Guitar, Anthony Paule, what a smooth sweet tone he plays with and develops. Most of the time I know at the drop of an eighth note what guitar a cat is playing but this Paule has the cross between that tube amped ‘Strat’ and a fat solid bodied ‘Paul sound. Very very tasty.

1. Incredible Journey Project Wet
2. Bob Mintzer Incredible Journey Rapidshare Free
3. Bob Mintzer Incredible Journey Rapidshare Download

If you love that smooth guitar then Anthony is your guitar man. Bass, Paul Olguin, a musician who plays with the band and not against it. One of my pet peeves is a bass player who over drives everyone on stage or in the studio. He knows all the right notes and all the right levels.

My kind of player. Keys, Julie Wolf, great keys seasoned just right and every now and then a pinch of that soulful sound I love so well the B3 sound. Drums, maybe the best for last? I really can’t say that with those guitar licks still right in front of me but Lee Thompson lays down the beat like a man torn between old style big band rhythms and an old school James Brown drummer held back for all he’s worth. Very very cool. All in all a band worth taking notice of now, on CD or live! Now lets get to Ms Lauren Jordan - I’ll admit the first hand full of tracks were the kind of blues one puts on, pulls up their cutie and pours a glass of fine red wine to enjoy along with the music.

That is until I got to track 6, ‘Stuck On A Plane’. Baby if this gal never studied the music of Janis Joplin I’ll be a monkeys uncle. Slow, sweet and about to explode at any second. You could cut her tension with a knife. Liquid dynamic with the drums laying down the style of less is more.

My kind of playing. It took several tacks for this CD to truly get my attention but now its got it. ‘Stuck On A Plane’, here comes that sprinkling of the Hammond sound, guitar leading strong but subtle block chord changes - building, building building! Oh yeah baby!

This is the sleeper gem of the whole CD. Now you won’t want to fast dance to this one but grab your baby and slow dance the night away with her, Lauren and the entire band!

Next is Angels Flying High. More of that Janis inspired soulful Blues, can’t be missed. I’m not going to tell you about every track on the CD except that within the recording are some of the tastiest tracks I’ve heard in a long long time!

Let Me Fly Away04. Little Diamond06. Stuck On A Plan07. I'm Tellin' You09. Smokin' Train10. Heaven Or Hell/ @ 320K.

As usual Bailey serves up a variety of great feels,grooves and of course incredible bass playing. Standouts include the opener “Ape School” wth some innovative slapping and tapping over a surprising supple dance/funk feel. We follow that up with the title track “Slippin’ N’ Trippin’,with a shockingly strong vocal performance by Bailey and a great drum track by the legendary Billy Cobham. Next is an incredible rendition of John Coltrane’s Countdown,featuring Ron Carter on acoustic bass. Then he slows things down with his lovely ballad “I Wonder”,and displays exceptional arranging skills on the classic song Alfie, featuring a rare performance on fretless bass. He puts in a fine vocal performance on “Like A Horn” featuring some of the best bebop bass playing ever heard anywhere.Included is an innovative rendition of the Prince classic “Kiss” recorded with all bass guitars.

We get a little gospel feel with “If You Say So” and finish off with the classic funk/fusion jam “Lucky Punch” featuring an amazing drum solo by Bailey’s former Weather Report bandmate Omar Hakim.With names like Hakim, Cobham, Lenny White and Ron Carter you can be sure this is music of the highest order. Ape School 02:112.

Slippin' N' Trippin' 07:073. I Wonder 05:114.

Countdown 02:265. Alfie 04:226. Like A Horn 05:387. If You Say So 05:228.

Slippin' N' Trippin' Part 2 01:589. Lucky Punch 06:49/ @ 320K. This versatility is one of the strengths of the Jazz Pistols. Even formed like a classic jazz trio the Jazz Pistols have developped a sensational variety of sound which they can easily translate live without the need for loops and overdubs. It is rare that Jazz-Rock - notoriously known as the music for musicians -is able to create this fascination on listeners - even when they normally don't like fusion music. The extraordinary density of sound, the catchy melodies of the complex pieces, and culture of the musicianship - the Jazz Pistols are quite different from similar bands. David Sanborn's distinctive alto is all over this set, caressing the melodies and playing short soulful solos in typical fashion.

Joined by an electronic quartet that features prominent work by Ricky Peterson on keyboards (including bass and drum programming), plus a horn section, Sanborn gives humanity and honest feeling to what could have been an anonymous effort. In addition to the many originals, the influential altoist plays tasteful versions of Wayne Shorter's 'Infant Eyes' and Eddie Harris' catchy 'Listen Here.' Scott Yanow, All Music Guide Tracklist:1. Relativity 04:562. Rikke 04:034. Listen Here 03:295. Spooky 03:586.

Missing You 04:537. Rumpelstiltskin 04:168. Infant Eyes 03:309. Southern Exposure 04:36/ @ 320K. First off is the fact that Nitti not only produced the album, but also composed and arranged all the tunes, which he performs using a combination of 5- and 6-string basses.

Careful not to make Liminal “just another bass record,” Adam takes an unselfish approach, giving plenty of room to the other band members to stretch out, treating everyone with equal importance. (Don’t worry, bass enthusiasts – there is still plenty of stellar bass playing, including slapping, tapping and other techniques that can be executed by no one other than Adam Nitti.). Julian Arguelles (born 28 January 1966 in Birmingham, UK) is a saxophonist. He is currently a member of the HR Big Band in Frankfurt am Main, Germany. Arguelles started playing with big bands including the European Community Big Band that toured throughout Europe. In 1984 he moved to London. He studied briefly at Trinity College of Music before joining the much acclaimed band Loose Tubes, staying with them for four years and recording two albums.

Please feel free to contact us for any queries. Electronic devices floyd 9th edition. Legal to use despite any disclaimer. We may ship the books from multiple warehouses across the globe, including India depending upon the availability of inventory storage. We also ship to PO Box addresses.Choose Expedited Shipping for FASTER DELIVERY Printed in English. In case of orders from Europe, custom charges may comply by the relevant government authority and we are not liable for it.100% Customer satisfaction guaranteed!

In 1986 he received the prestigious Pat Smythe award for young musicians. The first album by Julian Arguelles, Phaedrus, featured pianist John Taylor. The second CD Home Truths was a quartet which included Steve Swallow. Julian has worked with musicians drawn from around the world including Archie Shepp, Tim Berne, Hermeto Pascoal, Steve Swallow, John Abercrombie, Dave Holland, Peter Erskine, Chris McGregor, Evan Parker, Mike Gibbs, John Scofield, Carla Bley, Dudu Pukwana, Arturo Sandoval, and Giorgio Gaslini.

Julian is also a member of several big bands including The Kenny Wheeler Big Band, Django Bates' Delightful Precipice and Colin Towns' Mask Orchestra. Currently, Clemens is playing with the Michael Moore Quartet, Roelofs/Ruller/Feen trio, Harmen Fraanje Trio, Ensemble a l’improviste, Franz von Chossy Trio, Paul Wiltgen Group and the Toots Thielemans Quartet. Clemens also performed with Eric Vloeimans, Tony Malaby, Nelson Veras, Karel Boehlee, Nelson Veras, Seamus Blake, Gino Vannelli, Toon Roos, Rick Margitza, Bill Carrothers and many more. Clemens has been playing all over the world from jazz clubs in Paris and Tokyo to the Musikverein in Vienna and Carnegie Hall in New York. Since 2010, Clemens teaches bass at the Royal Conservatory in The Hague. After more than 25 years of playing and writing music focused in a particular direction—mixing folk music and modern jazz with the other styles of music—I am still in the middle of the process.

With each experience I get closer to what I feel is an ideal way of melting those sounds together, doing a crossover and coming to a point where one can say: 'it sounds fresh and original, it sounds like—good music!” Finding the right people and experimenting with different musicians and instruments is always a challenge. This particular project could be labeled “ethno jazz,” “folk jazz” or “Balkan jazz”. I call it simply “music.” Looking back at my early CDs like Transylvanian Dance, Back to the Roots, Balkan Jazz, Romanian Dance or Transylvanian Grooves, to name a few, I thought that Transylvanian Jazz would be a good title for the next project. This is the first project where I invited more musicians playing folk instruments than musicians playing conventional instruments. Everyone is a great player and a great personality on his own, so it was easy for me to line up the best grouping for each tune, to create a colorful group sound with a repertoire that is stylistically cohesive. I wanted to get the feeling and the mood of Transylvanian and Romanian folk music, to write or arrange a few songs like Hora Staccato, Lullaby or Colind in a very simple way and have fun playing them.

