However Brubeck's versions of such standards as "Imagination," "Our Love Is Here to Stay" and "You'd Be So Nice to Come Home To" sound quite fresh and contain more than their share of surprises. Fortunately the formerly rare music is now available on this CD.

-01. "Sweet Cleo Brown" Brubeck -3:55
-02. "I'm Old Fashioned" Kern, Mercer -4:58
-03. "Love Is Here to Stay" Gershwin, Gershwin -2:47
-04. "Indian Summer" Dubin, Herbert -3:48
-05. "In Search of a Theme" Brubeck -2:25
-06. "You'd Be So Nice to Come Home To" Porter -2:28
-07. "I See Your Face Before Me" Dietz, Schwartz -4:55
-08. "They Say It's Wonderful" Berlin -2:39
-09. "Imagination" Heusen -6:10
-10. "Two Sleepy People" Carmichael, Loesser -3:30

*Dave Brubeck - solo piano

16 February, 2011


Kronos Quartet (Terry Riley) - Requiem for Adam (2000) (eac-log-cover)

Kronos Quartet (Terry Riley) - Requiem for Adam (2000)
contemporary | 1cd | eac-flac-cue-log-cover | 210MB
This may be the single most powerful piece of music that the Kronos Quartet has ever recorded, and perhaps that Terry Riley has ever written. This is because Requiem for Adam is so personal, so direct, and experiential. Requiem for Adam was written after the death of Kronos violinist David Harrignton's son. He died, in 1995, at the age of 16, from an aneurysm in his coronary artery. Riley, who is very close to the Harringtons and has a son the same age, has delved deep into the experience of death and resurrection, or, at the very least, transmutation. Requiem for Adam is written in three parts, or movements. The first, "Ascending the Heaven Ladder," is based on a four-note pattern that re-harmonizes itself as it moves up the scale. There are many variations and series based on each of these notes and their changing harmonics, and finally a 5/4 dance as it moves to the highest point on the strings. The drone-like effect is stunning when the listener realizes that the drone is changing shape too, ascending the scale, moving ever upward and taking part in the transmutation of harmony. There are no blustery passages of 32nd notes only gorgeous arco phrases shimmering away as the harmonics transform the piece of music form an ascent to a near pastoral acceptance of the highest realization linguistically. The second movement, "Coretejo Funebre en el Monte Diablo," is full of electronic music, horns, bells, and percussion that slam around in the background. This is a sampled soundtrack for the quartet, but it is integral in moving the focus of movement panoramically, expanding it across vistas instead of making it a vertical relationship between soul and the divine. It is cacophonous and almost celebratory. Riley refers to it as funeral music that might be heard in New Orleans, and he's almost right. Still there are classical canonical funereal figures here, like a Deus Irae that is somehow kinked up, offbeat, sideways, but nonetheless very present. In title movement, number three, plucked strings move against sliding harmonics and two long pulse notes stretch into almost impossible duration and intensity. These give way to funky dance figures, almost bluesy as a coda that moves toward an ever more frenzied articulation of theme and variation of the coda. There are graceful lines tacked on, almost as cadenzas for the strings to come back to themselves and their dovetailing roles, but they just take off again in search of that 7/8 polyrhythmic cadence again which gives way to a high register harmonics and finally a statement of the two-note pulse found at the beginning of the piece. It's the most complex quartet Riley has yet composed, and easily his most satisfying. The disc closes with "The Philosopher's Hand," a solo piano piece played by Riley. Riley was asked by Harrington to improvise a piece while thinking of Pandit Pran Nath, Riley's musical and spiritual teacher who passed in 1996. Riley claims that Pran Nath had come to Adam's funeral and held David Harrington's hand, which, Harrington remarked, was the softest hand he'd ever felt. The piece reflects all of these: the softness, the deep regret of Adam and Pran Nath's passing, and most of all of Riley's remembering, which is filtered through the anguish and beauty of the human heart. It's more than a whispering close to an already astonishing recording: it's the end of the world, and the beginning of the next, or at least the evidence that music can almost deliver this much.

