29 July, 2011


Frank Foster - Soul Outing! (1966)

Frank Foster - Soul Outing! (1966)
jazz | 1cd | eac-flac-cue-log-cover | 230MB
This CD reissue from 1998 brings back tenor saxophonist Frank Foster's second date as a leader after leaving Count Basie's Orchestra in 1964 after an 11-year stint. Foster, who would become more influenced by John Coltrane as time passed, is heard playing five fairly modern tunes: three of his originals and two songs from the musical Golden Boy. With the assistance of trumpeter Virgil Jones, pianist Pat Rebillot, Bob Cunningham or Richard Davis on bass, drummer Alan Dawson and (on two numbers) guitarist Billy Butler, Foster plays in a variety of modern mainstream styles from the era including funk, Latin, a bit of gospel and more straight-ahead. The overall results are not that memorable but they do show Foster growing beyond the world of Count Basie.

-1. "Show the Good Side" - Foster - 5:50
-2. "While the City Sleep" - Adams , Lamm, Newman, Strouse - 4:20
-3. "Skankaroony" - Foster - 7:53
-4. "Chiquito Loco" - Foster - 8:50
-5. "Night Song" - Adams, Strouse - 8:45

*Frank Foster: tenor sax
*Virgil Jones: trumpet
*Pat Rebillot: piano
*Billy Butler: guitar
*Bob Cunningham: bass
*Richard Davis: bass
*Alan Dawson: drums, congas.


Julian Cope - Peggy Suicide (Deluxe Edition) (1991)

Julian Cope - Peggy Suicide (Deluxe Edition) (1991)
alternative, rock | 2cd | eac-flac-cue-log-cover | 1050MB
Universal | rel: 2009
Casting the ill-advised attempts at too-clean modern rock from his late-'80s days firmly aside and fulfilling the promise of Skellington and Droolian, Cope on Peggy Suicide produced his best album to date, overtopping even his Teardrop Explodes efforts. Showing a greater musical breadth and range than ever before, from funk to noise collage -- and more importantly, not sounding like a dilettante at any step of the way -- Cope and his now seasoned backing band, with drummer J.D. Hassinger in and De Harrison out, surge from strength to strength. Ostensibly conceived as a concept album regarding potential ecological and social collapse, Cope wisely seeks to set moods rather than create a straitjacketed story line. As a result, Peggy Suicide can be enjoyed both as an overall statement and as a collection of individual songs; its sequencing is excellent to boot, moving from song to song as if it was always meant to be that way. Cope's voice is a revelation -- for those not having heard the hard-to-find Skellington and Droolian, his conversational asides, bold but not full-of-itself singing, and equally tender, softer takes when the material demands it must have seemed like a complete turnaround from the restrained My Nation Underground cuts. He handles all the guitar as well, with Skinner concentrating on bass and keyboards; guest Michael "Moon-Eye" Watts does some fine fretbending as well, including an amazing performance on the awesome "Safesurfer," a lengthy meditation on AIDS and its consequences. Picking out only some highlights does the album as a whole a disservice, but besides offering up an instant catchy pop single, "Beautiful Love," Cope handles everything from the minimal moods of "Promised Land" and experimentation of "Western Front 1992 CE" to the frenetic "Hanging Out and Hung Up on the Line" and commanding "Drive, She Said." An absolute, stone-cold rock classic, full stop.

01. "Pristeen"
02. "Double Vegetation"
03. "East Easy Rider"
04. "Promised Land"
05. "Hanging Out & Hung Up on the Line"
06. "Safesurfer"
07. "If You Loved Me at All"
08. "Drive, She Said"
09. "Soldier Blue"
10. "You..."
11. "Not Raving But Drowning"
12. "Head"
13. "Leperskin"
14. "Beautiful Love"
15. "Western Front 1992 CE"
16. "Hung Up & Hanging Out to Dry"
17. "The American Lite"
18. "Las Vegas Basement"
01. "Easty Risin (East Easy Rider Remix)"
02. "Ravebury Stones"
03. "Love L.U.V. (Beautiful Love Remix)"
04. "Dragonfly"
05. "Heed: Of Penetration And The City-Dweller"
06. "Bring Cherhill Down"
07. "Safesurfer ('91 Tour 7" Version)"
08. "If You Loved Me At All ('91 Tour 7" Version)"
09. "Butterfly E"
10. "Straw Dogs"
11. "Anyway At All"

*Julian Cope (also credited as "DeHarrison" or "Double DeHarrison") - vocals, electric & acoustic 12-string/wah-wah guitars, bass guitar, Moog synthesizer, string arrangements
*Donald Ross Skinner - bass guitar, electric guitar, organ, Omnichord
*Michael "Moon-Eye" Watts - electric & infinite guitar
*Ron Fair - piano
*G.S. Butterworth - Moog synthesizer
*Rooster Cosby - drums, percussion, congas
*Mike Joyce - drums on "Hanging Out & Hung Up On The Line", "You..." & "Las Vegas Basement"
*J.D. Hassinger - electronic drums, tambourine
*Ronnie Ross - baritone saxophone
*Aaf Verkade - trumpet
*Dan Levett - cello
*Lulu Chivers, Edwin Vernon, Camilla Mayer - background vocals
*Hugo Nicolson - engineer

