Thursday, November 26, 2009

0

Jamaica Funk: Original Jamaican Funk And Soul 45's


















Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Soul Jazz Records
Year Released: 2007
Album Covers: Included
Pass: radiodada
Links: rapidshare

Note From Dada!
Μιας και στην προηγούμενη ανάρτηση αναφέρθηκα στις παραγωγές της "Soul Jazz Records", είπα να μην "ξεφύγω από το θέμα" και έτσι λοιπόν ώτα μου σας σερβίρω μια ακόμη εξαιρετική "Soul Jazz Records συλλογή", φτιαγμένη από funk - soul 45άρια της αντίστοιχης τζαμαϊκανής μουσικής σκηνής.
Εξαιρετικά, εξαιρετικά και πάλι εξαιρετικά τα "Brown Baby" (Derrick Harriot) και "I Love The Way You Love" (The Chosen Few) τα οποία αναρτώ πιο κάτω στη γνωστή "γιού-τιούμπ - αϊ-τιούμπ - σι-τιούμπ" μορφή.
Καλή Ακρόαση!

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Brown Baby - Derrick Harriot


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I Love The Way You Love - The Chosen Few

Tuesday, November 24, 2009

2

Studio One Kings


















Rating: 6.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Soul Jazz Records
Year Released: 2007
Album Covers: Included
Pass: radiodada
Links: rapidshare

Note From Dada!
Οι συλλογές και γενικότερα οι παραγωγές της Soul Jazz Records είναι απ' τις πιο προσεγμένες, όχι μόνο από μουσικής άποψης αλλά και από την πλευρά των εκδόσεων (φωτογραφικό υλικό, ένθετα, πληροφορίες κ.α.). Το ίδιο λοιπόν συμβαίνει και μ' αυτή τη συλλογή, που περιλαμβάνει μερικούς από τους "κορυφαίους", του θρυλικού Studio One" (Johnny Osbourne, Cornel Campbell, Horace Andy κ.α.). Το προτείνω ανεπιφύλακτα, όχι τόσο στους λάτρεις ή γνώστες της Reggae, αλλά σε όσους διατηρούν την εντύπωση, ότι Reggae σημαίνει "Μarley και ξερό χασίς..." Αν και όλος δίσκος φεύγει "νεράκι" από εξαιρετικά tracks - σημειώνω κάποια που ξεχωρίζω: "I've Got To Make It" (Larry Marshall), "Change Of Plan" (Joe Higgs), Roots Natty (Albert Griffiths).

About Studio One
Studio One is one of Jamaica's most renowned record labels and recording studios, having been described as "the Motown of Jamaica." Studio One was involved with most of the major music movements in Jamaica during the 1960s and 1970s, including ska, rocksteady, reggae, dub and dancehall. The label was founded by Clement "Coxsone" Dodd in 1954, and the first recordings were cut in 1957 on Brentford Road in Kingston. Amongst its earliest records were "Easy Snappin'" by Theophilus Beckford, backed by Clue J and his Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos. The label and studio were closed when Dodd relocated to New York City in the 1980s. Studio One has recorded and released music by (and had a large hand in shaping the careers of) artists such as The Skatalites, Bob Marley and the Wailers, Lee "Scratch" Perry, Burning Spear, Toots & the Maytals, John Holt, Horace Andy, Ken Boothe, Freddie McGregor, Dennis Brown, Jackie Mittoo, Gladiators, Michigan & Smiley, Wailing Souls, Dillinger, Delroy Wilson, Heptones, Johnny Osbourne, Marcia Griffiths (of the I-Threes), Sugar Minott, The Abyssinians, Culture, Soul Vendors, Lone Ranger, and Alton Ellis. Noted rival Prince Buster began his career working for Dodd's sound system, and the record producer Harry J recorded many of his best-known releases at Studio One.