They have something in common: scales, rhythms, chord changes, melodies, atmosphere. And they sound organic.

It's like a picture, like a landscape with lots of details and contrasts. Hora Staccato is a violin standard that nearly every violinist has heard and played.

Grigoras Dinicu, a great Romanian violin player, wrote and performed it many times. Jascha Heifetz, another great classical violin player, arranged it for violin and piano and brought it into the classical repertoire. I kept the marvelous melody very close to the original but changed the comping and chords, alternating the original harmony with some poly chords and incorporating alternating time signatures. The melody is a fast 4/4 and the comping is an alternating slow 3/4 (half time) and fast 4/4. I am very glad that the Romanian Culture Institute (ICR) from Bucharest trusted me and my musician friends and supported this project. It is great music inspired by the great old tradition of the Romanian folk music. It may be more Romanian or Transylvanian jazz but it's still sounding like universal music, a little American, Eastern European, African, Oriental, pop, Indian and so on.

It is the music of our time. It has a strong rhythmic element, some gorgeous melodies, it swings, it grooves, you can dance if you want; you can just listen and dream if you like, it is yours now. We really enjoyed playing it. Just hear it and sing with us.

1 Transylvanian Wood 6:162 Bear Dance 7:373 Children' Song 5:054 Colind (#3) (dedicated to Bela Bartok) 5:195 Wedding Song At The Black Sea 4:536 Lullaby For Pinx (dedicated to George Enescu) 5:547 The Village Is Getting Drunk 6:108 Hora Funk 5:589 Doina & Girl's Dance 2:4310 dance from Maramuresh 7:4911 Hora Staccato 1:3912 Three Leaved Flower 3:10Personnel:Nicolas Simion clarinet, bass-ciarinet, soprano & tenor saxophones, cavalZoltan Lantos violinMartin Lubenov accordionGiani Lincan cymbalonSorin Romanescu guitarMartin Gjakonovski bassBoris Petrov drums-/ @ 320K. 'Light and Shadows' is the 23rd studio album released by the jazz fusion group Casiopea in 1997.Tracklist:01. Golden Wave02. Forbidden Fruits03. Chain Reaction04. Missing Days05. Speeded age06.

Don't Leave me Alone08. The Smile of Tender10. A Dressy MorningPersonnel:Issei Noro - GuitarsMinoru Mukaiya - keyboardsYoshihiro Naruse - BassAdditional MusiciansAkira Jimbo - drums (M-2,3,4,7,8,9,10,11), Electric Percussion & Timbales (M-1,3,5,6,7,9)Harvey Mason - Drums (M-1,5,6)/ @ 320K. Between a bevy of sideman dates, longstanding gigs with Yellowjackets and his own big band, and periodic small ensemble recordings like the unassuming and heartfelt In the Moment (Art of Life, 2007), Bob Mintzer has remained one of the busiest woodwind multi-instrumentalists in jazz for nearly four decades, since first cutting his teeth as youngster with drum legend/mentor Buddy Rich. Largely focusing on the rich bebop tradition and its various offshoots, Mintzer has always managed to remain relevant by placing himself into a multiplicity of contexts.

Mintzer visits the organ trio tradition on Canyon Cove, with a set of largely original material alongside one reworked standard and three free improvisations. It's hard for Mintzer to miss with this trio of equally players.

He's worked with drummer Peter Erskine countless times over the years, from bassist Jaco Pastorius' Word of Mouth big band to pianist Don Grolnick's overlooked mini-classsic, Weaver of Dreams (Blue Note, 1990) and the all- star Hudson Project (Concord, 2000). Mintzer's relationship with organist Larry Goldings is more recent; Canyon Cove was, in fact, originally intended for another organ great, Joey DeFrancesco.

But Goldings is far more than just a sub: with artists ranging from guitarist John Scofield and saxophonist Michael Brecker to piano icon Herbie Hancock— the in-demand keyboardist has traveled the full range of the jazz spectrum and beyond. All three players have more than enough cred in a range of tradition-centric projects to give Canyon Cove the same ring of truth of Mintzer's piano trio-driven In the Moment, though this time the reedman also includes three spontaneous, numbered improvisations, with guest Judd Miller on EWI, an electronic, wind-driven instrument that triggers sampled sounds and synthesized textures.

'Improv #3' runs at a fast clip, with Erskine's delicate ride cymbal driving the pulse, while the drummer's lithe brushwork propels the equally swinging '#2' and those same brushes give the set-closing '#3' its gently funky pulse. All three tracks feel preconceived, despite their in-the-moment nature, and feature Mintzer on bass clarinet, an instrument that he's made definitive in his work over the years.

There's even a nod to progressive rockers Emerson, Lake & Palmer on the energetic title track, though Goldings can't help but imbue the music, driven by Erskine's rockier pulse, with considerably more taste and far less excess than Keith Emerson, even at his most understated. It's evidence that even the most committed jazzers listen to music beyond its broadest purview. Still, Canyon Cove is, for the most part, a centrist affair that, like Mintzer's last small group disc, is an honest, unassuming and, consequently, thoroughly enjoyable affair. Morning Glory rises as a monument dedicated to all music; music that has come and gone, music in the making, and music yet to come.

Any genre, any emotion, any referent finds expression in this work, where introspection (“An Anonymous Soul”) mixes with euphoria (“Morning Glory”), love (“La nina de la calle Ibiza”) with grieving over a love that shall remain unspoken (“Mourning”), and a wink at baroque forms (“Benito”) with one at Ornette Coleman (“Zahori”). Two sides of a coin, and a strong enough argument to accept the invitation extended by these three boatmen to enlist on a journey where relentless search, uncertain outcomes, and constant surprises are the leitmotiv for them surely, but for us as well. Personnel:Agusti Fernandez - PianoBarry Guy - Double BassRamon Lopez - Drums and PercussionTracklist:Disc One Morning Glory01. La Nina de la Calle Ibiza02. Morning Glory03. Unfinished Letter04. An Anonymous Soul06.

Perpetuum Mobile07. The Magical Chorus09. Mourning A Sudden Appearance11. BelvedereDisc Two Live in New York01.

Don Miguel02. Rounds2-disc set containing Morning Glory and Live in New YorkCD 1 Recorded 5 & 6. February 2010 in 44.1 Estudi de Gravacio, GironaCD 2 Recorded live 14. May 2009 in the Jazz Standard, New York/ @ 320K. The smooth Jazz hit `Good to Go' is the best way to describe this project for Steve Oliver.

The guitarist puts you into a feel good mood right from the outset on the cut `Feeling Good'. The smooth work on `Tradewinds' lures you into a somewhat funky groove.

'Cool' definitely lives up to it name and his rendition of Buffalo Springfield's 'For What it's Worth' is quite impressive. Equally impressive is the talent accompanying him on the project, featuring: former Al Jarreau saxophonist Michael Paulo, Spyro Gyra's keyboardist Tom Schuman, bassist Gerald Veasley and Stevie Wonders trumpet player Steve Madeao. This CD adds a little pop flavor to the mix with `Bend or Break'. A softer side of Steve Oliver is manifested in `Shine' and `Across the Water'. Putting all these factors together for the Radiant project, I can truly say this album is `Good to Go'!

Bassist Jason Ajemian assembled a company of improvisers in December, 2006 at Heaven Gallery in Chicago as part of a music series he had been curating since 2002. The assemblage named Jason Ajemian's Daydream Full Lifestyles contained the infamous Chicago Underground players Rob Mazurek (trumpet), Chad Taylor (drums) and Jeff Parker (guitar), plus the well-traveled Tony Malaby (tenor saxophone), Ajemian's mentor from his university days.The result is heard here in a limited edition 180g vinyl release (also available as MP3).

This is not the concert in its entirety, but carefully elected sections, with pieces rearranged for album flow. As this is fully improvised sound, the reconstruction is an additional rephrasing by Ajemian and gives the music more of a composed feel.The bassist first caught listeners attention in the bands Triage (with Dave Rempis and Tim Daisy) and Dragons 1976 (with Aram Shelton and Daisy) and has since been heard with Mazurek in Mandarin Movie and Exploding Star Orchestra with Bill Dixon, just a few of nearly 20 bands of which he is a member. His debut recording The Art Of Dying (Delmark, 2008) made multiple 'best of' lists.The music, although improvised has a choreographed texture. That's attributable to the players, whose purpose is to make music. Grandstanding is not heard here. The players maintain an agreeable posture throughout.