25 July, 2011


Bill Frisell - Further East / Further West (2005)

Bill Frisell - Further East / Further West (2005)
jazz | 2cd | flac-cover, download only release!! | 470MB
Grammy Award–winning guitarist Bill Frisell’s East/West—a live double-disc recorded during a pair of bi-coastal trio engagements—was released by Nonesuch in August 2005. Frisell is joined by Kenny Wolleson on drums and percussion and Tony Scherr on bass for East, which was recorded at New York’s Village Vanguard, and Viktor Krauss on bass for West, recorded at Yoshi’s in Oakland, California. Further East / Further West, a special digital-only release of other sets from the engagements—was made available for digital release.
The recordings feature a mix of original Frisell compositions and popular, standard, and traditional tunes, written by a wide variety of songwriters, including George and Ira Gershwin, Henry Mancini and Johnny Mercer, Bob Dylan, Willie Nelson, and Johnny Cash. East/West and Further East / Further West are Frisell’s first full-length live recordings on the Nonesuch label.

cd1_ Furher West
-1. Lookout for Hope (9:47)
-2. Monroe (7:02)
-3. Big Shoe (7:50)
-4. Egg Radio (11:10)
-1. Lost Highway (10:48)
-2. Masters of War (9:00)
-3. What The World Needs Now (5:21)
-4. Somewhere Over The Rainbow (4:03)
-5. Prelude/Body and Soul (3:04)
-6. Paradox (6:33)
-7. Cluck Old Hen (2:16)

* Bill Frisell – electric & acoustic guitars, loops
* Viktor Krauss - bass
* Tony Scherr – bass, acoustic guitar
* Kenny Wollesen – drums, percussion


Bill Frisell - East / West (2005)

Bill Frisell - East / West (2005)
jazz | 2cd | eac-flac-cue-log-cover | 680MB
The allusion of the title East/West is an apt one; this live double-CD set is a study in contrasts. Recorded just six months apart with two different trios, Bill Frisell really shows both sides of his musical personality. The "East" disc was recorded in December of 2003 at the Village Vanguard with Frisell on guitar (acoustic and electric) and loops, Tony Sherr on acoustic bass and a bit of acoustic guitar, and Kenny Wollesen on drums and percussion. The program here consists largely of well-known standards with a couple brief improvisations and a single Frisell composition. The "West" disc was recorded at Yoshi's in May of 2004 and features Frisell (guitars, loops), Viktor Krauss (acoustic bass), and, well, Kenny Wollesen on drums (no other percussion), but this time the program is half Frisell compositions, a couple pop songs, and the traditional "Shenandoah." On the "East" disc, only three of the ten tunes are longer than five minutes, but on the "West" disc only one track is shorter than eight minutes! The preponderance of standards on the "East" disc keeps the players mostly on the inside tip, even eliciting laughter from some audience members when Frisell hits the intro to the old warhorse "People" (to which he replies, "you think I'm joking or what?"). They do loosen up a bit at the end, for a wonderful arrangement of Willie Nelson's "Crazy" with two acoustic guitars and looping aural detritus, and there's a fun gallop through "Tennessee Flat Top Box." The group improvisations also add a bit of spark. Folks who discovered Frisell in the late '90s with albums like Nashville are going to love this set.
Then there are the folks who discovered Frisell in the '80s as a major player in the downtown new music scene along with folks like John Zorn and Wayne Horvitz (fellow bandmates in the groundbreaking and genre-smashing Naked City band). For them, Frisell seemed to be losing his edge a bit as his trademark skronk was traded for acoustic textures. Richter 858 and the Grammy-winning (!) Unspeakable saw him revisiting that earlier sound to some degree, mainly through more extensive use of delays and loops, but the "West" disc here shows he's really back. "Heard It Through the Grapevine" starts out a bit slow, but right from the outset the delay plays a large role, ping-ponging ugly harmonics back and forth as an intro before hitting the first verse. It gradually picks up momentum, until the delays return and Frisell adopts a roaring backward-sounding tone for the end. "Blues for Los Angeles" has even more great looping, some pretty menacing sounds, and some fantastic soloing. "Pipe Down" (originally on Nashville) gets a much slower deconstructed treatment, then kicks into high gear with a serious groove. This set is way more adventurous than the "East" one, and might surprise some old fans who haven't been paying close attention of late. Frisell retreats a bit from the edge for the last track, a nice reading of "A Hard Rain's a-Gonna Fall" where the delay plays little to no role. With both bands, the rhythm section offers great support, but interestingly, Tony Scherr gets a bit of solo space while Viktor Krauss gets none. Then there's the fact that the album is called East/West, but the "West" disc (the later of the dates) is programmed as the first disc, so you listen to the sets in reverse chronological order as well as the opposite of what the title implies (perhaps "West/East" would have been more appropriate). And while this set is indeed a study in contrast, the common thread is the absolute guitar mastery and singular style and tone of Frisell. His use of double stops, open string voicings, and chordal leads in his playing, not to mention that slippery tone, makes him one of the most recognizable voices in music no matter what the context. And it's clear that Frisell is at home in any context, from playing chestnuts like "The Days of Wine and Roses" to John Zorn speed metal. The fairly naked trio context of East/West really gives the listener a chance to appreciate exactly what he can do, no matter which musical direction they're coming from.