Saturday, November 21, 2009

1

The Astounding Eyes Of Rita - Anoura Brahem


















Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: ECM
Year Released: 2009
Album Covers: Included
Pass: radiodada
Links: rapidshare

Note From Dada!
Όσο εύκολα μπορώ να πω, πως δεν πρόκειται για την καλύτερη δισκογραφική δουλειά του Τυνήσιου ουτίστα Anouar Brahem (είμαι λάτρης των "Thimar", "Kohmsa", "Le Voyage de Sahar"), άλλο τόσο δύσκολα μπορώ να μην εκφράσω, πως πρόκειται για ένα πραγματικά πολύ όμορφο album. Ο τελευταίος και αρκετά πρόσφατος δίσκος του Brahem είναι αφιερωμένος στον Παλαιστίνιο ποιητή Mahmoud Darwish, από ποίημα του οποίου είναι "εμπνευσμένος" και ο τίτλος του.
Όπως και στο παρελθόν, έτσι και εδώ, o Brahem "ντύνει" αριστοτεχνικά τις ρίζες της μουσικής του καταγωγής, με μια "δυτική" προσέγγιση (συνήθως ενορχηστρωτική και όχι τόσο συνθετική) που επ' ουδενί δε θα τη χαρακτήριζα World ή Ethnic καθώς οι συγκεκριμένοι όροι μάλλον τείνουν να αποκτήσουν ένα νόημα Easy Listening.
Εξαιρετικά τα "Stopover At Djibouti", "The Astounding Eyes Of Rita", πολύ καλά τα "Al Birwa" και "Galilee Mon Amour".

Σύνθεση:
Anour Brahem: Ούτι
Klaus Gessing: Μπάσο Κλαρινέτο
Bjorn Meyer: Ηλεκτρικό Μπάσο
Khaled Yassine: Νταρμπούκα, Μπεντίρ

About Anouar Brahem
Anouar Brahem (transliteration of the Arabic أنور ابراهم) was born on October 20, 1957 in the town of Halfouine in the Medina of Tunis, Tunisia. He is an oud player and composer, who is widely acclaimed as an innovator in his field. Performing primarily for a jazz audience, he fuses Arab classical music, folk music and jazz and has been recording since at least 1991, after becoming prominent in his own country in the late 1980s.

Encouraged by his father, an engraver and printer, but also a music lover, Brahem began his studies of the oud at the age of 10, at the Tunis National Conservatory of Music, where his principal teacher was the oud master, Ali Sriti. An exceptional student, by the age of 15 Brahem was playing regularly with local orchestras. At 18 he decided to devote himself entirely to music. For four consecutive years Ali Sriti received him at home every day and continued to convey to him the modes, subtleties and secrets of Arab classical music through the traditional master / disciple relationship, particularly in the intricacies of the Maqam system, and taqsim.
Little by little, Brahem began to broaden his field of listening to include other musical expressions from around the Mediterranean, Iran and India, before jazz began to command his attention. According to Brahem, "I enjoyed the change of environment, and discovered the close links that exist between all these musics".

Brahem increasingly distanced himself from an environment largely dominated by entertainment music. He sought to do more than simply perform at weddings, and did not want to join one of the many existing ensembles, in which the oud was little more than an accompanying instrument for singers. Passion for his vocation as an oudist led him to give first place to his preferred instrument of Arab music, and to offer the Tunisian public ensemble and solo concerts. He began writing his own compositions and gave a series of solo concerts in various cultural venues. He also issued a self-produced cassette, on which he was accompanied by percussionist Lassaad Hosni.

A loyal public of connoisseurs gradually rallied around him and the Tunisian press gave enthusiastic support. Reviewing one of Brahem's first performances, critic Hatem Touil wrote: "this talented young player has succeeded not only in overwhelming the audience but also in giving non-vocal music in Tunisia its claim to nobility while at the same time restoring the fortunes of the lute. Indeed, has a lutenist produced such pure sounds or concretised with such power and conviction, the universality of musical experience."
In 1981, he left for Paris in search of new vistas. This enabled him to meet musicians from a variety of genres. He remained there as a composer for four years, notably for Tunisian cinema and theatre. He collaborated with Maurice Béjart for his ballet Thalassa Mare Nostrum and with Gabriel Yared as lutist for Costa Gavras’ film Hanna K.

In 1985 he returned to Tunis, where an invitation to perform at the Carthage festival provided him with the opportunity to bring together for Liqua 85, outstanding figures of Tunisian and Turkish music, and French jazz. These included Abdelwaheb Berbech, the Erköse brothers, François Jeanneau, Jean-Paul Celea, François Couturier and others. The success of the project earned Brahem Tunisia's Grand National Prize for Music.

