27 October, 2011


Joe Pass - Blues Dues (Live at Long Beach City College) (1984)

Joe Pass - Blues Dues (Live at Long Beach City College) (1984)
jazz | 1cd | eac-flac-cue-log-cover | 255MB
This CD has yet another set of unaccompanied guitar solos by Joe Pass; however, fans of the great guitarist realize that he was among the most consistent of jazz performers, and virtually all of his Pablo recordings are quite worthwhile. For this live date, Pass explores seven standards and a couple of original blues, but manages to find fresh variations to play during such songs as "Wave," "All the Things You Are," and an exploratory rendition of "Honeysuckle Rose."

1. "Wave" (Antonio Carlos Jobim) – 5:52
2. "Blues in "G"" (Joe Pass) – 7:05
3. "All the Things You Are" (Oscar Hammerstein II, Jerome Kern) – 5:43
4. "'Round Midnight" (Thelonious Monk, Cootie Williams) – 6:26
5. "Here's That Rainy Day" (Johnny Burke, Jimmy Van Heusen) – 4:48
6. "Duke Ellington's Sophisticated Lady Melange" (Duke Ellington) – 6:37
7. "Blues Dues" (Pass) – 5:31
8. "Bluesette" (Norman Gimbel, Toots Thielemans) – 3:43
9. "Honeysuckle Rose" (Fats Waller, Andy Razaf) – 5:50

* Joe Pass – guitar


McCoy Tyner - Song For My Lady (1973)

McCoy Tyner - Song For My Lady (1973)
jazz | 1cd | eac-flac-cue-log-cover | 270MB
The early '70s were an exciting recording period for this artist, whose initial forays outside the classic quartet of John Coltrane were just a bit too mellow, as if he was thinking, "Whew! Now I can relax." This was one of several for the Milestone label that burned energetically, although in terms of the pianist's overall career this concentrated thrust of stamina was simply a passing phase. He is captured here a few years before he settled into elder statesman status and began barely breaking a sweat on-stage. The emphasis here is often on pure power, the presence of a non-funky Alphonze Mouzon on drums something of a signature in band attitude. The nimble and fleet Calvin Hill is on bass, and Sonny Fortune is present on reeds during a stint of several years with Tyner. What really makes the album special is the enlarged ensemble that creates two of the album's most extended tracks. "Native Song" and "Essence" add flugelhorn, violin, and conga, and the fine-tuning skill of Tyner the arranger becomes present, turning the lineup of three lead instruments into something nearly symphonic. Violinist Michael White is more than a bit overpowered by Tyner, as one would expect, but it is the opposite case in terms of fireworks between brass player Charles Tolliver and the boss. Tolliver fronted a band named Music Inc. during this period who also played hard, heavy, and unrelenting jazz, pianist Stanley Cowell coming on strong with many Tyner-ish-influenced moves. It is a great meeting of the minds, as two players with sympathetic approaches toward the post-Coltrane jazz language engage in high-powered dialogue. The program is quite typical of some of Tyner's best albums for this label and Blue Note before that. All but one of the tracks are originals, featuring lovely melodies that either wash through a ballad mood or become anthems for rocket launchings, Mouzon splattering away on his cymbals like a happy child. The one standard, "The Night Has a Thousand Eyes," gets a liftoff worthy of Coltrane. This is quite a fine collection of tracks and one of Tyner's six best albums.

-1. "Native Song" - 13:00
-2. "The Night Has a Thousand Eyes" (Bernier, Brainin) - 8:17
-3. "Song for My Lady" - 7:37
-4. "A Silent Tear" - 4:30
-5. "Essence" - 11:20
All compositions by McCoy Tyner except as indicated
Tracks 1 and 5 recorded on September 6, 1972; 2, 3 and 4 on November 27, 1972.

* McCoy Tyner - piano, percussion
* Sonny Fortune - alto saxophone, soprano saxophone, flute
* Calvin Hill - bass
* Alphonse Mouzon - drums
* Michael White - violin
* Charles Tolliver - flugelhorn (tracks 1 & 5)
* Mtume - congas, percussion (tracks 1 & 5)


Marianne Faithfull - Broken English/Strange Weather (1979&87) (MFSL)