For example, on 'Light Up,' a short blues ramble, Jeff Parker is disposed to support a line, Tony Malaby follows and Chad Taylor adds accents. The band is satisfied to keep tension to a minimum, and the lack of that tension/release formula makes these improvised pieces quite special. The surprise comes in the edit, where on two tracks, the music cuts off in midstream as a shock to the ears.Mazurek's trumpet and Malaby's saxophone are conversant and comfortable here. The longest track is 'Animal, Big Tree & River Steam' at 13:31 it is a meandering river of a song, that passes through several different systems of turbulence and calmness, arriving at an affable and simpatico destination. Mark Corroto, AAJ Tracklist:1. Still Building Your Life on Fear2. Your Concrete3.

Animal, Big Tree & River SteamPersonnel:Jason Ajemian (bass)Tony Malaby (tenor sax)Rob Mazurek (cornet)Jeff Parker (guitar)Chad Taylor (drums)-/ @ 320K. David Sanborn is joined on this CD by an orchestra arranged by Johnny Mandel for a set of music dominated by melodic versions of standards. Sanborn does not get all that far away from the themes (which include 'Try a Little Tenderness,' 'Smoke Gets in Your Eyes,' 'For All We Know,' 'This Masquerade' and a very emotional 'Everything Must Change' in addition to a few newer songs) but his sound is so soulful and full of passion that he does not really need to improvise much to make his point. It's a fine change of pace for the highly influential altoist. Scott Yanow, All Music Guide Tracklist:01. Willow Weep For Me02. Try a Little Tenderness03.

Smoke Gets In Your Eyes04. For All We Know06. Come Rain or Come Shine07. This Masquerade08. Everything Must Change09. Nobody Does It BetterPersonnel:David Sanborn - alto saxophoneOleta Adams - vocals, keyboardsLittle Jimmy Scott- vocalsDon Grolnick - keyboardsKenny Barron - keyboardsChristian McBride - acoustic bassMarcus Miller - bass guitarMark Egan - fretless bassSteve Gadd - drumsDon Alias - percussion/ @ 320K.

For his fourth Criss Cross leader date, alto saxophonist-composer David Binney convenes his primary New York working quartet of the 2000s (pianist Jacob Sacks, bassist Eivind Opsvik, and drummer Dan Weiss), adds to the mix guitar hero Wayne Krantz, with whom he works frequently in an electronica-oriented group, and augments the proceedings with several appearances by British pianist-composer John Escreet, a frequent partner in recent years. The leader plays with deep emotion and the concision of an old master; it's as strong a date as any in Binney's now sizable discography. Aliso (7:55)2. A Day In Music (7:54)3.

Toy Tune (8:51)4. Strata (9:14)5.

Teru (4:59)6. Fuchsia Swing Song (6:27)7. Bar Life (5:56)8. Think Of One (7:44)9. Africa (13:58)Personnel:David Binney - alto saxophonWayne Krantz - GuitarJohn Escreet - PianoJacob Sacks - pianoEivind Opsvik - bassDan Weiss - drums/ @ 320K.

Opening is an album so rich in the intricacies of melody that it never fails to surprise at every turn. The saddest aspect of the album is that it is all too short. But the biggest surprise of all is Carol Morgan, a trumpeter who seems to have awakened the urge to find parallels in phrasing with the great Clarence Shaw. The often discussed 'talking' style of playing attributed to men like Shaw, as well as trumpet players such as Louis Armstrong, Jabbo Smith, Bubber Miley and Rex Stewart, finds its new epitome in Carol Morgan. Her 'trumpet voice' is raw and husky, and it often slips into a velvety intonation that is so seductive it's impossible to resist. It stuns the inner ear into a kind of rapture that comes from being completely captivated by her sound.

The notes she plays—no matter how brisk the pace of the song is—are flawless. And because she has an uncanny sense of finding the right note to begin with, her phrases are brilliantly crafted and become lines that are as narrative in a riveting way as they are lyrical. With this album, Carol Morgan has clearly arrived and is set to take the trumpet world by storm. Raul d'Gama Rose, AAJ. Houston Person is a gentleman of jazz, a versatile player who honors the compositions he has assembled in his discography with a seemingly effortless approach that's elegantly sensuous and unabashedly romantic. Beautifully recorded by Rudy Van Gelder, Houston explores and elaborates on melodic themes with unhurried ease.

His lines are resolutely lyrical, gently toying with the melodies; reflecting upon rather than re-inventing each composition. It's just first-rate music played with exquisite taste and an emphasis on the sheer beauty of timeless tunes. Bleeker Street - 4:0102. I Cover the Waterfornt - 5:5903.

Moment to Moment - 4:4904. Freight Dance - 4:3705. Don't Take Your Love From Me - 6:1206. E Nada Mais - 4:5407. Just The Way You Are - 6:1608. Back In New Orleans - 6:0909.

All My Life - 3:3610. Love Won't Let Me Wait - 5:5111. Nina Never Knew - 3:52Personnel:Houston Person - Tenor SaxophoneTerell Stafford - TrumpetJohn Di Martino - PianoRandy Johnston - GuitarRay Drummond - BassWillie Jones III - Drums/ @ 320K. Originally from the small West African nation of Benin, guitarist Lionel Loueke has enjoyed a meteoric rise over the past several years.

In 28 and 29, he was picked as top Rising Star guitarist in Down Beat magazine's annual Critics Poll. His sophomore release for Blue Note, Mwaliko, follows up 27's acclaimed Karibu with a series of searching, innovative, intimate duets with Angelique Kidjo, Esperanza Spalding, Richard Bona and Marcus Gilmore. Loueke also includes three new tracks featuring his longtime trio with Massimo Biolcati on bass and Ferenc Nemeth on drums. Intro To LL07.

Hide Life/ @ 320K. Featuring a great selection of tunes, five originals from Dado plus four standards that include wonderful interpretations of Ivan Lins' 'Love Dance' and Jobim's 'Desafinado', the album is dedicated to Italian tenor saxophonist and friend Gianni Basso. The album also introduces Dado as a singer for the first time on the standard 'Here's to Life', which is performed as a tribute to another friend, drummer 'extraordinaire' Bobby Durham.

Both Gianni Basso and Bobby Durham passed away in the summer of 2009. Dado Moroni Dado is no newcomer to the recording studio. As well as leading and recording with his own trio, he has appeared on at least 24 albums over the past 15 years with such musicians as Jon Faddis, Clark Terry, Lee Konitz, Al Grey, Ron Carter, Ray Brown, Lewis Nash, Peter Washington and, of course Tom Harrell and George Robert with whom he has both toured and recorded widely.

He was also Ray Brown's 'first call' pianist whenever the great bassist toured Italy. Dado also appeared on the Ray Brown album, Some of 'My Best Friends Are.the Piano Players' (Telarc).Tracklist:1. Ballade Pour Gianni2. Brother Alfred3. The Duck and the Duchess5. For the Time Being8.

Shark Attack9. Here's to Life Recorded Oct 26-28, 2009 at Zerodiecistudio, Genova, ItalyPersonnel:Dado Moroni (piano)Peter Washington (bass)Enzo Zirilli (drums). This pianist and organist has been releasing solid, funky smooth jazz discs for a decade, but has never quite been given his due or been an upper-echelon artist.

On this likeable, easy grooving disc, he increases his chances for mainstream exposure by working with the infallible Dave Koz and the Temptations (on the dreamy, mid-tempo ballad 'I'll Always Love You') and Peter White, who wrote and plays on the spirited 'Workin' It.' It's great hanging with high-profile cats, but Smith - whose multifaceted approach is reminiscent of George Duke - does just fine on his own, as well, working up the moody, old-school soul-jazz groove on 'Rough Cut' (with brass enhancements courtesy of Norbert Statchel and Adolpho Acosta from Tower of Power) and the bluesy 'Vega.'

Another type of vibe is created on the island-themed 'Hali Imaile (The Maui Song).' Rough Cut 4:312. Just Enough 4:063. I'll Always Love You 5:115. Workin' It 5:156. Sunset Dreams 4:177.

Hali' Imaile 3:328. Friday 3:469. Tunisia 3:5910.