-1. "Ascending the Heaven Ladder" (played by Kronos Quartet) 13:24
-2. "Cortejo Fúnebre en el Monte Diablo" (played by Kronos Quartet) 7:05
-3. "Requiem for Adam" (played by Kronos Quartet) 21:18
-4. "The Philosopher's Hand" (solo piano by Terry Riley) 5:57

* David Harrington - violin
* John Sherba - violin
* Hank Dutt - viola
* Jennifer Culp - cello
* Terry Riley - piano

14 February, 2011


Antonio Carlos Jobim - Tide (1970) (2000rem) (eac-log-cover)

Antonio Carlos Jobim - Tide (1970)
jazz, latin | 1cd | eac-flac-cue-log-cover | 420MB
Verve By Request series | rem: 2000
On Jobim's second A&M album, Eumir Deodato takes over the chart-making tasks, and the difference between him and Claus Ogerman is quite apparent in the remake of "The Girl From Ipanema": the charts are heavier, more dramatic, and structured. Sometimes the arrangements roll back so one can hear, say, the dancing multi-phonic flute of wildman Hermeto Pascoal on "Tema Jazz," and the rhythms often veer away from the familiar ticking of the bossa nova. Jobim is his usual understated self, adding very subtle electric piano to his arsenal of acoustic piano and guitar, but the material sometimes falls short of Jobim's tip-top level (dead giveaway: "Tide" is a clever rewrite on the chord changes of "Wave"). Still, it's beautifully made and very musical at all times.

-01. "The Girl from Ipanema" (Vinicius de Moraes, Norman Gimbel, Antonio Carlos Jobim) –4:53
-02. "Carinhoso" (Pedro Berrios, Carlos Braga, João de Barro, Pixinguinha) –2:49
-03. "Tema Jazz" –4:36
-04. "Sue Ann" –3:05
-05. "Remember" –4:04
-06. "Tide" –4:06
-07. "Takatanga" –4:44
-08. "Caribe" –2:44
-09. "Rockanalia" –4:48
-10. "Tema Jazz" –2:58
-11. "Tide" –4:09
-12. "Tema Jazz" –5:49
-13. "Tema Jazz" –8:15
* Tracks 10-13 alternate takes included with 2001 CD reissue.
* All songs written by Antonio Carlos Jobim except where indicated.

* Recorded at the Van Gelder Recording Studio, Englewood Cliffs, New Jersey between March 16 and May 22, 1970. Originally released on A&M (3031).

Antonio Carlos Jobim (guitar, acoustic guitar, piano, electric piano); Frederick Buldrini, Max Polikoff, David Nadien, Matthew Raimondi, Harry Katzman, Emanuel Green, Harry Lookofsky (violin); Al Brown, Harold Coletta (viola); Charles McCracken , George Ricci (cello); Joe Farrell (flute, bass flute, soprano saxophone); Hubert Laws, Hermeto Pascoal, Romeo Penque (flute); Marvin Stamm, Burt Collins (trumpet); Joseph DeAngelis, Ray Alonge (French horn); Garnett Brown, Urbie Green (trombone); Deodato (piano); Joao Palma (drums); Everaldo Ferreira (congas); Airto Moreira (percussion).

12 February, 2011


Captain Beefheart - Lick My Decals Off, Baby (1970) (eac-log-cover)

Captain Beefheart - Lick My Decals Off, Baby (1970)
rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 250MB
Produced by Captain Beefheart himself, Lick My Decals Off, Baby was a further refining and exploration of the musical ideas posited on Trout Mask Replica. As such, the imaginative fervor of Trout Mask is toned down somewhat, but in its place is an increased self-assurance; the tone of Decals is also a bit darker, examining environmental issues in some songs rather than simply concentrating on surreal wordplay. Whatever the differences, the jagged, complex rhythms and guitar interplay continue to amaze. Those wanting to dig deeper after the essential Trout Mask Replica are advised to begin doing so here.

