Art Blakey & The Jazz Messengers - Not Yet

Bitrate: MP3@320K/s
Time: 53:33
Size: 122.6 MB
Styles: Bop
Year: 1988/1993
Art: Front

[9:41] 1. Kenji's Mood
[7:25] 2. For Heaven's Sake
[6:48] 3. Not Yet
[3:49] 4. I'll Never Be The Same
[9:29] 5. Uranus
[9:22] 6. Falling In Love With Love
[6:58] 7. Kelo

Bass – Peter Washington; Drums – Art Blakey; Piano – Benny Green; Tenor Saxophone – Javon Jackson; Trombone – Robin Eubanks; Trumpet – Philip Harper. Recorded March 19, 1988 at Barigozzi Studio, Milano.

The 1988 edition of The Jazz Messengers, which drummer Art Blakey had been leading for 33 years, showed a great deal of promise. Comprised of trumpeter Philip Harper (soon to form The Harper Brothers), trombonist Robin Eubanks, the tenor of Javon Jackson, pianist Benny Green and bassist Peter Washington, this band (whose average age without counting Blakey was around 25) performs one original apiece by Green and Jackson along with five older songs on this enjoyable release. The music may not have contained too many surprises or been startlingly new, but the results are quite pleasing. ~Scott Yanow

Not Yet mc
Not Yet zippy

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David Byrne - Rei Momo

Bitrate: MP3@320K/s
Time: 63:36
Size: 145.6 MB
Styles: Alternative pop-rock
Year: 1989
Art: Front

[5:43] 1. Independence Day
[5:23] 2. Make Believe Mambo
[4:54] 3. The Call Of The Wild
[4:12] 4. Dirty Old Town
[3:51] 5. The Rose Tattoo
[3:45] 6. Loco De Amor
[3:00] 7. The Dream Police
[4:58] 8. Don't Want To Be Part Of Your World
[4:30] 9. Marching Through The Wilderness
[4:34] 10. Good And Evil
[3:37] 11. Lie To Me
[3:40] 12. Office Cowboy
[4:06] 13. Women Vs. Men
[4:04] 14. Carnival Eyes
[3:13] 15. I Know Sometimes A Man Is Wrong

On his first full-fledged solo album, Byrne indulges his fascination with Latin and South American musical styles, employing a variety of native musicians but mixing up the sounds to suit his own distinctly non-purist vision and singing over the tracks the same kind of witty, oddball lyrics found on Talking Heads albums. (When released, the cassette version contained three more tracks than the LP.) ~William Ruhlmann

Rei Momo mc
Rei Momo zippy

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Electrocutango - Felino

Bitrate: MP3@320K/s
Time: 54:12
Size: 124.1 MB
Styles: Electric tango, Latin
Year: 2009
Art: Front

[4:04] 1. Felino
[3:57] 2. Victoriosa
[5:23] 3. Rivadavia
[2:48] 4. Electroqtango
[1:19] 5. 12 Tango
[5:40] 6. Regina
[4:23] 7. El Llorón
[6:22] 8. Renacere
[2:14] 9. Misterienzo
[3:45] 10. Sin Piel
[2:42] 11. Astorlokefu
[4:04] 12. A Fuego Violento
[2:43] 13. Retrolonga
[4:42] 14. Mi Viejo Dolor

Electrocutango is considered on of the most dynamic, innovative and original expressions of the new electro-tango movement. The sound is identified as tango with an update rather than electronica with exotic seasoning. The music has a distinct identity based on tanguero musicianship and with an original approach to fusions with anything from Puerto Rico, Brazil, RnB, DnB, jazz or contemporary music. Its even a hit in Buenos Aires even though its from Norway …!

Behind Electrocutango is the norwegian pianist and composer/arranger Sverre Indris Joner. He early began to play and compose music with emphasis on the latin genres. He writes for ballet, theatre, orchestra, film and has arranged numerous tangos and other latin genres for symphony orchestra performing as a soloist. He is also founder of the quartet Tango For 3 that is renowned for its interpretation of a wide range of titles from ABBA, James Bond, Grieg & Brahms to Salgan and Triolo.

Unlike traditional tango the improvisation is a central element in Electrocutango´s music. And different from most electronic tangos Electrocutango is basicly tanguero fusioned with all the rest – not the other way around… And when a lot of fun and unexpected fusions are thrown on top that makes it a real ball! And not surprisingly – the tango-dancers takes the challenge! The album Felino is already considered a classic within the electronic tango genre.