Perfect Circle 3:1811. Just Another Day 5:5112. Roger's Groove 4:2213. Friday (Remix) 3:47. This was the Kasper Villaume's first cd as a leader. It features the quartet about which a music critic wrote: 'This goes to show the raw strength of young Danish jazz!' Kasper Villaume Quartet is rooted in the great American tradition from the '60s, and with immense energy, intensity and impressive skills the young star shines behind the piano in close interplay with con- genial partners.

'Outrun' fulfils the unusually great expectations regarding Villaume and his quartet. Villaume's own compositions form the basis, and the quartet plays with breadth of view and great sense of dynamism and gives an energetic, rhythmically free and spellbinding idea of what modern quartet jazz can sound like.

Afterthat hot 'n greasy funk cover, I figure there must be some 'boners' outthere - so I close my shares for today with enough 'boners' to giveeven the wildest Edo Period 'pillow-talker' (whore) a nightmare -:&Inthe late ‘50s, trombone groups were all the rage; do a quick check ofdiscographies and see if you don’t believe me. Aside from The Jay &Kai Trombone Octet stars, Johnson and Winding are backed by an all-starrhythm section of Hank Jones, Milt Hinton, and Osie Johnson. Perhapsone the main reasons to listen to this album is the ‘trombonium’, anupright valve trombone (see below).The playing here is simplyterrific, as one would expect from these outstanding trombonists.

Incredible Journey Project Wet

Includes the beautiful tune Diane.I remembered that she was nothing but trouble and wondered why he wroteit for her. Re-reading his book recently, I noticed that he said it wasa better tune than she ever deserved.

It shut her up for a while,apparently.Art Pepper had a disaster of a life due to hisaddictions, but he made a number of superb albums which have inspiredother jazz performers ever since, and which continue to sell well. Thisis one of them, for which he was given the “gold standard” of modernjazz rhythm sections. These three cats played with Miles and plenty ofothers.

This combination, plus the contribution of Conte Candoli’ssmooth trumpet sound on three of the tracks, ensures a great-soundingsession. The final two bonus tracks of the nine were not on theoriginal LP. The first is an alternate take of the title tune, “Gettin’Together.” Two minutes longer than the original take, it has anextended solo by bassist Chambers. The closing track, “The Way You LookTonight” runs for six and one-half minutes, is very uptempo and full ofsome very creative treatments of the theme by Pepper. One of my favjazz ballad standards is Romberg’s Softly As in a Morning Sunrise.Pepper leads a very cool and relaxed version here, but with anunderlying rhythmic pulse that’s not felt with many of the “coolschool.”. T his is not a campaign for lung cancer awareness or an advert for tobacco;-)Followingup on Koolhip’s interest in the former member of the Bill Evans Trioand my previous post of the Manhattan Jazz Quintet, let’s take a peekat this Japan-only issue by Eddie Gomez.

Gomez became quite popularhere because of his work with Bill Evans, so the MJQ's founding waspartially based on his marketing “reach” and the ’greedy’ (:-)recording executives of King Records & Absord. As a former memberof the Bill Evans’ band, understandably Gomez never had the opportunityto lead a group. This ’76 outing, to the best of my knowledge was onlyissued here (although, I have seen it for sale on various NorthAmerican websites).While being only a hobbyist sax player, Ican only relate you my experiences to music from my novice perspectiveand unable as others to truly critique musical talent, but I do notthink this talented Puerto-Rican bassist wasted any time with thisdebut set as a leader. From the beginning, his talented solos areevident in this set of “free jazz” – make no mistake about it, this isa bass player of the highest caliber.

As well, one can betterappreciate his work and evolution as an artist. You willclearly hear the influence of ‘70s-Evans throughout this set enjoy!Eddie Gomez (b), Takehiro Honda (p), Eliot Zigmund (d); recorded 22-3 January, 1976 at AOI Studio, Tokyo01. Down Stretch05.

Starry Night06. Dream Passage. TheManhattan Jazz Quintet was formed in 1983 at the suggestion of KingRecords (Japan) and 'Swing Journal', a Japanese jazz magazine. Whilewe, here in Japan, have a devout following for MJQ, I am not sure ifmany of you have heard much. They became quite successful here, winningthe Gold Disk Award of Swing in '84. The Manhattan Jazz Quintetrecorded primarily for King in Japan, and although they had their twolater recordings cut for the Sweet Basil label, very few projects thatactually took place in Manhattan!Here is another group that we do notsee often around here; if memory serves me correct, back at C&D,there was one share.

It is fitting from my side of the ocean tooffer you all this hard swinging, dare say, and grooving jazz set. Asthe Duke might say, 'It don't mean a thing, if it ain't got that swing' enjoy!Set Highlights:- pulsing, hard swinging, 'Mr. – Soloff is notably in good form- fun, loopsy-doopsy, 'My Funny Valentine'- cool, classic swing, 'New York State of Mind' – Gomez is cool- bluesy, gospel underscored swing, 'S.U. Blues' – Matthews is awesomeDavidMatthews (p),Eddie Gomez (b), Lew Soloff (tp), George Young (ts), SteveGadd (d); recorded at Soundtrack Studio, N.Y. On 20 November, 198501. Round Midnight03.

On a Clear Day (You Can See Forever)04. My Funny Valentine05. New York State of Mind06. The groove isn't the only thing with grease around here.JimmyMcGriff was one of many jazz artists who combined funk and soul andmaintaining the original context of jazz. This '71 set simply adelicious slab of jazz-funk made from the finest ingredients (and Iwould love to taste something else!). The anchor to this superb set isthe electric bass of Richard Davis; he sets the frame that allowsMcGriff & Co.

To follow suit with sassy and loose (but not too farout) improvs. Of particular note is the multi-instrumentalist, JohnnyBoard's baritone sax work! An excellent side-man with southern roots,Johnny plays with a 'heartful' (soulful?) and emotional tone that isvery distinctive and long sought after - he came from a gospel-bluesbackground, this guy has played with just about everybody who is/wasanybody in Memphis-blues, R&B, big band, swing.

This may notbe the wildest of McGriff's work because here he shows his maturity asan artist and leader to improv and lead this cohesive groupeee-ahhh-aaahh-nn-joy!Set Highlights:- album cover - no questions.- album cover model - uummm, still no questions.- oh! Do not forgot to listen to these tasty morsels of funky jazzJimmyMcGriff (org), Horace Ott (ep), Richard Evans (eb), Everett Barksdale(g), Cliff Davis (fl/ts), Johnny Board (fl/baSx), Murray Watson (tp),Lawrence Killian (cga/tam), Marion Jj. Booker (d); recorded in New Yorkin 197101. Groove Grease02.

Plain Brown Bag04. There Will Never Be Another You05.

Canadian Sunset06. Red Sails in the Sunset09. Featuring Art Pepper's 1956 and 1957 Aladdin sessions, which have been issued on The Return of Art Pepper (Jazz West), Collections (Intro), Modern Art (Blue Note), Just Friends (Pacific Jazz), Solo Flight (Pacific Jazz), The Art of Pepper (Omega) and The Art of the Art(Nadja), Mosaic's 3-CD boxed set portrays the alto saxophonist infamiliar company, full of life and at his best. The collection includesseveral bonus tracks, alternate takes, and material that was previouslyavailable only on reel-to-reel tape.Mosaic's 24-bitre-mastering provides a clear sound that lets you appreciate thisartist who “grew” from Bird and who helped pioneer the cool school ofWest Coast Jazz. Pepper's attack was fast, fluid, and quick to turn ona dime.

He was equally adept at animated bebop antics as with a tenderballad.Paul Desmond's musical character was light andrhythmically swinging. Cannonball Adderley poured emotion from theheart. Sonny Stitt dove headfirst at a wild and furious pace, whilePhil Woods and Richie Cole have been linked to a balanced set ofmusical skills that have allowed them to follow any path they choose.Pepper's alto saxophone tone proved to be light, resilient, and filledwith rich overtones. He gave his audiences an upbeat feeling to goalong with the rhythmic syncopation and spontaneous improvisation ofmainstream jazz.Ten tracks include trumpeter Jack Sheldon withPepper, Russ Freeman, Leroy Vinnegar and Shelly Manne. This quintetcaptures the essence of West Coast Jazz. On “Straight Life,” the altosaxophonist drives with a hearty bebop character, as Red Norvo, GeraldWiggins, Ben Tucker and Joe Morello help to push the session's animatedcharacter into high gear.

