tag:blogger.com,1999:blog-12123531933534682132024-02-19T15:46:06.488+01:00Lossless Worldonly fine music • jazz • classical • rock • alternative • avantgarde • worlddurmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.comBlogger898125tag:blogger.com,1999:blog-1212353193353468213.post-42770346100172829172015-06-11T14:48:00.000+02:002015-06-11T14:48:09.585+02:00Lee Morgan - The Sixth Sense (1969)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmElZXhjUeqTQhK-8ZKM5Q2f5gBaNj556utjb8QF-gDSFBp_EjEoZykchhr1l8PeUGoxiJtktHeBZckl8eMUpTPbFlmakFSjPsJ8EiU6x0VJKsbvnXed8Pb83ckdPZ8cxraL6N4PnEijqN/s1600/400xb2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmElZXhjUeqTQhK-8ZKM5Q2f5gBaNj556utjb8QF-gDSFBp_EjEoZykchhr1l8PeUGoxiJtktHeBZckl8eMUpTPbFlmakFSjPsJ8EiU6x0VJKsbvnXed8Pb83ckdPZ8cxraL6N4PnEijqN/s320/400xb2.jpg" width="320" /></a></div><div style="text-align: center;"><span style="color: #45818e;"><b>Lee Morgan - The Sixth Sense (1969)</b></span></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-covers | 420MB</div><div style="color: #45818e; text-align: center;"><span style="color: #45818e;">Blue Note/EMI 7243 5 92423 2 3; RVG 2004</span></div><i>Allmusic:</i><br />
From late 1967 through 1968, Lee Morgan fronted a fine sextet with alto saxophonist Jackie McLean and the less-heralded tenor saxophonist Frank Mitchell. The group recorded The Sixth Sense, but by September of 1968, Morgan, Mitchell, and drummer Billy Higgins remained, the band revamped and reduced to a quintet. Those later sessions were not released until 1999 with the issue of this CD, which includes three bonus tracks. Where McLean's contribution was very telling in terms of the combo's overall sound, the quintet was able to further display the quiet confidence and competence Mitchell held. Either Cedar Walton or Harold Mabern appear showcasing their distinctive qualities, so this transitional recording marks the end of Walton's association, and the beginning of Mabern's, who would last with Morgan right up to his tragic and senseless murder. The symmetry of McLean's sourdough alto, Morgan's on-top trumpet and the middle-ground tenor of Mitchell is more balanced on the straight-ahead calypso title track, sweet and light as Walton sets the pace and proportions the right seasonings. "Short Count" on the other hand displays a stubby melody spiked by Walton's piano accents and the drum fills of Higgins in a more off minor taste. Approaching boogaloo go-go, "Psychedelic" is not so much acidic as conga line, Morgan leading the group, then following. The most memorable piece is Walton's "Afreaka," a wonderful modal piece with an Afro-centric groove and great harmonic content. High drama identifies "Anti Climax" with a dark, closet film noir sound acceding to hard bop, while the great Cal Massey composition "The Cry of My People" is covered, a ballad dominated by Morgan's somber and deep muted trumpet, swinging lightly on the bridge. The three tracks sans McLean and Walton with Morgan, Mitchell, Mabern, Higgins, and bassist Mickey Bass replacing Victor Sproles from the fall of 1968 sound noticeably different from the others. There's a more soulful flavor in Mabern's Memphis-cum-N.Y.C. uptown approach, and Mitchell challenges himself to assert his individual, less-pronounced voicings. The tenorman's post-bop composition "Extemporaneous" displays tricky phrasings and a musical syncopation, Bass' "Mickey's Tune" uses a loping 5/4 to 6/8 rhythm change so modern it keeps your ears on their toes, so to speak, and while "Leebop" is fairly typical, the chord substitutions and brilliant playing of Mabern are hard to ignore as he digs in, far above average or timid. The more one listens to Mabern the more you understand why he was a favorite of Morgan's, and everyone else's. The appropriately title Sixth Sense presents a transition between one of the most intriguing sextets during the last years of post-bop and Morgan's final ensembles that saw him reaching higher and higher before, like Icarus, falling from grace. <br />
<br />
<b>Tracks</b><br />
01. The Sixth Sensev (6:46)<br />
02. Short Count (6:03)<br />
03. Psychedelic (6:32)<br />
04. Afreaka (8:03)<br />
05. Anti Climax (6:19)<br />
06. The Cry Of My People (5:24)<br />
07. xtemporaneous (5:09)<br />
08. Mickey's Tune (6:36)<br />
09. Leebop (5:38)<br />
<br />
<b>Personnel</b><br />
- Lee Morgan - trumpet<br />
- Jackie McLean - alto saxophone<br />
- Frank Mitchell - tenor saxophone<br />
- Cedar Walton - piano <br />
- Victor Sproles - bass<br />
- Billy Higgins - drums<br />
- Harold Mabern - piano<br />
- Mickey Bass - bass<br />
<br />
<div style="text-align: center;"><span style="color: #bf9000;"><a href="http://www.amazon.com/gp/product/B0002IQ9S2/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0002IQ9S2&linkCode=as2&tag=lossworl-20&linkId=7NKY6DPW3KXHULLR"> <span style="color: #bf9000;">sample & buy: Sixth Sense</span></a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B0002IQ9S2" height="1" style="border: none !important; margin: 0px !important;" width="1" /> </span></div><br />
durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com7tag:blogger.com,1999:blog-1212353193353468213.post-48112275276946777892015-02-15T18:54:00.000+01:002015-02-15T18:54:03.613+01:00Mingus Big Band - Blues & Politics (1999)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP6wo56F9tAYBfnsHMGW_Vp_W1FWLKGAGbMv9sVavQXrq-jO0QA1blOjZFnY0JjQb6aIXSOVaS_Rx82DAdFaRg25bcYAK67vfKTdkETSu3CxVwmLYuNJbyG0ngYAy9ZjZpxmRTAEyir_b5/s1600/320b1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP6wo56F9tAYBfnsHMGW_Vp_W1FWLKGAGbMv9sVavQXrq-jO0QA1blOjZFnY0JjQb6aIXSOVaS_Rx82DAdFaRg25bcYAK67vfKTdkETSu3CxVwmLYuNJbyG0ngYAy9ZjZpxmRTAEyir_b5/s320/320b1.jpg" /></a></div><div style="text-align: center;"><span style="color: #45818e;"><b>Mingus Big Band - Blues & Politics (1999)</b></span></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-covers | 485MB</div><div style="color: #45818e; text-align: center;">Dreyfus, FDM 36603-2</div><i>Allmusic:</i><br />
The MBB has become the most important and virile "ghost band" of them all. Their roaring, swinging spirit echoes the late bassist/composer/bandleader in ways that compare favorably to when Mingus was alive. The musicianship, rotating as it tends to, is consistently and outrageously outstanding, the new arrangements of classic Mingus tunes are fresh and vibrant as ever, and solos absolutely riveting. For this time around the band includes lead trumpeter Earl Gardner, lead alto/soprano saxophonist Alex Foster, and prominent soloists include tenor saxophonists Mark Shim, Seamus Blake, and John Stubblefield; trumpeters Randy Brecker and Alex Sipiagin; baritone saxophonist Ronnie Cuber; trombonist Conrad Herwig; alto saxophonists Bobby Watson and Vincent Herring; and arrangements by Michael Mossman, Sy Johnson, Howard Johnson, and Steve Slagle. Mingus himself speaks during the introductory "It Was a Lonely Day in Selma, Alabama," then the band chants and claps to "Freedom," certainly a prolific tone setter. "Haitian Fight Song" has bassist Boris Kozlov leading the angst-riddled charge, the piece played to perfection. The classic ode to Lester Young "Goodbye Pork Pie Hat" is accented by tenor saxophonist Seamus Blake's patient, poignant solo and the band's pristine reading of Sy Johnson's new chart. "Don't Let It Happen Here," with its tango-flavored fanfare and son Eric Mingus' recitation, rivals the original. "Meditations for a Pair of Wire Cutters" has all the dynamic stop-start Mingus traits, "Pussycat Dues," is a pretty straight by comparison blues, "Oh Lord, Don't Let Them Drop That Atomic Bomb on Me" has Eric Mingus returning on the slow blues that still has relevance today as he shouts "don't let 'em drop it, stop it, be-bop it," and the 16-minute finale "Little Royal Suite" is so Ellingtonian in flavor, a full-bore swinger that lets the band, especially soloists Sipiagin, Stubblefield, and Herring running wild out of their cages. To interpret Mingus' music so faithfully and with such great authenticity and zeal is not an easy task. Another triumph for this ensemble, easily a Top Five jazz album of 1999, an essential purchase. Much more could be written or said, but Mingus and the band speak much louder than words. <br />
<br />
<b>Tracks</b><br />
01. It Was a Lonely Day In Selma, Alabama , Freedom (8:45)<br />
02. Haitian Fight Song (8:22)<br />
03. Goodbye Pork Pie Hat (9:48)<br />
04. Don't Let it Happen Here (5:15)<br />
05. Meditations For A Pair of Wire-Cutters (11:39)<br />
06. Pussycat Dues (6:37)<br />
07. Oh Lord, Don't Let Them Drop That Atomic Bomb On Me (8:57)<br />
08. Little Royal Suite (15:59)<br />
<br />
<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B0000258L6/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0000258L6&linkCode=as2&tag=lossworl-20&linkId=LRB75MIU3POCL773"> <span style="color: #bf9000;">sample & buy: Blues & Politics</span></a></div><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B0000258L6" height="1" style="border: none !important; margin: 0px !important;" width="1" />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com4tag:blogger.com,1999:blog-1212353193353468213.post-81076538536110107362015-01-23T21:36:00.000+01:002015-01-23T21:36:08.094+01:00Bill Frisell - Rambler (1984)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcT-Jo5aYcjJkviUFPsueYIGzN-y4fGkL0XyhLLYY8vjQEhMVxoZRZgz0iyG2zTww-jPblTV2Y7DczKso08gQW_6U6H5I64MxpbfzdbV36Vtzl1A4ziywMtJasLJIrVO7R5HEfpwKByEBe/s1600/320Front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcT-Jo5aYcjJkviUFPsueYIGzN-y4fGkL0XyhLLYY8vjQEhMVxoZRZgz0iyG2zTww-jPblTV2Y7DczKso08gQW_6U6H5I64MxpbfzdbV36Vtzl1A4ziywMtJasLJIrVO7R5HEfpwKByEBe/s1600/320Front.jpg" height="281" width="320" /></a></div><div style="text-align: center;"><span style="color: #45818e;"><b>Bill Frisell - Rambler (1984)</b></span></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-covers | <b>2</b>65MB</div><div style="color: #45818e; text-align: center;">ECM 1987, released: 2008</div><br />
<i>Allmusic:</i><br />
This relatively early set from Bill Frisell is a fine showcase for the utterly unique guitarist. Frisell has the ability to play nearly any extroverted style of music and his humor (check out the date's "Music I Heard") is rarely far below the surface. This particular quintet (with trumpeter Kenny Wheeler, tuba player Bob Stewart, electric bassist Jerome Harris and drummer Paul Motian) is not exactly short of original personalities and their outing (featuring seven Frisell compositions) is one of the most lively of all the ones in the ECM catalog. <br />
<br />
<b>Tracks</b><br />
01. Tone (8:01)<br />
02. Music I Heard (4:50)<br />
03. Rambler (8:20)<br />
04. When We Go (5:20)<br />
05. Resistor (5:49)<br />
06. Strange Meeting (7:06)<br />
07. Wizard Of Odds (6:20)<br />
<br />
<b>Personnel</b><br />
- Bill Frisell – guitar, guitar synthesizer<br />
- Kenny Wheeler – trumpet, cornet and fluegelhorn<br />
- Bob Stewart – tuba<br />
- Jerome Harris – electric bass<br />
- Paul Motian – drums<br />
<br />
