Tuesday, September 30, 2008

0

Jazz in Paris (No 22): Et Claude Luter - Sidney Bechet


















Rating
: 6/10
Sound Quality: 320 kb/s
Record Label: Gitanes Jazz Productions
Year Released: 2000
Format: Mp3
Album Covers: Included
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About Sidney Bechet

Sidney Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz (beating cornetist/trumpeter Louis Armstrong to the recording studio by several months and later playing duets with Armstrong), and was perhaps the first notable jazz saxophonist of any sort. Forceful delivery, well-constructed improvisations, and a distinctive wide vibrato characterized Bechet's playing.However, Bechet's mercurial temperament hampered his career, and not until the late 1940s did he earn wide acclaim.

Bechet was born in New Orleans. From a young age, Bechet quickly mastered any musical instrument he encountered. Some New Orleanians remembered him as a cornet hot-shot in his youth. At first he decided on the clarinet as his main instrument, and Bechet remained one of jazz's greatest clarinetists for decades. The clarinetist Jimmie Noone, who became famous in his own right, took lessons from Bechet when the latter was only thirteen-years old. Despite his prowess on clarinet, Bechet is best remembered as the first great master of the soprano saxophone. Bechet had experience playing in traveling shows even before he left New Orleans at the age of 20. Never long content in one place, he alternated using Chicago, New York, and Europe as his base of operations. Bechet was jailed in Paris, France when a female passerby was wounded during a pistol duel (which Bechet himself had instigated in an argument over chord changes); after serving jail time, Bechet was deported. He continued recording and touring, though his success was intermittent.
Bechet relocated to France in 1950. He married Elisabeth Ziegler in Antibes, France in 1951. Shortly before his death in Paris, Bechet dictated his poetic autobiography, Treat It Gentle. He died from lung cancer on his 62nd birthday.

4

Οπερέτες - Θεόφραστος Σακελλαρίδης


















Rating: 7/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Mercury
Year Released: 2000
Album Covers: Included
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Links: rapidshare

Note From Dada!

Ακόμα κι αν δεν σας αρέσουν οι οπερέτες αυτό το cdακι αξίζει να τ' ακούσετε. Είναι ένας από τους καλύτερους δίσκους που άκουσα τους τελευταίους μήνες.

Για τον Θεόφραστο Σακελλαρίδη

Ο Θεόφραστος Σακελλαρίδης του Ιωάννη, υπήρξε Έλληνας μουσουργός (μουσικοσυνθέτης), αρχιμουσικός και ο δημιουργός της Ελληνικής Οπερέτας. Γεννήθηκε στην Αθήνα στις 7 Σεπτεμβρίου 1882. Τα πρώτα μαθήματα μουσικής τα πήρε από τον πατέρα του Ιωάννη Σακελλαρίδη (1854-1938),τον διαπρεπή διδάσκαλο της βυζαντινής μουσικής, ιεροψάλτη, φιλόλογο και μελοποιό.
Σπούδασε στην Αθήνα, τη Γερμανία, και την Ιταλία. Η μητέρα του καταγόταν από την Ύδρα. Το 1903, έδωσε μαζί με τον πατέρα και τον αδελφό του συναυλία με δικές του συνθέσεις στη Μουσική Ακαδημία του Μονάχου, καθώς επίσης και σε Ιταλία και Αίγυπτο. Το ίδιο έτος, σε ηλικία 20 ετών, έγραψε το πρώτο του μελόδραμα «Ο Υμέναιος» με λιμπρέτο του Ιωάννη Φραγκιά που παίχτηκε τον ίδιο χρόνο. Είχε συνθέσει και συμφωνικά έργα, όπως το «Υπό τον ατττικόν ουρανόν». Το 1904, έγραψε τη μουσική για τις «Εκκλησιάζουσες» του Αριστοφάνη που παρουσιάστηκαν στη Νέα Σκηνή του Κ. Χρηστομάνου. Επίσης, από το 1907 έως 1913, διασκεύαζε ξένη μουσική για τις επιθεώρησεις «Τα Παναθήναια». Αρχικά ασχολήθηκε με τη σύνθεση όπερας. Μεγάλη επιτυχία γνώρισε η όπερα «Περουζέ»(σε λιμπρέτο του Γ. Τσοκόπουλου), που πρωτοπαίχτηκε στις 9 Αυγούστου 1911 στο θέατρο Ολύμπια (Εθνική Λυρική Σηνή) με μαέστρο τον Στέφανο Βαλτετσιώτη και πρωταγωνιστές τη μεσόφωνο Ρεβέκα στο ρόλο της τσιγγάνας Περουζέ, τον τενόρο Νίκο Μωραΐτη, και τον μπάσο Μιχάλη Βλαχόπουλο.Οι παραστάσεις συνεχίστηκαν για δύο χρόνια. Από το συγκεκριμένο έργο προέρχεται η γνωστή άρια «Νεράιδα του γιαλού» και το ντουέτο «Πιο θερμά». Τον «Υμέναιο» (1903), ακολούθησαν τα μελοδράματα (όπερες) ο «Πειρατής» (1907), βασισμένο στο βραβευμένο στο Βουτσιναίο Διαγωνισμό έμμετρο θεατρικό έργο του Πολύβιου Δημητρακόπουλου Ο Κουρσάρος, το «Στοιχειωμένο Γεφύρι» (1912) και το «Καστρο της Ωρηάς» (1917) σε λιμπρέτα Γ. Τσοκόπουλου.
Το 1908 γράφει την πρώτη του οπερέτα «Σια κι αράξαμε» και, από το 1914 («Στα Παραπήγματα», η πρώτη του επιτυχία στο χώρο της οπερἐτας) ως το θανατό του, γράφει γύρω στις 80 (!) οπερέτες (ή και μουσικές κωμωδίες) κυρίως τρίπρακτες, πολλές σε δικό του λιμπρέτο. Φοβερή επιτυχία είχε ο «Βαφτιστικός», ο οποίος εξακολουθεί να παίζεται μέχρι και σήμερα. Πρωτοανεβάστηκε στις 18 Ιουλίου 1918 και θεωρούνται μαζί με τους «Απάχηδες των Αθηνών» του Νίκου Χατζηαποστόλου, ως οι πιο κοσμαγάπητες ελληνικές οπερέτες. Το εμβατήριο «Ψηλά στο μέτωπο» τραγουδήθηκε πολύ και από τους στρατιώτες του '40. Ο «Βαφτιστικός» έγινε και ταινία το 1952 από την Μαρία Πλυτά, με πρωταγωνιστές τον Αλέκο Αλεξανδράκη (η φωνή του ήταν ντουμπλαρισμένη από τον τενόρο Πέτρο Επιτροπάκη), την Ανθή Ζαχαράτου και τον Μίμη Φωτόπουλο.
Άλλες γνωστές μελωδίες τού έργου είναι: «Συ μου πήρες», «Τίκι-Τακ» («Η καρδιά μου πονεί για σας»), «Τον καιρό εκείνο τον παληό», «Στ'άγριο το δάσος» κ.α. Την περίοδο 1937-1945 γράφει μουσική για επιθεωρήσεις του Αλέκου Σακελλάριου, του Δημήτρη Γιαννουκάκη κ.α. («Τρελλή Συμφωνία» (1937), «Φερνάντα» (1939), «Μπράβο Κολονέλλο» (1940), «Φινίτα λα μούζικα» (1941), «Η ζωή συνεχίζεται» (1941) κ.α. Ακόμη τα τραγούδια που ερμήνευσε η Σοφία Βέμπο: «Βάζει ο Ντούτσε τη Στολή του», «Το τραγούδι του Μωριά» (Γεια και χαρά σας Μωραίτες αδελφοί) και η «Χωριάτα», είναι δικές του συνθέσεις. Έπίσης εναρμόνισε κάποια δημοτικά τραγούδια.