-01. "Lick My Decals Off, Baby" – 2:38
-02. "Doctor Dark" – 2:46
-03. "I Love You, You Big Dummy" – 2:54
-04. "Peon" – 2:24
-05. "Bellerin' Plain" – 3:35
-06. "Woe-is-uh-Me-Bop" – 2:06
-07. "Japan in a Dishpan" – 3:00
-08. "I Wanna Find a Woman That'll Hold My Big Toe Till I Have To Go" – 1:53
-09. "Petrified Forest" – 1:40
-10. "One Red Rose That I Mean" – 1:52
-11. "The Buggy Boogie Woogie" – 2:19
-12. "The Smithsonian Institute Blues (or the Big Dig)" – 2:11
-13. "Space-Age Couple" – 2:32
-14. "The Clouds Are Full of Wine (not Whiskey or Rye)" – 2:50
-15. "Flash Gordon's Ape" – 4:15

* Captain Beefheart (Don Van Vliet) - Vocals, bass clarinet, tenor sax, soprano sax, harmonica
* Zoot Horn Rollo (Bill Harkleroad) - Guitar and glass finger guitar
* Rockette Morton (Mark Boston) - Bassius-o-pheilius
* Drumbo (John French) - Percussion, broom
* Ed Marimba (Art Tripp) - Marimba, percussion, broom

11 February, 2011


John Lewis - Orchestra U.S.A: The Debut Recording (1963)

John Lewis - Orchestra U.S.A: The Debut Recording (1963)
The complete stereo & mono versions
jazz | 1cd | eac-flac-cue-log-cover | 510MB
Lonehill Jazz | 2004
John Lewis formed Orchestra U.S.A. as a vehicle to potentially explore any composed or improvised music, blending elements of jazz and classical music by recruiting some first-rate players from both worlds. The result is one of the more successful third stream recordings. There are two string quartets, plus woodwinds, brass, and a rhythm section present. Collaborating with Gunther Schuller, who conducted the group and did some of the orchestrations, Lewis expanded his work "Three Little Feelings" from its original chart for brass, featuring outstanding solos by alto saxophonist Phil Woods and guitarist Jim Hall. Lewis includes two pieces he had written for William Inge's play Natural Affection; Dolphy's fireworks on "Donnie's Theme" contrast with the easygoing "Natural Affection," which features the leader's piano and has a sudden dramatic finale. Gary McFarland contributed both "Milesign" and "Grand Encounter"; the former composition is a driving bop chart with a typically angular alto sax solo by Dolphy, while the latter piece is quirky and has a playful solo by Lewis. Schuller's rather stiff arrangement of "The Star Spangled Banner" serves as a odd but brief coda to close the record. Although there were additional records by Orchestra U.S.A., none of them match the heights of this initial effort. [Originally issued as a Colpix LP and long unavailable, this highly recommended album finally appeared as a Lone Hill Jazz CD in 2004, adding the mono takes for each selection as bonus tracks.]

-01. "Three Little Feelings, Pt. 1" -(3:37)
-02. "Three Little Feelings, Pt. 2" -(3:32)
-03, "Three Little Feelings, Pt. 3" -(3:47)
-04. "Milesign Gary McFarland" - (5:14)
-05. "Milano" -(3:34)
-06. "Natural Affection" -(5:33)
-07. "Donnie's Theme" -(5:16)
-08. "Grand Encounter" -(5:36)
-09. "The Star Spangled Banner" -(1:27)
-10. "Three Little Feelings, Pt. 1" [Mono Version][*] -(3:39)
-11. "Three Little Feelings, Pt. 2" [Mono Version][*] -(3:33)
-12. "Three Little Feelings, Pt. 3" [Mono Version][*] -(3:48)
-13. "Milesign" [Mono Version][*] -(5:17)
-14. "Milano" [Mono Version][*] -(3:38)
-15. "Natural Affection" [Mono Version][*] -(5:35)
-16. "Donnie's Theme" [Mono Version][*] -(5:17)
-17. "Grand Encounter" [Mono Version][*] -(5:37)
-18. "The Star Spangled Banner" [Mono Version][*] - (1:23)

Eric Dolphy
Phil Woods
Richard Davis
Connie Kay
Jim Hall

10 February, 2011


Mercedes Sosa (Ariel Ramirez) - Misa Criolla (1999) (eac-log-cover)