<div style="text-align: center;"><span style="color: #bf9000;"><a href="http://www.amazon.com/gp/product/B001CSQINW/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B001CSQINW&linkCode=as2&tag=lossworl-20&linkId=KEX4QTOQUNOSQ67Y"> <span style="color: #bf9000;">sample & buy: Bill Frisell - Rambler</span></a></span></div><span style="color: #bf9000;"><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B001CSQINW" height="1" style="border: none !important; margin: 0px !important;" width="1" /></span>durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com2tag:blogger.com,1999:blog-1212353193353468213.post-9951960703674013452014-05-16T13:53:00.000+02:002014-05-16T16:13:15.571+02:00Kronos Quartet - Music by Sculthorpe, Sallinen, Glass, Nancarrow, Hendrix (1986)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYY-5GJ-xjNWCkNP9sJ8tUBdQXGjOHwBbGl0wPan78xBxkWBLndSznTwGGLt5AzxDdjAzpvDenY8RzgH6AP7l50RzqGBrSrKBoQHGDqVwU0hcHAdyArGHn2DhA-qrFoRbLBuXFVdjTvu3Q/s1600/41OJTDqvRxL._SY300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> <b> </b></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYY-5GJ-xjNWCkNP9sJ8tUBdQXGjOHwBbGl0wPan78xBxkWBLndSznTwGGLt5AzxDdjAzpvDenY8RzgH6AP7l50RzqGBrSrKBoQHGDqVwU0hcHAdyArGHn2DhA-qrFoRbLBuXFVdjTvu3Q/s1600/41OJTDqvRxL._SY300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYY-5GJ-xjNWCkNP9sJ8tUBdQXGjOHwBbGl0wPan78xBxkWBLndSznTwGGLt5AzxDdjAzpvDenY8RzgH6AP7l50RzqGBrSrKBoQHGDqVwU0hcHAdyArGHn2DhA-qrFoRbLBuXFVdjTvu3Q/s320/41OJTDqvRxL._SY300_.jpg" /></a></div>
<div style="color: #45818e; text-align: center;">
<b>Kronos Quartet - Music by Sculthorpe, Sallinen, Glass, Nancarrow, Hendrix (1986)</b></div>
<div style="color: #45818e; text-align: center;">
contemporary | 1cd | eac-flac-cue-log-covers | 210MB</div>
<div style="color: #45818e; text-align: center;">
Nonesuch 7559-79111-2</div>
<i>Allmusic:</i><br />
To say this barrier-breaking string quartet plays modern music is an understatement. All of the five composers showcased on this audacious recording were born in the 20th century. Minimalist Philip Glass is among the best known of the five, whose works cannot possibly be mistaken with anything from the baroque or classical periods. This particular foursome illustrates the grace, beauty, and even power of a string quartet, but goes well beyond. In the words of first violinist and leader David Harrington, "I've always wanted the string quartet to be vital, and energetic, and alive, and cool, and not afraid to kick ass and be absolutely beautiful and ugly if it has to be." The album-ending cover of the Jimi Hendrix classic "Purple Haze" must be heard to be believed. <br />
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<b>Tracks</b><br />
-01. "String Quartet No. 8, Mvt. I Con dolore" - Peter Sculthorpe 2:04<br />
-02. "String Quartet No. 8, Mvt. II Risoluto" - Sculthorpe 3:49<br />
-03. "String Quartet No. 8, Mvt. III Con dolore" - Sculthorpe 3:02<br />
-04. "String Quartet No. 8, Mvt. IV Con precisione" - Sculthorpe 1:49<br />
-05. "String Quartet No. 8, Mvt. V Con dolore" - Sculthorpe 2:07<br />
-06. "String Quartet No. 3: Some Aspects of Peltoniemi Hintrik's Funeral March" - Sallinen 14:05<br />
-07. "Company, Mvt. I" - Philip Glass 2:22<br />
-08. "Company, Mvt. II" - Glass 1:36<br />
-09. "Company, Mvt. III" - Glass 1:46<br />
-10. "Company, Mvt. IV" - Glass 2:14<br />
-11. "String Quartet, Mvt. I Allegro molto" - Conlon Nancarrow 2:18<br />
-12. "String Quartet, Mvt. II Andante moderato" - Nancarrow 3:31<br />
-13. "String Quartet, Mvt. III Prestissimo" - Nancarrow 5:17<br />
-14. "Purple Haze" - Jimi Hendrix, arr. Steve Riffkin 2:52<br />
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<div style="text-align: center;">
<a href="http://www.amazon.com/gp/product/B000005IXL/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000005IXL&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Kronos Quartet</span></a><span style="color: #bf9000;"><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000005IXL" height="1" style="border: none !important; margin: 0px !important;" width="1" /></span> </div>
<br />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com2tag:blogger.com,1999:blog-1212353193353468213.post-544701333356170552014-05-09T11:55:00.000+02:002014-05-09T11:55:06.926+02:00Kenny Burrell & Jimmy Raney - 2 Guitars (1957)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtvvt5goyJaezsQvl7rlsiBuJ2N-mjK0opfa4QO51tfmki3a7H7xTqH66_TuKGW6sXbX9jGp6VUp4g0kBDVHqaQ_QHYx7iJ7WS-CvTu6lF3jY_OTU-5cRmQiDIdOf_ASNk9oXHaKuwIp2w/s1600/300b1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtvvt5goyJaezsQvl7rlsiBuJ2N-mjK0opfa4QO51tfmki3a7H7xTqH66_TuKGW6sXbX9jGp6VUp4g0kBDVHqaQ_QHYx7iJ7WS-CvTu6lF3jY_OTU-5cRmQiDIdOf_ASNk9oXHaKuwIp2w/s320/300b1.jpg" /></a></div><div style="color: #45818e; text-align: center;"> <b>Kenny Burrell & Jimmy Raney - 2 Guitars (1957)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-covers | 165MB</div><div style="color: #45818e; text-align: center;">OJC OJCCD 216-2</div><i>Allmusic:</i><br />
For this 1957 studio session (which has been reissued on CD through the Original Jazz Classics imprint), the two distinctive but complementary guitarists Kenny Burrell and Jimmy Raney are teamed together in a septet with trumpeter Donald Byrd, altoist Jackie McLean, pianist Mal Waldron, bassist Doug Watkins, and drummer Art Taylor. The full group gets to stretch out on one original each by Watkins and McLean ("Little Melonae") and three from Waldron, while the two standards ("Close Your Eyes" and "Out of Nowhere") are individual features for Burrell and Raney. This is a well-rounded set that may not contain any real surprises, but will be enjoyed by collectors of hard bop.<br />
<br />
<b>Tracks </b><br />
1. "Blue Duke" - 8:50<br />
2. "Dead Heat" - 4:07<br />
3. "Pivot" - 5:13<br />
4. "Close Your Eyes" (Bernice Petkere) - 4:50<br />
5. "Little Melonae" (Jackie McLean) - 9:29<br />
6. "This Way" (Doug Watkins) - 12:25<br />
7. "Out of Nowhere" (Johnny Green, Edward Heyman) - 4:31<br />
<br />
<b>Personnel</b><br />
* Kenny Burrell (tracks 1-6), Jimmy Raney (tracks 1-3 & 5-7) - guitar<br />
* Donald Byrd - trumpet (tracks 1-3, 5 & 6)<br />
* Jackie McLean - alto saxophone (tracks 1-3, 5 & 6)<br />
* Mal Waldron - piano<br />
* Doug Watkins - bass<br />
* Art Taylor - drums<br />
<br />
<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B000000YC5/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000000YC5&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Two Guitars</span></a><span style="color: #bf9000;"><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000000YC5" height="1" style="border: none !important; margin: 0px !important;" width="1" /> </span></div><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com2tag:blogger.com,1999:blog-1212353193353468213.post-74285331555984740342014-04-25T12:25:00.000+02:002014-04-25T12:25:03.421+02:00Charles Mingus, John LaPorta - Jazzical Moods (1954)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBoGdvVXshfu-WvOJo_nhG9SoWZaXmVJOifQkicTDQJdJIYqQ0erFw5KlSp15CYQoPq2UdnXWAcfvAGXUfvA1s2qiF5ShqTTD1CvI4LB6LhWAKzxDbutilsbpEivDbpuhrmhRRc76AGkPB/s1600/51WYPC7SXAL._SX300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBoGdvVXshfu-WvOJo_nhG9SoWZaXmVJOifQkicTDQJdJIYqQ0erFw5KlSp15CYQoPq2UdnXWAcfvAGXUfvA1s2qiF5ShqTTD1CvI4LB6LhWAKzxDbutilsbpEivDbpuhrmhRRc76AGkPB/s1600/51WYPC7SXAL._SX300_.jpg" /></a></div><div style="color: #45818e; text-align: center;"> <b>Charles Mingus, John LaPorta - Jazzical Moods (1954)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-covers | 235MB</div><div style="color: #45818e; text-align: center;">OJC limited edition OJCCD-1857-2</div><i>Allmusic:</i><br />
<div class="text" itemprop="reviewBody">Originally recorded for Period Records in 1954, this fairly obscure early Charles Mingus session is a collaboration with composer John LaPorta, who is heard on clarinet and alto saxophone. It's a fascinating effort that shows Mingus' awareness of both modern European classical composition and cool jazz. <br />
The set includes a mix of Mingus and LaPorta originals, plus freshly arranged standards like "What Is This Thing Called Love" and "Stormy Weather." Also on hand are the great trumpeter Thad Jones and saxophonist/producer Teo Macero. The album features Mingus' debut on piano.</div><br />
<b>Tracks</b><br />
1. "What Is This Thing Called Love?" - 8:08<br />
2. "Stormy Weather" - 3:18<br />
3. "Minor Intrusion" - 10:13<br />
4. "Abstractions" - 4:12<br />
5. "Thrice Upon A Theme" - 6:40<br />
6. "Four Hands" - 8:50<br />
7. "The Spur Of The Moment/Echonitus" - 8:36<br />
<br />
<b>Personnel</b><br />
* Bass, Piano – Charles Mingus<br />
* Cello – Jackson Wiley<br />
* Clarinet, Alto Saxophone – John LaPorta<br />
* Drums – Clem DeRosa* <br />
<br />
<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B000000Z9V/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000000Z9V&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Jazzical Moods</span></a><span style="color: #bf9000;"><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000000Z9V" height="1" style="border: none !important; margin: 0px !important;" width="1" /></span> </div><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-77650971385204720862014-04-04T16:20:00.000+02:002014-04-04T16:20:05.554+02:00Petra Haden And Bill Frisell - Petra Haden And Bill Frisell (2004)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnyibg1wqLjxbnV0aWbLhpstOyDU2bUEpKS76LO2VPYB6HLj0ZFWPbf3d9r15w25M4UFE6AQFDTSfsBP-tWmAhpDnYehTbHd-dJ-wxpkZyCZfPbF7eozs2DX374m5Za3nhYqRsyc0aStQu/s1600/51Z2YNHR04L._SY300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnyibg1wqLjxbnV0aWbLhpstOyDU2bUEpKS76LO2VPYB6HLj0ZFWPbf3d9r15w25M4UFE6AQFDTSfsBP-tWmAhpDnYehTbHd-dJ-wxpkZyCZfPbF7eozs2DX374m5Za3nhYqRsyc0aStQu/s1600/51Z2YNHR04L._SY300_.jpg" /></a></div>
<div style="color: #45818e; text-align: center;">
<b>Petra Haden And Bill Frisell - Petra Haden And Bill Frisell (2004)</b></div>
<div style="color: #45818e; text-align: center;">
jazz | 1cd | eac-flac-cue-log-covers | 265MB</div>
<div style="color: #45818e; text-align: center;">
Rykodisc/Hannibal HNCD1472</div>
<i>Allmusic:</i><br />
It's safe to say that most albums don't include renditions of tunes by Foo Fighters, George Gershwin, and Stevie Wonder, along with traditional Tuvan folk songs, together on the same track list. Unless, of course, you're referring to the 2005 disc by the duo of Bill Frisell and Petra Haden. One of the foremost guitarists in contemporary jazz, Frisell is renowned for his signature guitarscapes, heard through a galaxy of effects and loops. Haden is an eclectic vocalist/violinist formerly of the indie-pop group That Dog (and, incidentally, the daughter of jazz bass great Charlie Haden), whose singing is guileless, experimental, and endearing all at once.<br />
Together, Haden and Frisell create an unexpected magic, with Frisell's shimmering chords and electronically embellished atmospheres providing the perfect pillow for Haden's sleepy, breathy voice (which she layers in harmonies to excellent effect). The songs--also including Coldplay's "Yellow," Henry Mancini's "Moon River," Tom Waits's "I Don't Want to Grow Up," and the Disney classic "When You Wish Upon a Star"--are incongruous only in theory. The lush, lullaby-like quality of the duo's sound gives the album a remarkably cohesive feel, highlighting the strength of the material and the chemistry of this unusual pair.<br />