-1. "I Heard It Through the Grapevine" (Strong, Whitfield) - 8:00
-2. "Blues for Los Angeles" - 11:09
-3. Shenandoah" (Traditional) - 12:05
-4. "Boubacar" - 6:22
-5. "Pipe Down" - 10:50
-6. "A Hard Rain's A-Gonna Fall" (Dylan) - 11:49
-1. "My Man's Gone Now" (Gershwin, Gershwin, Heyward) - 3:48
-2. "The Days of Wine and Roses" (Mancini, Mercer) - 9:20
-3. "You Can Run" (Frisell, Scherr, Wollesen) - 0:51
-4. "Ron Carter" - 13:59
-5. "Interlude" (Frisell, Scherr, Wollesen) - 1:39
-6. "Goodnight Irene" (Ledbetter, Lomax) - 8:57
-7. "The Vanguard" (Frisell, Scherr, Wollesen) - 4:44
-8. "People" (Merrill, Styne) - 4:29
-9. "Crazy" (Nelson) - 4:31
-10. "Tennessee Flat Top Box" (Cash) - 2:28
All compositions by Bill Frisell except as indicated

* Bill Frisell – guitars and electronic effects
* Kenny Wollesen – drums
* Viktor Krauss – bass (Disc 1 - West)
* Tony Scherr – bass, acoustic guitar (Disc 2 - East)

22 July, 2011


Count Basie Kansas City Septem - Mostly Blues... and Some Others (1983)

Count Basie Kansas City Septem - Mostly Blues... and Some Others (1983)
jazz | 1cd | eac-flac-cue-log-cover | 295MB
Count Basie's final small-group studio session (one of a countless number for Norman Granz during Basie's last decade), this outing features trumpeter Snooky Young (who was last with the orchestra in the early '60s), tenor great Eddie "Lockjaw" Davis and the dependable guitarist Joe Pass (along with rhythm guitarist Freddie Green). The repertoire lives up to the album's title: blues and swing standards all played with joy and spirit.

-1. "I'll Always Be in Love with You" (Bud Green, Ruby, Sam H. Stept) – 8:12
-2. "Snooky" (Count Basie) – 3:42
-3. "Blues for Charlie Christian" (Basie) – 5:24
-4. "Jaws" (Basie) – 5:34
-5. "I'm Confessin' (That I Love You)" (Doc Daugherty, Al J. Neiburg, Ellis Reynolds) – 4:29
-6. "I Want a Little Girl" (Murray Mencher, Billy Moll) – 4:58
-7. "Blues in C" (Louis Bellson, Benny Carter, Art Tatum) – 6:58
-8. "Brio" (Basie, Joe Pass) – 4:42

*Count Basie - piano
*Eddie "Lockjaw" Davis - tenor saxophone
*Snooky Young - trumpet
*Freddie Green - guitar
*John Heard - double bass
*Roy McCurdy - drums


The American Folk-Blues Festival - The British Tours 1963-66 (music video)

The American Folk-Blues Festival -  The British Tours 1963-66
blues | DVD5 NTSC | PCM mono |  iso, cover | 4670MB
Universal | rel: 2007

Recorded live for TV broadcast throughout Britain, these historic performances have been unseen for nearly 40 years. Filmed with superb camera work and pristine sound, 14 complete performances and 4 bonus performances are included by Sonny Boy Williamson, Muddy Waters, Lonnie Johnson, Big Joe Williams, Lightnin' Hopkins, Sugar Pie DeSanto, Howlin' Wolf, Big Joe Turner, Junior Wells, and Sister Rosetta Tharpe.
Between 1963 and 1966 huge British tours were undertaken by the likes of Muddy Waters, Lightnin' Hopkins, Howlin' Wolf, and Junior Wells. This release in the American Folk-Blues Festivals gathers footage from these tours, providing an amazing document of a historic time.

-01. Sonny Boy Williamson (1963): Keep It To Yourself
-02. Muddy Waters (1963): Got My Mojo Working
-03. Lonnie Johnson (1963): Too Late To Cry
-04. Big Joe Williams (1963): Baby Please Don’t Go
-05. Sonny Boy Williamson (1964): Bye Bye Bird
-06. Sonny Boy Williamson (1964): Getting Out Of Town
-07. Lightin’ Hopkins (1964): Come Go With Me
-08. Lightin’ Hopkins (1964): Ligtnin’s Blues
-09. Sugar Pie DeSanto (1964): Baby What You Want Me To Do
-10. Sugar Pie DeSanto (1964): Rock Me Baby
-11. Howlin’ Wolf (1964): Smokestack Lightning
-12. Howlin’ Wolf (1964): Don’t Laugh At Me
-13. Big Joe Turner (1966): Oh Well, Oh Well
-14. Junior Wells (1966): What’d I Say
-15. Muddy Waters(1964): You Can’t Lose What You Ain’t Newer Had
-16. Muddy Waters (1964): Blow Wind Blow
-17. Sister Rosetta Tharpe (1964): Didn’t It Rain
-18. Sister Rosetta Tharpe (1964): Trouble In Mind
~74 mins 

19 July, 2011


Diamanda Galas – Plague Mass (1991)