Released in Morello's name, this one and fourmore tracks feature Pepper's clear instrumental voice with addedemphasis from the drummer, including extended solos and trading fours.Pepper plays tenor on “Tenor Blooz,” a rip-roaring adventure thatfeatures Norvo in animated, bebop-driven action.The tenselections from Modern Art feature Pepper's quartet with Freeman,Tucker and drummer Chuck Flores. His alto saxophone soars lightly witha delicate air. “Blues In” and “Blues Out” walk at a slow pace withheavy, underlying emotion, and “Summertime” drifts slowly with enduringpassion. Familiar standards and Pepper's fresh originals combine togive the listener a mixture of up-tempo bebop and beautiful ballads.Five selections from Just Friendsunder Bill Perkins' name, feature a quintet with Pepper, saxophonistPerkins, pianist Jimmy Rowles, bassist Tucker, and drummer Mel Lewis.Perkins' tenor adds a warm quality that complements Pepper'sfree-flowing melodies. Their integrated harmony gives the session anexotic character.Twelve tracks from The Art of Pepperand three alternate takes from feature Pepper's quartet with pianistCarl Perkins, bassist Tucker and drummer Flores (Disc-3). Theirinterpretation of classic songs in the bebop tradition comes from themainstream with consistent results. Pepper is fluid, Perkins comps andsolos with force, Tucker walks the bass conversationally, and Florescolors every song with complementary textures.

The Latin beat of“Beguine the Beguine” provides an exotic ambience. “Summertime” turnsout dry and empty. “Body and Soul” keeps much of its luster throughPepper's heartfelt interpretation of the melody; however, Perkins'piano counterpoint proves heavy-handed and unnecessarily dense.WhileDisc-3 remains the weakest of the 3-CD set, Mosaic Select 15 brings ArtPepper into our living rooms with great care paid to re-mastering hisoriginal sound. The adventures are varied, but the alto saxophonistprovides us with nearly four hours of great memories. Recommended, thisArt Pepper compilation captures the spirit of a bright light fromjazz's not so distant past.

Bob Mintzer Incredible Journey Rapidshare Free

Jim Santella. Here'sPacific High Studios from 71.

It's in excellent quality soundboard. Ithink that's it for my '70s Van stuff that's sbd/fm (I wish I hadmore). I have a few audience recordings from the 70s but the soundquality isn't good enough to warrant posting them. I do have a few morerecent post-'70s that I think I'll post soon.Van Morrison9/05/71Pacific High StudiosSan Francisco, CASBD ?

CDR EAC SHNDisc 1:01. Into The Mystic 06:0102. I've Been Working 06:2603. Friday's Child 05:5504. Hound Dog 03:0505. Medley: Ballerina Tupelo Honey Wild Night 20:5106.

Just Like A Woman 08:13Disc 2:01. Moonshine Whiskey 07:5902. Dead Or Alive 05:3003.

You're My Woman 06:0904. These Dreams Of You 03:2905. Domino 06:1006.

Call Me Up In Dreamland 03:4307. Blue Money 04:2507. Bring It On Home 04:1708.

Buena Sora (sic) Senorita 03:47. Themost prominent baritone saxophonist of his generation, Bluiett combinesa blunt, modestly inflected attack with a fleet, aggressive technique,and (maybe most importantly) a uniform hugeness of sound that extendsfrom his horn's lowest reaches to far beyond what is usually itshighest register. Probably no other baritonist has played so high, withso much control; Bluiett's range travels upward into an area usuallyreserved for the soprano or even sopranino. His technical masteryaside, Bluiett's solo voice is unlikely to be confused with any other.Enamored with the blues, brusque and awkwardly swinging — in hishigh-energy playing, Bluiett makes a virtue out of tactlessness; onballads, he assumes a considerably more lush, romantic guise. Like hislongtime collaborator, tenor saxophonist David Murray, Bluiettincorporates a great deal of conventional bebop into his free playing.In truth, Bluiett's music is not free jazz at all, but rather aplain-spoken extension of the mainstream tradition.Bluiett wasfirst taught music as a child by his aunt, a choral director.

He beganplaying clarinet at the age of nine. He took up the flute and bari saxwhile attending Southern Illinois University. Bluiett left collegebefore graduating. He joined the Navy, in which he served for severalyears. He moved to St. Louis in the mid-'60s, where he met and playedwith many of the musicians who would become the musicians' collectiveknown as the Black Artists Group — Lester Bowie, Charles 'Bobo' Shaw,Julius Hemphill, and Oliver Lake, among others.

Bluiett moved to NewYork in 1969; there he joined Sam Rivers' large ensemble, and workedfree-lance with a variety of musicians. In 1972, Bluiett's avant-gardegarrulousness and his competency as a straight-ahead player gained hima place in one of Charles Mingus' last great bands, which also includedpianist Don Pullen. Bluiett stayed with Mingus until 1975. In 1976, herecorded the material that would comprise his first two albums as aleader, Endangered Species and Birthright.In December of '76,Bluiett played a one-shot concert in New Orleans with Murray, Lake, andHemphill. That supposedly ad-hoc group continued to perform and recordas the World Saxophone Quartet, which in the '80s became arguably themost popular free jazz band ever. The WSQ's early free-blowing styleeventually transformed into a sophisticated and largely composedmelange of bebop, Dixieland, funk, free, and various world musics, itscharacteristic style anchored and largely defined by Bluiett's enormoussound.

Bluiett continued to record and tour with the WSQ through the'80s and '90s; he also led his own ensembles and recorded a number ofstrong, progressive-mainstream albums for Black Saint/Soul Note. By themid-'90s, Bluiett was recording and supervising sessions for MapleshadeRecords.

Ashe did to celebrate his 50th birthday, Stan Getz performed at theMontmartre Club in Copenhagen at the time of his 60th birthday. Thisenjoyable set (mostly lengthy versions of standards) finds the veterantenor still very much in his prime and greatly assisted by pianistKenny Barron, bassist Rufus Reid and drummer Victor Lewis.

Worthpicking up. Scott YanowStan Getz’s greattalent was universally acclaimed by music fans and fellow musiciansalike. His playing always showed the early influences of Lester Youngand it was not without flavours of Charlie Parker.

On ballads his tone,melody and flowing lines were often executed with the sensuality of BenWebster.‘Anniversary’ was recorded live in Copenhagen in 1987 –four years before he died. One of his finest partnerships came at thistime and here the ‘mature’ Getz is joined by Kenny Barron, piano –Rufus Reid, bass and Victor Lewis, drums. Not only were these three ofthe most popular accompanists around they were chosen by Getz becausehe admired their work, they could work off each other and he felleasily into their ideas and new directions.Commentators haveoften claimed that many jazz creators reach the climax of their musicalcareers by the age of thirty. Not so with Stan Getz as ‘Anniversary’shows – this honest and beautiful music came during the last years ofhis life. As with so many of the ‘jazz greats’ Getz walked a tightropethroughout his life but he managed to leave us with a wealth of qualityrecordings.

This music will live forever and the re-issue of‘Anniversary’ will enable the future generation to realize the joy andintensity of his work.It is well recognized that Stan Getz wasone of the finest saxophone players that ever lived. Ben Webster wasrenowned for his ballad playing and the intense feeling he put into aperformance. Getz was the same – there was so much in his expressivegenius that it could bring tears to the eyes. On the other hand when hewas ‘cooking’ on an up tempo number ‘Stanley the Steamer’ was up withthe very best.

There is no need to highlight or go into detail on anyof the seven tracks on ‘Anniversary.’ Each has its own qualities andcharacter and throughout Getz and his three companions turn in aperformance par excellence. Tosay that John Coltrane is one of the greatest jazz musicians in thehistory of the genre is to utter a banal truism, but amid all of the(well-deserved) hubbub over Giant Steps and A Love Supreme, it isextremely edifying to pick up this 1958 effort and hear how well theman could play standards and especially ballads. Assisting him in thisworthy endeavor are various combinations of Earl May and Paul Chamberson bass and Louis Hayes, Albert Heath, and Art Taylor on drums. Withouta piano supplying much of the harmony of the song, Coltrane isextremely exposed, having to rely upon his own melodic inventiveness toground his improvisations in both the chords and melody of the tuneitself, while simultaneously commenting upon them.