<br />
<b>Tracks</b><br />
01. "Satelliteˇ- Elliott Smith - 2:37 <br />
02. "Floatyˇ- Dave Grohl - 6:55<br />
03. "Bai-La Taigamˇ- Traditional - 5:22 <br />
04. "Moon Riverˇ- Henry Mancini / Johnny Mercer - 2:22 <br />
05. "Yellowˇ- Guy Berryman / Jon Buckland / Will Champion / Chris Martin - 4:39 <br />
06. "I Don't Want to Grow Upˇ- Kathleen Brennan / Tom Waits - 3:37 <br />
07. "The Quiet Roomˇ- Petra Haden - 4:21 <br />
08. "When You Wish Upon a Starˇ- Leigh Harline / Ned Washington - 2:34 <br />
09. "I Believeˇ- Stevie Wonder - 6:17 <br />
10. "John Hardy Was a Desperate Little Manˇ- Traditional - 2:40<br />
11. "I've Got a Crush on Youˇ- George Gershwin / Ira Gershwin - 3:46<br />
12. "Throughoutˇ- Bill Frisell - 4:02<br />
<br />
<div style="text-align: center;">
<a href="http://www.amazon.com/gp/product/B0006TPDMU/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0006TPDMU&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Petra Haden & Bill Frisell</span></a><span style="color: #bf9000;"><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B0006TPDMU" height="1" style="border: none !important; margin: 0px !important;" width="1" /> </span></div>
<br />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-55806066463028377782014-03-13T11:43:00.000+01:002014-03-13T13:30:43.262+01:00Oscar Peterson - Live! (1986)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNuM2dHyVZVVvSjoS2xfK914USU8HPUCH6bDHuZFaMGgrjxr5ON2zp8IbElDFCcTO0XQ0GZw33VIXaDf4DMePkyW1YlV17Q9zetJBfwUEkTVzBziwsw9LNKYyVAr3pkQfEKFgkboC0EIpW/s1600/51AjihOIfrL._SY300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNuM2dHyVZVVvSjoS2xfK914USU8HPUCH6bDHuZFaMGgrjxr5ON2zp8IbElDFCcTO0XQ0GZw33VIXaDf4DMePkyW1YlV17Q9zetJBfwUEkTVzBziwsw9LNKYyVAr3pkQfEKFgkboC0EIpW/s1600/51AjihOIfrL._SY300_.jpg" /></a></div>
<div style="color: #45818e; text-align: center;">
<b>Oscar Peterson - Live! (1986)</b></div>
<div style="color: #45818e; text-align: center;">
jazz | 1cd | eac-flac-cue-log-covers | 280MB</div>
<div style="color: #45818e; text-align: center;">
Pablo CD 2310-940 | rel: 1990</div>
<i>Allmusic:</i><br />
Pianist Oscar Peterson's stint at the Westwood Playhouse in Los Angeles in Nov. 1986 resulted in two CDs' worth of material. Peterson's quartet (with guitarist Joe Pass, bassist David Young and drummer Martin Drew) performs an interesting medley of "Perdido" and "Caravan," plays sensitively on "If You Only Knew," explores the pianist's "City Lights" and performs a three-part "The Bach Suite," which is climaxed by "Bach's Blues." Enjoyable music, it's recommended to Peterson's many fans. <br />
<br />
<b>Tracks</b><br />
1. The Bach Suite: "Allegro" – 9:51<br />
2. The Bach Suite: "Andante" – 3:24<br />
3. The Bach Suite: "Bach's Blues" – 9:11<br />
4. "City Lights" – 7:08<br />
5. Medley: "Perdido" (Juan Tizol, Hans J. Lengsfelder, Ervin Drake) – 6:26<br />
6. Medley: "Caravan" (Duke Ellington, Irving Mills, Tizol) – 6:39<br />
7. "If You Only Knew" – 7:56<br />
<br />
<b>Personnel</b><br />
* Oscar Peterson – piano<br />
* Joe Pass – guitar<br />
* David Young – double bass<br />
* Martin Drew – drums<br />
<br />
<div style="text-align: center;">
<a href="http://www.amazon.com/gp/product/B000000XKX/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000000XKX&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Oscar Peterson Live</span></a><span style="color: #bf9000;"><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000000XKX" height="1" style="border: none !important; margin: 0px !important;" width="1" /> </span></div>
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<br />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-68872209968430988462014-02-28T08:39:00.000+01:002014-02-28T08:39:03.811+01:00Bud Powell - The Complete Blue Note and Roost Recordings (1947-63)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQS026bDLFi8cL-dGntGIrm_DtBGqvAQU_u7YR36aWVT3O1177bg5AP9X-sw68D6ffcPq48isPsfvA_LipeQcB-19FqGEdfPkDZFeQBTDWqcfJtoQztZhNbgW9odVNbmn1bNvIAhL0Mra/s1600/41YHG21ZS1L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQS026bDLFi8cL-dGntGIrm_DtBGqvAQU_u7YR36aWVT3O1177bg5AP9X-sw68D6ffcPq48isPsfvA_LipeQcB-19FqGEdfPkDZFeQBTDWqcfJtoQztZhNbgW9odVNbmn1bNvIAhL0Mra/s320/41YHG21ZS1L.jpg" /></a></div>
<div style="color: #45818e; text-align: center;">
<b>Bud Powell - The Complete Blue Note and Roost Recordings (1947-63)</b></div>
<div style="color: #45818e; text-align: center;">
jazz | 4cd | eac-flac-cue-log-covers | 1570MB</div>
<div style="color: #45818e; text-align: center;">
BN CDP 7243 8 30083 2 2 | rel: 1994</div>
<i>Allmusic:</i><br />
Although pianist Bud Powell recorded some great albums elsewhere (most notably his first couple of sessions for Verve), on the whole his Blue Note records were his most significant and definitive. This four-CD set has all of the music from his five Blue Note albums, his two sessions for the Roost label, and all known alternate takes. Powell literally changed the way that the piano is played in jazz, and this magnificent set has more than its share of classics. In addition to the many trio performances, trombonist Curtis Fuller sits in on three numbers, there are a few solo cuts, and one date features Powell at the head of a quintet with trumpeter Fats Navarro and the young tenor Sonny Rollins. Although there are a few faltering moments in the later dates, this essential release (unlike the similar Verve reissue) is quite consistent. <br />
<br />
<b>Tracks</b><br />
cd1:<br />
1. "I'll Remember April" (Gene de Paul, Patricia Johnston, Don Raye) – 2:54<br />
2. "(Back Home Again in) Indiana" (James Hanley, Ballard MacDonald) – 2:45<br />
3. "Somebody Loves Me" (George Gershwin, Ballard MacDonald, B. G. De Sylva) – 2:56<br />
4. "I Should Care" (Axel Stordahl, Paul Weston, Sammy Cahn) – 3:02<br />
5. "Bud's Bubble" – 2:36<br />
6. "Off Minor" (Thelonious Monk) – 2:24<br />
7. "Nice Work If You Can Get It" (George Gershwin, Ira Gershwin) – 2:20<br />
8. "Everything Happens To Me" (Matt Dennis, Tom Adair) – 2:41<br />
9. "Bouncing with Bud" (alternate take #1) (Gil Fuller, Powell) – 3:03<br />
10. "Bouncing with Bud" (alternate take #2) (Fuller, Powell) – 3:12<br />
11. "Bouncing with Bud" (Fuller, Powell) – 3:01<br />
12. "Wail" (alternate take) – 2:38<br />
13. "Wail" – 3:02<br />
14. "Dance of the Infidels" (alternate take) – 2:52<br />
15. "Dance of the Infidels" – 2:50<br />
16. "52nd Street Theme" (Monk) – 2:45<br />
17. "You Go to My Head" (J. Fred Coots, Haven Gillespie) – 3:11<br />
18. "Ornithology" (Benny Harris, Charlie Parker) – 2:20<br />
19. "Ornithology" (alternate take) (Harris, Parker) – 3:07<br />
20. "Un Poco Loco" (alternate take #1) – 3:46<br />
21. "Un Poco Loco" (alternate take #2) – 4:28<br />
22. "Un Poco Loco" – 4:42<br />
23. "Over the Rainbow" (Harold Arlen, E.Y. "Yip" Harburg) – 2:55<br />
cd2:<br />
1. "A Night in Tunisia" (Dizzy Gillespie, Frank Paparelli) – 4:16<br />
2. "A Night in Tunisia" (alternate take) (Gillespie, Paparelli) – 3:52<br />
3. "It Could Happen to You" (alternate take) (James Van Heusen, Johnny Burke) – 2:22<br />
4. "It Could Happen to You" (Van Heusen, Burke) – 3:16<br />
5. "Parisian Thoroughfare" – 3:25<br />
6. "Autumn in New York" (Vernon Duke) – 2:51<br />
7. "Reets and I" (Benny Harris) – 3:18<br />
8. "Reets and I" (alternate take) (Harris) – 2:30<br />
9. "Sure Thing" (Jerome Kern, Ira Gershwin) – 2:39<br />
10. "Collard Greens and Black-Eyed Peas" (alternate take) (Oscar Pettiford) – 2:11<br />
11. "Collard Greens and Black-Eyed Peas" (Pettiford) – 3:01<br />
12. "Polka Dots and Moonbeams" (Van Heusen, Burke) – 4:00<br />
13. "I Want to Be Happy" (Vincent Youmans, Irving Caesar) – 2:50<br />
14. "Audrey" – 2:54<br />
15. "Glass Enclosure" – 2:21<br />
16. "Embraceable You" (George Gershwin, Ira Gershwin) – 2:51<br />
17. "Burt Covers Bud" – 3:07<br />
18. "My Heart Stood Still" (Richard Rodgers, Lorenz Hart) – 3:20<br />
19. "You'd Be So Nice to Come Home To" (Cole Porter) – 2:41<br />
20. "Bags' Groove" (Milt Jackson) – 2:14<br />
21. "My Devotion" (Roc Hillman, Johnny Napton) – 3:05<br />
22. "Stella by Starlight" (Victor Young) – 2:10<br />
23. "Woody 'N' You" (Dizzy Gillespie) – 3:00<br />
cd3:<br />
1. "Blue Pearl" – 3:46<br />
2. "Blue Pearl" (alternate take) – 4:03<br />
3. "Keepin' In The Groove" – 2:53<br />
4. "Some Soul" – 6:56<br />
5. "Frantic Fancies" – 4:50<br />
6. "Bud On Bach" – 2:30<br />
7. "Idaho" (Jesse Stone) – 5:14<br />
8. "Don't Blame Me" (Jimmy McHugh, Dorothy Fields) – 7:31<br />
9. "Moose the Mooche" (Parker) – 5:45<br />
10. "John's Abbey" – 5:36<br />
11. "Sub City" (alternate take) – 2:36<br />
12. "Sub City" – 4:32<br />
13. "John's Abbey" (alternate take) – 2:25<br />
14. "Buster Rides Again" – 5:30<br />
cd4:<br />
1. "Dry Soul" – 6:41<br />
2. "Marmalade" – 4:28<br />
3. "Monopoly" – 4:47<br />
4. "Time Waits" – 5:06<br />
5. "The Scene Changes" – 3:59<br />
6. "Down With It" – 3:58<br />
7. "Comin' Up" (alternate take) – 5:26<br />
8. "Comin' Up" – 7:54<br />
9. "Duid Deed" – 5:06<br />
10. "Cleopatra's Dream" – 4:22<br />
11. "Gettin' There" – 5:01<br />
12. "Crossin' The Channel" – 3:28<br />
13. "Danceland" – 3:41<br />
14. "Borderick" – 1:58<br />
15. "Like Someone in Love" (Van Heusen, Burke) – 6:18<br />
<br />
<b>personnel</b><br />
* piano: Bud Powell<br />
* bass: Curly Russell, Tommy Potter, George Duvivier, Paul Chambers, Sam Jones, Pierre Michelot<br />
* drums: Max Roach, Roy Haynes, Art Taylor, Philly Joe Jones, Kenny Clarke<br />
* trumpet: Fats Navarro<br />
* sax: Sonny Rollins<br />
* trombone: Curtis Fuller<br />
<br />
<div style="text-align: center;">
<a href="http://www.amazon.com/gp/product/B000005GYC/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000005GYC&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Bud Powell: The Complete Blue Note and Roost Rec</span></a><span style="color: #bf9000;">. </span></div>
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<img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000005GYC" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br />
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<br />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-14870623851525925682014-02-19T09:31:00.000+01:002014-02-19T09:31:22.352+01:00Christian Wallumrod - A Year from Easter (2004)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQWD81afueEx-_pSpn9c7F8LqE-nTUSellglagcZamde1VAKRRQosV2ta_qt9xs9ObFLRsIKqZK3lUs8ASpwvQ1eOG4uonW6AS5ld62RmaqxUN3i1sB6i0jgY7ufdBttKZI0GjcpP1y9lY/s1600/300A+Year+From+Easter+-+Outer+box.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQWD81afueEx-_pSpn9c7F8LqE-nTUSellglagcZamde1VAKRRQosV2ta_qt9xs9ObFLRsIKqZK3lUs8ASpwvQ1eOG4uonW6AS5ld62RmaqxUN3i1sB6i0jgY7ufdBttKZI0GjcpP1y9lY/s1600/300A+Year+From+Easter+-+Outer+box.jpg" height="308" width="320" /></a></div><div style="color: #45818e; text-align: center;"><b>Christian Wallumrod - A Year from Easter (2004)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-covers | 295MB</div><div style="color: #45818e; text-align: center;">ECM 1901</div><i>Allmusic:</i><br />