Ο Θεόφραστος Σακελλαρίδης υπήρξε ένας από τους ιδρυτές της «Εταιρείας Ελλήνων Θεατρικών Συγγραφέων» και ασχολήθηκε και με την παιδική μουσική συνθέτοντας σχολικές οπερέτες. Άν και επί 50 περίπου χρόνια εφαίδρυνε ολόκληρες γενιές με τη δροσερότητα, το γέλιο, την αισιοδοξία και την ηρεμία που χάριζε η τέχνη του, εντούτοις έφυγε από τη ζωή πικραμένος και πάμφτωχος στις 2 Ιανουαρίου 1950 από καρκίνο του ήπατος. Στα τέλη της ζωής του υποχρεωνόταν να παίζει πιάνο σε λαϊκά θέατρα και στα αναψυκτήρια της εποχής για να εξασφαλίζει τον επιούσιο.
Ο Σακελλαρίδης ήταν μουσικός με σπάνιο ταλέντο, παραγωγικότατος και άρτια καταρτισμένος. Η μουσική του, μελωδικότατη, ζωηρή, είναι άλλοτε επηρεασμένη από την Αυστριακή, ή τη Γαλλική και άλλοτε καθαρά ελληνική, στολισμένη με κάποια ανατολίτικα μοτίβα. Υποστηρίζεται μάλιστα από μουσικολόγους πως, αν ήταν Βιεννέζος Θα είχε φθάσει τη δόξα, αν όχι του Στράους, οπωσδήποτε όμως του Λέχαρ ή του Κάλμαν.

Ο Μανώλης Καλομοίρης στο 541 τεύχος του περιοδικού Νέα Εστία (Αθήναι 15 Ιανουαρίου 1950, τόμος 47) έγραφε μεταξύ άλλων επ'ευκαιρία του θανάτου του Σακελλαρίδη: «Ένας ακόμη από τους πρωτεργάτες και θεμελιωτές της Ελληνικής μουσικής άνθησης έφυγε από ανάμεσά μας κι αφίνει ένα κενό που δύσκολα θα μπορέσωμε να το αναπληρώσωμε. Η μελωδία του χαμένου μουσουργού κι αν δεν καίει κι αν δεν φλογίζει, όμως ευωδιάζει με ένα λεπτό μουσικό άρωμα γεμάτο από την Αττική φύση και την Αττική ομορφιά. Αν όμως χάθηκε ο γλυκόλαλος τραγουδιστής, ο αχός της φλογέρας του μένει. Αχολογάει πάντα ολόθερμος και ζωντανός μέσα στις ψυχές και τις καρδιές μας και θα αντιλαλάει πάντα όπου Ελλάδα και Ελληνισμός σαν το θρόισμα στα κλαριά των πεύκων, όταν το δειλινό αεράκι τα αργοκινάει με το ανάλαφρο πἐρασμά του, και θα μας ξεκουράζει από τον κάματο της σκληρής δουλειάς και τις πίκρες της καθημερινής ζωής.»

Ο ιστορικός του θεάτρου Γιάννης Σιδέρης στο ίδιο περιοδικό έλεγε: «...Ένας συντελεστής του νέου ελληνικού πολιτισμού έσβυσε. Ως τόσο έζησε μια ζωή σεμνή και στάθηκε στο θέατρο σαν ένας αξιοπρεπής και σοβαρός άνθρωπος, που εκτιμούσε την έννοια της πνευματικότητας με την ευγενική και πολιτισμένη παρουσία του, με την ευθύτητά του. Μας άφισε έναν τρόπο καλλιτεχνικού βίου αληθινά τιμημένου και άξιου για μίμηση. Ως συνθέτης έκανε στην Οπερέττα ό,τι ο Ξενόπουλος στην πρόζα...»