Diamanda Galas – Plague Mass (1991)
avantgarde | 1cd | eac-flac-cue-log-cover | 420MB
Diamanda Galas, who has been known for both her own work and as a singer of extremely demanding modern scores, created this heart-wrenching cry about the physical suffering caused by the AIDS plague being compounded by the shameful arrogance of self-appointed moralists. Maintaining an incredible intensity and depth for over an hour's solo vocal (recorded live at The Cathedral of St. John the Divine, NYC, with suitably minimal band and electronics backup), Galas proceeds through Mahalia Jackson-influenced spiritual singing, saxophone-like wails, to dramatic dialogues in many dialects and languages ("there are no more tickets to the funeral") to engrossing Portuguese fado singing to taking on the attributes of Satan (in "Sono L'Antichristo," "I Am the Anti-Christ") in order to challenge the concept of a vengeful, instead of compassionate deity (and society), much as Nina Simone did in her controversial song "God Is a Killer" in the '60s. The Mass ends with the heartfelt lyrics "I go to sleep each evening now dreaming of the grave and see the friends I used to know calling out my name. O Lord Jesus, do you think I've served my time ?." At times, the singing is "self-indulgent," but, oh well.

-01. "There Are No More Tickets ToThe Funeral" - Galas - 2:33
-02. "There Are No More Tickets to the Funeral: Were You A Witness (II)" - Galas - 4:10
-03. "There Are No More Tickets to the Funeral: Were You A Witness (III)" - Galas - 6:30
-04. "This Is The Law Of The Plague" - Galas - 11:45
-05. "I Wake Up And I See The Face Of The Devil (I)" - Galas - 3:43
-06. "I Wake Up And I See The Face Of The Devil (II)" - Galas - 2:16
-07. "Confessional (Give Me Sodomy or Give Me Death)" - Galas - 4:17
-08. "How Shall Our Judgement Be Carried Out Upon The Wicked" - Galas - 8:37
-09. "Let Us Praise The Masters Of Slow Death" - Galas - 5:54
-10. "Consecration" - Traditional - 3:44
-11. "Sono L'Antichristo" - Smith - 3:09
-12. "Cris D'Aveugle: Blind Man's Cry" - Smith - 10:02
-13. "Let My People Go" - Smith - 4:37
-14. "There Are No More Tickets To The Funeral" - Smith - 1:27

*Drums, Percussion – David Linton
*Percussion [Electronic] – Ramon Diaz
*Piano [Grand] – Diamanda Galas*
*Keyboards [Electronic] – Blaise Dupuy
*Tape [Tapes], Electronics – Michael McGrath

18 July, 2011


Sidney Bechet et Claude Luter – Jazz In Paris (1948-49)

Sidney Bechet et Claude Luter – Jazz In Paris (1948-49)
jazz | 1cd | eac-flac-cue-log-cover | 290MB
Gitanes | 24-bit remastered
First, the Cd is about 43 minutes long, about 30 minutes of Bechet, the rest involves pianist Luter which Bechet does not play on (despite the title of the cd which may give such an indication that Bechet plays with Luter).
Second, the sound quality is terrific.
Third, regarding performance, recorded in 1953 to 1955, the performances by Bechet (on Soprano Saxaphone) never sounded hotter. The performances by Luter are stagnent and unimpressive by comparison.
The Paris scene of the postwar years had a real love affair with Sidney Bechet – and it was in Paris that Bechet cut some of his finest recordings of later years! This set brings together material from Bechet's first 2 sessions in France – a 1948 date that features a small orchestra of French players, supporting Bechet's work on soprano sax; and a 1949 session done with a quartet that includes Kenny Clark on drums. Bechet's soprano is recorded beautifully throughout – with a free-swinging sound that's sentimental, but never too much so – and a sense of tone that clearly had a huge influence on many players to come. The CD is completed by an additional 6 tracks from the contemporaneous group of Claude Luter, a French clarinetist who worked in a traditional jazz style that was similar to that of Bechet. All material is originally from 78rpm singles on the Blue Star label, and remastered here for the set – with titles that include "High Society", "On The Sunny Side Of The Street", "It Had To Be You", "Ooh Boogie", "After You've Gone", "Margie", "Gatemout", and "South African Blues".


-01. "Honeysuckle Rose" -2:58
-02. "High Society" -3:17
-03. "On the Sunny Side of the Street" -2:41
-04. "I Can't Believe That You're In Love With Me" -2:39
-05. "Wrap Your Troubles In Dreams" -3:08
-06. "It Had To Be You" -2:40
-07. "Baby Won't You Please Come Home" -2:29
-08. "Please Don't Talk About Me When I'm Gone" -2:36
-09. "Ooh ! Boogie !" -2:54
-10. "After You've Gone" -2:29
-11. "I'm Goin' Way Down Home" -2:24
-12. "Margie" -2:25
-13. "Gate Mouth" -2:45
-14. "South African Blues" -2:54
-15. "Snake Rag" -2:53
-16. "Weary Way Blues" -2:39
-17. "Sweet Lovin' Man" -2:48
-18. "Panama" -2:48