In 1987, he was appointed director of the Musical Ensemble of the City of Tunis (EMVT). Instead of keeping the large existing orchestra, he broke it up into formations of variable size, giving it new orientations: one year in the direction of new creations, and the next more towards traditional music. The main productions were "Leïlatou Tayer" (1988) and "El Hizam El Dhahbi" (1989) in line with his early instrumental works and following the main axis of his research. In these compositions, he remained essentially within the traditional modal space, although he transformed its references and upset its hierarchy. Following a natural disposition towards osmosis, which has absorbed the Mediterranean, African and Far-Eastern heritages, he also touched from time to time upon other musical expressions: European music, jazz and other forms.

With "Ennaoura el achiqua" (1987), Brahem presented a performance of songs, a result of his association with the poet Ali Louati. In this exploration of vocal music, he showed a connection with its elaborate classical forms, such as the "Quassid", in the footsteps of Khemais Tarnane, Saied Derwich, Riadh Sombati and Mohamed Abdelwahab. "Ennaoura el achiqua", a marginal work, going against the grain, nevertheless had considerable impact on both press and public.
"Ennaoura el achiqua" was not to be his only excursion into the field of song. He returned to it from time to time, for film music or in association with a singer and often with the complicity of Ali Louati. For instance, he collaborated with Nabiha Karaouli - whom he revealed to the public, Sonia M’barek, Saber Rebaï, Teresa de Sio, Franco Battiato and Lotfi Bouchnak, who sang "Ritek ma naaref ouin", composed in the spirit of an "imaginary folklore".

In 1988, before an audience of 10,000 people, he opened the Carthage festival with "Leilatou tayer". The newspaper Tunis-Hebdo wrote: "if we had to elect the musician of the '80s, we would without the least hesitation, choose Anouar Brahem".

With "Rabeb" (1989) and "Andalousiat" (1990), Anouar Brahem returned to classical Arab music. Despite the rich heritage transmitted by Ali Sriti and the fact that this music constituted the core of his training, he had in fact, never performed it in public. With this "return" he wished to contribute to the urgent rehabilitation of this music. He put together a small ensemble, a "takht". Brahem believes this is the only means of restoring the spirit, the subtlety of the variations and the intimacy of this chamber music. He called upon the well-known Tunisian musicians, such as Béchir Selmi and Taoufik Zghonda, and undertook thorough research work on ancient manuscripts, with strict attention to transparency, nuances and detail.
In 1990, he decided to leave the EMVT and embarked on a tour to the USA and Canada. On his return he met with Manfred Eicher, the producer/founder of the German label ECM Records. From this meeting spawned a fruitful collaboration, that marked an important evolution in his work. So far, ten albums have resulted from this association, which have been received extremely well by the international press and the public.

The same year he released his first record, Barzakh, in collaboration with two prominent Tunisian musicians, with whom he had already established a close artistic relationship - Béchir Selmi and Lassaad Hosni. Considered by the German magazine Stereo as "a major musical event", this record confirmed his position as "an exceptional musician and improviser". In Conte de l’incroyable Amour, recorded in 1991, improvisation was central, and the tone was quite different, due in particular to the presence of Barbarose Erkose and the expressive power of his clarinet, and the Sufi inspiration of Kudsi Erguner’s nai. According to Le Monde, "the album unfurls around the poetic talent of Anouar Brahem’s lute. One follows him with delight around the subtle arrangement of the melody, the silences of the musical phrasing, across the unspoken into oriental paths, in a poetry of light and delicate beats". The same paper selected "Conte de l’Incroyable Amour" as one of the best records of 1992.

The same year, he was called upon to conceive and participate actively in the creation of the Centre for Arab and Mediterranean music in the palace of the Baron d’Erlanger at Sidi Bou Saïd. In November 1993, he fulfilled his dream of paying a worthy tribute to his master, Ali Sriti, who for the occasion, agreed to return to the stage after nearly thirty years. Brahem organised "Awdet Tarab", a concert of traditional instrumental and sung music, at the Erlanger Palace. The Tunisian public retain the indelible memory of the duos of the master and his pupil, accompanied by the voice of Sonia M’barek. In 1994 he recorded Madar with the Norwegian saxophonist, Jan Garbarek and the Pakistani master of the tabla, Shaukat Hussain. Jan Garbarek had been impressed by Brahem’s first two albums and had expressed the wish to work with him. Brahem, for his part, had admired the musician for years and shared the same wish. The meeting therefore came quite naturally, encouraged by Manfred Eicher. Brahem and Garbarek were united in a common quest: for a universal tradition. Madar mingles these of traditions, without harming the essence of each.