Marianne Faithfull  - Broken English/Strange Weather (1979&87)
rock | 2lp on 1cd | eac-flac-cue-log-cover | 420MB
Broken English: After a lengthy absence, Faithfull resurfaced on this 1979 album, which took the edgy and brittle sound of punk rock and gave it a shot of studio-smooth dance rock. Faithfull's whiskey-worn vocals perfectly match the bitter and biting "Why'd Ya Do It" and revitalize John Lennon's "Working Class Hero."
Strange Weather: Faithfull's 1987 release recast her as a nicotine-stained chanteuse, approaching such standards as "Boulevard of Broken Dreams" and "Penthouse Serenade" with a ravaged, world-weary demeanor that recalls the latter-day recordings of Billie Holiday. She also tackles some blues and jazz material and turns "As Tears Go By" into the gut-wrenching torch ballad neither the Stones nor Faithfull could ever have done in the '60s. A dark, challenging masterpiece.
Mobile Fidelity reissued Marianne Faithfull's two dark milestones, 1979's Broken English and 1987's Strange Weather, on one CD. Although there were nearly ten years separating these two records, they share a moodiness and faux-torch arrangements that make them a perfect match. The remastering is terrific, as is the packaging, which means this is the way for serious fans to own this music on disc.

-01. "Broken English" - Faithfull, J. Mavety, Maverty, York… - 4:36
-02. "Witches' Song" - Faithfull, Mavety, Reynolds, Stannard… - 4:45
-03. "Brain Drain" - Brierley - 4:13
-04. "Guilt" - Reynolds, Reynolds - 5:09
-05. "The Ballad of Lucy Jordan" - Silverstein - 4:11
-06. "What's the Hurry?" - Mavety - 3:05
-07. "Working Class Hero" - Lennon - 4:42
-08. "Why d'Ya Do It?" - Faithfull, J. Mavety, Movety, York - 6:51
-09. "Stranger Intro" - 0:32
-10. "The Boulevard of Broken Dreams" - Dubin, Warren - 3:05
-11. "I Ain't Goin' Down to the Well No More" - Leadbelly, Ledbetter, Lomax, Lomax… - 1:10
-12. "Yesterdays" - Arkeen, Harbach, James, Johnson, Kern… - 5:19
-13. "Sign of Judgement" - Moore - 2:54
-14. "Strange Weather" - Brennan, Waits - 4:15
-15. "Love, Life and Money" - Dixon, Dixon, Glover, Glover - 4:07
-16. "I'll Keep It With Mine" - Dylan - 3:47
-17. "Hello Stranger" - Carter, Pomus, Rebennack - 2:31
-18. "Penthouse Serenade (When We're Alone)" - Burton, Jason - 2:34
-19. "As Tears Go By" - Jagger, Oldham, Richards - 3:46
-20. "A Stranger on Earth" - Feller, Ward - 4:03

25 October, 2011


Oscar Peterson - Canadiana Suite (1965)

Oscar Peterson  - Canadiana Suite (1965)
jazz | 1cd | eac-flac-cue-log-cover | 205MB
The remarkable pianist Oscar Peterson had never been thought of that much as a composer, making this set of eight of his compositions a bit of a surprise when it was originally released. Now available on CD, Peterson's tribute to his native Canada includes several noteworthy pieces of which "Hogtown Blues" and "Wheatland" are best known. With his 1964 trio (featuring bassist Ray Brown and drummer Ed Thigpen), Peterson swings hard but often with sensitivity throughout the enjoyable set.

-1. "Ballad to the East" – 4:08
-2. "Laurentide Waltz" – 5:20
-3. "Place St. Henri" – 3:57
-4. "Hogtown Blues" – 3:40
-5. "Blues of the Prairies" – 4:59
-6. "Wheatland" – 5:30
-7. "March Past" – 3:25
-8. "Land of the Misty Giants" – 4:11
All music composed by Oscar Peterson.

* Oscar Peterson – piano
* Ray Brown – double bass
* Ed Thigpen – drums


Pat Martino - El Hombre (1967) (OJC)

Pat Martino - El Hombre (1967)
jazz | 1cd | eac-flac-cue-log-cover | 265MB
Guitarist Pat Martino's debut as a leader finds the 22-year-old showing off his roots in soul-jazz organ groups while looking ahead at the same time. Joined by organist Trudy Pitts, flutist Danny Turner, drummer Mitch Fine, and both Abdu Johnson and Vance Anderson on percussion, Martino primarily plays a straight-ahead set (five of his originals, "Just Friends," and "Once I Loved"), but already displays a fairly distinctive sound. This CD reissue brings back Martino's impressive start to what would be a productive solo career.