*Banjo – Claude Philippe (tracks: 13 to 18)
*Clarinet – Claude Luter (tracks: 13 to 18)
*Bass – Guy De Fatto (tracks: 1 to 4), P Michelot (tracks: 5 to 12), R Bianchini (tracks: 13 to 18)
*Drums – A Jourdan (tracks: 1 to 4), Kenny Clarke (tracks: 5 to 12), M Pacout (tracks: 13 to 18)
*Guitar – Jean-Pierre Sasson (tracks: 1 to 4)
*Piano – Christian Azzi (tracks: 13 to 18), Eddie Bernard (tracks: 1 to 12)
*Saxophone [Soprano] – Sidney Bechet (tracks: 1 to 12)
*Trombone – Benny Vasseur (tracks: 1 to 4), Mowgli Jospin (tracks: 13 to 18)
*Trumpet – C Rabanit* (tracks: 13 to 18), G Bayol (tracks: 1 to 4), Pierre Merlin (tracks: 13 to 18)

Digitally remastered on 24-bit
Recorded in Paris on June 23, 1948 at the Pathé-Pelouze studio (13-18), May 16, 1949 at the Technisonor studio (1-4) and November 3, 1949 at the Pathé-Pelouze studio (5-12)
Reissue of the Blue Star 78rpm discs 93, 101, 107 (Claude Luter), 128, 129, 140, 142, 148 and 152 (Sidney Bechet)
#22 in the Jazz in Paris series

15 July, 2011


Charles Mingus - At The Bohemia (1955)

Charles Mingus - At The Bohemia (1955)
jazz | 1cd | eac-flac-cue-log-cover | 310MB
A live performance at the Club Bohemia in New York, this is the first Mingus recording to feature mostly his own compositions. Some are his future standards. Here are his first attempts at future techniques such as combining two songs into one. His bass playing really stands out.

-1. "Jump Monk" (Charles Mingus) - 6:44
-2. "Serenade In Blue" (Mack Gordon, Harry Warren) - 5:57
-3. "Percussion Discussion" (Mingus, Max Roach) - 8:25
-4. "Work Song" (Mingus) - 6:16
-5. "Septemberly" (Harry Warren, Al Dubin / Jack Lawrence, Walter Gross) - 6:55
-6. "All The Things You C Sharp" (Jerome Kern, Oscar Hammerstein II / S. Rachmaninoff) - 6:47

*George Barrow - Tenor Sax
*Eddie Bert - Trombone
*Mal Waldron - Piano
*Charles Mingus - Bass
*Willie Jones - Drums
*Max Roach - Drums (Percussion Discussion)

14 July, 2011


Roy Harper - The Dream Society (1998)

Roy Harper - The Dream Society (1998)
rock | 1cd | eac-flac-cue-log-cover | 550MB
Science Friction | HUCD030
The Dream Society continued Roy Harper's winning streak with an impressively produced album of varied material. The opening "Songs of Love" is a striking duet with vocalist Musumi that also features some great acoustic guitar work from son Nick Harper. "Songs of Love, Pt. 2" quickly follows with a hard rock sound as convincing as any Harper has produced since HQ in 1975. While there are many styles on the album -- hard rock, folk-rock, and even country -- perhaps the acoustic ballad "Broken Wing" is the record's best cut. The album-closing epic "These Fifty Years" is one of Harper's most ambitious tracks. With several movements and some very progressive sections, it sounds a bit like Jethro Tull, a notion no doubt aided by a familiar flute sound courtesy of Ian Anderson. Although the song isn't as memorable as "The Same Old Rock" or "Me and My Woman," Harper must be given credit for a mostly successful attempt at a longer piece. As usual, the lyrics throughout are almost purposefully ponderous, a matter not allayed by the rambling liner notes. While Death or Glory? displayed greater highs and Once showed a new musical maturity, The Dream Society is more consistent and completes Harper's utterly successful trilogy of studio albums from the '90s.

-01. "Songs Of Love" – 6:59
-02. "Songs Of Love (Pt 2)" – 4:50
-03. "Dancing All The Night" – 6:12
-04. "Psychopath" – 2:45
-05. "I Want To Be In Love" – 5:58
-06. "Drugs For Everybody" – 5:04
-07. "Come The Revolution" – 6:09
-08. "Angel Of The Night" – 5:10
-09. "The Dream Society" – 8:35
-10. "Broken Wing" – 6:42
-11. "These Fifty Years" – 14:27

13 July, 2011


Jackie McLean - McLean's Scene (1956)

Jackie McLean - McLean's Scene (1956)
jazz | 1cd | eac-flac-cue-log-cover | 220MB
Altoist Jackie McLean tends to downgrade his Prestige recordings due to the low pay, the little prior preparation and the jam session feel of the music. Although all of the above is true, the music (while not on a par with his Blue Notes of the 1960s) is still pretty worthy, particularly when compared to the output of his contemporaries. McLean never really copied Charlie Parker and was one of the first in his generation to develop his own sound. Three of the six selections on this CD reissue (a pair of standards and a blues) feature McLean with trumpeter Bill Hardman, pianist Red Garland, bassist Paul Chambers and drummer Art Taylor. The remainder of the set is from a marathon quartet set with pianist Mal Waldron, bassist Arthur Phipps and drummer Taylor that would result in material that was used as part of five separate albums. McLean is in lyrical form on "Our Love Is Here to Stay" and "Old Folks" while playing with great intensity on his accurately-titled original "Outburst."