Monday, September 29, 2008

0

I'm Your Man - Leonard Cohen



















Rating: 7/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Columbia
Year Released: 1988
Album Covers: Included
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About the Album
I'm Your Man is a 1988 album by Leonard Cohen. It was widely considered Cohen's "comeback" album, after the poorly promoted Various Positions in 1984. The album also marked Cohen's further move into modern musical textures, with many songs having a synthpop-style production. I'm Your Man reached #1 in Norway. The song "Everybody Knows" was one of Cohen's first writing collaborations with Sharon Robinson, who would become a frequent collaborator in the future. Most notably, Robinson co-wrote every song on Cohen's 2001 outing Ten New Songs. In "Tower of Song", Cohen discusses songwriting and acknowledges the influence of Hank Williams ("a hundred floors above me").
The album is silver in the UK and gold in Canada.
It was ranked 51 on Pitchfork Media's list of the 100 best albums of the 1980s.


About Leonard Cohen
Leonard Norman Cohen (born September 21, 1934 in Westmount, Quebec) is a Canadian singer-songwriter, musician, poet and novelist. Cohen published his first book of poetry in Montreal in 1956 and his first novel in 1963. Cohen's earliest songs (many of which appeared on the 1967 album Songs of Leonard Cohen) were rooted in European folk music melodies and instrumentation. In the 1970s his music encompassed pop, cabaret and world music. Since the 1980s his high baritone voice has evolved into lower registers (bass baritone and bass), with accompaniment from electronic synthesizers and female back up singers. His work often deals with the exploration of religion, isolation, sexuality, and complex interpersonal relationships.

Cohen's songs and poetry have influenced many other singer-songwriters, and more than a thousand renditions of his work have been recorded. He has been inducted into the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame and is also a Companion of the Order of Canada, the nation's highest civilian honour. Cohen was inducted into the American Rock and Roll Hall of Fame with a speech by Lou Reed on March 10, 2008 for his status among the "highest and most influential echelon of songwriters".

Sunday, September 28, 2008

0

Grand Slam - The Best Of Babe Ruth


















Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: EMI
Year Released:
2004
Album Covers: Included
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About Babe Ruth
Babe Ruth were a rock music group active in the 1970s from Hatfield, Hertfordshire, England. They had a heavy sound marked by powerful vocals from Janita Haan and full arrangements by Alan Shacklock. They had more success in North America than at home. When the group was first formed in 1971 (year in music), they were called Shacklock after their guitarist Alan Shacklock. Members included Janita Haan and Dave Hewitt. Then Dave Punshon and Dick Powell (brother of Slade drummer Don Powell) joined.

The first release was their single "Elusive". The first album, First Base went gold in Canada. In 1973, Ed Spevock replaced Powell and Chris Holmes replaced Punshon on the second album. In 1975, Steve Gurl, keyboardist from Wild Turkey replaced Holmes for the third album. The same year, Shacklock exited and Bernie Marsden (Wild Turkey) joined the team for the fourth album. After that Haan and Hewitt left. Though no original member remained, the group got Ellie Hope and Ray Knott for the fifth album in 1976. Shortly before they disbanded they were joined by the young 17 year old Birmingham born Simon Lambeth who made a few appearances on their last tour, his hauntingly naive sound on rhythm guitar behind the lead of Marsden promised much but sadly it was too late; Marsden moved on to bigger things and joined Whitesnake. Simon changed careers and sadly was lost to the music scene.

A disco cover of Babe Ruth's classic "The Mexican" appeared in the late 70's, performed by the Bombers. This version inspired an electro/freestyle cover produced by John Jellybean Benitez in 1984, for which he managed to recruit Haan on vocals. It was a huge underground dance hit. In late 2005 and early 2006, Haan (now Janita Haan Morris), Shacklock, Punshon, and Hewitt were recording new material together in Nashville, with Spevock recording his drums in London. The album was completed September 2006, and is now available.
2

The Original Jam Master Vol. 2 - Ain't It Funky Now - Grant Green


















Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 2005
Album Covers: Included
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Links:
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About Grant Green
Grant Green (June 6, 1935 – January 31, 1979; some sources erroneously give the birth year as 1931) was a jazz guitarist and composer.Recording prolifically and almost exclusively for Blue Note Records (as both leader and sideman) Green performed well in hard bop, soul jazz, bebop and latin-tinged settings throughout his career. Critics Michael Erlewine and Ron Wynn write, "A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar ... Green's playing is immediately recognizable -- perhaps more than any other guitarist." Critic Dave Hunter described his sound as "lithe, loose, slightly bluesy and righteously groovy". He often performed in an Organ trio, a small group with an organ and drummer.

Green was born on June 6, 1935 in St. Louis, MO. He first performed in a professional setting at the age of 12. His influences were Charlie Christian, Charlie Parker, Ike Quebec, Lester Young, Jimmy Raney, Jimmy Smith and Miles Davis, he first played boogie-woogie before moving on to jazz. His first recordings in St. Louis were with tenor saxophonist Jimmy Forrest for the Delmark label. The drummer in the band was Elvin Jones, later the powerhouse behind John Coltrane. Grant recorded with Elvin again in the early Sixties. Lou Donaldson discovered Grant playing in a bar in St. Louis. After touring together with Donaldson, Grant arrived in New York around 1959-60.

Lou Donaldson introduced Grant to Alfred Lion of Blue Note Records. Lion was so impressed with Grant that, rather than testing Grant as a sideman, as was the usual Blue Note practice, Lion arranged for him to record as a bandleader first. Green's initial recording session went unreleased until 2001, however, owing to a lack of confidence on Green's behalf. Despite the shelving of his first session, Green's recording relationship with Lion and Blue Note was to last, with a few exceptions, throughout the Sixties. From 1961 to 1965, Grant made more appearances on Blue Note LPs, as leader or sideman, than anyone else. Grant's first issued album as a leader was Grant's First Stand. This was followed in the same year by Green Street and Grantstand. He often provided support to many of other great musicians on Blue Note. These included saxophonists Hank Mobley, Ike Quebec, Stanley Turrentine and Harold Vick, as well as organist Larry Young. Grant was named best new star in the Down Beat critics' poll, 1962. As a result, his influence spread wider than New York.

