Gene Krupa, Buddy Rich - Krupa And Rich

Styles: Jazz, Swing
Year: 1955
File: MP3@320K/s
Time: 71:59
Size: 166,9 MB
Art: Front

(10:30)  1. Buddy's Blues
(13:57)  2. Bernie's Tune
( 7:47)  3. Gene's Blues
( 8:50)  4. Sweethearts On Parade
( 8:54)  5. I Never Knew
(10:51)  6. Sunday
(11:06)  7. The Monster

On this CD reissue, drummers Gene Krupa and Buddy Rich only actually play together on one of the seven songs, a lengthy rendition of "Bernie's Tune" that has a six-minute "drum battle." Krupa and Rich do perform two songs apiece with a remarkable all-star band consisting of trumpeters Dizzy Gillespie and Roy Eldridge, tenors Illinois Jacquet and Flip Phillips, pianist Oscar Peterson, guitarist Herb Ellis, and bassist Ray Brown. Each of the principals get some solo space, giving this release more variety than one might expect. In addition there are two bonus cuts from a Buddy Rich date that feature the drummer with trumpeters Thad Jones and Joe Newman, tenors Ben Webster and Frank Wess, Oscar Peterson, Ray Brown, and rhythm guitarist Freddie Green. Excellent music overall if not quite essential. ~ Scott Yanow http://www.allmusic.com/album/krupa-and-rich-mw0000111452

Personnel: Gene Krupa, Buddy Rich (drums); Dizzy Gillespie, Roy Eldridge, Thad Jones, Joe Newman (trumpet); Illinois Jacquet, Flip Phillips, Ben Webster, Frank Wess (tenor saxophone); Oscar Peterson (piano); Freddie Green, Herb Ellis (guitar); Ray Brown (bass).

Krupa And Rich

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Kathryn Williams - Relations

Styles: Vocal, Folk
Year: 2004
File: MP3@320K/s
Time: 44:33
Size: 102,2 MB
Art: Front

(3:37)  1. In A Broken Dream
(2:26)  2. Birds
(2:56)  3. Thirteen
(5:09)  4. Hallelujah
(2:49)  5. The Ballad Of Easy Rider
(2:58)  6. A Guy What Takes His Time
(3:33)  7. Candy Says
(2:34)  8. How Can We Hang On To A Dream
(3:07)  9. I Started A Joke
(2:46) 10. Easy And Me
(3:23) 11. Spit On A Stranger
(3:34) 12. All Apologies
(1:31) 13. Beautiful Cosmos
(4:02) 14. These Days

Originally released during her major-label stint and given a reissue some years later after she found her independent feet all the more strongly, Relations is that sometimes revelatory, sometimes time-killing impulse brought to life the covers album, paying homage to past inspirations old and young. Some of the choices seem obvious more by default and time due to shifting contexts mittedly Leonard Cohen's "Hallelujah" had already seemed plenty familiar again thanks to Jeff Buckley's cover at the time of the first release of Relations, but in 2010 one almost wants to beg for any other Cohen song just for a bit of contrast, however much her version, recorded live, ends on a sharp, strong note. Similarly, "All Apologies" seems like an almost too pat choice of Nirvana cover, not helped by a high-pitched string part that spills into the melodramatic from the start. Williams' takes are at the least enjoyable in a sweetly formal way, though, leaving the more unexpected choices, at least in song if not in composer, to take the lion's share of the praise. Having Neil Young's After the Gold Rush represented by "Birds" is a nice touch, Williams giving it a beautiful performance slightly touched by string parts, while picking the late Pavement single "Spit on a Stranger" is both an inspired touch and also results in a lovely remake all around. Versions of "Thirteen" by Big Star and the Velvet Underground's "Candy Says" successfully showcase Williams' particular ear for studio-shaped folk very well in turn -- the latter, in a fun touch, is actually more energetic than the original, peppier without losing its overall fragility. Perhaps the most inspired touch comes courtesy of Ivor Cutler's "Beautiful Cosmos," with the Scottish artist's sharp wit given a winning makeover. ~ Ned Raggett http://www.allmusic.com/album/relations-mw0000468331