Felino mc
Felino zippy

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Marco Bittelli - Andrea

Bitrate: MP3@320K/s
Time: 36:37
Size: 83.9 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[6:13] 1. An Afternoon With Charles
[4:03] 2. Notte Cubana
[6:30] 3. A Waltz For Weiser
[2:35] 4. Che Rumba
[4:33] 5. Andrea
[5:16] 6. Into The Night
[4:31] 7. On The Wrong Side Of Town
[2:53] 8. Jibacoa

The Italian jazz guitarist and composer, Marco Bittelli has a long-standing interest in Latin Jazz music, first touched on with his first CD, Libera, twenty years ago. Andrea expands on that affinity and on the guitarist's interest in Cuban and Brasilian music. The result is this original mix of slow- to up-tempo pieces, limpid original songs that are filled with romanticism and lyricism. The rhythms, typical of Latin music, are combined with melodies rooted in the Italian's melodic tradition. The CD presents three Bossa Novas at different tempos, including Andrea, the title track. To this, Bittelli has added an Habanera, Notte Cubana (A Cuban Night), and a Samba, Che Rumba, arranged by Italian guitarist and composer Davide Brillante. These songs are perfectly continuous with the traditional material. A Waltz for Weiser is written in the tradition of Jazz waltzes, while On the wrong side of Town is a fast Latin Jazz tune with dissonant harmonies. Jibacoa is a song for Piano and Cello, inspired by the music of Cuban composer Ignacio Cervantes, composed with Davide Brillante. The music is enhanced by a series of excellent musicians and guests. Gregory Yasinitsky on Tenor and Alto Sax, Ann Yasinitsky on Flute, Brian Ploeger on Trumpet and Flugelhorn, Brian Ward on Piano, David Snider on Double Bass, David Jarvis on Drums and Percussions. Vincenzo De Franco (Cello) and Dimitri Sillato (Piano) adds their own touch on Jibacoa. Vern Sielert adds its Jazz voice on Trumpet on An afternoon with Charles. Andrea is true to its Latin and Italian inspired origins, while creating its own original moods.

Andrea mc
Andrea zippy

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Charles Cochran, Bill Mays - Charles Cochran Meets Bill Mays

Bitrate: MP3@320K/s
Time: 52:15
Size: 119.6 MB
Styles: Vocal jazz
Year: 2000
Art: Front

[3:43] 1. Wonder Why
[3:59] 2. Oh! But I Do!
[4:30] 3. I Thought About You
[2:26] 4. Miss Johnson Phoned Again Today
[4:33] 5. For You, For Me, For Evermore
[4:05] 6. Ev'rything I Love
[3:24] 7. This Is New
[3:10] 8. After You
[5:37] 9. That Old Feeling
[5:10] 10. My Old Flame
[3:43] 11. Dream Dancing
[3:16] 12. I Wish I Knew
[4:31] 13. Do You Miss New York

Album brings the long overdue return of a singer/pianist who, from the late 1950s through the mid-'80s, delighted saloon audiences with his easy-going voice, his eye for quality songs, and his total lack of pretense. Here, he's joined by fellow pianist/vocalist Bill Mays, plus bassist Phil Flanagan on a selection of jazz & pop standards.

Charles Cochran Meets Bill Mays mc
Charles Cochran Meets Bill Mays zippy

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Milt Jackson - Night Mist

Styles: Vibraphone Jazz
Year: 1980
File: MP3@320K/s
Time: 47:06
Size: 110,9 MB
Art: Front

(5:36)  1. Blues In My Heart
(5:45)  2. Double B
(5:26)  3. Blues For Clyde
(7:13)  4. A Matter Of Adjustment
(9:17)  5. Night Mist Blues
(7:53)  6. Other Bag Blues
(5:53)  7. D.B. Blues

Most of vibraphonist Milt Jackson's recordings as a leader have been at the head of a quartet or quintet. This spirited set has a variety of "near blues" material being interpreted by an all-star septet featuring such unique voices as trumpeter Harry "Sweets" Edison, the tenor of Eddie "Lockjaw" Davis and altoist Eddie "Cleanhead" Vinson in addition to Jackson, pianist Art Hillery, bassist Ray Brown and drummer Larance Marable. There are plenty of magical moments created on this set by these classic jazzmen. ~ Scott Yanow https://www.allmusic.com/album/night-mist-mw0000192023   