It's a difficulttask, but one for which Coltrane is uncommonly prepared. Throughout therecord, the saxophonist sounds more like Charlie Parker than usual,especially on the terrific 'Like Someone in Love,' but that doesn'tmean that he doesn't get some of his own best licks in as well.Saxophone ballads are rarely more interesting and more beautiful. TheLatin groove to 'I Love You' is a delight, especially so consideringthat the rhythm section sounds like it's going to fall apart at anysecond.

The sole deviation from the saxophone trio format featuresassistance from Red Garland and Donald Byrd on a reading of 'LushLife,' which is so perfectly realized that one begins to wonder whysuccessive generations of jazzers still persist in attempting toimprove upon it. A perfect track and a perfect album, one welldeserving of its classic status. From1950 to 1975 harmolodics has always existed in my writing and playing.Yet I did not have a Harmolodic Band to compose and perform with as aworking band. I often speak about being a composer that performswithout prejudice of environment.Enter - Prime Time in forminga Harmolodic Band, where the needs of the composer and the playersfound challenging questions. Prime Time is not a jazz, classical, rockor blues ensemble. It is pure Harmolodic where all forms that can, orcould exist yesterday, today, or tomorrow can exist in the now or themoment without a second. Ornette Coleman, from the liner notes toBody Meta.

Inreturn for all of the hard work Ego et al, and just when you thoughtyou had enough, I would like to offer up this beauty from ‘Trane’sseemingly endless catalogue -By the time of this set’srecording, Coltrane had already become a noted artist from his workwith the Davis Quintet. This was also a point in his evolution as anartist of expanding rhythmic and harmonic complexity.

“Interplay for 2Trumpets and 2 Tenors” has been criticized as a marketing ploy in orderto prove that Coltrane was not out of touch with traditional jazzvalues. From the opening to the closing, “Interplay for 2 Trumpets and2 Tenors” is what the title says – an ensemble sound of tenors andtrumpets. I think what is most interesting about this set is thecontrast between Coltrane and Sulieman (hot & fiery) versus Jasparand Young (‘cool school’).This set has a classic rhythmnsection with Waldron, Burrell, Chambers and Taylor. The tracks arenearly all originals by Waldron. For my money, this star of this albumis not ‘Trane but Waldron – he was the composer, soloist andaccompanist.

Waldron style and sense are quite apparent as he supportsTrane on ‘Anatomy.’ Burrell does what he does, although this isprobably not one of his better sets (or was designed to be). Waldronallows the action to ebb and flow but never overcrowd Coltrane, lettingChambers and Taylor carry the beat, as the piano accents keep the tunein everyone’s mind. Asa “non-black” (only 'half-yellow'), it was always a challenge to headover to the South Side music clubs of Chicago in the '60s & '70s tolisten to jazz, blues or soul concerts. Driving down from the bland,'milk-like' North Side streets, my friends and I never knew if we wouldbe allowed inside the South-side clubs – I will not say prejudice, butperhaps just the rarity of non-blacks appearing at the doors causedmany a night of pleadings with door-men. In those times, Chicago was,sadly, more clearly divided by race and class. It must have been – oh –1970 when I first saw Willette play.

He and his trio followed JohnWright (see my 15th May post) on stage. Wright was a hometown boy, anda true south-sider with a big following of family and friends.Irecall how Wright and his band were so energetically cheering a ‘guy’named – ‘Baby Face’; I never heard of him at that time. He did not‘look’ to me like he was a jazz legend.

I was told that night hercorded for Blue Note and such people as Lou Donaldson. However, as Inow know, his legacy is all to rare -two albums with Blue Note and twoalbums with Argo, before disappearing from the jazz scene.Wewere told that night he was living in a shelter run by the localchurch, and only made enough money from occasional appearances to eat.I also recall his son (I think?) being brought on stage to sit next tohim at the organ. That experience reminded me of how much we,North-siders, were really outsiders to a part of Chicago – but we weregraciously (sometimes) allowed a peek inside to share a world of music.Stupidity of youth, if I had only known who ‘Baby Face’ was or how hislegend continues to grow. enjoy!Set Highlights:- Jackson’s husky tenor should not be missed!- Grinding, gritty blues-style organ work from ‘Baby-Face’‘BabyFace’ Willette (org), Grant Green (g), Fred Jackson (ts), Ben Dixon(d); recorded at Van Gelder Studios, Englewood, NJ on 30 January, 196101.

Swingin’ at Sugar Rays02. Goin’ Down03. Whatever Lola Wants04.

Face to Face05. Somethin’ Strange06. High ‘n’ Low. Havingdeveloped his trademark sound from work with Herman and Kenton, Rogersshows his appreciation for one of his early influences, Count Basie.Here Shorty Rogers his big band pay tribute to ‘The Count’ with nineBasie tunes and three originals by Rogers. These tracks reflect thebounce of Basie and the “cool” that Rogers had been developing sincethe late ‘40s.

Shorty’s band personnel look like a “Who’s Who of BigBand Jazz”.As far as my unprofessional ears are concerned,Rogers’ original tracks are characterised by Basie-like patterns ofpiano chords, the walking bass with crisp sax and brass riffs, andexplosive dynamics. For the bandwidth time alone, the clarinet solos ofJimmy Giuffre are worth checking out this lovely album. This set reinstates a number of important piano recordings made forPacific Jazz (and in the case of Jimmy Rowles Liberty). Russ Freemanand Rowles were seminal to so much of the important music that emanatedfrom Los Angeles in the '50s and '60s that their achievements would befar too many to list here. Freeman's hard swinging style is featured on14 tracks made between 1952 and '57. Rowles, an encyclopedic pianomaestro, is represented by his rare Liberty album Rare - But Well Doneand two Pacific Jazz tracks, made the end of sessions by others.RichardTwardzik was a startlingly original pianist/composer on the Bostonscene in the early '50s. Russ Freeman heard him there and convincedPacific Jazz to record him.

Ironically when he died of an overdose inParis on October 21, 1955, he was Russ's replacement in the Chet Bakerquartet. These seven trio selections represent the only music herecorded professionally as a leader.Clare Fischer, the onlyliving pianist represented on this set, is best known for his brilliantwriting. His abilities as a commanding, inventive jazz pianist havetaken a back seat to other achievements. His first two albums, includedhere, are marvelous trio sessions that feature three of the greatestbassists on the LA scene at the time: Gary Peacock, Ralph Pena andAlbert Stinson. Clare consented to the release of three unreleasedtunes from these sessions. Heres a great one from oliver lake,’ the prophet’a marvellous tribute to his obvious forebear eric dolphy.No dolphy fan’s going to be disappointed by this.Theversion of hat and beard alone is worth the dl, killer stuff, andtrumpeter baikida carrol is superb throughout,much better than hubbardfor my money.Heres the somewhat curt descriptive though hardly enthusiastic review from amg.by Al CampbellFollowing the release of his advanced live trio recording, alto saxophonist Oliver Lake recorded a relatively straight-ahead date, The Prophet, a tribute to.

Released on the Black Saint label in 1980, The Prophet combines Lake's (and 's) ability to blur the line between post-bop and avant-garde jazz on threecompositions ('Hat and Beard,' 'Something Sweet, Something Tender,' and'Prophet') with three Lake originals. This is not the only tribute to that Lake would record; 16 years later he issued, also on Black Saint, with a different band.

Filling a requestThelate '60s and early '70s played a great role in the development ofyouth culture and politics, but it was also a heady age for jazz, wherethe great changes of funk, rock, and counterculture seeped intoimprovised music and changed it forever. Not only were the establishedmovers and shakers of jazz creating a stir, but also several new voiceswere greatly affecting what jazz could and would be. One of the mosteclectic and brilliant of these was Carla Bley.Bley in manyways can be seen as one of the few great jazz composers of the post bopera.

The pianist is often regarded more for her work as a composer thanfor her chops. For an early example, on her then-husband Paul Bley'samazing ESP release Closershows off some of Carla fine work as a composer. During this period,she became one of the founders of the Jazz Composer's Guild Orchestrabefore becoming a cult icon in the world of avant-garde jazz. In 1967vibraphonist Gary Burton recorded her genius song cycle A Genuine Tong Funeral,where she was also featured as a pianist. This record first gave herpublic attention and led to her composing and arranging one of jazz'sfinest anti-war records, Charlie Haden's Liberation Music Orchestra.But the record that brought her into the full realm of jazz was Escalator Over the Hill.Escalator Over the Hillis a huge, expansive, and all-encircling work that was originallyreleased on a three-LP set. Even today, that seems a bit extreme for adebut release, but it's even more remarkable given that jazz at thetime was experiencing a severe decline in popularity. But what is evenmore interesting is that the record works on the premise of being aconceptual opus.