Anouar Brahem has composed the original scores for many films and plays, amongst which, Sabots en Or and Bezness by Nouri Bouzid, Ferid Boughedir’s Halfaouine, Moufida Tlatli’s Les Silences du Palais and La saison des hommes as well as for Iachou Shakespeare and Wannas el kloub by Mohamed Driss, El Amel, Borj El hammam and Bosten Jamalek by the Theatre Phou. In Khomsa (1995), he picked up a few of these pieces which he had always dreamed of performing in a free, airy and purely musical manner "freed from the chains of images and texts", as he put it. He assembled an eclectic ensemble to perform this music, including Richard Galliano (accordion), Palle Danielsson (double bass), Jon Christensen (drums), François Couturier (piano), Jean-Marc Larché (saxophone) and Béchir Selmi (violin). The sextet brought together by the composer, also featuring on oud, is constantly being divided into solos, duos, and trios - "hence the dominant and delicious impression of being on a motionless voyage full of secret passages, of novel tones, of suspended endings", as Alex Dutilh put it on France Musique. The Guardian declared that "Khomsa is one of the great records of the year. Brahem is at the forefront of jazz because he is far beyond it".

Three years later, Anouar Brahem was back in the studio to pick up where he had left off with Madar, passionately exploring the orchestral form of the trio, but this time in a context wide open to the great variety of the “worlds” of jazz. Flanked by two eminent musicians, pillars of the ECM label for the last thirty years, John Surman, the saxophonist and Dave Holland, the double bass player, heralds of British free music in the late '60s and since pursuing each his own highly particular and artistically coherent universe, Anouar Brahem ventured with infinite delicacy the refined poetry of his instrument at the "risk" of conceptions of improvisation far removed from his own universe. The result is in keeping with the challenge: Thimar is an outstanding success, a meditative and supremely musical work, permeated with poetry, where each piece is played in a contemplative atmosphere of extreme concentration. In this recording, without deviating from his personal aesthetic line, Anouar Brahem explores the “mysteries of jazz” to an extent he had never reached before. In Germany, Thimar received the “Preis der deutschen Schallplattenkritik". It was named “Best jazz album of the year” by the English magazine Jazz Wise.

Astrakan Café, his sixth album in 10 years for the Munich company, came out in September 2000. Although the oud player undoubtedly revisits his oriental and Mediterranean roots, it also built on his preceding albums. Playing once again for the occasion with his two faithful partners, the clarinetist of Romany origin, Barbaros Erköse, and the Tunisian percussionist, Lassad Hosni, Brahem drifts away on an intimate and eminently personal line, celebrating the syncretistic spirit of Arab music, while enhancing his approach to improvisation and collective sound with the ambitious works, Madar and Thimar.

In 2002, Brahem returned with a surprising and highly personal album. In a trio, again, with the pianist François Couturier, longstanding partner and, more unexpectedly, with the accordionist Jean-Louis Matinier, Anouar Brahem gives us with Le pas du chat noir, a soothing, melancholy music, with a tone of exquisite refinement and whose formal balance is unusual for a piece of popular music.

Anouar Brahem is an artist who, while profoundly imbued with his Arab heritage, is unequivocably modern, well anchored in his times and headed towards the future. He is furthermore, an artist unperturbed by the clash of cultures. He has always enjoyed initiating meetings with musicians of different horizons, finding in each the means of renewing himself while retaining his own identity. When questioned as to his inspiration, Brahem refers to the tree which, while rising above the ground and taking up more space, continues to develop and dig its roots deeper into the ground", an image which quite obviously has references to Tunis, a multi-faceted city, rooted in its Arab-Moslem culture and nourished on its African and Mediterranean influences, its traces always present in the artist’s work. In fact, he believes that a tradition which is unable to change and adapt is doomed to die. This is why he takes up challenges and opens his music to new forms of expression. "It would seem," wrote Wolfgang Sandner in the Frankfurter Allgemeine Magazin, "that the man from Tunisia has gone much further than many jazz musicians busily seeking out new music".

In playing style, Anouar Brahem is often compared to Rabih Abou-Khalil, though his compositions tend to be more mellow and spare. Most often he utilizes an ensemble of three or four musicians. He has collaborated throughout his career and on several albums with other musicians: Tunisian percussionist Lassad Hosni and violinist Bechir Selmi and Turkish clarinetist Barbaros Erköse. He has also performed live concerts with these same ensembles.