What must be heard by contemporary jazz generalists as a typical ECM type European music creation, pianist Christian Wallumrod has conjured up a nomadic series of themes that touch on various strains of ethnic music. Echoes of classical and chamber musics, and Manfred Eicher's brand of tonally reserved, emotionally balanced, and coolly rendered sounds provide a rich but predictable musical palette. The title A Year from Easter might suggest many themes of hope, looking forward, sudden dismay, prayers for peace and justice, and post-distress emergence. While all that and more is present in the music, there's also a sense of forgiving, mutual trust, love, and that balance so needed in a life of ups and downs. Wallumrod must inevitably be compared to ECM stablemates Keith Jarrett, Mike Nock, and Bobo Stenson, but also to fellow Europeans Lennart Aberg, Thomas Clausen, and American icon Paul Bley. His band with violinist Nils Økland and trumpeter Arve Henriksen further draw comparisons to Jenny Scheinman and Kenny Wheeler respectively. Their sonic union with Wallumrod's piano or harmonium is a marriage of sheer beauty, wisdom and mutual agreement, and the CD unfolds like an epic novel. The dainty chamber like "Arch Song" starts the voyage, followed by the French/Middle Eastern requiem "Eliasong," with Wallumrod on harmonium. "Stompin' at Gagarin" pushes up the fun quotient, albeit deliberate and stealth, while the sad "Wedding Postponed" and the invocation "Psalm" turn the music somber and reverent. Sporadic piano and stroked-over toned cymbals on the percussive "Unisono" leads to the long toned sonic text piece "Lichtblick," the faux "Horseshoe Waltz," with its breathing and clattering sounds not in 3/4 time, and the somber afterthought visage of the title track, again identified by the harmonium. There's a delicate two-note actual waltz "Japanese Choral," Økland's pensive violin featured for "Sketch," a repeat of "Eliasong," Økland's violin assimilating a flute during "Neunacht," and the closer "Two Years from Easter" with Økland and Henriksen in a more resolved and hopeful mood. This CD, obviously, needs to be heard in its entirety, as there are really no stand-alone pieces. It's a wondrous journey though the human condition, to be shared and not recommended to loners or disenfranchised separatists of the intelligent music world, still coming easily recommended. <br />
<br />
<b>Tracks</b><br />
01. "Arch song" (5:25)<br />
02. "Eliasong" (3:31)<br />
03. "Stompin' at Gagarin" (4:23)<br />
04. "Wedding postponed" (4:11)<br />
05. "Psalm" (3:17)<br />
06. "Unisono" (2:24)<br />
07. "Lichtblick" (4:22)<br />
08. "Horseshoe waltz" (4:27)<br />
09. "A year from Easter" (3:45)<br />
10. "Japanese choral" (5:18)<br />
11. "Sketch" (2:51)<br />
12. "Eliasong II" (3:31)<br />
13. "Neunacht" (3:18)<br />
14. "Two years from Easter" (3:05)<br />
<br />
<b>Personnel</b><br />
* Drums – Per Oddvar Johansen<br />
* Piano, Harmonium, Toy Piano – Christian Wallumrod<br />
* Trumpet – Arve Henriksen<br />
* Violin – Nils Okland <br />
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<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B0007YH4LW/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0007YH4LW&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Year From Easter</span></a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B0007YH4LW" height="1" style="border: none !important; margin: 0px !important;" width="1" /> </div><br />
durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-59988708148395953952014-02-14T11:30:00.000+01:002014-02-14T11:34:39.707+01:00Sonny Criss - I'll Catch The Sun (1969)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsmv3gfc3xjopGKz2OinQE_H8zyUBoBifesKNWyBuW_R5kSypH8SOAKkIyBTgo8_P5rpI02eJFdzZ9bcvQBXHOyG5tys-_Hzm3-ewZ_wSkC7JFE4-Spt_wuLHuBDv-V6Q9gGeZhkovAJA2/s1600/416FSQ6CNKL._SX300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsmv3gfc3xjopGKz2OinQE_H8zyUBoBifesKNWyBuW_R5kSypH8SOAKkIyBTgo8_P5rpI02eJFdzZ9bcvQBXHOyG5tys-_Hzm3-ewZ_wSkC7JFE4-Spt_wuLHuBDv-V6Q9gGeZhkovAJA2/s320/416FSQ6CNKL._SX300_.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Sonny Criss - I'll Catch The Sun (1969)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-covers | 200MB</div><div style="color: #45818e; text-align: center;">OJC </div><i>Allmusic:</i><br />
Altoist Sonny Criss made some of his finest recordings for Prestige during the mid- to late '60s; I'll Catch the Sun was the seventh and final. Since this CD reissue is only 35 minutes long, it is overly brief, but the straight-ahead music (featuring Criss with pianist Hampton Hawes, bassist Monty Budwig, and drummer Shelly Manne) is often excellent as the altoist performs two blues, two standards (including a passionate "Cry Me a River"), and two forgotten pop tunes from the era.<br />
<br />
<b>Tracks </b><br />
1. "Don't Rain on My Parade" (Bob Merrill, Jule Styne) - 4:24<br />
2. "Blue Sunset" (Sonny Criss) - 8:10<br />
3. "I Thought About You" (Jimmy Van Heusen, Johnny Mercer) - 4:43<br />
4. "California Screamin'" (Sonny Criss) - 6:03<br />
5. "Cry Me a River" (Arthur Hamilton) - 5:41<br />
6. "I'll Catch the Sun" (Rod McKuen) - 5:34<br />
<br />
<b>Personnel</b><br />
* Sonny Criss - alto saxophone<br />
* Hampton Hawes - piano<br />
* Monty Budwig - bass<br />
* Shelly Manne - drums<br />
<br />
<div style="text-align: center;"><span style="color: #bf9000;"><a href="http://www.amazon.com/gp/product/B000000Z04/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000000Z04&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: I'll Catch the Sun</span></a><img alt="" border="0" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000000Z04" height="1" style="border: none !important; margin: 0px !important;" width="1" /> </span></div><br />
durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0tag:blogger.com,1999:blog-1212353193353468213.post-640898813988809792013-12-30T19:53:00.000+01:002013-12-30T19:53:49.079+01:00Kai Winding & J.J. Johnson - Nuf Said (1955)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LFonOv7R2nUloLDoKj4zGm_lqpSVWnUOErbEqyP_Ac37x5UR6BhWltdfZBrOuGacyeyV1QBu3jWrUYl5C7hceQLda2hxpJ2Fx2VsaVWM8MT4qV1EOUwZXGrAIisjLMjw7IL8w-n-Ejdi/s1600/3001-8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LFonOv7R2nUloLDoKj4zGm_lqpSVWnUOErbEqyP_Ac37x5UR6BhWltdfZBrOuGacyeyV1QBu3jWrUYl5C7hceQLda2hxpJ2Fx2VsaVWM8MT4qV1EOUwZXGrAIisjLMjw7IL8w-n-Ejdi/s320/3001-8.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Kai Winding & J.J. Johnson - Nuf Said (1955)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-cover | 210MB</div><div style="color: #45818e; text-align: center;">Betlehem-Avenue R2 7599 </div><i>Allmusic:</i><br />
At times sounding indistinguishable soloing side by side, trombonists Kai Winding and J.J. Johnson gained unexpected fame from a series of collaborative efforts cut during the mid-'50s. Sandwiched between their initial Savoy outing and several Columbia releases (and a later reunion session for Impulse), 1955's Nuf Said features the soloists in a buoyant West Coast mood on several medium- to fast-tempo swingers. Winding and Johnson both turn in fluid, tonally rounded statements, while pianist Dick Katz, bassists Milt Hinton and Wendell Marshall, and drummer Al Harewood (using brushes most of the time) provide plush rhythmic support. In addition to impressively arranged covers like "Mad About the Boy" and "Out of This World," Johnson and Winding each contribute two attractive originals - Winding's "Gong Rock" gets special note not only for its then-exotic incorporation of gong sounds, but also for the title's evocation of a time-travel meeting between the trombonist and glam rocker T. Rex. Musical fantasy aside, this Bethlehem reissue by Avenue Jazz pads the original set with seven worthwhile alternate takes and tops things off with superb sound and helpful liner notes. And though some might find the music here a bit thin (a common criticism of the West Coast sound which, ironically, gets turned on its ear this time around since all the musicians involved are from the East Coast), the arrangements and playing are so engaging and of such high quality that categorization dilemmas disappear. A fine disc. <br />
<br />
<b>Tracks</b><br />
-01. "Out of This World" - Harold Arlen / Johnny Mercer - 2:20 <br />
-02. "Thou Swell" - Lorenz Hart / Richard Rodgers - 2:55 <br />
-03. "Lover" - Lorenz Hart / Richard Rodgers - 5:34 <br />
-04. "Lope City" - J.J. Johnson - 3:32 <br />
-05. "Stolen Bass" - J.J. Johnson - 2:56 <br />
-06. "It's All Right With Me" - Cole - 5:06 <br />
-07. "Mad About the Boy" - Noël Coward - 3:32 <br />
-08. "Yes Sir, That's My Baby" - Walter Donaldson / Gus Kahn - 4:06 <br />
-09. "That's How I Feel About You" - Kai Winding - 3:59 <br />
-10. "Gong Rock" - Kai Winding - 3:25 <br />
-11. "It's All Right With Me" - Cole Porter - 5:31 <br />
-12. "Lover" - Lorenz Hart / Richard Rodgers - 5:39 <br />
-13. "Gong Rock" - Kai Winding - 3:25 <br />
-14. "Lope City" - J.J. Johnson - 3:42 <br />
-15. "It's All Right With Me" - Cole Porter - 6:24 <br />
-16. "Out of This World" - Harold Arlen / Johnny Mercer - 2:28 <br />
-17. "That's How I Feel About You" - Kai Winding - 4:08 <br />
<br />
<b>Personnel</b><br />
* Kai Winding (trombone)<br />
* J.J. Johnson (trombone)<br />
* Dick Katz (piano)<br />
* Al Harewood (drums)<br />
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<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B002KHZCV8/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B002KHZCV8&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Nuf Said </span></a></div> <img alt="" border="0" class="jenebhaqcpslmyplowpl" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B002KHZCV8" style="border: none !important; margin: 0px !important;" width="1" />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0tag:blogger.com,1999:blog-1212353193353468213.post-44806318233656292692013-12-28T21:42:00.001+01:002013-12-28T23:08:33.979+01:00Third Ear Band - Alchemy & Elements (1969 & 70)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7qvagcQllyW9n8lNDBlPMffeMR1BKZIsKNyCl2z4RR1pdUVWiu81Zu7OQEe86nHK18_m0Gl1byKaDi5AwbLxYnXdo1MDcgM9ux9xySFoxHBYO7y2KxJnDnOBTCdfUNyZWXKe9sQcgTejH/s1600/300b1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7qvagcQllyW9n8lNDBlPMffeMR1BKZIsKNyCl2z4RR1pdUVWiu81Zu7OQEe86nHK18_m0Gl1byKaDi5AwbLxYnXdo1MDcgM9ux9xySFoxHBYO7y2KxJnDnOBTCdfUNyZWXKe9sQcgTejH/s320/300b1.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Third Ear Band - Alchemy & Elements (1969 & 70)</b></div><div style="color: #45818e; text-align: center;">avantgarde | 2cd | eac-flac-cue-log-cover | 590MB</div><div style="color: #45818e; text-align: center;">EMI-GOTT GOTTCD010</div><i>Allmusic:</i><br />