Sunday Mornin' , The Latin Bit and Feelin' the Spirit are all loose concept albums, each taking a musical theme or style: Gospel, Latin and spirituals respectively. Grant always carried off his more commercial dates with artistic success during this period. Idle Moments (1963), featuring Joe Henderson and Bobby Hutcherson, and Solid (1964), featuring the Coltrane rhythm section, are acclaimed as two of Grant's best recordings. Many of Grant's recordings were not released during his lifetime. These include Matador, in which Grant is once again in the heavyweight company of the Coltrane rhythm section, and a series of sessions with pianist Sonny Clark.

In 1966 Grant left Blue Note and recorded for several other labels, including Verve. From 1967 to 1969 Grant was, for the most part, inactive due to personal problems and the effects of heroin addiction.

In 1969 Grant returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and the soundtrack to the film The Final Comedown. Grant left Blue Note again in 1974 and the subsequent recordings he made with other labels are usually described as "commercial".

Grant spent much of 1978 in hospital and, against the advice of doctors, went back on the road to earn some money. While in New York to play an engagement at George Benson's Breezin' Lounge, Grant collapsed in his car of a heart attack in New York City on January 31, 1979. He was buried in Greenwood Cemetery in his hometown of St. Louis, Missouri, and was survived by six children.

Saturday, September 27, 2008

0

The Bossa Nova Exciting Jazz Samba Rhythms Vol. 4



















Rating: 7/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Rare Groove
Year Released:
2000
Album Covers: Included
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Friday, September 26, 2008

0

Chet Baker Sings & Plays - Chet Baker


















Rating: 5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Pacific Jazz
Year Released:
1955
Album Covers: Included
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About Chet Baker
Chesney Henry "Chet" Baker Jr. (Yale, Oklahoma, 23 December 1929 - Amsterdam, 13 May 1988) was an American jazz trumpeter and singer. Specializing in relaxed, even melancholy music, Baker rose to prominence as a leading name in cool jazz in the 1950s. Baker's good looks and smoldering, intimate singing voice established him as a promising name in pop music as well. But his success was badly hampered by drug addiction, particularly in the 1960s, when he was imprisoned. He mounted a successful comeback in the '70s, but died in 1988 after falling from a hotel window.
0

Feelin' The Spirit


















Rating: 6.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 1962
Album Covers: Included
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Links:
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About Grant Green
Grant Green (June 6, 1935 – January 31, 1979; some sources erroneously give the birth year as 1931) was a jazz guitarist and composer.Recording prolifically and almost exclusively for Blue Note Records (as both leader and sideman) Green performed well in hard bop, soul jazz, bebop and latin-tinged settings throughout his career. Critics Michael Erlewine and Ron Wynn write, "A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar ... Green's playing is immediately recognizable -- perhaps more than any other guitarist." Critic Dave Hunter described his sound as "lithe, loose, slightly bluesy and righteously groovy". He often performed in an Organ trio, a small group with an organ and drummer.

Green was born on June 6, 1935 in St. Louis, MO. He first performed in a professional setting at the age of 12. His influences were Charlie Christian, Charlie Parker, Ike Quebec, Lester Young, Jimmy Raney, Jimmy Smith and Miles Davis, he first played boogie-woogie before moving on to jazz. His first recordings in St. Louis were with tenor saxophonist Jimmy Forrest for the Delmark label. The drummer in the band was Elvin Jones, later the powerhouse behind John Coltrane. Grant recorded with Elvin again in the early Sixties. Lou Donaldson discovered Grant playing in a bar in St. Louis. After touring together with Donaldson, Grant arrived in New York around 1959-60.

Lou Donaldson introduced Grant to Alfred Lion of Blue Note Records. Lion was so impressed with Grant that, rather than testing Grant as a sideman, as was the usual Blue Note practice, Lion arranged for him to record as a bandleader first. Green's initial recording session went unreleased until 2001, however, owing to a lack of confidence on Green's behalf. Despite the shelving of his first session, Green's recording relationship with Lion and Blue Note was to last, with a few exceptions, throughout the Sixties. From 1961 to 1965, Grant made more appearances on Blue Note LPs, as leader or sideman, than anyone else. Grant's first issued album as a leader was Grant's First Stand. This was followed in the same year by Green Street and Grantstand. He often provided support to many of other great musicians on Blue Note. These included saxophonists Hank Mobley, Ike Quebec, Stanley Turrentine and Harold Vick, as well as organist Larry Young. Grant was named best new star in the Down Beat critics' poll, 1962. As a result, his influence spread wider than New York.

Sunday Mornin' , The Latin Bit and Feelin' the Spirit are all loose concept albums, each taking a musical theme or style: Gospel, Latin and spirituals respectively. Grant always carried off his more commercial dates with artistic success during this period. Idle Moments (1963), featuring Joe Henderson and Bobby Hutcherson, and Solid (1964), featuring the Coltrane rhythm section, are acclaimed as two of Grant's best recordings. Many of Grant's recordings were not released during his lifetime. These include Matador, in which Grant is once again in the heavyweight company of the Coltrane rhythm section, and a series of sessions with pianist Sonny Clark.

In 1966 Grant left Blue Note and recorded for several other labels, including Verve. From 1967 to 1969 Grant was, for the most part, inactive due to personal problems and the effects of heroin addiction.

In 1969 Grant returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and the soundtrack to the film The Final Comedown. Grant left Blue Note again in 1974 and the subsequent recordings he made with other labels are usually described as "commercial".

Grant spent much of 1978 in hospital and, against the advice of doctors, went back on the road to earn some money. While in New York to play an engagement at George Benson's Breezin' Lounge, Grant collapsed in his car of a heart attack in New York City on January 31, 1979. He was buried in Greenwood Cemetery in his hometown of St. Louis, Missouri, and was survived by six children.