-1. "Waltz for Geri" - Martino - 6:21
-2. "Once I Loved" - DeMoraes, Gilbert, Jobim - 5:42
-3. "El Hombre" - Martino - 5:57
-4. "Cisco" - Martino - 4:29
-5. "One for Rose" - Martino - 4:54
-6. "A Blues for Mickey-O" - Martino - 8:02
-7. "Just Friends" - Klenner, Lewis - 5:47

* Pat Martino (guitar)
* Danny Turner (flute)
* Trudy Pitts (organ)
* Mitch Fine (drums)
* Abdu Johnson (conga drum)
* Vance Anderson (bongos)


Kevin Ayers - Confessions of Dr. Dream and Other Stories (1974) (2009rem)

Kevin Ayers - Confessions of Dr. Dream and Other Stories (1974)
rock | 1cd | eac-flac-cue-log-cover | 555MB
EMI/Harvest | 2009 remaster
Kevin Ayers' fifth album, The Confessions of Doctor Dream and Other Stories, is typical of his work. He sings in his distinctive deep voice with his cultured English accent (sounding a lot like John Cale) in songs set in a variety of pop styles, from hard rock to a kind of music hall approach. He is frequently playful and engaging, although his songs don't ultimately add up to much. The album's second side contains an 18-minute suite called "The Confessions of Doctor Dream," featuring a cameo by Nico, which exemplifies Ayers' amiable if unfocused appeal.

-01. "Day By Day"
-02. "See You Later"
-03. "Didn't Feel Lonely Till I Thought Of You"
-04. "Everybody's Sometime And Some People's All The Time Blues"
-05. "It Begins With A Blessing / Once I Awakened / But It Ends With A Curse"
-06. "Ballbearing Blues"
-07-10. "The Confessions Of Doctor Dream (a) Irreversible Neural Damage (b) Invitation (c) The One Chance Dance (d) Doctor Dream Theme"
11. "Two Goes Into Four"
2009 reissue
-12. Another Whimsical Song (00:24)
-13. The Lady Rachel (03:53)
-14. Stop this Train (06:14)
-15. Didn't Feel Lonely 'til I Thought of You (04:36)
-16. The Up Song (03:18) (non-LP single A side)
-17. After the Show (02:37) (non-LP single A side)
-18. Thank You Very Much (03:01) (B side of the single 'After the Show')
Tracks 12-15 are recorded 7 July 1974 at the BBC's Maida Vale studios
Tracks 16-18 are B-sides of singles

Kevin Ayers - Guitar, Vocals
Mark Warner - Guitar
Cal Batchelor - Guitar
Rupert Hine - Keyboards, Producer
Mike Moran - Piano
Steve Nye - Organ
John Perry - Bass
John Gustafson - Bass
Michael Giles - Drums
Mike Oldfield - Guitar
Nico - Vocals on "Irreversible Neural Damage"
Geoff Richardson - Viola
Mike Ratledge - Organ
Ray Cooper - Percussion
Lol Coxhill - Alto Saxophone
Henry Crallan - Piano
Ollie Halsall - Guitar
Rosetta Hightower - Vocals
Hulloo Choir - Vocals
Trevor Jones - Bass
Sean Milligan - Vocals
Sam Mitchell - Guitar
Doris Troy - Vocals
Joanne Williams - Vocals
The G'Deevy Ensemble - Percussion

24 October, 2011


Donald Byrd - Byrd In Hand (1959)

Donald Byrd - Byrd In Hand (1959)
jazz | 1cd | eac-flac-cue-log-cover | 290MB
Blue Note | RVG 24-bit remaster 2002
For this excellent album, trumpeter Donald Byrd teams up with tenor saxophonist Charlie Rouse, baritonist Pepper Adams, pianist Walter Davis, Jr., bassist Sam Jones and drummer Art Taylor. Together the sextet performs three Byrd originals, two Davis songs and the standard "Witchcraft." Although none of the new tunes caught on, the group (which includes two distinctive saxophonists and the rapidly maturing trumpet of Donald Byrd) plays consistently creative and spirited solos in the hard bop idiom.

-1. "Witchcraft" 8:29
-2. "Here Am I" (Byrd) 8:25
-3. "Devil Whip" (Byrd) 4:42
-4. "Bronze Dance" (Walter Davis, Jr.) 6:42
-5. "Clarion Calls" (Walter Davis, Jr.) 5:41
-6. "The Injuns" (Byrd) 6:13

* Donald Byrd - trumpet
* Charlie Rouse - tenor saxophone
* Pepper Adams - baritone saxophone
* Walter Davis, Jr. - piano
* Sam Jones - bass
* Art Taylor - drums


Astor Piazzolla - Tangazo (2001)