Wednesday, November 18, 2009

0

All Kooked Out! - Stanton Moore


















Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Fog City Records
Year Released: 1998
Album Covers: Included
Pass: radiodada
Links: rapidshare

Note From Dada!
Ώτα μου κατά καιρούς μου αρέσει να ψάχνω στα τυφλά στο internet διάφορους δίσκους ή μουσικούς, που ποτέ μου δεν έχω ακούσει κάτι γι αυτούς άλλα ούτε κάποια άλλη πληροφορία προκαταλαμβάνει τις μεμβράνες των τυμπάνων μου. Καρπός της τυφλής μου αυτής αναζήτησης και ετούτο το δισκάκι (πρώτο προσωπικό) του αμερικανού ντράμερ - και μέλος των Galactic - Stanton Moore. Με κύρια συστατικά την jazz, τo funk και την acid jazz, αυτός ο δίσκος ενώ έχει τη βάση του καμιά σαρανταριά χρονάκια πίσω, καταφέρνει να τα συνδυάζει όλα αυτά με φρέσκια ματιά και έναν ιδιαίτερο ήχο. Εξαιρετικό το "Blues For Ben", πολύ καλά τα "Common Ground", "Farmstead Antiques","Kooks On Parade", "Nalgas" και "Angel Nemali".

Σύνθεση:
Stanton Moore: Τύμπανα, Κρουστά
Brent Rose: Άλτο & Τενόρο Σαξόφωνο
Brian Seger: Κιθάρα
Matt Perrine: Τούμπα
Ben Ellman: Τενόρο Σαξόφωνο
Charlie Hunter: Οκτάχορδη Κιθάρα
Skerik: Σαξόφωνο

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Stanton Moore - Kooks On Parade



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Stanton Moore- Sprung Monkey


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About Stanton Moore
Stanton Moore is a drummer raised in Metairie, Louisiana. Most widely known as a founding member of Galactic, Moore has also pursued a solo recording career (beginning with his 1998 debut All Kooked Out!) and recorded with bands as diverse as jazz-funk keyboardist Robert Walter and heavy metal act Corrosion of Conformity. He also travels internationally to teach New Orleans drumming, writes a regular column for drumming magazines, and releases instructional books and videos.
As of 2008 some of Moore's recent projects include the Stanton Moore Trio, Garage A Trois and the Midnite Disturbers. Moore performs with his Stanton Moore Trio including a variety of local and visiting musicians in New Orleans. As a trio he has toured nationally with keyboardist Robert Walter and guitarist Will Bernard. Additionally, Walter and Bernard are the credited musicians on Moore's two most recent solo albums. Moore continues to perform with his co-founded Garage A Trois with Skerik, Mike Dillon and Marco Benevento. Moore organized the all-star brass band Midnite Disturbers with drummer Kevin O'Day. The Midnite Disrurbers are Trombone Shorty and Jamelle Williams on trumpets, Big Sam and Mark Mullins on trombones, Ben Ellman and Skerik on saxophones, Jeffery Hills on sousaphone and Kevin O’Day and Moore on drums.
Other ongoing collaborations include bands such as Dragon Smoke and MG5. Dragon Smoke features Eric Lindell, Robert Mercurio, Ivan Neville and Stanton Moore. MG5 (formerly Frequinox) features Robert Walter, Robert Mercurio, Will Bernard, Donald Harrison, Jeff Coffin and Stanton Moore.
Since Hurricane Katrina Moore has helped start and participates in the Tipitina's Foundation workshop for students, providing young people an opportunity to learn, play and perform with professional musicians.
Recently, Moore has collaborated with Tom Morello of Rage Against the Machine and Boots Riley of the Coup on a new project under the name Street Sweeper Social Club, which released an album on June 16, 2009.
Moore released Emphasis! (On Parenthesis) on Telarc April 2008 as Stanton Moore Trio. The trio consists of long time associates Robert Walter and Will Bernard.
At the 2009 Winter NAMM Show in Anaheim, California Stanton Moore introduced a signature model snare drum under his own brand, The Stanton Moore Drum company of New Orleans. The drum is 4.5" x 14" made of titanium. Stanton worked closely with drum designer Ronn Dunnett (Dunnett Classic Drums) to create a drum that embodied the sound of a classic vintage snare drum that Stanton had once owned.