Personnel: Milt Jackson (vibraphone); Eddie "Cleanhead" Vinson (alto saxophone); Eddie "Lockjaw" Davis (tenor saxophone); Harry "Sweets" Edison (trumpet); Art Hillery (piano); Ray Brown (bass); Larance Marable (drums)

Night Mist

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Patti Drew - I've Been Here All The Time

Styles: Vocal
Year: 1969
File: MP3@320K/s
Time: 28:49
Size: 73,3 MB
Art: Front

(2:43)  1. I've Been Here All the Time
(2:39)  2. Fever
(2:26)  3. Just Can't Forget About You
(2:51)  4. A Guy Like You
(3:09)  5. Welcome Back
(2:25)  6. Hard to Handle
(2:27)  7. Save the Last Dance for Me
(2:34)  8. I, Who Have Nothing
(2:39)  9. Midnight Confession
(2:43) 10. The Love That a Woman Should Give to a Man
(2:08) 11. What the World Needs Now

Tall, striking Patti Drew's sensuous alto is always a pleasure to listen to even when the material and arrangements are lacking. This LP consists of two minor hits, "I've Been Here All the Time" and "Hard to Handle"; the many remakes include "Fever," "Save the Last Dance For Me," "I Who Have Nothing," "Midnight Confessions," and "What the World Needs Now Is Love." Manager/producer Peter Wright was obviously priming the Evanston, IL, native for the lucrative Vegas/Reno/Tahoe casino clubs, as the album lacks an edge and disappointed her fan base. ~ Andrew Hamilton https://www.allmusic.com/album/ive-been-here-all-the-time-mw0000888954

I've Been Here All The Time

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Ornette Coleman - Change Of The Century

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 41:35
Size: 95,3 MB
Art: Front

(6:39)  1. Ramblin'
(6:24)  2. Free
(6:59)  3. The Face Of The Bass
(5:16)  4. Forerunner
(5:31)  5. Bird Food
(6:02)  6. Una Muy Bonita
(4:41)  7. Change Of The Century

Change Of The Century was an audacious album title, to say the least. On his second Atlantic release and second with his most like-minded ensemble (trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins) alto saxophonist Ornette Coleman pushed the freedom principal farther. At the same time, he looked backward too for inspiration. Having eliminated the piano on his Contemporary release, Tomorrow Is The Question! (1959), Coleman opened up wide improvisational opportunities. On that recording, he and his "freedom principle" remained partially inhibited by the presence of traditionalist bassist Percy Heath and drummer Shelly Manne, who resisted coloring outside of the lines as Coleman was attempting to do. But that was not so on The Shape Of Jazz To Come (Atlantic, 1959) and Change Of The Century. While the rhythm section continued to provide enough cohesive swing to propel matters, Coleman and Cherry stretched the melodic boundaries without the previous harmonic anchors. Change of the Century is compelling in its embrace of contrasts. "Ramblin'" is funky organic, almost early rock and roll. Haden plucks and strums his way through a fractured 12-bar format that never fully resolves itself into the comfort of the anticipated. Coleman's solo over Haden's support is bar-walking rhythm and blues, lowdown and dirty, smelling of beer and Lucky Strikes. Cherry plays his famous pocket trumpet, sounding closer to Lee Morgan than anyone else, squeezing out hard bop lines like sparks from a metal lathe. Haden solos using the figures he has supported the whole piece with. His intonation is middle-of-the-note, relaxed and slightly wooden. "Ramblin'" retains an erstwhile harmonic structure, albeit only barely. The head of "Free" is an odd premonition for composer/saxophonist Oliver Nelson's "Hoedown" from The Blues and the Abstract Truth (Impulse!, 1961), passing through an ascending and descending blues figure. Haden is rock solid throughout, even when the solo-going gets ragged and frayed. Higgins' accents are as potent as pepper, shoring up the edges of chaos on the briskly-timed piece. "The Face Of Bass" gives prominence to Haden while at the same time sounding strangely traditional for an album entitled Change of the Century. But it is a facade. Coleman encourages a careful abandon in the piece's overall structure and arrangement. Cherry pops on his solo, sometimes sounding like Freddie Hubbard, sometimes, Art Farmer.