Mercedes Sosa - Misa Criolla (1999)
Ariel Ramirez: Misa Criolla; Ramirez-Luna: Navidad Nuestra
latin, traditional, sacred | 1cd | eac-flac-cue-log-cover | 260MB
Decca | 1999
Amazon customers:
Too bad it isn't possible to listen to sample tracks from this CD, because I think anyone who hears the first 30 seconds of this magnificent Misa will want it at once. Today I'm buying it for the fourth time - I give them as gifts to my favorite people. Play it on a stereo with good bass response and be prepared for an extraordinary experience. Mercedes Sosa is always amazing, and this CD is Mercedes Sosa at her very best.
I've just listened to this album again and I thought I had to tell the world how great it is. How is it possible that every time I listen to it my heart beats faster and tears roll over my face? There is no way without falling short of words to describe the beauty and heavenly perfection of this opus. Unless you like Britney-like pop, you will instantly fall for this-
the songs
They are all perfect. Ariel Ramirez, who wrote the music, is one of the most talented musicians in the world. Every melody has the power to evoke emotions and feelings almost in a supernatural way. Plus, each song is an example of different styles within argentinean traditional music. Still, the entire opus belts out an incredible integrity that makes you look upon it as a whole.
the voice
Mercedes Sosa: one of (if not the most) powerful voices on Earth. She recorded this album at 65! and still she can pull off outstanding performances with her strong, contralto voice. You have to listen to it at full volume, and you'll get thrills.
the choir
A perfect set of argentinean voices. They can easily handle the subtleties that this exceptional music requires.
the arrangements
Whenever you first listen to this album, you will recognize an outstanding talent. The Misa Criolla was first recorded in the 1970's, and the man who plays the charango in this version is the same old man that did it 30 years ago. Everything was put together so that the result is utterly flawless.

-01. "Misa Criolla: Kyrie" Dominio Público, Ramirez - 4:59
-02. "Misa Criolla: Gloria" Dominio Público, Ramirez - 8:21
-03. "Misa Criolla: Credo" Dominio Público, Ramirez - 3:23
-04. "Misa Criolla: Sanctus" Dominio Público, Ramirez - 3:06
-05. "Misa Criolla: Agnus Dei" Dominio Público, Ramirez - 3:19
-06. "Navidad Nuestra: La Anunciación" Luna, Ramirez - 2:08
-07. "Navidad Nuestra: La Peregrinación" Luna, Ramirez - 3:52
-08. "Navidad Nuestra: El Nacimiento" Luna, Ramirez - 3:15
-09. "Navidad Nuestra: Los Pastores" Luna, Ramirez - 3:05
-10. "Navidad Nuestra: Los Reyes Magos" Luna, Ramirez - 2:17
-11. "Navidad Nuestra: La Huida" Luna, Ramirez - 3:54

08 February, 2011


Ahmad Jamal - The Legendary Okeh & Epic Recordings (1951-55) (eac-log-cover)

Ahmad Jamal - The Legendary Okeh & Epic Recordings (1951-55)
~~ The Piano Scene Of Ahmad Jamal & Ahad Jamal Trio albums
jazz | 1cd | eac-flac-cue-log-cover | 290MB
Epic/Legacy | 2005 remaster
This collection brings together the early OKeh and Epic recordings of innovative jazz pianist Ahmad Jamal, recorded between 1951 and 1955. Jamal ushered in a new era of melodic improvisation that stood in sharp contrast to bebop's previous innovations. These recordings were all done in trio settings, where the pianist was accompanied by guitarist Ray Crawford, and either Eddie Calhoun (1951 and 1952) or Israel Crosby on bass. The shimmering solos and light as a feather chord voicings are anything but lightweight. Sharp, harmonic invention, economical yet intuitive phrasing, and a deft sense of time pushed Jamal's star to ascendancy. Standout cuts here are his "Surrey with the Fringe on Top," which extrapolates the melody into new harmonic terrain; the beautiful arrangement of the traditional "Billy Boy"; Fats Waller's "Squeeze Me" with its beautiful ostinato, and Jamal's glorious read of "Perfidia." The sound on this set is gloriously remastered. There are period liner notes by Nat Hentoff, and a moving and appreciative essay by Randy Weston.