Sunday, November 15, 2009

0

Les Triplettes De Belleville - Original Soundtrack


















Rating: 8/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: EMI
Year Released: 2003
Album Covers: Included
Pass: radiodada
Links: rapidshare

Note From Dada!
Κατά τη γνώμη μου το ιδανικό soundtrack είναι εκείνο που καταφέρνει να "απογειώνει" τις σκηνές μίας ταινίας, χωρίς όμως να "κλέβει" την ακοή του θεατή απ' τα οπτικά του ερεθίσματά και να τον συγκινεί εξίσου όταν η μουσική ακούγεται ξέχωρα από το κινηματογραφικό έργο. Κι εάν συγκρίσεις με μετρ του είδους όπως Mancini, Badalamenti, Morricone κ.α. είναι επί της παρούσης λίγο έως πολύ άκυρες, ο Καναδός κιθαρίστας Benoit Charest κατάφερε να γράψει ένα εκπληκτικό soundtrack που χωρίς αυτό, τα μαγικά κινούμενα σχέδια του Sylvain Chomet θα είχαν σίγουρα λιγότερη..."μαγεία". Εξαιρετικά τα "Attila Marcel", "Belleville Rendez-Vous", "Pa Pa Pa Palavas" και "Belleville Jungle". Όσο για την ταινία απλά την προτείνω ανεπιφύλακτα!
Καλή ακρόαση!

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Les Triplettes De Belleville - Video




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About The Film
The Triplets of Belleville (French: Les Triplettes de Belleville) is a Belgium-Quebec-France coproduced 2003 animated feature film written and directed by Sylvain Chomet. It was released as Belleville Rendez-vous in the United Kingdom. The film is Chomet's first feature film and was an international co-production between companies in France, United Kingdom, Belgium and Canada.
The film features the voices of Michèle Caucheteux, Jean-Claude Donda, Michel Robin, and Monica Viegas; there is little dialogue, the majority of the film story being told through song and pantomime. It tells the story of Madame Souza, an elderly woman who goes on a quest to rescue her grandson Champion, who has been kidnapped by the French mafia and taken to the city of Belleville. She is joined by the triplets of Belleville, music hall singers from the 1930s, who she meets in the city, and her dog Bruno.
The film was highly praised by audiences and critics for its unique (and somewhat retro) style of animation. The film was nominated for two Academy Awards — Best Animated Feature and Best Original Song for "Belleville Rendez-vous". It was also screened out of competition at the 2003 Cannes Film Festival.

About Benoît Charest
Benoît Charest (born in 1964) is a Canadian guitarist and film score composer from Quebec. He is best known for the soundtrack of the animated film Les Triplettes de Belleville (2003), for which he won a César Award for Best Music Written for a Film as well as a Los Angeles Film Critics Association Award for Best Music. The song "Belleville Rendez-vous", in particular, earned him an Academy Award nomination as well as a Grammy Award nomination.

Thursday, November 12, 2009

0

Breaking Point - Freddie Hubbard


















Rating: 5.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Blue Note
Year Released: 1964
Album Covers: Included
Pass: radiodada
Links: rapidshare

Note From Dada!
Ο ένατος δίσκος του Hubbard (ως leader) και έβδομος για λογαριασμό της Blue Note με συνθέσεις του ίδιου και του Joe Chambers. Πολύ καλά τα Blue Frenzy και Mirrors. Ένα ακόμα δισκάκι με την "ηχοληπτική" σφραγίδα του Rudy Van Gelder. Μεταφέρω εδώ ένα μικρό απόσπασμα από τις σημειώσεις του δίσκου και συγκεκριμένα μια μικρή αναφορά από τον ίδιο τον Hubbard που μιλάει για τις "φρέσκιες" συνθέσεις των συγκροτημάτων του.
"Ψάχνω τους νέους μουσικούς που προσπαθούν να ανέλθουν. Αυτοί οι άνθρωποι στα συγκροτήματά μου είναι "οι δικοί μου-ιδιαίτεροι φίλοι" και προσπαθούμε να πούμε κάτι λίγο πιο διαφορετικό. Όχι απλά επειδή είναι διαφορετικό, αλλά επειδή η τζαζ, όπως και ο κόσμος, πρέπει να πάνε παρακάτω."

Σύνθεση:
Freddie Hubbard (τρομπέτα)
James Spaulding (Άλτο Σαξόφωνο και Φλάουτο)
Ronnie Mathews (Πιάνο)
Eddie Kahn (Μπάσο)
Joe Chambers (Τύμπανα)

About Freddie Hubbard
Frederick Dewayne Hubbard (7 April 1938 – 29 December 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post bop styles from the early 60s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.