<u>Alchemy:</u><i> </i> Started in 1968 by percussionist Glen Sweeney and reedist Paul Minns, Third Ear Band was formed from the ashes of a previous Sweeney project, the psych band Hydrogen Juke Box. While generally overlooked in the history of British and improvised music, Third Ear Band developed a distinctive and aesthetically important sound -- equal parts Indian, psychedelic, and minimalist -- dubbed "electric-acid-raga" by Sweeney. Alchemy, their first release, is a wonderful record. With shorter tracks than found on later albums, Third Ear Band here makes excursions into improvised chamber music. In the opener, "Mosaic," which is at seven minutes one of the longest cuts, guitar meets recorder and violin in a disharmonic free jazz summit that fades away before building into a trancy mini-crescendo. On "Stone Circle," recorder lines interweave over an unadorned drum's repetitive rhythm. At times the recorder lines are so fluid and unnatural they sound like they're being played backwards -- which indeed they just might be. Generally the remainder of the tracks run the course between half-structured improv and droning chaos. Comparisons could be drawn to Soft Machine or the Dream Syndicate, but neither quite has the sense of "collective first" nor the repetitive insistence of Third Ear Band. The songs, to quote Sweeney again, are "alike or unlike as trees." For those even vaguely interested in the history of innovative music, Alchemy is worth hunting down.<br />
<u>Elements (aka Third Ear Band ):</u> Their self-titled, second album is probably their definitive statement, consisting of four lengthy tracks devoted to the primary elements ("Air," "Earth, " "Fire, " "Water"). The feeling is one of improvised (though well-conceived) pieces that build up from initial drones to multi-layered ragas built around the same initial patterns. Their strong debts to both Indian music and contemporary experimental/minimalist compositions are evident. It's not accessible enough for the average rock (or even average progressive rock) listener. But it's certainly more geared toward the adventurous rock listener than the most challenging and/or difficult contemporary avant-garde music.<br />
<br />
<b>Tracks </b><br />
cd1:<br />
-1. Mosaic – 6:31<br />
-2. Ghetto Raga – 10:32<br />
-3. Druid One – 3:49<br />
-4. Stone Circle – 3:28<br />
-5. Egyptian Book of the Dead – 8:55<br />
-6. Area Three – 8:33<br />
-7. Dragon Lines – 5:33<br />
-8. Lark Rise – 2:46<br />
cd2:<br />
-1. Air – 10:30<br />
-2. Earth – 9:53<br />
-3. Fire – 9:19<br />
-4. Water – 7:04<br />
<br />
<b>Personnel</b><br />
* Paul Minns – oboe, recorder<br />
* Mel Davis – cello, pipe<br />
* Glen Sweeney – chimes, drums, tabla, wind chimes, hand drums<br />
* Richard Coff – violin, viola<br />
* Dave Tomlin – violin<br />
* John Peel – harmonica, jaw harp<br />
---<br />
* Paul Minns – oboe<br />
* Glen Sweeney – percussion<br />
* Ursula Smith – cello<br />
* Richard Coff – violin and viola<br />
<br />
<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B0025AY46O/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0025AY46O&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Alchemy/Elements </span></a></div> <img alt="" border="0" class="ekhkgbhffbnrphevoezp jenebhaqcpslmyplowpl" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B0025AY46O" style="border: none !important; margin: 0px !important;" width="1" /><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0tag:blogger.com,1999:blog-1212353193353468213.post-65705826981978111972013-12-22T21:08:00.000+01:002013-12-22T23:24:01.586+01:00Oscar Peterson - Tristeza on Piano (1970)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_19u-ghZ_QOGDAiRGekF4PrECXNWh2DO0uSLmirUnmFwEtzZdJ1WzgkUloBWhm0R9Ym5O3WiCjUYAoNw_FKk6R1-q_zos0BfNA7VXVXZg4C5A_HOnB9wb3P-j-jiipz8SDENPEROZOpbU/s1600/300b1-12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_19u-ghZ_QOGDAiRGekF4PrECXNWh2DO0uSLmirUnmFwEtzZdJ1WzgkUloBWhm0R9Ym5O3WiCjUYAoNw_FKk6R1-q_zos0BfNA7VXVXZg4C5A_HOnB9wb3P-j-jiipz8SDENPEROZOpbU/s320/300b1-12.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Oscar Peterson - Tristeza on Piano (1970)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-cover | 290MB</div><div style="color: #45818e; text-align: center;">MPS 06024 9827010 24bit remaster</div><i>Allmusic:</i><br />
At the beginning of this set Oscar Peterson so overwhelms the normally gentle "Tristeza" that it almost becomes a parody. Fortunately the remainder of the bossa nova-flavored CD reissue is more tasteful and, even if Peterson is overly hyper in spots, he is able to bring out the beauty of such songs as George Gershwin's "Porgy," Antonio Carlos Jobim's "Trieste" and "Watch What Happens" in addition to stomping through the straightahead "You Stepped out of a Dream." <br />
<br />
<b>Tracks</b><br />
-1. "Tristeza" (Haroldo Lobo, Niltinho) – 3:13<br />
-2. "Nightingale" (Oscar Peterson, Gene Lees) – 6:42<br />
-3. "Porgy" (George Gershwin, DuBose Heyward) – 6:12<br />
-4. "Triste" (Antonio Carlos Jobim) – 5:21<br />
-5. "You Stepped Out of a Dream" (Nacio Herb Brown, Gus Kahn) – 3:31<br />
-6. "Watch What Happens" (Michel LeGrand, Norman Gimbel) – 6:10<br />
-7. "Down Here on the Ground" (Lalo Schiffrin, Gale Garnett) – 8:46<br />
-8. "Fly Me to the Moon" (Bart Howard) – 4:38<br />
<br />
<b>Personnel</b><br />
* Oscar Peterson – Piano<br />
* Sam Jones – Double bass<br />
* Bobby Durham – drums<br />
<br />
<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B000A69RHQ/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000A69RHQ&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Tristeza on Piano </span></a></div> <img alt="" border="0" class="iboencrydmtmanmtxalg" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000A69RHQ" style="border: none !important; margin: 0px !important;" width="1" /><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0tag:blogger.com,1999:blog-1212353193353468213.post-45741638730630247532013-11-30T12:02:00.000+01:002013-11-30T12:02:41.215+01:00Elvin Jones - Puttin' It Together (1968)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipCiP5rf72WmcDNeNjpay-cQZbhdepSwpR5Iut9dIXKayafhSUi7a2VpNOSm3b8HAED6ZDHqcucIdRNGIMxnuxCYIowbFE4dOGX-SwReAMpO2_qTMW02jRCyYdfJXCWqNiholr3IfVOnmR/s1600/300b1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipCiP5rf72WmcDNeNjpay-cQZbhdepSwpR5Iut9dIXKayafhSUi7a2VpNOSm3b8HAED6ZDHqcucIdRNGIMxnuxCYIowbFE4dOGX-SwReAMpO2_qTMW02jRCyYdfJXCWqNiholr3IfVOnmR/s320/300b1.jpg" width="320" /></a></div>
<div style="color: #45818e; text-align: center;">
<b>Elvin Jones - Puttin' It Together (1968)</b></div>
<div style="color: #45818e; text-align: center;">
jazz | 1cd | eac-flac-cue-log-cover | 235MB</div>
<div style="color: #45818e; text-align: center;">
BN CDP 7 84282 2</div>
<i>Allmusic:</i><br />
Joe Farrell (heard on this CD reissue on tenor, soprano and flute) did some of his finest playing while with drummer Elvin Jones' trio during 1968-69. Joined by bassist Jimmy Garrison (in one of his first post-Coltrane recordings), Farrell really digs into group originals, obscurities, "For Heaven's Sake," and Jimmy Heath's "Gingerbread Boy." With Jones pushing him and Garrison sounding quite advanced, Farrell was consistently inspired to play at the peak of his creativity.<br />
<br />
<b>Tracks </b><br />
-1. "Reza" (Ruy Guerra, Edu Lobo) - 7:14<br />
-2. "Sweet Little Maia" (Jimmy Garrison) - 7:54<br />
-3. "Keiko's Birthday March" (Elvin Jones) - 6:55<br />
-4. "Village Greene" (Billy Greene) - 5:13<br />
-5. "Jay-Ree" (Joe Farrell) - 3:52<br />
-6. "For Heaven's Sake" (Elise Bretton, Sherman Edwards, Donald Meyer) - 5:10<br />
-7. "Ginger Bread Boy" (Jimmy Heath) - 5:18<br />
<br />
<b>Personnel</b><br />
* Elvin Jones - drums<br />
* Joe Farrell - tenor saxophone, soprano saxophone, flute, piccolo<br />
* Jimmy Garrison - bass<br />
<br />
<div style="text-align: center;">
<a href="http://www.amazon.com/gp/product/B000008BF9/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000008BF9&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Puttin' It Together</span> </a></div>
<img alt="" border="0" class="mfjsyguzbjfsnfoxrnmt dbeaeyqolqbbzekdvoun ldcorygiwrtbwwsvrbmc" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000008BF9" style="border: none !important; margin: 0px !important;" width="1" />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-29746783725656750552013-11-30T11:16:00.001+01:002013-11-30T11:16:11.660+01:00Dexter Gordon - The Jumpin' Blues (1970)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi84SaMznaP15DiN0CB0pjvQkKeKFRitlvqwczwziSiiM7-nsHxvcbP4RvN7NW7me0g-biiy3f0iKLbGpRIMJ0Ucn6ygmj84XfvFMtLLLecNWPRcFcCi8lMTWMvK0zlFUBnLy-ElFNUXyfX/s1600/300b1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi84SaMznaP15DiN0CB0pjvQkKeKFRitlvqwczwziSiiM7-nsHxvcbP4RvN7NW7me0g-biiy3f0iKLbGpRIMJ0Ucn6ygmj84XfvFMtLLLecNWPRcFcCi8lMTWMvK0zlFUBnLy-ElFNUXyfX/s320/300b1.jpg" /></a></div>
<div style="color: #45818e; text-align: center;">
<b>Dexter Gordon - The Jumpin' Blues (1970)</b></div>
<div style="color: #45818e; text-align: center;">
jazz | 1cd | eac-flac-cue-log-cover | 240MB</div>
<div style="color: #45818e; text-align: center;">
OJCD-899-2</div>
<i>Allmusic:</i><br />
Although tenor saxophonist Dexter Gordon seemed to have been largely forgotten in the U.S. during his long residence in Europe, he was playing in prime form during the period and made occasional trips back to America. On this CD reissue, Gordon teams up with pianist Wynton Kelly (one of his last recordings), bassist Sam Jones and drummer Roy Brooks for an obscure original ("Evergreenish"), "The Jumpin' Blues," the veteran ballad "For Sentimental Reasons" and three songs that were long a part of Gordon's repertoire: "Star Eyes," "Rhythm-A-Ning" and "If You Could See Me Now." Dexter Gordon is in fine form on the excellent straightahead bop set. <br />
<br />
<b>Tracks</b><br />
1. "Evergreenish" - 6:02<br />
2. "For Sentimental Reasons" (William Best, Deek Watson) - 6:49<br />
3. "Star Eyes" (Gene de Paul, Don Raye) - 5:21<br />
4. "Rhythm-a-Ning" (Thelonious Monk) - 6:51<br />
5. "If You Could See Me Now" (Tadd Dameron, Carl Sigman) - 6:34<br />
6. "The Jumpin' Blues" (Jay McShann, Charlie Parker) - 5:46<br />
<br />
<b>Personnel</b><br />
* Dexter Gordon - tenor saxophone<br />
* Wynton Kelly - piano<br />
* Sam Jones - bass<br />
* Roy Brooks - drums<br />
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<div style="text-align: center;">
<a href="http://www.amazon.com/gp/product/B000000Z2K/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000000Z2K&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: The Jumpin' Blues </span></a></div>
<img alt="" border="0" class="mfjsyguzbjfsnfoxrnmt ldcorygiwrtbwwsvrbmc" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000000Z2K" style="border: none !important; margin: 0px !important;" width="1" />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com2tag:blogger.com,1999:blog-1212353193353468213.post-51604530545127662902013-11-29T14:46:00.000+01:002013-11-29T14:46:37.928+01:00Iannis Xenakis - Electronic Music (1997)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglqEJZQCA4b9_-mO2xJ-P79xrKj8iNL2C4naHbpJeY2hVGFpsMBUAzFZ8a0trIp8ax_w-TXcQoAVo9YAKBg-QO-cka9XAiPTxQ5PLCH0HA0JydTLbQ3Z1n9a5x3H3sDG9EIsPIekD3eHuE/s1600/300front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglqEJZQCA4b9_-mO2xJ-P79xrKj8iNL2C4naHbpJeY2hVGFpsMBUAzFZ8a0trIp8ax_w-TXcQoAVo9YAKBg-QO-cka9XAiPTxQ5PLCH0HA0JydTLbQ3Z1n9a5x3H3sDG9EIsPIekD3eHuE/s320/300front.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Iannis Xenakis - Electronic Music (1997)</b></div><div style="color: #45818e; text-align: center;"> contemorary, avangarde | 1cd | eac-flac-cue-log-cover | 420MB</div><div style="color: #45818e; text-align: center;">EMF CD 003</div><i>Allmusic:</i><br />