-1. "Gone With the Wind" - Magidson, Wrubel - 7:28
-2. "Love Is Here to Stay" - Gershwin, Gershwin - 4:19
-3. "Mean to Me" - Ahlert, Turk - 8:46
-4. "Mclean's Scene" - McLean - 10:18
-5. "Old Folks" - Hill, Robison - 4:53
-6. "Outburst" - McLean - 4:33
Recorded at the Van Gelder Studio, Hackensack, New Jersey on December 14, 1956 and February 15, 1957. Originally released on New Jazz (8212). Includes liner notes by Jack Maher.

*Jackie McLean (alto saxophone);
*Bill Hardman (trumpet);
*Mal Waldron, Red Garland (piano);
*Paul Chambers, Arthur Phipps (bass);
*Art Taylor (drums).

12 July, 2011


Art Blakey - Meet You at the Jazz Corner of the World (1960) (RVG)

Art Blakey - Meet You at the Jazz Corner of the World (1960)
jazz | 2cd | eac-flac-cue-log-cover | 640MB
Blue Note | RVG 24-bit remaster 2001
This set collects both installments of Art Blakey & the Jazz Messengers' Meet You at the Jazz Corner of the World (1961) in a comprehensive two-CD compendium, sporting thoroughly remastered sound by legendary jazz producer/engineer Rudy Van Gelder. Audio-conscious consumers should be aware of the distortion that somewhat marred the original vinyl, as well as all subsequent pressings. Unfortunately, it seems to have been inherent in the master tapes. While it occasionally reveals itself during the more dynamic contrasts and passages, the combo's swinging bop and sheer musicality outweigh any and all anomalies. Birdland (aka "the jazz corner of the world") produced some of Art Blakey's (drums) most revered live recordings. In addition to these volumes, enthusiasts are equally encouraged to locate the genre-defining A Night at Birdland (1954). For the Meet You at the Jazz Corner of the World sides, listeners fast-forward six years to Blakey's latest quintet, which includes the respective talents of Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano), and Jymie Merritt (bass) -- all of whom are solidly grounded to Blakey's firm yet profound backbeat.
The lyrical performance style that began to emerge from Shorter in the early to mid-'60s can be heard developing during his tenure as a Jazz Messenger. He contrasts Morgan's limber and lilting solos and improvisations, which are especially notable on "'Round About Midnight" and the spirited "The Breeze and I." The latter title also allows Timmons the opportunity to stretch out and motivate the melody. "High Modes" showcases Merritt's pulsating and hypnotic basslines as he weaves a smoky groove beneath Morgan and Shorter's scintillating leads. In addition to "High Modes," this set features two more Hank Mobley compositions. The syncopated and infectiously rhythmic "Night Watch" is highlighted by Shorter, as he begins to fully grasp his improvisational skills that seem to materialize right before the keen-eared listener. He is quickly developing into the undaunted instrumentalist who would revolutionize modern jazz with Miles Davis in the mid-'60s. The set concludes with a rousing rendition of Shorter's "The Summit," which became a comparable standard for this version of the Jazz Messengers. Once again the lines fly fast and furious between Shorter and Morgan, with Timmons securely anchoring the soloists to the equally involved rhythm section. The 2002 reissue includes a newly inked essay from jazz historian Bob Blumenthal as well as reproductions of Leonard Feather's original sleeve notes. The sheer volume of releases by Art Blakey & the Jazz Messengers arguably makes this set somewhat obscured by the plethora of similarly classic live platters. However, the 2002 complete Meet You at the Jazz Corner of the World would be a welcome addition to the library of most any jazz lover.

-1. "Announcement By Pee Wee Marquette - 1:06
-2. "The Opener" - Mobley, Shrdlu - 8:29
-3. "What Know" - Morgan - 10:26
-4. "The Theme" - Blakey, Dorham, Traditional - 1:37
-5. "Announcement By Art Blakey" - Blakey - 0:21
-6. "'Round About Midnight" - Hanighen, Monk, Williams - 9:44
-7. "The Breeze and I" - Lecuona, Stillman" - 10:38
-1. "Announcement By Pee Wee Marquette & Art Blakey - 1:01
-2. "High Modes" - Mobley - 13:09
-3. "Night Watch" - Mobley - 8:34
-4. "The Things I Love" - Barlow, Harris - 8:26
-5. "The Summit" - Shorter - 9:26
-6. "The Theme" - Blakey, Dorham, Traditional - 1:35

*Art Blakey - Drums
*Lee Morgan - Trumpet
*Jymie Merritt - Bass
*Bobby Timmons - Piano
*Wayne Shorter - Tenor Sax

11 July, 2011


Stan Getz - Complete Roost Recordings (1950-54)

Stan Getz - Complete Roost Recordings (1950-54)
jazz | 3cd | eac-flac-cue-log-cover | 570MB
Roost/Capitol | rel: 1997
The Complete Roost Recordings is a three-disc, 59-track box set that contains all of the recordings Stan Getz made for the Roost Record label in the '50s. The set includes all of his officially released sessions -- including the date led by guitarist Johnny Smith, the live performances with Count Basie, and a full disc of live performances with his quintet -- as well as many unreleased and alternate takes. Roost was the first label Getz recorded for as a leader, and what's surprising about these sessions is how mature he sounds here. He had already arrived at his full, rich tone and was able to improvise with skill and grace. That's what makes this box set so rewarding -- it's not only historically important, but it offers a wealth of excellent music.