0

Tonic - Medeski, Martin & Wood


















Rating: 5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 2000
Album Covers: Included
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About Medeski, Martin & Wood
Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar. The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

Thursday, September 25, 2008

0

Blue Brazil Vol. 1: Blue Note in a Latin Groove


















Rating: 6.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 1994
Album Covers: Included
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0

Am I Blue - Grant Green


















Rating: 4/10
Sound Quality:
320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 1963
Album Covers: Included
Pass: radiodada
Links: rapidshare

About Grant Green
Grant Green (June 6, 1935 – January 31, 1979; some sources erroneously give the birth year as 1931) was a jazz guitarist and composer.Recording prolifically and almost exclusively for Blue Note Records (as both leader and sideman) Green performed well in hard bop, soul jazz, bebop and latin-tinged settings throughout his career. Critics Michael Erlewine and Ron Wynn write, "A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar ... Green's playing is immediately recognizable -- perhaps more than any other guitarist." Critic Dave Hunter described his sound as "lithe, loose, slightly bluesy and righteously groovy". He often performed in an Organ trio, a small group with an organ and drummer.

Green was born on June 6, 1935 in St. Louis, MO. He first performed in a professional setting at the age of 12. His influences were Charlie Christian, Charlie Parker, Ike Quebec, Lester Young, Jimmy Raney, Jimmy Smith and Miles Davis, he first played boogie-woogie before moving on to jazz. His first recordings in St. Louis were with tenor saxophonist Jimmy Forrest for the Delmark label. The drummer in the band was Elvin Jones, later the powerhouse behind John Coltrane. Grant recorded with Elvin again in the early Sixties. Lou Donaldson discovered Grant playing in a bar in St. Louis. After touring together with Donaldson, Grant arrived in New York around 1959-60.

Lou Donaldson introduced Grant to Alfred Lion of Blue Note Records. Lion was so impressed with Grant that, rather than testing Grant as a sideman, as was the usual Blue Note practice, Lion arranged for him to record as a bandleader first. Green's initial recording session went unreleased until 2001, however, owing to a lack of confidence on Green's behalf. Despite the shelving of his first session, Green's recording relationship with Lion and Blue Note was to last, with a few exceptions, throughout the Sixties. From 1961 to 1965, Grant made more appearances on Blue Note LPs, as leader or sideman, than anyone else. Grant's first issued album as a leader was Grant's First Stand. This was followed in the same year by Green Street and Grantstand. He often provided support to many of other great musicians on Blue Note. These included saxophonists Hank Mobley, Ike Quebec, Stanley Turrentine and Harold Vick, as well as organist Larry Young. Grant was named best new star in the Down Beat critics' poll, 1962. As a result, his influence spread wider than New York.

Sunday Mornin' , The Latin Bit and Feelin' the Spirit are all loose concept albums, each taking a musical theme or style: Gospel, Latin and spirituals respectively. Grant always carried off his more commercial dates with artistic success during this period. Idle Moments (1963), featuring Joe Henderson and Bobby Hutcherson, and Solid (1964), featuring the Coltrane rhythm section, are acclaimed as two of Grant's best recordings. Many of Grant's recordings were not released during his lifetime. These include Matador, in which Grant is once again in the heavyweight company of the Coltrane rhythm section, and a series of sessions with pianist Sonny Clark.

In 1966 Grant left Blue Note and recorded for several other labels, including Verve. From 1967 to 1969 Grant was, for the most part, inactive due to personal problems and the effects of heroin addiction.

In 1969 Grant returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and the soundtrack to the film The Final Comedown. Grant left Blue Note again in 1974 and the subsequent recordings he made with other labels are usually described as "commercial".

Grant spent much of 1978 in hospital and, against the advice of doctors, went back on the road to earn some money. While in New York to play an engagement at George Benson's Breezin' Lounge, Grant collapsed in his car of a heart attack in New York City on January 31, 1979. He was buried in Greenwood Cemetery in his hometown of St. Louis, Missouri, and was survived by six children.

0

Sarabande - Jon Lord


















Rating: 6/10
Sound Quality:
320 kb/s
Format: Mp3
Record Label: Purple Records
Year Released: 1976
Album Covers: Included
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About Jon Lord

Jon Douglas Lord (born in Leicester on June 9, 1941) is an English composer, Hammond organ and piano player.Lord is recognised for his Hammond organ blues-rock sound and for his pioneering work in fusing rock and classical or baroque forms. He has most famously been a member of Deep Purple, as well as of Whitesnake, Paice, Ashton & Lord, The Artwoods and Flower Pot Men. He has worked with numerous other artists including Graham Bonnet (following Bonnet's departure from Rainbow). In 1968, Lord co-founded Deep Purple. He and drummer Ian Paice were the only constant band members during the band's existence from 1968 to 1976 and from when they reformed in 1984 until Lord's retirement in 2002.

One of his finest works was his composition Concerto for Group and Orchestra, which was performed at the Royal Albert Hall in 1969 with Deep Purple (Lord and Paice with guitarist Ritchie Blackmore, singer Ian Gillan and bass guitarist Roger Glover) and the Royal Philharmonic Orchestra. The concerto was revived for its 30th anniversary in 1999 with another performance at the Albert Hall, again performed by Deep Purple (Lord, Paice, Gillan, Glover and Steve Morse in place of Ritchie Blackmore) with the London Philharmonic Orchestra.In 2002 he retired from Deep Purple for good, to concentrate on composing and on lower-key blues/rock performances. In 2008, he achieved success as a classical composer when his Durham Concerto entered the classical album charts

About The Album
'Sarabande' is the second solo album by Jon Lord. It's a Classic Rock fusion album recorded near Düsseldorf (Germany). The orchestra was conducted by Eberhard Schoener.