-01. "The Surrey with the Fringe on Top" -Hammerstein, Rodgers 2:51
-02. "Will You Still Be Mine?" -Adair, Dennis 2:44
-03. "Ahmad's Blues" -Jamal 2:56
-04. "A Gal in Calico" -Robin, Schwartz 2:37
-05. "Aki and Ukthay" -Jamal 3:07
-06. "Billy Boy" Traditional 2:40
-07. "Black Beauty" -Ellington 3:27
-08. "Love for Sale" -Porter 8:32
-09. "Something to Remember You By" -Dietz, Schwartz 2:49
-10. "Poinciana" -Bernier, Simon 4:36
-11. "Don't Blame Me" -Fields, McHugh 3:22
-12. "Autumn Leaves" -Kosma, Mercery, Prevert 2:41
-13. "They Can't Take That Away from Me" -Gershwin, Gershwin 3:00
-14. "Old Devil Moon" -Harburg, Lane 3:45
-15. "It's Easy to Remember" -Hart, Rodgers 2:56
-16. "Squeeze Me" -Waller, Williams 3:51
-17. "Crazy He Calls Me" -Russell, Sigman 4:59
-18. "Pavanne" -Gould, Shelley 4:25
-19. "Perfidia" -Domingiez 3:57
-20. "Rica Pulpa" -Grenet 3:51
-21. "The Donkey Serenade" -Forrest, Friml, Stothart, Wright 3:18

*Ahmad Jamal (Piano)
*Ray Crawford (Guitar)
*Eddie Calhoun (Bass) (1-6)
*Israel Crosby (Bass) (7-71)

06 February, 2011


Count Basie - King of Swing (1954) (24-bit remaster) (eac-log-cover)

Count Basie - King of Swing (1954)
jazz | 1cd | eac-flac-cue-log-cover | 110MB
Verve | 24-bit remaster
Following a brief lull earlier in the 1950s, Count Basie had rebuilt his big band by the time of this trio of studio sessions originally recorded for Clef. Among the musicians present on one or more of the dates are trumpeters Joe Newman, Joe Wilder, and Thad Jones and a reed section with Marshall Royal, Frank Foster, Frank Wess, and Ernie Wilkins, along with a dependable rhythm section anchored by Basie's longtime rhythm guitarist, Freddie Green. While none of the numbers seemed to stay in the band book for all that long, the consistently swinging performances and tasty solos make this worth the attention of swing fans.

-01. Cherry Point 3:22
-02. Bubbles 4:05
-03. Righ On 2:43
-04. The Blues Done Come Back 3:42
-05. Plymouth Rock 3:45
-06. I Feel Like A New Man 2:58
-07. You For Me 3:14
-08. Soft Drink 3:09
-09. Two For The Blues 2:51
-10. Slow But Sure 3:47

* Count Basie
* Wendell Culley Trumpet |
* Reunald Jones Trumpet |
* Joe Newman Trumpet |
* Joe Wilder Trumpet | (1-4)
* Henderson Chambers Trombone | (1-4)
* Paul Campbell Trumpet | (5)
* Henry Coker Trombone |
* Benny Powell Trombone |
* Marshall Royal Alto Saxophone, Clarinet |
* Ernie Wilkins Tenor Saxophone, Alto Saxophone |
* Frank Foster Tenor Saxophone |
* Frank Wess Tenor Saxophone |
* Charlie Fowlkes Baritone Saxophone |
* Freddie Greene Guitar |
* Eddie Jones Bass |
* Gus Johnson Drums |
* Johnny Mandel Bass Trumpet | (1)
* Thad Jones | (5-10)
* Bill Hughes |

04 February, 2011


Archie Shepp - Fire Music (1965) (20-bit SBM) (eac-log-cover)