Though it has often been described as a jazz opera,that description fails on many levels. An opera, no matter howabstract, tells some sort of a story. Nowhere on this set are there anylyrics written by Paul Haines that really suggest a cohesive narrative.Thework by Haines, who is classified as a “jazz poet,” consists of equalparts rambling beat poetry and interesting yet nonsensical lyrics thatwork more in the context of Captain Beefheart’s Trout Mask Replicathan inside a unified story structure.

Yet his bits are interesting andreflect the “far out” surrealism and dadaism that was a big part ofthis period. Although the lyrics are bit crazy, they appeal the freechaos of the record and even flesh out the overall ideas projected onthe album. The album does work as a concept record, much in the sameway as the Beatles' Sgt. Pepper’s Lonely Hearts Club Band, the Mothers of Invention's Freak Out!, or Ornette Coleman's orchestral masterpiece Skies of America. Working from track to track with bits of poetry and vocals, the record comes alive in a variety of ways.Throughoutthe record Bley’s piano works in the background and allows her skillsas a composer come to the forefront. As well, she shows a determinationto work from traditional elements to all other extremes of music.

Hercombinations, ranging from bop to Kurt Weill's pre-WWII cabaret musicto the sort of pure, raw aggression that could easily fit onto an earlyAnthony Braxton record, make this one of most interesting works in thecanon of avant-garde jazz. Between the thirteen-minute cut-up openingpiece “Hotel Overture” and the all-encompassing, Zappaesque 27-minuteclosing epic “.And it's Again,” there's nothing left to theimagination.Much like discs by the aforementioned Frank Zappa,the record utilizes rock at a variety of points that displayaggression. Unlike Zappa's music, the rock doesn't really sound orgrasp the conventions of rock music; here it seems merely like a tool,rather than a wholehearted expression, unlike the use of world musicand jazz on the album. Unfortunately, at times the use of rock mixedwith vocals sounds a bit too much like it might fit into the rockmusical Hair. Being the first of its kind, Hair sounded like what New York theater composers and playwrights thought rock music and youth culture should sound like. But Hairwas a product of its period as is this record. Musicians like Zappa andSteely Dan would find the perfect alchemy of rock and jazz.Notto say that this set does not work.

This opus is truly one of the mostunique recordings that has ever graced modern music. Due to Bley'sunrelenting fearlessness in surrounding her compositions withinfluences from around the world, this results are all the richer.Interestingly enough, the record features vocals from a young LindaRonstadt on “Why,” some clarion trumpet from Don Cherry, and a triocomposed of John McLaughlin, Jack Bruce, and Paul Motian. As well,Carla gets started with early experimental big band pieces here.Overall this now two-CD set may seem a bit dated and grandiose, butnostalgic expanse is one of the great features of Escalator.It sounds unlike any other jazz recording ever.

The genius of CarlaBley and the amazing ideas she incorporates into this record (and itsfollowup, Tropic Appetites) make it worth searching out. Trevor MacLaren. Charlie Parker - Complete Savoy Live Performances: Sept. 29, 1947-Oct.

25, 1950Thisfour-CD set contains a somewhat streamlined presentation of Parker'scomplete known live broadcasts from New York's Royal Roost, datingduring 1948 and 1949, augmented with five of the live September 29,1947, Carnegie Hall recordings and one lower-quality tape made inChicago during 1950. The vitality of these performances still radiatesoff the tapes in whatever format they're reproduced 50-plus years later— the interaction between the bandmembers, which include Miles Davis(or Kenny Dorham) on trumpet and Max Roach at the drums, and TaddDameron or Al Haig at the ivories, is spellbinding. The differencebetween these performances and Parker's studio work of the period isthat he was always 'on' for the broadcasts, and had already achievedsomething of a peak that he still missed in his studio work of the era— those along with him rose to the occasion, as witnessed by KennyDorham's playing on Miles Davis' 'Half Nelson' in December of 1947. Onthe other hand, nobody could touch Parker when he was at his peak onstage, which he ascends easily on a jam set to Irving Berlin's 'WhiteChristmas.' The Chicago material, which exists on a separate CD fromSavoy (One Night in Chicago), isn't as well recorded — the rhythmsection is muted, and the balances are off, but Parker is certainlyaudible, and hearing his improvisations on material like Rodgers &Hart's 'There's a Small Hotel' is worth the price of the disc, even onwhat amounts to a good audience tape. The source material has been verycarefully mastered, striking a good balance between clean playback andfidelity to the original performance, and the dozens of pages of notesrepresent virtually a separate, free-standing book on Parker duringthis period in his career.

Bruce Eder. Jeanlafite says: this is a winner, as i am sure you already know. Afrighteningly tight unit. Money all the way, i think i like angel citybest. Last time through anyway.Track listing1. Man FromMonterey2. Love Theme From The Sandpiper4.

Groovin' High5.Be's That Way6. Things Are HereDizzyGillespie (trumpet), Gil Fuller (arranger & conductor), FreddieHill, Harry 'Sweets' Edison, Melvin Moore, John Audino (trumpets),Lester Robinson, Francis Fitzpatrick, Jim Amlotte (trombones), HermanLebow, Sam Cassano, David Duke, Alan Robinson (French horns), BuddyColette, Gabe Baltazar, Bill Green, Carrington Visor, Jr., Jack Nimitz(reeds), Phil Moore, III (piano), Dennis Budimir (guitar), Jimmy Bond(bass), Earl Palmer (drums).

Thetango nuevo has a new champion in pianist Ziegler, who is wellqualified since he was with grand master Astor Piazzolla's bands in thelast years of Piazzolla's life. This music is even more challengingthan Piazzolla's, jazz oriented/not swinging, less dominated by thebandoneon, more piano and electric guitar lead. Ziegler's core band isWalter Castro-bandoneon, Enrique Sinesi-guitar, Horatio Hurtado-bassand Horacio Lopez-drums, they play on 10 of the 12 tracks, recorded inBuenos Aires, Two other cuts with a different band featuring tenorsaxophonist Joe Lovano were waxed in NYC. Once again this is not musicstrictly in the tango tradition or following the path carved byPiazzolla, but entirely new, creative sounds inspired by the moderntango. The three selections that pay tribute to A.P.

Thisspectacular session was recorded during the magical years Kenny Barronjoined Stan Getz to form one of the better groups toward the end ofStan Getz’s long and hallowed career. Lewis and Mraz provide wonderfulsupport as well. There are a number of additional recordingsdocumenting the Getz-Barron partnership. I’ll post them over the nextseveral weeks.Tenor saxophonist Stan Getz found a perfectaccompanist in pianist Kenny Barron, who would regularly play in hisgroup for his last five years. This out-of-print Black Hawk LP findsthe pair, along with bassist George Mraz and drummer Victor Lewis,performing two standards and four more recent pieces, including two('Dreams' and 'Voyage') by Barron.

The music is difficult to classify(modern bop?) but relatively easy to understand; Getz never coasts. Review by Scott Yanow.

Onthis somewhat obscure Black Lion release (which has been reissued onCD), Donald Byrd teams up with fellow trumpeter Johnny Coles, pianistDuke Pearson, bassist Bob Cranshaw and drummer Walter Perkins for a setof music dominated by hard bop originals; 'Angel Eyes' and 'Out Of ThisWorld' are the only standards. Augmented by three previously unreleasedalternate takes, this straightahead session finds Cole's brittle tonesounding more distinctive than Byrd's (who is in more of a Lee Morganvein) but everyone plays well. Recommended Scott YanowDonald Byrd, Johnny Coles (trumpet)Duke Pearson (piano)Bob Cranshaw (bass)Walter Perkins (drums). More Van for you. This one is a classic.excellent sound qualityVan Morrison Fillmore West - San Francisco, California April 26th, 1970stereo soundboard1.

Glad Tidings3. Come Running 5. The Way Young Lovers Do6. Brown Eyed Girl8.