59 track on 3 cd

*Stan Getz (tenor saxophone);
*Billie Holiday (vocals);
*Al Haig, Horace Silver, Duke Jordan Sanfold Gold, Jimmy Raney (piano);
*Johnny Smith Tommy Potter, Joe Gallaway, Leonard Gaskin, Eddie Safranski (guitar);
*Bob Carter, Roy Haynes, Walter Bolden, Don Lamond, Frank Isola (drums);
*Leonard Gaskin, Bill Crow, Eddie Safranski (bass)
and others

08 July, 2011


Erik Satie (P Roge) - 3 Gymnopedies & Other Piano Works (1984)

Erik Satie - 3 Gymnopedies & Other Piano Works (1984)
performer: Pascal Roge
classical | 1cd | eac-flac-cue-log-cover | 180MB
Decca 410 220-2
The lingering despair of Satie's gnossienes and gymnopedies are among the most affected compositions from the last century, and Roge transmits this fragility such that one becomes cautious of other Satie interpreters after experiencing his delicate phrasing. In addition to the artistic quality of Roge's pianism, this disc is a very comprehensive survey of Satie's piano works, although it neglects the gorgeous nocturnes that can be found on a recording by Roge unfortunately titled "after the rain..the soft sounds of Erik Satie." For anyone looking for the most comprehensive survey I suggest this disc if you are not embarrassed by its title.

-01. "Gymnopédie No. 1" - 3:08
-02. "Gymnopédie No. 2" - 2:30
-03. "Gymnopédie No. 3" - 2:31
-04. "Je Te Veux" - 5:10
-05. "4 Préludes Flasques" - 5:16
-06. "Prélude En Tapisserie" - 2:54
-07. "4eme Nocturne" - 2:55
-08. "Vieux Sequins Et Vieilles Cuirasses" - 4:23
-09. "Embryons Desséchés" - 6:11
-10. "Gnossienne No. 1" - 3:41
-11. "Gnossienne No. 2" - 2:30
-12. "Gnossienne No. 3" - 3:08
-13. "Gnossienne No. 4" - 3:29
-14. "Gnossienne No. 5" - 4:02
-15. "Gnossienne No. 6" - 1:52
-16. "Sonatine Bureaucratique" - 4:16
-17. "Le Picadilly" - 1:36

Pascal Roge - piano

07 July, 2011


Don Pullen - Mosaic Select 13 (1986-90)

Don Pullen - Mosaic Select 13 (1986-90)
jazz | 3cd | eac-flac-cue-log-cover | 1160MB
Mosaic Records 2005
The 13th volume in Mosaic's limited-edition Select series showcases the late work of the late pianist and composer Don Pullen. Contained within the box are the two fine albums by the George Adams-Don Pullen Quartet, Breakthrough and Song Everlasting. These two recordings were the first the pair had done domestically. The band's previous output was released on Soul Note, and musically very good. Both Blue Note albums are simply stunning. The interplay between the pianist and saxophonist Adams was near symbiotic and was augmented by the stellar rhythm section of bassist Cameron Brown and drummer Dannie Richmond. Three of the four men -- excepting Brown -- were alumni of the Charles Mingus band. These two albums are the best of what post-bop jazz had to offer in the 1980s. Special highlights are Pullen's "Song From the Old Country," Adams's "A Time for Sobriety" and "Serenade to Sariah," and Pullen's brilliant "Sing Me a Song Everlasting." The other two sides here are trio dates recorded for Blue Note. New Beginnings, issued in 1988, featured bassist Gary Peacock and Tony Williams, and Random Thoughts, issued in 1990, placed Pullen in the company of James Genus on bass and Lewis Nash on drums. While the name recognition on New Beginnings is high, the performances are inconsistent, largely because Pullen was trying to juxtapose a more groove-oriented piano trio approach against the outside nature of his '60s playing. It is interesting throughout though not terribly rewarding. Random Thoughts, however, feels like a more natural fit and one in which the pianist and composer's rhythmic ideas and solo proficiencies were better matched to his rhythm section. The tunes are more lyrical and flowing, even when coming from different directions at once. Ultimately, these four albums make up for a great renaissance in Pullen's career. All four albums have been wonderfully remastered.

cd 1
-1. "Mr. Smoothie" - Adams - 6:09
-2. "Just Foolin' Around" - Pullen - 6:22
-3. "Song From the Old Country" - Pullen - 8:15
-4. "We've Been Here All the Time" - Pullen - 9:11
-5. "A Time for Sobriety" - Adams - 9:44
-6. "The Necessary Blues (Or Thank You Very Much, Mr. Monk)" - Pullen - 13:36
-7. "Sun Watchers" - Adams - 5:46
-8. "Serenade to Sariah" - Adams - 7:36
-9. "1529 Gunn Street" - Pullen - 6:14
-1. "Warm Up" - Pullen - 9:53
-2. "Sing Me a Song Everlasting" - Pullen - 10:31
-3. "Another Reason to Celebrate" - Pullen - 8:47
-4. "Jana's Delight" - Pullen - 5:58
-5. "Once Upon a Time" - Pullen - 5:52
-6. "Warriors" - Pullen - 6:51
-7. "New Beginnings" - Pullen - 6:22
-8. "At the Café Centrale" - Pullen - 6:56
-9. "Reap the Whirlwind" - Pullen - 7:02
-1. "Andre's Ups and Downs" - Pullen - 5:23
-2. "Random Thoughts" - Pullen - 9:10
-3. "Indio Gitano" - Pullen - 9:43
-4. "The Dancer" - Pullen - 6:01
-5. "Endangered Species: African American Youth" - Pullen - 7:42
-6. "626 Fairfax" - Pullen - 6:44
-7. "Ode to Life" - Pullen - 8:41
-8. "Silence = Death" - Pullen - 10:17