Personnel:  Kathryn Williams - vocals, guitar, electric guitar, glockenspiel, sampler, theramin, backing vocals & percussion;  Laura Reid - cello, bass guitar, organ & backing vocals;  David Scott - guitar, electric guitar, bass guitar & backing vocals;  Johnny Bridgwood - double bass;  Alex Tustin – drums;  Joe Montgomery - violin

Relations

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Wynton Marsalis - Live At Blues Alley (Disc 1) And (Disc 2)

Album: Live At Blues Alley (disc 1)

Styles:  Trumpet Jazz
Year: 1986
File: MP3@320K/s
Time: 56:12
Size: 130,2 MB
Art: Front

( 6:03)  1. Knozz-Moe-King
( 8:21)  2. Just Friends
( 3:52)  3. Knozz-Moe-King (Interlude)
( 7:33)  4. Juan
( 2:49)  5. Cherokee
( 9:21)  6. Delfeayo's Dilemma
(15:12)  7. Chambers Of Tain
( 2:57)  8. Juan (E. Mustaad)

Live At Blues Alley (disc 1)

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Album: Live At Blues Alley (disc 2)

Year: 1986

File: MP3@320K/s

Time: 61:26

Size: 142,1 MB

(14:35)  1. Au Privave

( 2:38)  2. Knozz-Moe-King (Interlude)

(11:30)  3. Do You Know What It Means To Miss New Orleans

( 3:15)  4. Juan (Skip Mustaad)

( 9:41)  5. Autumn Leaves

( 3:49)  6. Knozz-Moe-King (Interlude)

( 9:39)  7. Skain's Domain

( 6:16)  8. Much Later

This double album features the great trumpeter Wynton Marsalis and his 1986 quartet, a unit featuring pianist Marcus Roberts, bassist Robert Hurst and drummer Jeff "Tain" Watts. Although Marsalis during this period still hinted strongly at Miles Davis, his own musical personality was starting to finally shine through. With the versatile Marcus Roberts (who thus far has been the most significant graduate from Marsalis's groups), Wynton Marsalis was beginning to explore older material, including on this set "Just Friends," and "Do You Know What It Means to Miss New Orleans?" other highlights include lengthy workouts on "Au Privave" and Kenny Kirkland's "Chambers of Tain." This two-fer is recommended, as are virtually all of Wynton Marsalis's recordings. ~ Scott Yanow http://www.allmusic.com/album/live-at-blues-alley-mw0000652043

Personnel: Wynton Marsalis (trumpet); Marcus Roberts (piano); Robert Leslie Hurst III (bass); Jeff "Tain" Watts (drums).

Live At Blues Alley (disc 2)

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Vijay Iyer - Blood Sutra

Styles: Piano Jazz 
Year: 1999
File: MP3@320K/s
Time: 58:14
Size: 135,4 MB
Art: Front

(2:12)  1. Proximity
(6:09)  2. Brute Facts
(5:58)  3. Habeas Corpus
(1:22)  4. Ascent
(6:07)  5. When History Sleeps
(5:10)  6. Questions of Agency
(6:10)  7. Kinship
(4:02)  8. Stigmatism
(2:31)  9. That Much Music
(6:10) 10. Imagined Nations
(7:46) 11. Because of Guns
(4:33) 12. Desiring