Astor Piazzolla - Tangazo (2001)
Charles Dutoit,  D Binelli, O S Montreal
latin, classical, contemporary | 1cd | eac-flac-cue-log-cover | 320MB
The Argentine tango began as the music of the dispossessed marginalised class of the poorer port areas of Buenos Aires yet it found acceptance first in England, France and the United States before it received universal recognition in Argentina - and not just by the underclasses but universally as symbol of national pride, national aspiration, and national sorrow.
The bandoneon is a square-built button accordion invented in Germany in the 1840s but eventually taken up in Buenos Aires as the chief instrument of the tango bands. Piazzolla studied traditional classical music with Alberto Ginastera and with Nadia Boulanger in Paris. His distinctive brand of tango - "tango nuevo" – is characterised by chromaticism, dissonance, and elements of jazz so Piazzolla’s compositions for large ensemble, as in this collection, is a fusion of traditional tango, jazz and classical music. Dutoit’s Montreal players and his soloists capture the vivid colour and sensuality of these works perfectly.
The tango melody of Adós Noninio is probably Piazzolla’s best known work and certainly the most frequently performed. It was written, in 1959, in fond memory of his father who died after complications following a street accident. This orchestral arrangement, dating from 1981, begins unsettlingly and somewhat abrasively with rasping percussion before the mood mellows and becomes affectionate and nostalgic. The Milonga del ángel is a soft sensual slow moving tango, very atmospheric suggesting a sultry moonlight night, with gossamer boudoir curtains billowing gently. Oblivion has the oboe murmuring a plaintive song of yearning against luscious mid-range string harmonies with the bandoneon commenting and picking its way through the texture. Danza criolla breaks the spell: it is wild and abandoned, bouncing along joyfully in resplendent colours. Tangazo, without bandoneon, is intense and densely constructed with a slow and ruminative, almost tragic, opening that gives way to high spirited and humorous material dancing away, the rhythms infectious and the orchestration inventive. This joy alternates with slower passionately romantic tango figures.
There are two three-movement works. The Double Concerto for Bandoneon and Guitar adroitly contrasts and blends the two instruments. The Introduction is introspective and slightly melancholy, the Milonga voluptuous and the Tango lively. More impressive and imaginative is the purely orchestral Tres movimentos tanguisticos porteños. It opens on a furtive, almost sinister note then a piano figure announces a seductive challenge with the tango figures passing through a variety of moods: pensive, torrid - even an exotic jungle excursion might be imagined. The Moderato central movement is tenderly nostalgic but moodily seductive too with tempo and rhythm gradually heating. The jungle evocation is recalled, giving way to material that might suggest a sophisticated dinner party with the guests suffering a certain ennui. The Vivace concluding movement is a proud tango employing fugal figures, colourful glissandi, and bouncing rhythms pegged by bold timpani rolls. A work that invites your imagination run riot.
Hedonistic, exotically coloured tango music in vivid orchestral dress played with conviction and enthusiasm. Just the thing to banish dull winter blues.

-1. "Adiós Nonino - 8:53
-2. "Milonga del ángel - 7:46
-3. "Double Concerto for bandoneón, guitar - 16:59
-4. "Oblivion - 4:45
-5. "Tres movimientos tanguísticos portenos - 20:43
-6. "Danza criolla - 2:26
-7. "Tangazo - 14:10

* Daniel Binelli (bandoneon)
* Eduardo Isaac (guitar)
* Louise Pellerin
* Orchestre Symphonique de Montrea,l Conducted by Charles Dutoit
(Recorded Église St-Eustache, Montreal – 18th May 2000)

20 October, 2011


Mose Allison - Down Home Piano (1957-59)

Mose Allison - Down Home Piano (1957-59)
jazz | 1cd | eac-flac-cue-log-cover | 320MB
Although Mose Allison is perhaps best known for his enjoyably idiosyncratic vocal style, he is first and foremost a marvelous piano player with a unique style pitched somewhere between a New Orleans bordello and the rhythmic and harmonic experimentation of Thelonious Monk or Sun Ra. This well-chosen 1966 compilation (released after Allison had split for Atlantic Records) pulls together ten of his best instrumentals from four of his six Prestige albums, and it makes a strong case for Allison as one of the most inventive piano players and composers of his generation. The selection runs from the definitive performance of Allison's signature ballad "Crepuscular Air" (which foreshadows nearly the entire career of West Coast cool pianist Vince Guaraldi) to the witty, technically impressive and musically joyous post-bop workouts "Devil in the Cane Field" and "The Minstrels." Throughout, Allison's interplay with his longtime bassist Addison Farmer is fantastic; Allison's left-hand walking bass runs are usually in counterpoint to Farmer's inspired comping, adding greatly to the songs' rhythmic complexity. Mostly, however, Down Home Piano is just enormous fun to listen to.