Hubbard started playing the mellophone and trumpet in his school band, studying at the Jordan Conservatory with the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis.

In December 1960 Hubbard was invited to play on Ornette Coleman's Free Jazz after Coleman had heard him playing with Don Cherry.

Then in May 1961, Hubbard played on Olé Coltrane, John Coltrane's final recording session with Atlantic Records. Together with Eric Dolphy, Hubbard was the only 'session' musician who appeared on both Olé and Africa/Brass, Coltrane's first album with ABC/Impulse! Later, in August 1961, Hubbard made one of his most famous records, Ready for Freddie, which was also his first collaboration with saxophonist Wayne Shorter. Hubbard would join Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers. He played on several Blakey recordings, including Caravan, Ugetsu, Mosaic, and Free For All. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, pianist Kenny Barron and drummer Louis Hayes.

It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.

Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including, Oliver Nelson's The Blues and the Abstract Truth, Eric Dolphy's Out to Lunch, Herbie Hancock's Maiden Voyage, and Wayne Shorter's Speak No Evil.He recorded extensively for Blue Note Records in the 1960s: eight albums as a bandleader, and twenty-eight as a sideman. Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the '60s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension.

Hubbard achieved his greatest popular success in the 1970s with a series of albums for Creed Taylor and his record label CTI Records, overshadowing Stanley Turrentine, Hubert Laws, and George Benson. Although his early 1970s jazz albums Red Clay, First Light, Straight Life, and Sky Dive were particularly well received and considered among his best work, the albums he recorded later in the decade were attacked by critics for their commercialism. First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light.

In 1977 Hubbard joined with Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, members of the mid-sixties Miles Davis Quintet, for a series of performances. Several live recordings of this group were released as VSOP, VSOP: The Quintet, VSOP: Tempest in the Colosseum (all 1977) and VSOP: Live Under the Sky (1979). Hubbard's trumpet playing was featured on the track Zanzibar, on the 1978 Billy Joel album 52nd Street (the 1979 Grammy Award Winner for Best Album). The track ends with a fade during Hubbard's performance. An "unfaded" version was released on the 2004 Billy Joel box set My Lives.

In the 1980s Hubbard was again leading his own jazz group, attracting very favorable reviews, playing at concerts and festivals in the USA and Europe, often in the company of Joe Henderson, playing a repertory of Hard-bop and modal-jazz pieces. Hubbard played at the legendary Monterey Jazz Festival in 1980 and in 1989 (with Bobby Hutcherson). He played with Woody Shaw, recording with him in 1985, and two years later recorded Stardust with Benny Golson. In 1988 he teamed up once more with Blakey at an engagement in Holland, from which came Feel the Wind. In 1990 he appeared in Japan headlining an American-Japanese concert package which also featured Elvin Jones, Sonny Fortune, pianists George Duke and Benny Green, bass players Ron Carter, and Rufus Reid, with jazz and vocalist Salena Jones. He also performed at the Warsaw Jazz Festival at which Live at the Warsaw Jazz Festival (Jazzmen 1992) was recorded.

Following a long setback of health problems and a serious lip injury in 1992 where he ruptured his upper lip and subsequently developed an infection, Hubbard was again playing and recording occasionally, even if not at the high level that he set for himself during his earlier career. His best records ranked with the finest in his field.

In 2006, The National Endowment for the Arts honored Hubbard with its highest honor in jazz, the NEA Jazz Masters Award. On December 29, 2008, Hubbard's hometown newspaper, The Indianapolis Star reported that Hubbard died from complications from a heart attack suffered on November 26 of the same year. Billboard magazine reported that Hubbard died in Sherman Oaks, California.

Freddie Hubbard had close ties to the Jazz Foundation of America in his later years. Freddie is quoted as saying, “When I had congestive heart failure and couldn't work, The Jazz Foundation paid my mortgage for several months and saved my home! Thank God for those people."The Jazz Foundation of America’s Musicians' Emergency Fund took care of Freddie during times of illness. After his passing Mr. Hubbard’s estate requested that tax deductible donations be made in Freddie’s name to The Jazz Foundation of America.