You get the feeling that piansist Vijay Iyer is shifting into a period of transition with the opening track on his new CD, Blood Sutra. "Proximity (Crossroads)" is uncharacteristicaly for Iyer a slow tempo bit of introspection, with a swish of brush and stickwork painting washes behind the hard-edged piano notes. But the "Brute Facts" jolts out of the speakers next, in a full frontal assault, in very Iyer-esque fashion. Propulsive, urgent, jarring even, riding a relentless rhythmic momentum, forward, always forward with Iyer. The pianist is becoming the new standard bearer of the percussive school of playing, and he has picked some very simpatico bandmates to help him push his musical vision out there. As on his ground-breaking Panoptic Modes (Red Giant, 2001), Rudesh Mahanthappa is back blowing alto sax; and his is a rather flat, low resonance tone that compliments Iyer's ringing aggressivness. Stephan Crump is here again, too, on bass, and his sound lends a bit of fluidity and looseness to the drive; while drummer Tysheen Sorey (new to me) asserts his timekeeping chops no small feat when playing with Iyer. An initial listen to Blood Sutra had me thinking "no new ground broken here" since Panoptic Modes and You Life Flashes (Pi Records, 2002) by Fieldwork, an Iyer trio vehicle. But a "sit down and concentrate on the sounds" session reveals nuances and subtle shadings creeping in. "A Question of Agency" is particularly interesting with its four way interplay; and "Because of Guns/ Hey Joe Redux" resurrects in fittingly ominous fashion – the old blues tune, done probably most famously by Jimi Hendrix on his first album. "Stigmatism" plays as I write this, and Stephan Crump's bass seems to be trying to push Iyer's sharp notes that the piansist drives down like tent stakes around, with mixed, but beautiful results. And now "This Much Music" brings Cecil Taylor to mind.Vijay Iyer evolves in fascinating fashion. ~ Dan McClenaghan https://www.allaboutjazz.com/blood-sutra-vijay-iyer-artists-house-review-by-dan-mcclenaghan.php

Personnel: Vijay Iyer-piano; Rudresh Mahanthappa-alto sax; Stephan Crump-bass; Tyshawn Sorey-drums

Blood Sutra

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Charles Davis - Land of Dreams

Styles: Saxophone Jazz
Year: 2007
File: MP3@256K/s
Time: 63:48
Size: 117,4 MB
Art: Front

( 7:41)  1. JC (Davis)
( 6:36)  2. Moon Nocturne
( 5:44)  3. How Am I to Know?
(10:33)  4. If You Could See Me Now
( 8:26)  5. Love for Sale
( 7:09)  6. Some Wandering Bushman
( 6:32)  7. Strangeness
( 5:35)  8. We See
( 5:27)  9. Land of Dreams

In the shrinking world of "legendary" jazz performers, all star sessions and one-offs are the norm. This release is a rare treat that gives a real look-see at saxophonist Charles Davis in the context of his working band. Davis, with his baritone sax, was part of the seminal Jazz Composer's Orchestra and early groups fronted by Sun Ra. Among a host of other top-flight ensembles, he also anchored the reed sections for saxophonist Ben Webster and trumpeter Kenny Dorham. His sessions as a leader have been all too infrequent but with Land of Dreams that is somewhat rectified as he steps to the front on tenor and soprano sax. 

It is obvious from this release that Davis has been working and putting in a lot of time with pianist Tardo Hammer and a rhythm section of Lee Hudson on bass and drummer Jimmy Wormworth. There is an integrative spiritual feel to these compositions, which are heavy on the traditional but also include a few originals, that can only come from a band playing together. Beginning with a reverential Tranesque consecration, "JC" quickly turns into a swinger that allows Hammer to show some of his sway. Interestingly, Davis seems particularly suited to exploring the soprano sax and his improvisational forays with the instrument on the lightly swinging "Moon Nocturne" and intriguing Herbie Nichols composition "Some Wandering Bushman" as well as Monk's "We See" are highlights. His tenor fills the room with a smoky Ben Webster mood on the gorgeous Tadd Dameron ballad "If You Could See Me Now" and chomps and growls a bit on a jazzy-bossa version of "How Am I to Know?" The title cut, a "Cherokee"-inspired bopper, brings this recording to a quick-paced swinging conclusion. ~ Elliott Simon https://www.allaboutjazz.com/land-of-dreams-charles-davis-smalls-records-review-by-elliott-simon.php

Personnel: Charles Davis: tenor and soprano saxophone; Tardo Hammer: piano; Lee Hudson: bass; Jimmy Wormworth: drums.

Land of Dreams

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