0

Bembeya - Bembeya Jazz National


















Rating: 6/10
Sound Quality:
320 kb/s
Format: Mp3
Record Label: Marabi
Year Released: 2002
Album Covers: Included
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0

In Pursuit Of The 27th Man - Horace Silver


















Rating: 6.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 1972
Album Covers: Included
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About Horace Silver
When Horace Silver once wrote out his rules for musical composition (in the liner notes to the 1968 record, Serenade to a Soul Sister), he expounded on the importance of "meaningful simplicity." The pianist could have just as easily been describing his own life. For more than fifty years, Silver has simply written some of the most enduring tunes in jazz while performing them in a distinctively personal style. It's all been straight forward enough, while decades of incredible experiences have provided the meaning.

Silver was born in Norwalk, Connecticut on September 2, 1928. His father had immigrated to the United States from Cape Verde---and that island nation's Portuguese influences would play a big part in Silver's own music later on. When Silver was a teenager, he began playing both piano and saxophone while he listened to everything from boogie-woogie and blues to such modern musicians as Bud Powell and Thelonious Monk. As Silver's piano trio was working in Hartford, Connecticut, the group received saxophonist Stan Getz's attention in 1950. The saxophonist brought the band on the road and recorded three of Silver's compositions.

In 1951, Silver moved to New York City where he accompanied saxophonists Coleman Hawkins, Lester Young and many other legends. In the following year, he met the executives at Blue Note while working as a sideman for saxophonist Lou Donaldson. This meeting led to Silver signing with the label where he would remain until 1980. He also collaborated with Art Blakey in forming the Jazz Messengers during the early 1950s (which Blakey would continue to lead after Silver formed his own quintet in 1956).

During these years, Silver helped create the rhythmically forceful branch of jazz known as "hard bop" (chronicled in David H. Rosenthal's 1992 book, Hard Bop: Jazz and Black Music, 1955-1965). He based much of his own writing on blues and gospel---the latter is particularly prominent on one of his biggest tunes, "The Preacher." While his compositions at this time featured surprising tempo shifts and a range of melodic ideas, they immediately caught the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955), Six Pieces of Silver (1956) and Blowin' The Blues Away (1959), which includes his famous, "Sister Sadie." He also combined jazz with a sassy take on pop through the 1961 hit, "Filthy McNasty."

But it was a few years later when Silver would record one of his most famous songs, the title track to his 1964 album, Song For My Father. That piece combined his dad's take on Cape Verdean folk music (with a hint of Brazilian Carnival rhythms) into an enduring F-minor jazz composition. Over the years, it has become an American popular music standard, covered not only by scores of instrumentalists, but also such singers as James Brown.

As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these changes through music. He commented directly on the new scene through a trio of records called United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings Play The Music of the Spheres (1979).

After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album, Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993). On Jazz Has A Sense of Humor (Verve, 1998), he shows his younger group of sidemen the true meaning of the music.

Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award. Silver is also anxious to tell the world his life story in his own words as he just completed writing his autobiography, Let's Get To The Nitty Gritty (University of California Press, scheduled for fall 2006 release).

2

Nigeria Disco Funk Special: The Sound Of The Underground Lagos Dancefloor 1974-1979



















Rating
: 7/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Soundway
Year Released:
2008
Album Covers: Included
Pass: radiodada
Links: 
Rapidshare, Extra Links
4

The Bossa Nova Exciting Jazz Samba Rhythms Vol. 5



















Rating: 7/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Rare Groove
Year Released: 2001
Album Covers: Included
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Thursday, September 18, 2008

0

From Latin to Jazz Dance Vol.4



















Rating: 7/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Rare Groove
Year Released: 2003
Album Covers: Included
Pass: radiodada
Links: rapidshare
0

Curtis - Curtis Mayfield



















Rating: 7.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Rhino
Year Released: 197o (Original), 2000 (Reissue)
Album Covers: Included
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About the Album
Curtis is the debut album by American soul/funk artist Curtis Mayfield, released in September of 1970. Produced by Mayfield, it was released on his own label Curtom Records. The musical styles of Curtis moved further away from the pop-soul sounds of Mayfield's previous group The Impressions and featured more of a funk and psychedelia inspired sound. The album's subject matter incorporates political and social concerns of the time.

Curtis sold well at the time charting at number one on the Billboard Black albums and number nineteen on the Billboard Pop albums charts. Only the single "(Don't Worry) If There's a Hell Below, We're All Going to Go" charted. Curtis receives very high praise from modern day critics with Bruce Eder of Allmusic commenting that the record is "...practically the "Sgt. Pepper's" album of '70s soul..."

Like with some of his later Impressions work, Mayfield's lyrics reflected the social and political concern rising in black America at the time. Mayfield was one of the earliest artists to speak openly about African-American pride and community struggle. Mayfield reflected upon this time as a "happening era...when people stopped wearing tuxedos...people were getting down a little more."

The album had a more hard edged sound that the Impressions had before. On this new sound Mayfield claimed it was something he "long wanted to do...but were out of category of what was expected of me and the Impressions. What I got off in the Curtis album allowed me to be more personal for myself." The two singles off the album "(Don't Worry) If There's a Hell Below, We're All Going to Go" and "Move on Up" showcased Mayfield's new funk musical style, while the rest of the tracks were much softer soul based songs. Not having any traditional music lessons, Mayfield's claimed his backing band would occasionly comment "gosh, this is a terribly strange key to play in", but still played it accordingly as written.

About Curtis Mayfield
Curtis Lee Mayfield (June 3, 1942 – December 26, 1999) was an American soul, R&B, and funk singer, songwriter, and record producer best known for his anthemic music with The Impressions and composing the soundtrack to the blaxploitation film Super Fly. From these works and others, he was highly regarded as a pioneer of funk and of politically conscious African-American music. He was also a multi-instrumentalist who played the guitar, bass, piano, saxophone, and drums.