This is a collection of compositions from electronic music pioneer and 20th century legend Iannis Xenakis, deceased in the early half of 2001 after a lifetime creating one of the most significant bodies of European art. The great Greek-born Frenchman's extraordinary work covered early electronic music and post-serialist composition, architecture, and mathematics, and his mastery of diverse mediums informed his work in music composition, securing his place as one of the most important composers of avant-garde classical music. Those familiar with Xenakis the architect will know him for his pavilion at the Brussels World's Fair (1970), while instrumental classical musicians will know of his complex and abstract percussion and string works. In electronic music he is known not as the inventor but as the composer who shaped the medium into one of the most progressive and complex mediums of the late 20th century. Hence, New York's Electronic Music Foundation released this compilation of his works dating from the late '50s, when at a Paris studio he produced these artifacts that take the primitive electronics of the time into stunningly sophisticated realms. On hearing this CD in the new millennium, it is hard to believe that these abstractions were not made in the late '90s, judging from their futuristic use of electronic effects. Xenakis' work was always considerably more abrasive than that of his contemporaries, and is comparable only to the work of Karlheinz Stockhausen, who was similarly interested in noise and sonic phenomena during the '60s. The works on this CD such as "Polytopes" and "Concrete PH" are concerned with "clouds of sound" where the density is extreme, giving these tape works complex textures that can be examined for hours and at different volumes, presenting effects from curious ambience to engaging and rigorous sound worlds. This archival collection comes highly recommended. It is more than a footnote in the history of electronic music, as many reissues can be; rather, this is a vital document in the shaping of late-20th century music. <br />
<br />
<b>Tracks:</b><br />
-1. Diamorphoses (1957)<br />
-2. Concret PH (1958)<br />
-3. Orient-Occident (1960)<br />
-4. Bohor (1962)<br />
-5. Hibiki-Hana-Ma (1970)<br />
-6. S.709 (1992)<br />
<br />
<b>Performer</b><br />
* I Xenakis<br />
<br />
<div style="text-align: center;"><span style="color: #bf9000;"><a href="http://www.amazon.com/gp/product/B00005Y7YP/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00005Y7YP&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Electronic Music</span> </a></span></div> <img alt="" border="0" class="mfjsyguzbjfsnfoxrnmt" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B00005Y7YP" style="border: none !important; margin: 0px !important;" width="1" />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0tag:blogger.com,1999:blog-1212353193353468213.post-70418090886096214202013-10-31T15:05:00.000+01:002013-10-31T15:05:26.778+01:00Oscar Peterson - The Good Life (1973)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCyPumAXpKPqBbHGX7-nl-GqZuMDxOh8LHNXsVXChPK1hfu-LsDUG7F2Kf5BNMD8Kaxl-hBPDrxIHy173jcFkipXQ-71jd3CegJ9jOUyetqLAcoICvpCsQQVLWbkIM7IiAHZGDVbL2EaA-/s1600/300b1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCyPumAXpKPqBbHGX7-nl-GqZuMDxOh8LHNXsVXChPK1hfu-LsDUG7F2Kf5BNMD8Kaxl-hBPDrxIHy173jcFkipXQ-71jd3CegJ9jOUyetqLAcoICvpCsQQVLWbkIM7IiAHZGDVbL2EaA-/s320/300b1.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Oscar Peterson - The Good Life (1973)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-cover | 275MB</div><div style="color: #45818e; text-align: center;">OJC20 627-2, 20bit remastered</div><i>Allmusic:</i><br />
Taken from the same live sessions that resulted in The Trio, this CD reissue of a Pablo album features three remarkable virtuosos: pianist Oscar Peterson, guitarist Joe Pass, and bassist Niels-Henning Orsted Pedersen. Although not quite reaching the heights of the other set, this CD features some typically extraordinary solos and interplay from these musicians. Highlights include Peterson's "Wheatland," the blues "For Count" (which is referred to in the liner notes as "Miles"), and "The Good Life."<br />
<br />
<b>Tracks</b><br />
. "Wheatland" (Oscar Peterson) – 12:17<br />
. "Wave" (Antonio Carlos Jobim) – 10:46<br />
. "For Count" (Peterson) – 6:49<br />
. "The Good Life" (Sacha Distel, Jack Reardon) – 7:12<br />
. "On a Clear Day (You Can See Forever)" (Burton Lane, Alan Jay Lerner) – 7:44<br />
<br />
<b>Personnel</b><br />
* Oscar Peterson – piano<br />
* Joe Pass – guitar<br />
* Niels-Henning Ørsted Pedersen – double bass<br />
<br />
<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/5550697750/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=5550697750&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Good Life </span></a></div><span style="color: #bf9000;"> </span><img alt="" border="0" class="iykdsxmakojmariezarr" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=5550697750" style="border: none !important; margin: 0px !important;" width="1" />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-53505724051416310732013-10-30T11:49:00.000+01:002013-10-30T11:49:24.012+01:00Morton Feldman - For John Cage (1997)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFIYXLTKNbGFH1XrFuuNxpAQTM8p0oqmyg3YUXjgB71dOZWjkYidqFxltQlqJQp4yuOehAuzX0u9GBko9blCyia7p93VqhcD0lkiJjC0CNSWnXIqmD913VeFXaawbVu5Afo0IbAZkf9JrN/s1600/41jMa4khauL._SL500_SX300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFIYXLTKNbGFH1XrFuuNxpAQTM8p0oqmyg3YUXjgB71dOZWjkYidqFxltQlqJQp4yuOehAuzX0u9GBko9blCyia7p93VqhcD0lkiJjC0CNSWnXIqmD913VeFXaawbVu5Afo0IbAZkf9JrN/s1600/41jMa4khauL._SL500_SX300_.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Morton Feldman - For John Cage (1997)</b></div><div style="color: #45818e; text-align: center;">avantgarde, contemporary | 1cd | eac-flac-cue-log-cover | 275MB</div><div style="color: #45818e; text-align: center;">hat[now]ART 124</div><i>Allmusic:</i><br />
Morton Feldman's For John Cage, written in the final phase of his career, is, typically for this period, a long work, almost 70 minutes. It is atypical, however, when one considers on how few occasions he actually wrote for this particular pairing of instruments: In 1951 there were "Extensions 1" and "Projections IV"; in 1963, he produced "Vertical Thoughts"; and again in 1978 he composed "Spring of Chosroes." The reasons are varied, but the one constant that runs through these works is how Feldman's palette of sonances, timbres, and textures could be achieved more forcefully by using these two instruments in his quest for "stasis." This term refers in Feldman's vocabulary to the effect achieved by the visual art of Mark Rothko and Philip Guston. In For John Cage, Feldman sets the piece in three movements where a minimum of notes are written in patters, played in varying time signatures, over and again, in slightly altered combinations of chords and tones. They are consistently modified to vary textural, polytonal, and even perceptual degrees, but never to the point of any linear modulation or scheme. For John Cage may repeat each sequence of notes -- in limited range -- and repeat them asymmetrically or symmetrically, this distinction doesn't matter to Feldman, who felt that if he could just achieve "stasis" within his music, the question would forever be in his words "held in abeyance." These patterned sections proceed from one another without reorganization or discernable system. But then, this work, as in all of Feldman's middle and late pieces, was about the relationships between note and silence and instruments and tones. For John Cage, meant to be played by both performers and listened to at barely audible volume, established enough displacement to achieve a kind of stasis in sound and in its relationship to the greater stasis: silence. Despite the seemingly endless academic theorizing he involved in his work, Feldman's music, and it's concern with gentleness, stillness, is music of great, if subtly expressed, emotion. Inspired by one of his longest personal and professional relationships, For John Cage is perhaps his most haunting and beautifully wrought for all of its alien construction and perceptual ambiguity. Indeed, it appears as if Feldman were, at the end of his life, attempting to free music from the only thing that weighted it to earth: itself.<br />
<br />
<b>Tracks </b><br />
1. I. - 25:17<br />
2. II. - 20:37<br />
3. III. - 23:18<br />
<br />
<b>Personnel</b><br />
* Josje Ter Haar - violin<br />
* John Snijders - piano<br />
<br />
<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B0000259V7/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0000259V7&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: For John Cage</span> </a></div> <img alt="" border="0" class="jpiplknwscojunttjdax" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B0000259V7" style="border: none !important; margin: 0px !important;" width="1" /><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-76011250948422489382013-10-25T11:39:00.000+02:002013-10-25T11:39:58.695+02:00Christian Wallumrod 2005 - The Zoo is Far<div class="separator" multilinks-noscroll="true" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZg0MrPQkRmZPZyKuGsAefm5It9eX9J8tI3Q2d4_wdyxc50UrqKIKwCRFUPGI6fvpbkeKhDEcyk4Mj-Zm9HaWm9-J6cJ4SYPDL0yRhMxn3gXJgj91B_IWr9jUcz5Gv0rtKOFFo816vgHAo/s1600/51Kz7-JHLqL._SY300_.jpg" imageanchor="1" multilinks-noscroll="true" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZg0MrPQkRmZPZyKuGsAefm5It9eX9J8tI3Q2d4_wdyxc50UrqKIKwCRFUPGI6fvpbkeKhDEcyk4Mj-Zm9HaWm9-J6cJ4SYPDL0yRhMxn3gXJgj91B_IWr9jUcz5Gv0rtKOFFo816vgHAo/s320/51Kz7-JHLqL._SY300_.jpg" /></a></div>
<div style="color: #45818e; text-align: center;">
<b>Christian Wallumrod - The Zoo is Far (2005)</b></div>
<div style="color: #45818e; text-align: center;">
jazz | 1cd | eac-flac-cue-log-cover | 320MB</div>
<div style="color: #45818e; text-align: center;">
ECM 171 7820</div>
<i>Allmusic:</i><br />
Norwegian pianist and composer Christian Wallumrød has been experimenting with various sonorities and musical colors since his first trio recording for ECM, No Birch in 1998. That group contained the roots of this one with trumpeter Arve Henricksen and percussionist/drummer Per Oddvar Johansen. Saxophonist Trygve Seim made the group a quartet for 2005's A Year from Easter. The pieces juxtaposed improvisation against tightly constructed themes and melodies, using the interval as the chief vehicle for moving, ever slowly, from one place to another. On The Zoo Is Far, Wallumrød has dropped the saxophone entirely, but created a sextet by adding three string players who include Giovanna Pessi on Baroque harp (an instrument that is constructed differently from the contemporary classical instrument and has a deeper lower register), violinist Gjermund Larsen, and cellist Tanja Orning. The music here is in some ways radically different. Most of these 24 pieces are short and draw from some Baroque sources, most keenly Henry Purcell's "Fantasias," the long psalmist tradition in Norwegian sacred music, and even Pakistani music. Where improvisation is present, it is within tightly scripted parameters. The reason is that Wallumrød is interested more in textures, shapes, and tonality. Oftentimes it is difficult for the listener to pick out individual instruments. The melodies come out of sonority, as well as the use of intervals to gradually shift through one theme into another apart from basic lyric structures.<br />