-01. "Dinner on the Ground" - Allison - 3:16
-02. "Crepuscular Air" - Allison - 3:42
-03. "Mule" - Allison - 3:53
-04. "Creek Bank" - Allison - 4:37
-05. "Town" - Allison - 3:20
-06. "Devil in the Cane Field" - Allison - 4:03
-07. "The Minstrels" - Allison - 3:25
-08. "Moon and Cypress" - Allison - 4:03
-09. "Carnival" - Allison - 3:00
-10. "Mojo Woman" - Allison - 4:00

* Mose Allison (piano)
* Addison Farmer (bass)
* Ronnie Free, Nick Stabulas (drums)


Groundhogs - Blues Obituary (1969)

Groundhogs - Blues Obituary (1969)
rock, blues | 1cd | eac-flac-cue-log-cover | 220MB
Akarma/EMI | 2004 remaster
Recorded during June of 1969 at Marquee Studios in London with Gary Collins and Colin Caldwell engineering, the trio of Groundhogs put the blues to rest on Blues Obituary in front of a castle on the Hogart-designed cover while six black and whites from photographer Zorin Matic grace the back in morbid Creepy or Eerie Magazine comic book fashion. Composed, written, and arranged by Tony "T.S." McPhee, there are seven tracks hovering from the around four- to seven-minute mark. The traditional "Natchez Burning," arranged by McPhee, fits in nicely with his originals while the longest track, the six-minute-and-50-second "Light Is the Day," features the most innovation -- a Ginger Baker-style tribal rant by drummer Ken Pustelnik allowing McPhee to lay down some muted slide work. As the tempo on the final track elevates along with manic guitar runs by McPhee, the jamming creates a color separate from the rest of the disc while still in the same style. Vocals across the board are kept to a minimum. It is all about the sound, Cream without the flash, bandleader McPhee vocally emulating Alvin Lee (by way of Canned Heat's Alan Wilson) on the four-minute conclusion to side one that is "Mistreated." While Americans like Grand Funk's Mark Farner turned the format up a commercial notch, Funk's "Mean Mistreater" sporting the same sentiment while reaching a wider audience, the Groundhogs on this late-'60s album keep the blues purely in the underground. The pumping beat on "Mistreated" embraces the lead guitarist's vocal, which poses that eternal blues question: "what have I done that's wrong?" Blistering guitar on the opening track, "B.D.D.," sets the pace for this deep excursion into the musical depths further down than Canned Heat ever dared go. While "Daze of the Weak" starts off sludgy enough, it quickly moves like a train out of control, laying back only to explode again. "Times" get things back to more traditional roots on an album that breaks little new ground, and is as consistent as Savoy Brown when they got into their primo groove.

-1. "B.D.D." - McPhee - 3:50
-2. "Daze of the Weak" - McPhee - 5:16
-3. "Times" - McPhee - 5:19
-4. "Mistreated" - McPhee - 4:04
-5. "Express Man" - McPhee - 3:59
-6. "Natchez Burning" - McPhee, Traditional - 4:38
-7. "Light Was the Day" - McPhee - 6:53

* Tony T.S. McPhee (vocals, guitar)
* Pete Cruickshank (bass)
* Ken Pustelnik (drums)

17 October, 2011


Dexter Gordon - One Flight Up (1964) (RVG)

Dexter Gordon - One Flight Up (1964)
jazz | 1cd | eac-flac-cue-log-cover | 320MB
Blue Note | RVG 24-bit remaster 2003
When he expatriated to Scandinavia just before this session in Paris was recorded, Dexter Gordon said he was liberated in many ways, as a jazz musician and as a human being. This is reflected in the lengthy track on this album, a testament to that newly found freedom, addressing the restrictions the American music scene placed on artists to do the two- to three-minute hit. With the nearly 18-minute "Tanya" and the 11-minute "Coppin' the Haven," Gordon and his quintet, featuring trumpeter Donald Byrd, were able to jam at length with no thought of being edited, and they fully prolong their instrumental remarks in a way few other musicians -- jazz or otherwise -- would allow themselves. Yes, it would be difficult to hear these tracks on the radio, but the tradeoff was a listening experience for their fans that would also showcase a rare commodity in the lexicon of their style of post-bop mainstream jazz -- consistency. The simple, sweet, and lightly swinging "Tanya" has become a classic song, and it is a staple in most saxophonists' diets, even though the supportive chord structures from pianist Kenny Drew and Byrd's up-front brass are more attractive or noticeable than Gordon's bluesy tenor. Memorable for many reasons, Drew's brilliant composition "Coppin' the Haven" is textbook modern jazz, a modal minor-key delight as Byrd again dominates with a shining, gliding melody tacked on to an easy swing that exemplifies the song form for jazz in its best sense. Gordon steps up apart from the trumpeter on the great ballad "Darn That Dream," and is at his best, wringing every regretful emotion out of his horn as only he can. The CD version contains the bonus track "Kong Neptune" sans Byrd, a good swinger that cops from no other influences, merging the mythical strengths of the two creatures in its title via Gordon's muscular, lithe, and athletic on-land and at-sea horn. At around 47 substantive minutes of music, One Flight Up stands as a testament to Dexter Gordon's viability as a bandleader and teammate, while his individualism is somewhat sublimated. It's a good listen to digest all the way through, especially if you are as patient as the performers, who have a lot to say.