Wednesday, September 17, 2008

0

Jazz in Paris (No 15) - Guitar Conceptions - Elec Bacsik


















Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Gitanes Jazz Productions
Year Released: 1962 (Original), 2001 (Reissue)
Album Covers: Included
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About Elek Bacsik
Elek Bacsik (22 May 1926 – 14 February 1993) was a Hungarian-born American jazz violinist and guitarist. Bacsik was born in Budapest, the son of Arpad Bacsik and Erzsebet Pocsi. He was of Romani ethnicity and studied violin at the Budapest Conservatory, but found his primary musical inspiration in bebop pioneers Dizzy Gillespie and Charlie Parker. He was also the cousin of Django Reinhardt. In his early years he travelled as a musician to Lebanon, Spain, Portugal and Italy. He worked in Paris in the early 1960s and recorded with some well known French musicians such as Jeanne Moreau, Serge Gainsbourg and Claude Nougaro as well as making solo albums. In 1966, he went to work and live in the United States and played at Las Vegas. Bacsik recorded on guitar on Gillespie's Dizzy on the French Riviera (1962) and later appeared on violin with Gillespie at the Newport Jazz Festival in 1974. His bebop violin playing is featured on his two albums as a leader, I Love You (1974) and Bird and Dizzy: A Musical Tribute (1975).

2

The Velvet Underground & Nico


















Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Polydor
Year Released: 1967
Album Covers: Included
Pass: radiodada
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About the Album
At Warhol's insistence, Nico sang with the band on three songs of their debut album, The Velvet Underground and Nico. The album was recorded primarily in Scepter Studios in New York City during April. It was released by Verve Records in March 1967.

The album cover was famous for its Warhol design: a bright yellow banana with “Peel slowly and see” printed near a perforated tab. Those who did remove the banana skin found a pink, peeled banana beneath. This gimmick would later be repeated on the cover of one of several Velvet Underground boxed sets, also titled Peel Slowly and See, released in 1995.

Eleven songs showcased their dynamic range, veering from the pounding attacks of "I’m Waiting for the Man" and "Run Run Run," the droning "Venus in Furs" and "Heroin" to the quiet "Femme Fatale" and the tender "I’ll Be Your Mirror," as well as Warhol's own favorite song of the group, "All Tomorrow's Parties."

The overall sound was propelled by Reed’s deadpan vocals, Cale's droning viola, Morrison's often rhythm and blues– or country-influenced guitar, and Tucker’s simple but steady beat.

The album was released on March 12, 1967, peaking at #171 on Billboard magazine's Top 200 charts. The promising commercial début of the album was dampened somewhat by legal complications: the album’s back cover featured a photo of the group playing live with another image projected behind them; the projected image was a still from a Warhol motion picture, Chelsea Girls. The film’s cinematographer, Eric Emerson, had been arrested for drug possession and, desperate for money, claimed the still had been included on the album without his permission (in the image his face appears quite big, but upside down). MGM Records pulled all copies of the album until the legal problems were settled (by which time the record had lost its modest commercial momentum), and the still was airbrushed out.

0

The Original Jam Master Vol. 3 - Mellow Madness - Grant Green


















Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 2005
Album Covers: Included
Pass: radiodada
Links: rapidshare


About Grant Green
Grant Green (June 6, 1935 – January 31, 1979; some sources erroneously give the birth year as 1931) was a jazz guitarist and composer.Recording prolifically and almost exclusively for Blue Note Records (as both leader and sideman) Green performed well in hard bop, soul jazz, bebop and latin-tinged settings throughout his career. Critics Michael Erlewine and Ron Wynn write, "A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar ... Green's playing is immediately recognizable -- perhaps more than any other guitarist." Critic Dave Hunter described his sound as "lithe, loose, slightly bluesy and righteously groovy". He often performed in an Organ trio, a small group with an organ and drummer.

Green was born on June 6, 1935 in St. Louis, MO. He first performed in a professional setting at the age of 12. His influences were Charlie Christian, Charlie Parker, Ike Quebec, Lester Young, Jimmy Raney, Jimmy Smith and Miles Davis, he first played boogie-woogie before moving on to jazz. His first recordings in St. Louis were with tenor saxophonist Jimmy Forrest for the Delmark label. The drummer in the band was Elvin Jones, later the powerhouse behind John Coltrane. Grant recorded with Elvin again in the early Sixties. Lou Donaldson discovered Grant playing in a bar in St. Louis. After touring together with Donaldson, Grant arrived in New York around 1959-60.

Lou Donaldson introduced Grant to Alfred Lion of Blue Note Records. Lion was so impressed with Grant that, rather than testing Grant as a sideman, as was the usual Blue Note practice, Lion arranged for him to record as a bandleader first. Green's initial recording session went unreleased until 2001, however, owing to a lack of confidence on Green's behalf. Despite the shelving of his first session, Green's recording relationship with Lion and Blue Note was to last, with a few exceptions, throughout the Sixties. From 1961 to 1965, Grant made more appearances on Blue Note LPs, as leader or sideman, than anyone else. Grant's first issued album as a leader was Grant's First Stand. This was followed in the same year by Green Street and Grantstand. He often provided support to many of other great musicians on Blue Note. These included saxophonists Hank Mobley, Ike Quebec, Stanley Turrentine and Harold Vick, as well as organist Larry Young. Grant was named best new star in the Down Beat critics' poll, 1962. As a result, his influence spread wider than New York.

Sunday Mornin' , The Latin Bit and Feelin' the Spirit are all loose concept albums, each taking a musical theme or style: Gospel, Latin and spirituals respectively. Grant always carried off his more commercial dates with artistic success during this period. Idle Moments (1963), featuring Joe Henderson and Bobby Hutcherson, and Solid (1964), featuring the Coltrane rhythm section, are acclaimed as two of Grant's best recordings. Many of Grant's recordings were not released during his lifetime. These include Matador, in which Grant is once again in the heavyweight company of the Coltrane rhythm section, and a series of sessions with pianist Sonny Clark.