*George Adams, tenor sax
*Don Pullen, piano
*Cameron Brown, bass
*Dannie Richmond, drums
*Gary Peacock, bass
*Tony Williams, drums
*James Genus, bass
*Lewis Nash, drums.

05 July, 2011


Jackie McLean - A Fickle Sonance (1961) (RVG)

Jackie McLean - A Fickle Sonance (1961)
jazz | 1cd | eac-flac-cue-log-cover | 210MB
RVG 24-bit remaster 1999
Alto saxophonist Jackie McLean was one of the few jazz players to come up through bebop and incorporate free jazz into his style. Even though A Fickle Sonance preceded McLean's intense 1962 album Let Freedom Ring, the playing remained in a swinging blues-oriented style, showing no hint of the direction his music was about to take. The sidemen on the date (Tommy Turrentine [trumpet], Sonny Clark [piano], and Butch Warren [bass]) prove to be an invigorating combination of musicians, however not as involved in the burgeoning free music as drummer Billy Higgins. At the time of these sessions, Higgins had already played with Ornette Coleman, providing a link to the avant-garde, but nevertheless his playing follows the hard bop pace of the others. McLean provides two original compositions, "Subdued" and the title track, while Clark, Turrentine, and Warren fill the remaining tracks.

-1. "Five Will Get You Ten" - Sonny Clark - 7:06
-2. "Subdued" - Jackie McLean - 5:54
-3. "Sundu" - Clark - 4:54
-4. "A Fickle Sonance" - McLean - 6:49
-5. "Enitnerrut" - Tommy Turrentine - 5:47
-6. "Lost" - Butch Warren - 4:48
*Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey on October 26, 1961.

*Jackie McLean - alto saxophone
*Tommy Turrentine - trumpet
*Sonny Clark - piano
*Butch Warren - bass
*Billy Higgins - drums

04 July, 2011


Gary Burton, Chick Corea - Crystal Silence: The ECM Recordings (1972-79)

Gary Burton, Chick Corea - Crystal Silence: The ECM Recordings (1972-79)
jazz | 4cd | eac-flac-cue-log-cover | 920MB
ECM 2009

Specially-priced 4-CD set reprising the history-making recordings Chick Corea and Gary Burton made for ECM in the 70s. The duo was a seldom-tested format in jazz when the musicians - at the instigation of producer Manfred Eicher - came together for Crystal Silence, but its luminous music proved a resounding success. Both Duet and the Zürich recordings won Grammy awards, and Corea/Burton have continued to make music together for 35 years! This box shows how the story began. Two live selections I'm Your Pal/Hullo, Bolinas and Love Castle appear on CD for the first time in this collection. The booklet includes liner notes by acclaimed Swiss journalist Peter Rüedi and writer Steve Lake, and many archival photos.

cd1: Crystal Silence 1972
-1. "Senor Mouse" - Corea - 6:17
-2. "Arise, Her Eyes" - Swallow - 5:04
-3. "I'm Your Pal" - Swallow - 3:58
-4. "Desert Air" - Corea - 6:22
-5. "Crystal Silence" - Corea - 9:01
-6. "Falling Grace" - Swallow - 2:42
-7. "Feelings and Things" - Gibbs - 4:46
-8. "Children's Song" - Corea - 2:12
-9. "What Game Shall We Play Today" - Corea - 3:42

cd2: Duet 1978
-1. "Duet Suite" - Corea - 15:46
-2. "Children's Song No. 15" - Corea - 1:15
-3. "Children's Song No. 2" - Corea - 0:57
-4. "Children's Song No. 5" - Corea - 1:13
-5. "Children's Song No. 6" - Corea - 2:13
-6. "Radio" - Swallow - 5:15
-7. "Song to Gayle" - Corea - 7:13
-8. "Never" - Swallow - 7:36
-9. "La Fiesta" - Corea - 10:18

cd3: In Concert, Zürich, October 28, 1979
-1. "Senor Mouse" - Corea - 10:21
-2. "Bud Powell" - Corea - 8:41
-3. "Crystal Silence" - Corea - 12:09
-4. "Tweak" - Corea - 6:09

cd4: In Concert, Zürich, October 28, 1979
-1. "I'm Your Pal/Hullo, Bolinas" - Swallow - 7:19
-2. "Love Castle" - Corea - 14:51
-3. "Falling Grace" - Swallow - 5:22
-4. "Mirror, Mirror" - Corea - 5:47
-5. "Song to Gayle" - Corea - 7:16
-6. "Endless Trouble, Endless Pleasure" - Swallow - 5:17

Gary Burton - vibraphone
Chick Corea - piano


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