1. "Tanya" (Donald Byrd) - 18:18
2. "Coppin' the Haven" (Kenny Drew) - 11:18
3. "Darn That Dream" (Eddie DeLange, Jimmy Van Heusen) - 7:29
4. "Kong Neptune" - 11:00 Bonus track on CD reissue
All compositions by Dexter Gordon except as indicated
Recorded at Barclay Studios, Paris, France on June 2, 1964

* Dexter Gordon - tenor saxophone
* Donald Byrd - trumpet (tracks 1 & 2)
* Kenny Drew - piano
* Niels-Henning Orsted Pedersen - bass
* Art Taylor - drums


Huun-Huur-Tu - The Orphan's Lament (1994)

Huun-Huur-Tu - The Orphan's Lament (1994)
world | 1cd | eac-flac-cue-log-cover | 370MB
From the first track, their second album, Orphan's Lament grabs your attention with "Prayer" -- the deep, unearthly, sounds of Tibetan Lamaist chant. Next they move to khoomei singing. Known in the West as "throat singing," the performer produces two or more high- and low-pitched tones simultaneously. The resulting sound -- somewhat eerie, somewhat haunting -- is a combination somewhere between the sounds of a long whistle and a Jew's harp.
But Huun Huur Tu also adds new elements to the traditional sounds of Tuvan music. In addition to the igil, a two-stringed horsehead fiddle played with a bow, and the khomuz, a Jew's harp, (both traditional instruments) the group has incorporated percussion -- not a usual device in Tuvan music. Their use of a large goat-skin drum, generally reserved for shamanistic rituals, gives a rhythm to their music, making it very appealing to a Western ear. Similarly, their use of pouch rattle (made from a bull's scrotum filled with sheep knucklebones) adds a beat.
The fact Huun Huur Tu plays together, as a group, is itself unusual. Not content to blindly follow traditional Central Asian folk music, Huun Huur Tu's four, sometimes five, performers create an ensemble that offers a complex, fascinating, and harmonious mixture.

-01. "Prayer - 2:32
-02. "Ancestors - 3:55
-03. "AA-Shuu Dekei-Oo - 2:51
-04. "Eerbek-Aksy - 2:05
-05. "The Orphan's Lament - 6:44
-06. "Kaldak-Khamar - 2:36
-07. "Steppe - 4:05
-08. "Borbanngadyr - 3:54
-09. "Chiraa-Khoor (The Yellow Trotter) - 4:52
-10. "Exile's Song - 4:13
-11. "Eki Attar - 2:22
-12. "Irik Chuduk (The Rotting Log) - 6:11
-13. "Sygyt - 2:53
-14. "Agitator - 1:55
-15. "Khomuz Medley - 4:50
-16. "Ödugen Taiga - 6:55

14 October, 2011


RCA Living Stereo: Tchaikovsky - Symphony no.6 "Pathetique" (1955)

RCA Living Stereo: Tchaikovsky - Symphony no.6 "Pathetique" (1955)
Pierre Monteux, Boston Symphony Orchestra
classical | 1cd | eac-flac-cue-log-cover | 260MB
RCA | SACD | rel.: 2004
Pierre Monteux was one of those conductors who could make the most anguished music sound effortless. You might think that this isn't an advantage in the Pathétique Symphony, but it is. His innate musicality keeps the allegro sections of the first movement pressing smartly forward, while the lyrical second subject never turns sticky. Other performances may be noisier, but Monteux's cogency offers its own exciting and perfectly valid argument. Certainly no one would take issue with the idiomatic lilt he brings to the second-movement waltz, or with the rhythmic lift he provides in the ensuing march (this really is Janikovszky as his most French, isn't it?). There have been more intense accounts of the finale, but the beautiful playing of the Boston Symphony and Monteux's refusal to get hysterical remain all of a piece: it's a very satisfying reading by any standard. The 1955 Living Stereo recording still sounds excellent both in stereo and on (two-channel) SACD, without a large enough difference between them to make a significant difference. This is a very welcome reissue.

