Red Rodney - Essential Jazz Quintets

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 131:05
Size: 301,9 MB
Art: Front

( 5:33)  1. You Better Go Now
( 3:49)  2. Daddy-O
( 6:37)  3. Shaw Nuff
( 3:17)  4. Dig This
( 6:02)  5. Stella By Starlight
( 6:14)  6. Jordu
( 5:11)  7. Red Arrow
( 3:14)  8. I Love The Rhythm In A Riff
( 4:22)  9. You And The Night And The Music
( 6:10) 10. I Remember You
( 3:11) 11. Taking A Chance On Love
( 3:42) 12. Hale To Dale
( 4:55) 13. Ubas
( 4:24) 14. 5709
( 2:57) 15. Clap Hands, Hered Comes Charlie
( 4:28) 16. Two By Two
( 3:41) 17. Jeffie
( 5:52) 18. Red Is Blue
( 6:06) 19. Red Hot And Blue
( 3:59) 20. The Song Is You
( 5:32) 21. Shelley
( 4:15) 22. On Mike
( 4:44) 23. Laura
( 6:01) 24. Box 2000
( 5:45) 25. Whirlwind
(10:52) 26. Star Eyes

Red Rodney's comeback in the late '70s was quite inspiring and found the veteran bebop trumpeter playing even better than he had during his legendary period with Charlie Parker. He started his professional career by performing with Jerry Wald's orchestra when he was 15, and he passed through a lot of big bands, including those of Jimmy Dorsey (during which Rodney closely emulated his early idol Harry James), Elliot Lawrence, Georgie Auld, Benny Goodman, and Les Brown. He totally changed his style after hearing Dizzy Gillespie and Charlie Parker, becoming one of the brighter young voices in bebop. Rodney made strong contributions to the bands of Gene Krupa (1946), Claude Thornhill, and Woody Herman's Second Herd (1948-1949).

Off and on during 1949-1951, Rodney was a regular member of the Charlie Parker Quintet, playing brilliantly at Bird's recorded Carnegie Hall concert of 1949. But drugs cut short that association, and Rodney spent most of the 1950s in and out of jail. After he kicked heroin, almost as damaging to his jazz chops was a long period playing for shows in Las Vegas. When he returned to New York in 1972, it took Rodney several years to regain his former form. However, he hooked up with multi-instrumentalist Ira Sullivan in 1980 and the musical partnership benefited both of the veterans; Sullivan's inquisitive style inspired Rodney to play post-bop music (rather than continually stick to bop) and sometimes their quintet (which also featured Garry Dial) sounded like the Ornette Coleman Quartet, amazingly. After Sullivan went back to Florida a few years later, Rodney continued leading his own quintet which in later years featured the talented young saxophonist Chris Potter. Red Rodney, who was portrayed quite sympathetically in the Clint Eastwood film Bird (during which he played his own solos), stands as proof that for the most open-minded veterans there is life beyond bop. ~ Scott Yanow https://www.allmusic.com/artist/red-rodney-mn0000883694/biography

Essential Jazz Quintets

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Tsuyoshi Yamamoto - Night at Body and Soul

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 66:40
Size: 153,1 MB
Art: Front

(13:14)  1. Like Someone in Love
( 9:56)  2. Blue
( 6:19)  3. For Once in My Life
( 9:03)  4. Rhythem-A-Ning
( 7:56)  5. My Body, My Soul
(13:33)  6. The Night Has a Thousand Eyes
( 6:35)  7. The Good Life

Tsuyoshi Yamamoto is a drummer, percussionist, composer, arranger, and educator from Nagoya, Japan. He began playing drums in Japan as a teenager, excelling in rock, and funk. In college, he began to play Jazz and had many live performances with various big bands, small bands, and funk bands while continuing to play rock. His band released a CD on an independent label in March 2004, and toured in Japan around Tokyo and Osaka. He graduated from Nagoya University with a Bachelor of Science Degree in Biological Science in 2006.

In 2006 Tsuyoshi received a scholarship to attend the Berklee College of Music where he majored in jazz composition and performance, winning the Louie Bellson Award, as well as a Berklee achievement-based scholarship. He graduated Magna cum laude with a Bachelor of Music in 2011.In 2011 Tsuyoshi moved to New York City to attend Rutgers University, where as a part of the Rutgers Jazz Ensemble, he had the honor of performing at the famous Blue Note in May 2013.