Indeed, most of these pieces are even grouped in alternating patterns to give the work a patchwork quilt feel, though no one work jars uncomfortably against another. Whether it is in the series of "Fragments," "Psalms," or the "Backwards Henry" (Purcell, of course) works, the sense of space and silence is the same, blending the individual pieces rather than simply juxtaposing them. During The Zoo Is Far's 70-minute duration, there are tracks that do stand out, such as the elegiac "Music for One Cat," where the lower registers of the harp, piano, and cello are blended almost symbiotically with the bass drum. Dissonance has its place here, but it carries no edges, such as on "Fragment No. 6," where the restrained tensions (the piano is in pianissimo for much of it) and the violin rise up from that silence to strike back at something in that chord pattern. One of the more delightful selections here is "Archdance with Trumpet," in which Henricksen plays his instrument nearly like some kind of flute; its sound is full of air and darkness, as Wallumrød plays repetitive -- nearly minimalist in structure -- patterns of single and double notes that bleed into and through one another, creating four chords from the echo of three. The hint of a glockenspiel is heard near the top of the mix. But it, too, is mysterious and ethereal. In contrast, the sketchy "Fragment No. 1" is outside the middle registers and rises from lower to middle on harp, violin, and piano. Henricksen plays these notes as well, but they are not immediately distinguishable. The final cut, "Allemande Es," seeks to combine virtually everything here in a very slow-moving, nearly murky piece. The sense of Baroque pomp asserts itself in the backdrop and in processional form, where the sharply juxtaposed tonalities of the "Fragments" are used in the spaces. Still more, the sense of the sacred that comes from the "Psalms" permeate the work, offering an anchored place for the music to unfold from and move back toward.<br />
The Zoo Is Far is far from being an academic recording, though the music is studied. To listen to The Zoo Is Far in the abstract is almost like hearing Stephane Mallarme's poetry; it contains those elements of lines that carry over, stopping just shy of collision with others, or of those disappearing into another so that the poem reads as a whole instead of as a series of lines -- the musicality is in the language itself. It is nearly impossible to take in the entire recording at one sitting; it distracts you from whatever you are doing instead and draws you inside its sometimes eerie, sometimes utterly moving flow. Manfred Eicher's production, with its reliance on space, silence, and merely the hint of reverb, assures a snug and warm fit with the ECM aesthetic -- but more than this, Wallumrød is composing from an entirely different place than most. His attention to sonority and quiet, and the disappearance of sounds (even as they form melodies and lyric shapes) is not that far removed from the preoccupation of the late Morton Feldman with the disintegration of form, though his approach to it is entirely different. Wallumrød isn't trying to do away with form, but is looking to break it down enough to create something else, something clearly not definable from its parts. The Zoo Is Far is a major step for Wallumrød compositionally, and a major boon to anyone willing to encounter it on its own entirely strange but immediately accessible terms.<br />
<br />
<b>Tracks </b><br />
01. Nash Lontano<br />
02. Backwards Henry II<br />
03. Parkins Cembalo<br />
04. Fragment no. 6<br />
05. Psalm Kvæn, solo<br />
06. Fragment no. 2<br />
07. Music For One Cat<br />
08. Arch Dance<br />
09. Psalm Kvæn, tutti<br />
10. The Zoo Is Far<br />
11. Fragment no. 7<br />
12. Backwards Henry I<br />
13. Fragment no. 3<br />
14. Detach A<br />
15. Need Elp<br />
16. Psalm Kvæn, trio<br />
17. Detach B<br />
18. Backwards Henry With Drums<br />
19. Arpa<br />
20. Detach C<br />
21. Arch Dance With Trumpet<br />
22. Fragment no. 1<br />
23. Psalm Kvæn, quartet<br />
24. Allemande Es<br />
<br />
<b>Personnel</b><br />
* Christian Wallumrød - Piano, Harmonium, Toy Piano<br />
* Arve Henriksen - Trumpet<br />
* Gjermund Larsen - Violin, Hardanger Fiddle, Viola<br />
* Tanja Orning - Cello<br />
* Giovanna Pessi - Baroque Harp<br />
* Per Oddvar Johansen - Drunms, Percussion, Glockenspiel<br />
<br />
<div style="text-align: center;">
<a href="http://www.amazon.com/gp/product/B000MX7Y4U/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000MX7Y4U&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: The Zoo Is Far </span></a></div>
<img alt="" border="0" class="vmcaiipkpydbtcugxntw" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000MX7Y4U" style="border: none !important; margin: 0px !important;" width="1" />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0tag:blogger.com,1999:blog-1212353193353468213.post-89660367659948405862013-10-03T12:13:00.000+02:002013-10-03T12:13:40.246+02:00Steve Tibbetts - Steve Tibbetts (1977)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0p6E1wzlvD3C4lSZDVQAMnTHXnc6pcw1SFLJEWZvg7Rcisq2H3tcrJao48MhNckevUysdoEuvFVE9y4ZtuKHkS-2xo6cGJkkaU_IqzadQEPzT-SQTfhjNzEqC_GpsBUVNJO2ljE9WPjyz/s1600/4184498HQGL._SX300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0p6E1wzlvD3C4lSZDVQAMnTHXnc6pcw1SFLJEWZvg7Rcisq2H3tcrJao48MhNckevUysdoEuvFVE9y4ZtuKHkS-2xo6cGJkkaU_IqzadQEPzT-SQTfhjNzEqC_GpsBUVNJO2ljE9WPjyz/s1600/4184498HQGL._SX300_.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Steve Tibbetts - Steve Tibbetts (1977)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-cover | 195MB</div><div style="color: #45818e; text-align: center;">Cuneiform 55009</div><div style="color: #45818e; text-align: center;"></div><i>Allmusic:</i><br />
At once his most accessible work and also very experimental, Tibbetts' first album was released independently in 1976 before being picked up by Frammis. He began recording it while an art student at Macalaster College in Minnesota in the electronic music studio of the school on a four-track recorder. Still working on the album when he graduated, he ended up finishing it clandestinely late at night by sneaking into the school. The resulting album of totally self realized songs is great fun to listen to, as he used the studio as an instrument, mixing tape loops and effects with impressionistic acoustic guitar playing. Even at this young age, he's equally at home with finger style guitar, psychedelic and world musics, and the soundscapes he creates are both introspective and adventurous. Highly recommended. <br />
<br />
<b>Tracks</b><br />
-1. "Sunrise" - 4:14<br />
-2. "The Secret" - 4:49<br />
-3. "Desert" - 4:39<br />
-4. "The Wonderful Day" - 2:20<br />
-5. "Gong" - 1:43<br />
-6. "Jungle Rhythm" - 5:37<br />
-7. "Interlude" - 1:52<br />
-8. "Alvin Goes to Tibet" - 4:16<br />
-9. "How Do You Like My Buddha?" - 5:06<br />
<br />
<b>Personnel</b><br />
* Steve Tibbetts - Instruments, tape effects, vocals and engineering<br />
* Tim Weinhold - percussion<br />
<br />
<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B000008T5P/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000008T5P&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Steve Tibbetts </span></a></div> <img alt="" border="0" class="mjktpebfyfnwjehlxyqv" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000008T5P" style="border: none !important; margin: 0px !important;" width="1" /><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-89527795051631712822013-09-30T11:03:00.000+02:002013-09-30T11:04:25.894+02:00Szabados Gyorgy - The Wedding (1974)<div class="separator" style="clear: both; text-align: center;">
<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAjaNObZXBcZlK3K27czt0UeGKNH_S81GSUu6HcmWxBnVY3tKhPnliF3GvPLXj_NnwbRLqm-eJFd0UP2fcViWlab7g-1uGD8UdmaKsRqr7FGOyvopqwLUvsROHQU-R19e1mNP29M6uYnl9/s320/300cover+1.jpg" /></div>
<div style="color: #45818e; text-align: center;">
<b>Szabados Gyorgy - The Wedding (1974)</b></div>
<div style="color: #45818e; text-align: center;">
jazz | 1cd | eac-flac-cue-log-cover | 495MB</div>
<div style="color: #45818e; text-align: center;">
Hungaroton HCD 71094</div>
<div style="color: #45818e; text-align: center;">
</div>
<br />
<i>booklet info:</i><br />
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<i></i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheiUOsjUvTvbg2fcqnQhBrJi7tEX7CljCncK7uFDwdEjYGWNoxVyAIOPzgtMJ77BykZZCOeUaj5GjMl4uGLg8r8ZpGW_GKr75b6mD6JmKeQhgs_Y00H87OZMgwf-YezbpE62J14PxTZpwE/s1600/info1cover+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheiUOsjUvTvbg2fcqnQhBrJi7tEX7CljCncK7uFDwdEjYGWNoxVyAIOPzgtMJ77BykZZCOeUaj5GjMl4uGLg8r8ZpGW_GKr75b6mD6JmKeQhgs_Y00H87OZMgwf-YezbpE62J14PxTZpwE/s200/info1cover+3.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI-htpbc2urLN8JFCn6FUCSXcF5J00GkzSNTMXbPbpO8oYo9KGzrmldXjsJlyilZ5dzvbo0B2rNXzgCyv6_0Q08Ntt6Mr2ZoZYhqwl6SrZxr0A6zJaXtUYQtcPVQd2wks5bcaH6L8N04D_/s1600/info2cover+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI-htpbc2urLN8JFCn6FUCSXcF5J00GkzSNTMXbPbpO8oYo9KGzrmldXjsJlyilZ5dzvbo0B2rNXzgCyv6_0Q08Ntt6Mr2ZoZYhqwl6SrZxr0A6zJaXtUYQtcPVQd2wks5bcaH6L8N04D_/s200/info2cover+4.jpg" width="200" /></a></div>
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<b>Tracks</b><br />
-1. The Wedding - 11:40 <br />
-2. Improvisation, Duo For Piano And Violin - 10:33<br />
-3. Miracle - 14:53<br />
-4. The Interrogation Of Irma Szabo - 9:09 <br />
Bonus tracks<br />
-5. B-A-C-H Impressions - 6:41 <br />
-6. World Dust - 12:18 <br />
-7. Ballad - 5:34<br />
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Personnel<br />
* Sándor Vajda - double bass<br />
* Imre Köszegi - drums<br />
* György Szabados - piano<br />
* Lajos Kathy-Horváth - violin, double bass<br />
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<div style="text-align: center;">
<a href="http://www.classicsonline.com/catalogue/product.aspx?pid=257593" target="_blank"> <span style="color: #bf9000;">sample & buy: The Wedding</span></a> </div>
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<br />durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0tag:blogger.com,1999:blog-1212353193353468213.post-74393210661120407142013-09-26T14:31:00.000+02:002013-09-26T14:31:08.004+02:00Bill Frisell - Have a Little Faith (1993)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJuwFfriYhhWiE4q2Z7jgX14vddrQpRlEJitHj-sZpFpKwOsnyBzBDMS_E178c9ZxBFl7ZP_GNWVC8KZDEMRhgkimvxfnKl0AcfwuiSZdsYxuJdVBbPUZdkICBQovqfHAFYohxVWSPwwjp/s1600/51J-WUzv9DL._SY300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJuwFfriYhhWiE4q2Z7jgX14vddrQpRlEJitHj-sZpFpKwOsnyBzBDMS_E178c9ZxBFl7ZP_GNWVC8KZDEMRhgkimvxfnKl0AcfwuiSZdsYxuJdVBbPUZdkICBQovqfHAFYohxVWSPwwjp/s320/51J-WUzv9DL._SY300_.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Bill Frisell - Have a Little Faith (1993)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-cover | 330MB</div><div style="color: #45818e; text-align: center;">Elektra/Nonesuch 7559-79301-2</div><i>Allmusic:</i><br />