Symphony no 6 in B minor, Op. 74 "Pathétique" by P I Tchaikovsky

Conductor: Pierre Monteux
Orchestra: Boston Symphony Orchestra


Illinois Jacquet - Bottoms Up (1968) (OJC)

Illinois Jacquet - Bottoms Up (1968)
jazz | 1cd | eac-flac-cue-log-cover | 235MB
Even in 1968 when the jazz avant-garde was becoming quite influential, tenor saxophonist Illinois Jacquet played in his own timeless style, performing in an idiom little changed during the previous 20 years. With the assistance of pianist Barry Harris, bassist Ben Tucker, and drummer Alan Dawson, Jacquet is heard throughout this CD reissue (which adds a previously unissued "Don't Blame Me" to the original program) swinging hard and generally expressing himself in a typically extroverted fashion. "Bottoms Up" (a relative of "Flying Home"), "Jivin' with Jack the Bellboy," and Jacquet's excellent original ballad "You Left Me All Alone" are most memorable.

-1. "Bottoms Up" - Jacquet - 3:21
-2. "Port of Rico" - Jacquet - 4:12
-3. "You Left Me All Alone" - Jacquet - 3:51
-4. "Sassy" - Buckner - 5:41
-5. "Jivin' with Jack the Bellboy" - Doggett, Jacquet - 5:40
-6. "I Don't Stand a Ghost of a Chance with You" - Crosby, Washington, Young - 6:12
-7. "Our Delight" - Dameron - 5:28
-8. "Don't Blame Me" - Fields, McHugh - 4:09

* Illinois Jacquet (tenor saxophone)
* Barry Harris (piano)
* Ben Tucker (bass instrument)
* Alan Dawson (drums)

11 October, 2011


Erroll Garner - That's My Kick/Gemini (1967&72)

Erroll Garner - That's My Kick/Gemini (1967&72)
jazz | 2lp on 1cd | eac-flac-cue-log-cover | 540MB
Telarc 1994
This CD from Telarchive (a subsidiary of Telarc) reissues the complete content of two later Errol Garner LPs: That's My Kick and Gemini. The great pianist was still in prime form and, although his sidemen are fine in support (Wally Richardson is on guitar on the first date and the congas of Jose Mangual add a Latin flavor to the music to both sessions), Garner totally dominates the music as usual. He contributed eight of the 19 compositions and his wit is only exceeded by his creativity.

-01. "That's My Kick" - Garner - 2:46
-02. "The Shadow of Your Smile" - Mandel, Webster - 3:56
-03. "Like It Is" - Garner - 2:43
-04. "It Ain't Necessarily So" - Gershwin, Gershwin - 3:30
-05. "Autumn Leaves" - Kosma, Mercer, Prevert - 3:21
-06. "Blue Moon" - Hart, Rodgers - 2:47
-07. "More" - Ciorciolini, Newell, Oliviero… - 2:54
-08. "Gaslight" - Garner, Pearson - 4:28
-09. "Nervous Waltz" - Garner - 3:24
-10. "Passing Through" - Garner - 2:36
-11. "Afinidad" - Garner - 2:53
-12. "How High the Moon" - Hamilton, Lewis - 5:05
-13. "It Could Happen to You" - Burke, VanHeusen - 3:47
-14. "Gemini" - Garner - 4:03
-15. "When a Gypsy (Makes His Violin Cry)" - Deutsch, Rogan, Smith, Winegar - 6:23
-16. "Tea for Two" - Caesar, Youmans - 5:27
-17. "Something" - Harrison - 1:49
-18. "Eldorado" - Garner - 5:47
-19. "These Foolish Things" - Link, Marvell, Strachey - 7:00

* Erroll Garner (piano, harpsichord)
* Wally Richardson, Art Ryerson (guitar)
* Milt Hinton, Ernest McCarty Jr. (bass)
* Jose Mangual, Johnny Pacheco (congas)
* Jimmie Smith, George Jenkins (percussion)

05 October, 2011


Jackie Mclean - Jacknife (1965) (BN Connoisseur)