In 1966 Grant left Blue Note and recorded for several other labels, including Verve. From 1967 to 1969 Grant was, for the most part, inactive due to personal problems and the effects of heroin addiction.

In 1969 Grant returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and the soundtrack to the film The Final Comedown. Grant left Blue Note again in 1974 and the subsequent recordings he made with other labels are usually described as "commercial".

Grant spent much of 1978 in hospital and, against the advice of doctors, went back on the road to earn some money. While in New York to play an engagement at George Benson's Breezin' Lounge, Grant collapsed in his car of a heart attack in New York City on January 31, 1979. He was buried in Greenwood Cemetery in his hometown of St. Louis, Missouri, and was survived by six children.

0

Jazz in Paris (No 66) - Les 4 Saisons - Raymond Fol



















Rating: 7/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Gitanes Jazz Productions
Year Released: 1965 (Original), 2001 (Reissue)
Album Covers: Included
Pass: radiodada
Links: rapidshare

About Raymond Fol
Along with his brother Hubert, French pianist Raymond Fol made significant contribution to European jazz in the '50s,'60s and '70s. He started playing traditional jazz in a band with his brother and Boris Vian from 1945 to 1947. The Fols also played in The Be Bop Ministrels for two years, after which Raymond Fol worked with Jean-Claude Fohrenbach and then Django Reinhardt from 1949-1951. He recorded with Reinhardt the next year. Fol also recorded and played with Roy Eldridge, Johnny Hodges, Dizzy Gillespie, Sidney Bechet, Guy Lfitte and Stephane Grappelli in the '50s and '60s. He toured Europe with Gillespie in 1952. Fol played in Rome for a year in 1958, and led a trio at the Mars Club in Paris in 1961, occasionally doubling on celesta. He was a guest soloist with the Ellington orchestra in 1969 and 1974, and worked with Ellingtonians Paul Gonsalves in 1970 and Cat Anderson in 1977.
0

The Bossa Nova Exciting Jazz Samba Rhythms Vol. 3



















Rating: 7.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Rare Groove
Year Released: 2000
Album Covers: Included
Pass: radiodada
Links: rapidshare
0

Full House - Wes Montgomery


















Rating: 5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Riverside
Year Released: 1962
Album Covers: Included
Pass: radiodada
Links: rapidshare

About Wes Montgomery
John Leslie "Wes" Montgomery (6 March 1925 - 15 June 1968) was an American jazz guitarist. He is generally considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Pat Martino and Pat Metheny.

Montgomery was born in Indianapolis, Indiana. He came from a musical family; his brothers, Monk (string bass and electric bass) and Buddy (vibraphone and piano), were jazz performers. Although he was not skilled at reading music, he could learn complex melodies and riffs by ear. Montgomery started learning guitar at the age of 19, listening to and learning recordings of his idol, the guitarist Charlie Christian. He was known for his ability to play Christian solos note for note and was hired by Lionel Hampton for this ability.

Montgomery is often considered the greatest of modern jazz guitarists. Following the early work of swing/pre-bop guitarist Charlie Christian and gypsy-jazz guitarist Django Reinhardt, Wes arguably put guitar on the map as a bebop or post-bop instrument. Although Johnny Smith was the guitarist in the original New York Bebop scene, and both Tal Farlow and Jimmy Raney made significant contributions in the 1950's to bebop guitar, each of these men curtailed their own output in the 1960s, creating a vacuum that Montgomery naturally filled with virtuousic playing. While many Jazz players are regarded as virtuosos, Montgomery was unique in his wide influence on other virtuosos who followed him, and in the respect he earned from his contemporaries. To many, Montgomery's playing defines jazz guitar and the sound that many try to emulate.

Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianapolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Cannonball Adderley heard Montgomery in an Indianapolis club and was floored. The next morning, he called record producer Orrin Keepnews, who signed Montgomery to a recording contract with Riverside Records. Adderly later recorded with Montgomery on his Pollwinners album. Montgomery recorded with his brothers and various other group members, including the Wynton Kelly Trio which previously backed up Miles Davis.

John Coltrane asked Montgomery to join his band after a jam session, but Montgomery continued to lead his own band. Boss Guitar seems to refer to his status as a guitar-playing bandleader. He also made contributions to recordings by Jimmy Smith. Jazz purists relish Montgomery's recordings up through 1965, and sometimes complain that he abandoned hard-bop for pop jazz towards the end of his career, although it is arguable that he gained a wider audience for his earlier work with his soft jazz from 1965-1968. During this late period he would occasionally turn out original material alongside jazzy orchestral arrangements of pop songs. In sum, this late period earned him considerable wealth and created a platform for a new audience to hear his earlier recordings.

Wes Montgomery died of a heartattack on June 15, 1968 in Indianapolis, Indiana, USA.


3

Bossa Nova Bacchanal - Charlie Rouse



















Rating: 7/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 1962
Album Covers: Included
Pass: radiodada
Links: Rapidshare, Extra Links

About Charlie Rouse

Charlie Rouse (April 6, 1924 - November 30, 1988) was an American hard bop tenor saxophonist and flautist.Born in Washington, DC, his work with Thelonious Monk's quartet, a period which lasted from 1959 to 1970 became highly influential simply due to his proximity to Monk. He was later a founding member of the group Sphere, which began as a tribute to Monk. He also worked with Mal Waldron's quintet. When performing, Rouse moved very little, looked straight ahead, and wore a solemn expression.Charlie Rouse died from lung cancer at University Hospital in Seattle at the age of 64.
The asteroid "(10426) Charlierouse" was officially named to honor Charlie Rouse in 2007 by its discoverer, the American planetary scientist and astronomer Joe Montani, a Monk and Rouse fan. The asteroid is in the main-belt of asteroids. Asteroid "(11091) Thelonious" was named earlier by Montani. Each asteroid has an orbital period of about 4 years, and is about 10 kilometers in size.