Bill Frisell has long been one of the most unique guitarists around. Able to switch on a moment's notice from sounding like a Nashville studio player to heavy metal, several styles of jazz, and just pure noise, Frisell can get a remarkable variety of sounds and tones out of his instrument. This set features Frisell in a quintet with Don Byron (on clarinet and bass clarinet), Guy Klucevsek on accordion, bassist Kermit Driscoll, and drummer Joey Baron. To call the repertoire wide-ranging would be an understatement. In addition to eight melodies from Aaron Copland's Billy the Kid, Frisell and company explore (and often reinvent) pieces written by Charles Ives, Bob Dylan, Muddy Waters, Madonna, Sonny Rollins, Stephen Foster, and John Phillip Sousa. This is one of the most inventive recordings of the 1990s and should delight most listeners from any genre. <br />
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<b>Tracks</b><br />
01. "The Open Prairie": from Billy the Kid (Copland) - 3:11<br />
02. "Street Scene in a Frontier Town": from Billy the Kid (Copland) - 1:45<br />
03. "Mexican Dance and Finale": from Billy the Kid (Copland) - 3:44<br />
04. "Prairie Night (Card Game at Night)/Gun Battle": from Billy the Kid (Copland) - 5:02<br />
05. "Celebration After Billy's Capture": from Billy the Kid (Copland) - 2:17<br />
06. "Billy in Prison": from Billy the Kid (Copland) - 1:33<br />
07. "The Open Prairie Again": from Billy the Kid (Copland) - 2:34<br />
08. "The Saint-Gaudens in Boston Common": Excerpt 1 (Ives) - 0:41<br />
09. "Just Like a Woman" (Dylan) - 4:49<br />
10. "I Can't Be Satisfied" (Morganfield) (3:00)<br />
11. "Live to Tell" (Leonard, Madonna) - 10:10<br />
12. "The Saint-Gaudens in Boston Common": Excerpt 2 (Ives) - 3:05<br />
13. "No Moe" (Rollins) - 2:37<br />
14. "Washington Post March" (Sousa) - 2:05<br />
15. "When I Fall in Love" (Heyman, Young) - 3:26<br />
16. "Little Jenny Dow" (Foster) - 3:30<br />
17. "Have a Little Faith in Me" (Hiatt) - 5:39<br />
18. "Billy Boy" (Traditional) - 1:38<br />
* Recorded at RPM Studios NYC March 1992<br />
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<b>Personnel</b><br />
* Bill Frisell – guitar<br />
* Don Byron – clarinet, bass clarinet<br />
* Guy Klucevsek – accordion<br />
* Kermit Driscoll – bass<br />
* Joey Baron – drums<br />
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<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B000005J1S/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000005J1S&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Have a Little Faith</span></a></div> <img alt="" border="0" class="bcccohsmvlkiyalqmgyj" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B000005J1S" style="border: none !important; margin: 0px !important;" width="1" /><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0tag:blogger.com,1999:blog-1212353193353468213.post-74382574610186538002013-09-09T12:50:00.000+02:002013-09-09T12:50:21.662+02:00Baby Face Willette - Face To Face (1961)<div class="separator" multilinks-noscroll="true" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfdy_SWSZX9r-hiTcixp_5bLGpzGw-wX6DW64VchCQmcsz3HJeYTUq9aiHMF9Xv5GeJdU3KteUvjHSn2hEL6pMiBev5I6QeUOt4F2IaIcyi-f9zwFbgz4SnTadND8Qlnx-oiotdixsaPfJ/s1600/51QHuHqyNsL._SL500_AA280_.jpg" imageanchor="1" multilinks-noscroll="true" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfdy_SWSZX9r-hiTcixp_5bLGpzGw-wX6DW64VchCQmcsz3HJeYTUq9aiHMF9Xv5GeJdU3KteUvjHSn2hEL6pMiBev5I6QeUOt4F2IaIcyi-f9zwFbgz4SnTadND8Qlnx-oiotdixsaPfJ/s320/51QHuHqyNsL._SL500_AA280_.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Baby Face Willette - Face To Face (1961)</b></div><div style="color: #45818e; text-align: center;">jazz | 1cd | eac-flac-cue-log-cover | 375MB</div><div style="color: #45818e; text-align: center;">Blue Note/EMI | RVG 2007</div><i>Allmusic:</i><br />
While it's true that Baby Face Willette's Stop and Listen is widely regarded as his finest recording, this, his Blue Note debut from January of 1961, should not by any means be overlooked. After all, before this session he had the same lot as most Blue Note artists at the time; they played as sidemen on other's recordings before being allowed to headline their own dates. Willette performed on dates by Grant Green (Grant's First Stand) and Lou Donaldson (Here 'Tis). Face to Face boasts a mighty meat and potatoes soul-jazz lineup: Green on guitar, Fred Jackson on tenor, and drummer Ben Dixon. Comprised of six cuts, five of them are Willette originals. The evidence of the rough and rowdy side of Willette's playing is evident from the opener, "Swinging at Sugar Ray's." His approach to the B-3 is far more percussive than Jimmy Smith's, each note is a distinct punch; not only in his solos, but in his chord and head approaches. His solo is a nasty, knotty blues sprint that encompasses gospel licks and R&B fills, too. The other notable thing about the cut is Green's guitar break that shows a side of him we seldom got to hear early on, where he's bending strings, playing in the high register, and using intense single-note runs. It's nearly a breathless way to open a record. Things slow down on the blues "Goin' Down" that features a nice emotive solo by Jackson. The mambo-infused "Whatever Lola Wants" by Richard Adler and Jerry Ross comes next and includes some beautiful stop-and-and start moves in the melody, as well as beautiful call and response between Jackson and Willette, while Dixon's drums shift around the outside before the whole thing breaks down into a groover. The poppin' funky title track has one of those beautiful hard bop heads that's instantly memorable. Sure, it's not terribly sophisticated but it's full of soul and a relaxed yet quick group of changes before Jackson begins to blow. "Somethin' Strange" is pure blues, Chicago style, before moving into tough funky soul. The set closes with "High 'N' Low," a relaxed show-closing groove joint; it's all blues with fine contributions from Green, Jackson, and Willette. The two alternates are not necessarily revelatory, but they do keep the solid vibes happening for another 13 minutes or so. Certainly it's true that these compositions don't show a ton of imagination conceptually, but that doesn't mean anything. The group interplay here is the thing, it works seamlessly. The other notable is the looseness with which Green was playing on the date, and the true introduction of Willette's trademark approach to the B-3. That's all here. These tunes have their own little trademark knots and notches all over them. Highly recommended. <br />
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<b>Tracks</b><br />
1. "Swingin' at Sugar Ray's" - 6:35<br />
2. "Goin' Down" - 7:24<br />
3. "Whatever Lola Wants" (Richard Adler, Jerry Ross) - 7:21<br />
4. "Face to Face" - 6:17<br />
5. "Something Strange" - 6:42<br />
6. "High 'N' Low" - 7:07<br />
7. "Face to Face" [Alternate take] - 6:52 Bonus track on CD reissue<br />
8. "Something Strange" [Alternate take] - 6:41 Bonus track on CD reissue<br />
<i>All compositions by Baby Face Willette except as indicated</i><br />
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<b>Personnel</b><br />
* Baby Face Willette – organ<br />
* Grant Green – guitar<br />
* Fred Jackson - tenor saxophone<br />
* Ben Dixon – drums<br />
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<div style="text-align: center;"><span style="color: #bf9000;"><a href="http://www.amazon.com/gp/product/B000VTZK78/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000VTZK78&linkCode=as2&tag=lossworl-20"> <span style="color: #bf9000;">sample & buy: Face To Face </span></a></span></div><div style="text-align: center;"><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com1tag:blogger.com,1999:blog-1212353193353468213.post-24876024285740824332013-09-06T13:18:00.000+02:002013-09-06T13:18:53.447+02:00Cristina Branco - Corpo Iluminado (2001)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfpQ0LN3AhSSqT24s6rv_HCjY48gy5Wk5ewb1E3EBlu_gPECFiNFUt8dz670YubSiv_Zk2iSQjpZ-GmDoMAwZYzFfe3rgMU00Q0IRQyabD_P22_rxqwMtkrMCDDCsf7i8u9uqz32p4DQux/s1600/51Z35xYPh3L._SY300_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfpQ0LN3AhSSqT24s6rv_HCjY48gy5Wk5ewb1E3EBlu_gPECFiNFUt8dz670YubSiv_Zk2iSQjpZ-GmDoMAwZYzFfe3rgMU00Q0IRQyabD_P22_rxqwMtkrMCDDCsf7i8u9uqz32p4DQux/s320/51Z35xYPh3L._SY300_.jpg" /></a></div><div style="color: #45818e; text-align: center;"><b>Cristina Branco - Corpo Iluminado (2001)</b></div><div style="color: #45818e; text-align: center;">world, fado | 1cd | eac-flac-cue-log-cover | 250MB</div><div style="color: #45818e; text-align: center;">EmArcy 014 151-2</div><i>Allmusic:</i><br />
Cristina Branco might just be the best fado singer since the great Amalia Rodrigues, the woman who defined the genre. There's a subtlety to her voice that catches the emotions -- and fado, like blues or flamenco, is about feel -- and she never becomes histrionic, letting things stay in check, with the understatement much more eloquent. With this disc she refines and expands upon her two previous studio albums, even to the extent of the unaccompanied "Molinera" that closes the record, a song in a 13th century dialect. The musical relationship between Branco and husband Custodio Castelo, who arranges and plays the difficult Portuguese guitar (which gives fado its distinctive, mournful instrumental sound), continues to grow and deepen, while the other instruments -- guitar and double bass, build a framework for songs like the delicate "Musa." As with all fado, the lyrics are the crux of the matter, and Branco has chosen some beautiful poems (all well translated in the booklet), with "Tu Tens de Me Acontecer" a particular standout. But with a set this sublime, it's almost impossible to single out any one song above the others. There's a floating, breathless beauty about the whole thing that makes it timeless -- and over all too soon.<br />
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<b>Tracks </b><br />
01 - Corpo Illuminado<br />
02 - Meu Amor, Meu Amor (Meu Limao de Amargura)<br />
03 - Musa<br />
04 - Aconteceu<br />
05 - Meu Amor e Marinheiro<br />
06 - Memoria de Meu Bem<br />
07 - Que Fazes ai Lisboa<br />
08 - Portos<br />
09 - Aquele Tao Triste Dia<br />
10 - Locais<br />
11 - Disse-te Adeus e Morri<br />
12 - Mill Janelas<br />
13 - Rio de Nuvens VIII<br />
14 - Tu Tens de Me Acontecer<br />
15 - No Fundo do Pensamento<br />
16 - Molinera <br />
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<div style="text-align: center;"><a href="http://www.amazon.com/gp/product/B00005BG8I/ref=as_li_tf_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00005BG8I&linkCode=as2&tag=lossworl-20"><span style="color: #bf9000;"> sample & buy: Corpo Iluminado</span> </a></div> <img alt="" border="0" class="ebufxomfdjxruhcylgvr" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=lossworl-20&l=as2&o=1&a=B00005BG8I" style="border: none !important; margin: 0px !important;" width="1" /><br />
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durmollhttp://www.blogger.com/profile/02250439277365910154noreply@blogger.com0