Saturday, November 7, 2009

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Who's Afraid Of Virginia Woolf - Jimmy Smith


















Rating: 4.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Verve
Year Released: 1964
Album Covers: Included
Pass: radiodada
Links: rapidshare

About Jimmy Smith
Jimmy Smith (December 8, 1925 [birth year is disputed and is often given as 1928] – February 8, 2005) was a jazz musician whose performances on the Hammond B-3 electric organ helped to popularize this instrument. In 2005, Jimmy Smith was awarded the NEA Jazz Masters Award from the National Endowment for the Arts, the highest honors that the United States bestows upon jazz musicians.Originally a pianist, Smith switched to organ in 1953 after hearing Wild Bill Davis. He purchased his first Hammond B-3 organ, rented a warehouse to practice in and emerged after little more than a year with an exciting new sound which was to completely revolutionize the way in which the instrument could be played. On hearing him playing in a Philadelphia club, Blue Note's Alfred Lion immediately signed him to the label and with his second album, also known as The Champ, quickly established Smith as a new star on the jazz scene. He was a prolific recording artist and as a leader, recorded around 40 sessions for Blue Note in just 8 years beginning in 1956. His most notable albums from this period include The Sermon!, House Party, Home Cookin' , Midnight Special, Back at the Chicken Shack and Prayer Meetin' .

Smith then signed to Verve Records label in 1962. His first album Bashin', sold well and for the first time, set Smith with a big band led by Oliver Nelson. Further Big band collaborations followed, most successfully with Lalo Schifrin for The Cat and guitarist Wes Montgomery, with whom he recorded two albums: The Dynamic Duo and Further Adventures Of Jimmy and Wes. Other notable albums from this period include Blue Bash and Organ Grinder's Swing with Kenny Burrell, The Boss with George Benson, Who's Afraid of Virginia Woolf?, Got My Mojo Workin, and the funky Root Down.During the 50s and 60s, Smith recorded with some of the great jazz musicians of the day such as Kenny Burrell, George Benson, Grant Green, Stanley Turrentine, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean, Grady Tate and Donald Bailey. In the 1970s, Smith opened his own supperclub in L.A. and played there regularly.

Smith had a career revival in the 1980s and 90s, again recording for Blue Note and Verve, and for Milestone and Elektra. Smith also recorded with other artists including Quincy Jones/Frank Sinatra, Michael Jackson, Dee Dee Bridgewater and Joey DeFrancesco. His last major album Dot Com Blues (Blue Thumb, 2000), featured many special guests such as Dr. John, B.B.King and Etta James.

Monday, November 2, 2009

1

A Night At The Vanguard - Kenny Burrell Trio


















Rating: 6.5/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: Argo (Original), Verve (Reissue)
Year Released: 1959 (Original), 2008 (Reissue)
Album Covers: Included
Pass: radiodada
Links

Note From Dada

Ένα από τα πιο ωραία album του Kenny Burrell ηχογραφημένο στο Village Vanguard της Νέας Υόρκης τον Σεπτέμβριο του 1959. Εξαιρετική η εκτέλεση του "I'm a Fool To Want You" των Frank Sinatra, Joel S.Herron, Jack Wolf. To trio αποτελούν Kenny Burrell (Κιθάρα), Richard Davis (Μπάσο) και Roy Haynes (Τύμπανα).


About Kenny Burrell
Kenneth Earl "Kenny" Burrell (born July 31, 1931) is an American jazz guitarist. His playing is grounded in bebop and blues; he has performed and recorded with a wide range of jazz musicians.
Burrell was born in Detroit, Michigan to a musical family and began playing guitar at the age of 12. His influences as a guitar player include Charlie Christian, Django Reinhardt, and Wes Montgomery. While a student at Wayne State University, he made his debut recording as a member of Dizzy Gillespie's sextet in 1951. He toured with Oscar Peterson after graduating in 1955 and then moved to New York City in 1956. A consummate sideman, Burrell recorded with a wide range of prominent musicians, including: John Coltrane, Paul Chambers, Bill Evans, Gil Evans, Stan Getz, Benny Goodman, Wes Montgomery, Billie Holiday, Milt Jackson, Thad Jones, Quincy Jones, Melba Liston, Oscar Peterson, Jimmy Raney, Sonny Rollins, Jimmy Smith, Art Taylor, Stanley Turrentine, Jimmy Witherspoon and Cedar Walton. He also led his own groups since 1951 and recorded many well received albums, most notably Midnight Blue with Stanley Turrentine for Blue Note Records, which is considered a classic of 60s jazz now.