Since graduating with a Master of Music Degree in Jazz Studies from Rutgers, Tsuyoshi has been performing and teaching extensively in New York in the genres of jazz, fusion, salsa, and rock. Besides drum set, he also plays timbales, cajon, and djembe. http://www.tsuyoshiyamamoto.com/biography

Personnel: Piano – Tsuyoshi Yamamoto;  Bass – Tsutomu Okada; Drums – Winard Harper

Night at Body and Soul

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Max Roach - Jazz In 3/4 Time

Styles: Jazz, Post Bop
Year: 1957
File: MP3@320K/s
Time: 43:41
Size: 100,6 MB
Art: Front

( 6:31)  1. Blues Waltz
(14:21)  2. Valse Hot
( 4:31)  3. I'll Take Romance
( 5:36)  4. Little Folks
( 5:35)  5. Lover
( 7:05)  6. The Most Beautiful Girl in the World

At the time of its appearance in 1957, this album, currently part of the limited EmArcy reissue series, was considered somewhat revolutionary due to its all-waltz program. That's become a moot point after all of the triple-meter jazz material that would follow from "All Blues" to "Waltz for Debby" to "Someday My Prince Will Come." What makes this session essential listening is the masterful solo work, and not simply by Sonny Rollins. With Clifford Brown gone, trumpeter Kenny Dorham makes each of his turns, as usual, an adventure in melodic and rhythmic surprises, deliberately getting himself into trouble and always finding a way out. And whereas Rollins almost overcompensates for the absence of Brown, playing these tunes with broad and ballsy, aria-like bravado, Dorham takes the tunes inward, not afraid of the empty spaces where the poetry often resides, and in the process looking forward to a more subtle, implicit rhythmic approach to jazz waltzes, such as Freddy Hubbard's "Up Jumped Spring."

The enigmatic pianist Billy Wallace, who made this single auspicious recorded appearance then disappeared into various urban lounge scenes, is one of the few truly ambidextrous bop pianists. On the opening "Blues Waltz" his solo sounds like Monk playing counterpoint with himself; on his remaining solo spots his interdependent melodies and rapid, two-handed octaves are reminiscent of Phineas Newborn, Jr. Whether or not his saucy, copy-cat rejoinder to Dorham's complex solo on "Lover" was appreciated by its originator, Wallace can't help but impress the listener with his ear and quick instincts. He's a far stronger player than his predecessor, Richie Powell, who perished in the same car crash that took Brown's life. Besides the pop standards, Rollins' "Valse Hot" is a lovely composition, an extended 3/4 melodic equivalent of Brown's "Joy Spring." During each of his solos he clearly exudes a Viennese spirit, bringing to his deliberative, assured melodic constructions the singing bravura of a great tenor, legit or otherwise. It's a performance that clearly ranks with his work on the revered, almost contemporaneous Sonny Rollins, Vol. 2 (Blue Note, 1957).

Roach catches the lilting dancing spirit with heavily accented downbeats on his own "Little Folks, prompting both Rollins and Wallace to go for the gold on their solo turns. And for a change the relatively unfamiliar triple-meter holds down the tempos just sufficiently to allow Roach's bassist, George Morrow, to play some melodic lines during his solos. There seems little doubt that this is the best post-Clifford Brown, Roach-led session on record demonstrating that the fall of the drummer's ensembles from the visibility they once shared with Blakey's and Silver's groups cannot be entirely blamed on the loss of Clifford Brown (though nothing can detract from the luster of this musician's favorite). Consequently, as the only recording by this particular cast (there would be one sequel but without Billy Wallace), Jazz in 3/4 Time is a session that brings with its pleasures no small amount of regret about what might have been. ~ Samuel Chell https://www.allaboutjazz.com/jazz-in-3-4-time-max-roach-emarcy-review-by-samuel-chell.php

Personnel: Max Roach: drums; Kenny Dorham: trumpet; Sonny Rollins: tenor saxophone; Billy Wallace: piano; Ray Bryant: piano (on "The Most Beautiful Girl"); George Morrow: bass.

Jazz In 3/4 Time

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Aziza Mustafa Zadeh Trio - Generations

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 59:57
Size: 139,3 MB
Art: Front

(3:38)  1. Mimi
(5:49)  2. Lullaby
(1:42)  3. Sieben Kreisel
(4:47)  4. Netter Junge
(3:40)  5. Despite All
(4:37)  6. September Ballade
(6:15)  7. New Baku
(2:48)  8. Theatre of Marionettes
(9:57)  9. Näje Sevim
(3:27) 10. Prélude
(9:38) 11. Concert No. 2
(3:35) 12. Native Landscape

Aziza Mustafa-Zadeh born in Baku, capital of Azerbaijan. Yet despite a mysterious name that could be straight out of Arabian Nights, this pianist & singer does not regard herself as the exotic product of a distant land. Since she was born, music has been an integral part of her life. Aziza's Father - Vagif Mustafa-Zadeh (1940-1979) is a legendary founder of Mugam-Jazz, composer & pianist, who played an important role in making Jazz acceptable in Soviet Union. Her Mother Eliza Mustafa-Zadeh is trained and famous singer of traditional Azerbaijani music and has rarely left her daughter's side during the constant rise of fame within last decade. Aziza Mustafa-Zadeh's music is the natural, easy fusion of two fundamental elements: Jazz, the modern sound of freedom, and Mugam, the ancient music of wisdom and love. “The Rainbow has many colors. The Soul, too, has many different shades.” Unquestionably, these words can applied equally well to the Artist herself, and to the Way she views the world around her. https://musicians.allaboutjazz.com/azizamustafazadeh

Generations

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