Jackie Mclean - Jacknife (1965)
jazz | 1cd | eac-flac-cue-log-cover | 280MB
Blue Note Connoisseur series 2002 | 20-bit SBM
Jackie McLean's Jacknife sessions have had a peculiar and somewhat disjointed history in his discography. Initially issued in 1975 on a vinyl two-fer as part of the Blue Note reissue series, it included separate previously unreleased sessions from 1965 and 1966, the former with trumpeters Lee Morgan and Charles Tolliver, the latter in a quartet with only McLean as the leading horn. In CD form, the five tracks from 1965 were offered on a single CD. Pianist Larry Willis and a young drummer named Jack DeJohnette were on both recordings, with Larry Ridley (1965) or Don Pate (1966) filling the bass chair. As both sessions could not fit on a single CD, it's understandable but a shame that a double CD could not be produced including the fine quartet date. Nonetheless, the 1965 group has many worthwhile and often challenging moments for the then 33-year-old alto saxophonist. Of the five tracks here, "On the Nile" at over 12 and a half minutes should be a favorite, as its modern modal mainstream mystery wafts slowly over time like sands in an hourglass, a steady caravan trip with the deep piano chords of Willis, the evocative trumpet of Tolliver, and McLean richly harmonizing. Tolliver also wrote the title track, a sour-toned hard lemonade bopper on the cutting edge considering this mid-'60s time frame. McLean penned the tuneful, enjoyable "Blue Fable" on the steady swing side, briefly dishing out calypso beats. Morgan's feature is DeJohnette's "Climax" in a chopped-up piano riff with the drummer, as a bop line from the horns takes up the urgent, kinetic charge. The only track with both trumpeters, "Soft Blue" is easy as the title suggests, harmonic and warm, with solid solos showing the stark contrast between the approach of the two brassmen and the ruminating piano of Willis. These recordings do not tell the complete story of this time period -- please explore the Willis composition "High Frequency" and McLean's incredible "Combined Effort" from 1966 for examples of the quartet really cutting loose sans the trumpeters. The Complete Blue Note 1964-1966 Sessions four-CD limited-edition box set on the Mosaic label houses both Jacknife recordings. The single CD is quite worthwhile by itself, but tells only half of the story.

-1. "On the Nile" (Charles Tolliver) - 12:31
-2. "Climax" (Jack DeJohnette) - 9:18
-3. "Soft Blue" (Lee Morgan) - 7:28
-4. "Jacknife" (Tolliver) - 6:14
-5. "Blue Fable" - 5:59
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey on September 24, 1965
All compositions by Jackie McLean except as indicated

* Jackie McLean - alto saxophone
* Charles Tolliver (tracks 1, 3 & 4), Lee Morgan - trumpet (tracks 2, 3 & 5)
* Larry Willis - piano
* Larry Ridley - bass
* Jack DeJohnette - drums


Captain Beefheart - Ice Cream For Crow (1982)

Captain Beefheart - Ice Cream For Crow (1982)
rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 270MB
EMI 2006 remaster
With yet one final Magic Band lineup in place, featuring Richard Snyder on bass and Cliff Martinez on drums alongside returning vets Jeff Moris Tepper and Gary Lucas, Beefheart put the final touch on his recording career to date with Ice Cream for Crow. It's a last entertaining blast of wigginess from one of the few truly independent artists in late 20th century pop music, with humor, skill, and style all still intact (as even the song titles like "Semi-Multicoloured Caucasian" and "Cardboard Cutout Sundown" show). With the Magic Band turning out more choppy rhythms, unexpected guitar lines, and outré arrangements, Captain Beefheart lets everything run wild as always, with successful results. Sometimes he sounds less like the blues shouter of lore and more of a spoken word artist with an attitude, thus the stuttering flow of "The Host the Ghost the Most Holy." "Hey Garland, I Dig Your Tweed Coat" is even more entertainingly outrageous, Beefheart's addictive if near impenetrable ramble about tobacco juice and straw hats and more backed by an insanely great arrangement. Magic Band members each get chances to shine one way or another -- "Evening Bell" in particular demonstrates why Lucas went on to later solo renown, a complex, suddenly shifting solo instrumental that sits somewhere between background music and head-scratching "how did he do that?" intrigue.

-01."Ice Cream for Crow" – 4:35
-02. "The Host the Ghost the Most Holy-O" – 2:25
-03. "Semi-Multicoloured Caucasian" – 4:20
-04. "Hey Garland, I Dig Your Tweed Coat" – 3:13
-05. "Evening Bell" – 2:00
-05. "Cardboard Cutout Sundown" – 2:38
-06. "The Past Sure Is Tense" – 3:21
-07. "Ink Mathematics" – 1:40
-08. "The Witch Doctor Life" – 2:38
-09. "'81' Poop Hatch" – 2:39
-10. "The Thousandth and Tenth Day of the Human Totem Pole" – 5:42
-11. "Skeleton Makes Good" – 2:18
-12. "Light Reflected Off The Oceans Of The Moon" - 4:47 [Bonus Track]
All tracks written and composed by Don Van Vliet.

* Don Van Vliet (Captain Beefheart) – vocals, harmonica, soprano sax, Chinese gongs, prop horn
* Jeff Moris Tepper – steel appendage guitar, slide guitar, acoustic guitar
* Gary Lucas – glass–finger guitar, slide guitar, guitar, National steel duolian
* Richard "Midnight Hatsize" Snyder – bass guitar, marimba, viola
* Cliff R. Martinez – drums, shake bouquet, glass washboard, metal drums
* Eric Drew Feldman – Rhodes piano, synthesized bass


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