Archie Shepp - Fire Music (1965)
jazz | 1cd | eac-flac-cue-log-cover | 390MB
Impulse! | 20-bit SBM
This particular early Archie Shepp recording has its strong moments, although it is a bit erratic. Four selections utilize an advanced sextet. Of these songs, "Hambone" has overly repetitive and rather monotonous riffing by the horns behind the soloists, and Shepp's bizarre exploration of "The Girl From Ipanema" gets tedious, but the episodic "Los Olvidaos" is quite colorful, and the tenorman sounds fine on a spacy rendition of "Prelude to a Kiss." "Malcolm, Malcolm-Semper Malcolm" has Shepp reading a brief poem for the fallen Malcolm X before he jams effectively on tenor in a trio with bassist David Izenzon and drummer J.C. Moses. Overall, this set, even with its faults, is recommended. [The CD is rounded out by a "bonus" cut not on the original LP -- a live version of "Hambone" that is much more interesting than the earlier rendition.]

-1. "Hambone" (Archie Shepp) - 12:05
-2. "Los Olvidados" (Shepp) - 8:36
-3. "Malcolm, Malcolm Semper Malcolm", (Shepp) - 4:40
-4. "Prelude to a Kiss" (Ellington, Gordon, Mills) - 4:41
-5. "The Girl from Ipanema" (DeMoraes, Gimbel, Jobim) - 8:18
-6. "Hambone" [live] (Shepp) - 11:52 Bonus track on CD

* Archie Shepp - tenor saxophone
* Ted Curson - trumpet
* Joseph Orange - trombone
* Marion Brown - alto saxophone
* Reggie Johnson - - double bass except track 3
* Joe Chambers - drums except track 3
* David Izenzon - double bass on track 3
* J.C. Moses - drums on track 3

03 February, 2011


Kronos Quartet, Bob Ostertag - All The Rage (1993)

Kronos Quartet, Bob Ostertag - All The Rage (1993)
avantgarde, contemporary | 1cd | eac-flac-cue-log-cover | 110MB
Bob Ostertag: All the Rage is an experimental album by the Kronos Quartet and Eric Gupton (reading). It is a composition by Bob Ostertag (with libretto by Sara Miles), whose loops and samples are alternated with music by the quartet. Ostertag composed the piece as a response to California governor Pete Wilson veto of pro-gay legislation in 1991. Proceeds went to AIDS research.
Rob Theakston, writing for allmusic, said the interplay between Kronos and Ostertag is full of tension of potent magnitude, and called it "an eloquent tone poem that fans of both artists will enjoy."

-1. "All The Rage" (Bob Ostertag (music), Sara Miles (libretto)) 16:15

* David Harrington - violin
* John Sherba - violin
* Hank Dutt - viola
* Joan Jeanrenaud - cello
* Eric Gupton - reading

02 February, 2011


Meredith Monk - Our Lady Of Late (1973) (eac-log-cover)

Meredith Monk - Our Lady Of Late (1973)
avantgarde, contemporary | 1cd | eac-flac-cue-log-cover | 210MB
Meredith Monk is one of those artists difficult to classify. Her music is insperable from her voice to such an extent that the one transmutes into the other. Like Nico and Ono in rock, Cathy Berberian in her chamber music collaborations with Luciano Berio, or Karin Krog in Jazz, Monk is a vocalist with such a complex range of inflexions and nuances as to comprise a sonic palette. This parallel with painting is no mere conceit, either. She can segue effortlessly from the stark restraint of a Morandi still life to the jagged slash of a Picasso scream. She has realised that music began with the voice and, by God, she is going to bring it a kind of end with the voice as well.
In her lengthy career, Monk has combined the roles of performance artist, composer, choreographer and vocal stylist. She has absorbed a range of vocal traditions, from folk, opera, rock in the West, to Asian and Middle-Eastern styles. Her work is not world-music, nor classical, nor is ambient or New Age, either. She was tesmed on one compilation with the work of a mediaeval composer, Hildegarde von Bingan, as 'The Abbess and the Monk', which was a cute idea, but tells only half the story. Certainly she could, as a minimalist Diamanda Galas, become a Goth pin-up because of the wind-through-stonehenge quality of her voice, but she remains too austere, and far too unknown, for this fate. The mediaevalism of much of her work is too close to what it was actually like in the Mediaeval period for the typical Bauhausfrau.
Having suggested that Monk is difficult, I should add that this is probably the most difficult of Monk's albums, though the only one currently available, it would seem. 'Book of Days' with its mediaeval feel - though more ghetto than Plainsong - is more inviting; 'Dolmen Music', alternately witty in its postmodernism and stark in its sense of loss and longing, is more varied; both would make for gentler introductions. But the brave can start here with 'Our Lady of Late', an unusually pared-down work, even by Monk's standards. Overlaying the throb of the female voice with the piercing sob of fingers on the rims of glasses, Monk pushes the simplest of musical elements to points of beauty, pity, violence. Reverie. If this is the crystaline 'music of the spheres', it is as the spheres, our universe, truly are; not some prettified, platonic ideal. The spheres here sing of the human, not the divine, and are something expressed without the vitiation of words.
My then-lover, feisty feminist and confrontative artist that she was, once made it halfway through this album, just to the point where glass and voice have suffered some pained transmogrification into the sound of a wounded animal or weeping child, when she begged me to take it off, never to play it again. This, without guitars, without riot grrrl shrieks, was altogether too visceral, too much what it is to ache. Perversely, I can think of no better recomendation than this. The spheres were crystal, and crystal can cut.