And It Stoned Me9. These Dreams Of You10. Cyprus Avenue12. Into The MysticMusicians:Van Morrison - Lead Vocals, rhythm guitar, saxCollin Tilton - Tenor sax, fluteJack Shroer - Alto/soprano saxJeff Labes - Piano, OrganJohn Platanian - Lead guitarElias Shaar Dahaud - DrumsJohn Klingberg - Bass guitar. Hubert Laws “In the Beginning” (1974, CTI CTX 3+3)Scott“Fair-Weather-Reviewer” Yanow wrote, “This double album featuresflutist Hubert Laws at his finest. The music ranges fromclassical-oriented pieces to straight-ahead jazz with touches of ‘70sfunk included in the mix. The supporting cast includes Bob James(kybrd) on most tracks, Gene Bertoncini (g), Ron Carter (g), Steve Gadd(d), three strings, and Hubert’s brother Ronnie on tenor (his solo onColtrane’s ‘Moment's Notice’ is arguably Ronnie’s best ever on record).Whether it be works by Satie or Rollins, this recording is one of themost rewarding of Hubert Laws’ career.”Jazz-Nekko adds, “In theCTI tradition of distinctive cover art, this one has to be my favorite.In fact, I bought the LP solely because of the cover.

Whether you likeor dislike the CTI production-image-jazz cum pop formula, this doubleLP set is a definite keeper. This is a diverse blend of funk, classicaland jazz. The supporting cast is chock-‘o-nuts with talented musicians.What I like about this album is that it is not as slick orover-produced as some of CTI’s later offerings.

“In The Beginning” wasmost likely the high point in Hubert Law’s career and an excellentexample of 70’s fusion enjoy!”Hubert Laws (fl/arr), RonnieLaws (ts), Gene Bertoncini (g), Ron Carter (b), Steve Gadd (d), AirtoMoreira (per), David Friedman (vib/per), Bob James (p), Clare Fischer(p/arr), Rodgers Grant (p), Hilary James (p/arr), Richard Tee(org/strings), Emanuel Vardi, Amanuel Vardi (viola), David Nadien(vio), George Ricci (cel); recorded at Van Gelder Studios, EnglewoodCliffs, NJ on 6-8, 11 February 6-8, 197401. In the Beginning02.

Gymnopedie #104. Come Ye Disconsolate05. Moment's Notice07. Wynton Kelly - PianoWiththe exception of an album for Blue Note in 1951, this was pianistWynton Kelly's first opportunity to record as a leader. At the time hewas still a relative unknown but would soon get a certain amount offame as Miles Davis's favorite accompanist.

With guitarist KennyBurrell, bassist Paul Chambers and (on three of the seven selections)drummer Philly Joe Jones, Kelly performs four jazz standards, OscarBrown, Jr.' S 'Strong Man' and two of his originals.

Kelly became amajor influence on pianists of the 1960s and '70s and one can hear thegenesis of many other players in these swinging performances. The CDreissue adds an alternate take of 'Dark Eyes' to the original program. Red Garland - Red Garland's PianoRedGarland's third session as a leader finds the distinctive pianistinvestigating eight standards (including 'Please Send Me Someone toLove,' 'Stompin' at the Savoy,' 'If I Were a Bell,' and 'Almost LikeBeing in Love') with his distinctive chord voicings, melodic butcreative ideas, and solid sense of swing. Joined by bassist PaulChambers and drummer Art Taylor, Garland plays up to his usualconsistent level, making this an easily recommended disc forstraight-ahead fans.

Sodubbed because these three sessions — two from early 1949, one fromMarch 1950 — are where the sound known as cool jazz essentially formed,The Birth of the Cool remainsone of the defining, pivotal moments in jazz. This is where theelasticity of bop was married with skillful, big-band arrangements anda relaxed, subdued mood that made it all seem easy, even at its mostintricate. After all, there's a reason why this music was called cool;it has a hip, detached elegance, never getting too hot, even as therhythms skip and jump. Indeed, the most remarkable thing about thesesessions — arranged by Gil Evans and featuring such heavy-hitters asKai Winding, Gerry Mulligan, Lee Konitz, and Max Roach — is that theysound intimate, as the nonet never pushes too hard, never sounds likethe work of nine musicians. Furthermore, the group keeps things shortand concise (probably the result of the running time of singles, butthe results are the same), which keeps the focus on the tones andtunes. The virtuosity led to relaxing, stylish mood music as the endresult — the very thing that came to define West Coast or 'cool' jazz —but this music is so inventive, it remains alluring even after itsinfluence has been thoroughly absorbed into the mainstream. Stephen Thomas ErlewineAsMiles Davis came to transcend the influence of Dizzy Gillespie andrecognize his own musical voice, he arrived at a terse lyric conceptionof the trumpet, grounded in Charlie Parker's swinging syncopations.

Andit was in the course of searching for an appropriate musical corollarythat he forged an enduring musical partnership with arranger Gil Evansand a core group of like-minded musicians that yielded three remarkablesessions which have come down to us as The Birth of the Cool.For Davis and Evans, the challenge was to create a supple newvocabulary out of the angularity of bebop, and greater emphasis ontexture and form. By reining in the rhythm, Davis and Evans sought tocreate a more seamless fabric of written and improvised passages. Andby employing tuba, French horn, trombone and trumpet, along with altoand baritone saxophones the Davis Nonet achieved a diaphanous, melloworchestral texture.

However, the notion of cool as emotional detachmentor lack of improvisational heat is somewhat overstated by the title.John Lewis's chart for the opening 'Move' is taken at a brisk gallopover a driving Max Roach pulse, animated by deep brass counterpoint.Miles Davis treats his own blues, 'Deception,' in an almost choralmanner, his lovely melodic line snaking through a web of voices. GerryMulligan's 'Rocker' benefits from the rich contrary motion of hiswriting, and the big band accents which launch Miles' solo. On'Boplicity,' Gil Evans' harmonizes his coy swinging melody with warm,broken voicings, while his spatial, atmospheric chart for the ballad'Moon Dreams' is distinguished by the idiomatic serenity of his voiceleading.

A masterpiece. Miles Davis (trumpet)Kenny Hagood (vocals)Lee Konitz (alto saxophone)Gerry Mulligan (baritone saxophone)Junior Collins, Sandy Siegelstein, Gunther Schuller (French horn)J.J. Johnson, Kai Winding (trombone)John Barber (tuba)John Lewis, Al Haig (piano)Al McKibbon, Joe Shulman, Nelson Boyd (bass)Kenny Clarke, Max Roach (drums)1. Moon Dreams4. Venus De Milo5.

Darn That DreamRecorded in New York on January 21 & April 22, 1949 and on March 9, 1950. ScottYanow's review of this one is slightly too tepid as far as I'mconcerned; this is a teriffic disc with some great playing from allconcerned - but especially from Bobby Hutcherson (as always!).Anexcellent tenor saxophonist and the son of Von Freeman, Chico Freemanhas had a busy and diverse career, with many recordings ranging fromadvanced hard bop to nearly free avant-garde jazz. He originally playedtrumpet, not taking up the tenor until he was a junior in college.Freeman graduated from Northwestern University in 1972, played withR&B groups, and joined the AACM.

Bob Mintzer Incredible Journey Rapidshare Download

In 1977, he moved to New York,where he worked with Elvin Jones, Sun Ra, Sam Rivers' big band, JackDeJohnette's Special Edition, and Don Pullen, in addition to leadinghis own groups. He recorded a dozen albums as a leader during1975-1982. Starting in 1984, Freeman has played on a part-time basiswith the Leaders, he has recorded on a few occasions with his fatherand in 1989, he put together an electric band called Brainstorm.

ChicoFreeman has recorded through the years as a leader for Dharma, IndiaNavigation, Contemporary, Black Saint, Elektra/Musician, Black Hawk,Palo Alto, Jazz House, and In & Out.By 1981, after sixyears of steady recording, Chico Freeman had gained a strong reputationas a flexible reed player able to play both avant-garde and fairlystraight-ahead jazz. For this straight CD reissue of a Contemporary LP,Freeman doubles on tenor and bass clarinet in settings ranging from aquartet to a sextet. Trumpeter Wynton Marsalis (then just barely20-years-old) is in superior form during his four appearances,vibraphonist Bobby Hutcherson is on all six songs, and also in fineform are pianist Dennis Moorman, bassist Cecil McBee and drummer RonnieBurrage; percussionist Paulinho Da Costa guests on one tune. The musicis comprised of originals by Freeman, Hutcherson and McBee that,although based in the foundations of the past (Freeman's 'EmbracingOneness' is dedicated to Duke Ellington and Thelonious Monk), alsolooks forward.