"Forerunner" pretends that it is bebop, with a serpentine head and a deft drum break by Higgins. Coleman's solo is inspired, quenched in gospel and the blues. His tonal expanse is as big as his native Texas, informed by the many great tenor saxophone players from that state. Cherry emerges assertive, playing with swagger and attitude. So well constructed and delivered is his solo that it is easy to forget that a move toward a freer musical system is in the works. Haden remains stalwart in time-keeping, shepherding everything between the rhythmic ditches. The same can be said for the Charlie Parker-inspired "Bird Food," which is surveyed at a fast clip over a complex note pattern.  "Una Muy Bonita" is only passing Latin, with pianist Thelonious Monk phrasing and side- winding playing. Haden sets up a familiar clave beat with strummed chords. Coleman stages the piece to more insinuate a Latin vibe than to actually play one. After a lengthy introduction, Cherry solos muted, allowing himself a broad swath over which to play. The disc's closer, the title tune, was the most fully-realized "free jazz" at that point from Coleman. It is a wild phantasm of notes that are to "free jazz" what trumpeter Dizzy Gillespie's "Bebop" was for that virtuosic genre. It is a clarion call played on impulse. Yes, finally things are really beginning to come apart at the seams, properly foreshadowing Free Jazz: A Group Improvisation (Atlantic, 1961). Coleman has fully gained his traction and is now read. ~C.Michael Bailey https://www.allaboutjazz.com/ornette-coleman-change-of-the-century-ornette-coleman-by-c-michael-bailey.php

Personnel: Ornette Coleman: alto saxophone; Don Cherry: pocket trumpet; Charlie Haden: bass; Billy Higgins: drums.

Change Of The Century

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Billy Taylor Trio - Sleeping Bee

Styles: Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 42:43
Size: 98,5 MB
Art: Front

(4:46)  1. La Petite Mambo
(5:37)  2. Theodora
(4:19)  3. Pharaphrase
(5:12)  4. Bye Y'All
(3:27)  5. Don't Go Down South
(5:33)  6. Brother Where Are You
(8:23)  7. There Will Never Be Another You
(5:23)  8. Sleeping Bee

Billy Taylor and his 1969 trio (which includes bassist Ben Tucker and drummer Grady Tate) perform four of Taylor's originals, Errol Garner's "La Petite Mambo," Oscar Brown, Jr.'s "Brother Where Are You" and two standards on this MPS set which was last available as a Pausa LP. The enjoyable music swings and fits perfectly into the jazz mainstream of the era. ~ Scott Yanow https://www.allmusic.com/album/a-sleeping-bee-mw0000875940

Personnel:  Billy Taylor - piano;  Ben Tucker - bass;  Grady Tate - drums

Sleeping Bee

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Peggy Lee - Echo Painting

Styles: Jazz, Post Bop 
Year: 2018
File: MP3@320K/s
Time: 50:41
Size: 117,3 MB
Art: Front

(5:22)  1. Incantation
(4:27)  2. Out On a Limb
(3:45)  3. A Strange Visit
(3:44)  4. Nice Collection
(5:10)  5. Snappy
(5:23)  6. Painting Echoes
(2:11)  7. Foreground
(1:51)  8. The Hidden Piece
(6:02)  9. Hymn
(2:41) 10. WB Intro
(3:30) 11. Weather Building
(1:42) 12. End Piece
(4:45) 13. The Unfaithful Servant

The Echo Painting project was conceived with the help of Rainbow Robert of Coastal Jazz and Blues in Vancouver. Our intent was to create a new large ensemble including some of the most active and interesting improvisors on the Vancouver scene today. It was a great gift to find ourselves in a situation in which this group, comprised of some of the older 'veterans' and some younger 'emerging' players, all highly accomplished artists and leaders of their own projects, could spend a number of days together over a period of several months. During this time we workshopped material, improvised together and finally performed a full set of music at the Vancouver International Jazz Festival 2016. http://www.peggylee.net/echo-painting.html

Peggy Lee, cello;  Meredith Bates, violin;  Brad Turner, trumpet;  Jon Bentley, tenor and soprano sax;  John Paton, tenor sax;  Rod Murray, trombone;  Cole Schmidt, guitar;  Bradshaw Pack, pedal steel guitar;  James Meger, electric bass;  Dylan van der Schyff, drums

Echo Painting

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