-01 - Prologue 2:24
-02 - Unison 4:34
-03 - Knee 1:23
-04 - Hey Rhythm 2:40
-05 - Cow Song 2:17
-06 - Sigh 2:32
-07 - Morning 1:33
-08 - Slide 2:59
-09 - Waltz 1:32
-10 - Prophecy 3:09
-11 - Dumb 2:19
-12 - Conversation 2:54
-13 - Low Ring 3:04
-14 - High Ring 1:46
-15 - Free 2:29
-16 - Edge 1:31
-17 - Scale Down 2:51
-18 - Epilogue 0:55
Recorded at Vanguard Studios, May 1973.

01 February, 2011


Stan Getz - Serenity (1987) (eac-log-cover)

Stan Getz - Serenity (1987)
jazz | 1cd | eac-flac-cue-log-cover | 340MB
From the same sessions that resulted in Anniversary, Stan Getz celebrated his 60th birthday as he had his 50th, with a gig at the Cafe Montmartre in Copenhagen. Joined by pianist Kenny Barron, bassist Rufus Reid and drummer Victor Lewis, Getz (who only had four years left) plays in peak form, really stretching out on lengthy versions of three standards, Victor Feldman's "Falling in Love" and Kenny Barron's "Voyage." His solo on "I Remember You" is particularly strong.

-1 - "On Green Dolphin Street" - 13:38
-2 - "Voyage" - 12:05
-3 - "Falling In Love" - 9:05
-4 - "I Remember You" - 10:08
-5 - "I Love You" - 10:57
Recorded live at the Montmartre Club, Copenhagen, Denmark on July 6, 1987.

*Stan Getz (tenor saxophone);
*Kenny Barron (piano);
*Rufus Reid (bass);
*Victor Lewis (drums).


Stan Getz - Anniversary (1987) (eac-log-cover)

Stan Getz - Anniversary (1987)
jazz | 1cd | eac-flac-cue-log-cover | 390MB
As he did to celebrate his 50th birthday, Stan Getz performed at the Montmartre Club in Copenhagen at the time of his 60th birthday. This enjoyable set (mostly lengthy versions of standards) finds the veteran tenor still very much in his prime and greatly assisted by pianist Kenny Barron, bassist Rufus Reid and drummer Victor Lewis. Worth picking up.

-1 - "El Cahon" -13:18
-2 - "I Can't Get Started" -11:27
-3 - "Stella By Starlight" -12:33
-4 - "Stan's Blues2 Stan Getz -10:25
-5 - "I Thought About You" -8:20
-6 - "What Is This Thing Called Love?" -9:47
-7 - "Blood Count" -4:03
Recorded live at the Montmartre Club, Copenhagen, Denmark on July 6, 1987.

*Stan Getz (tenor saxophone);
*Kenny Barron (piano);
*Rufus Reid (bass);
*Victor Lewis (drums).


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