Larry Carlton & Tak Matsumoto - Take Your Pick (2010)
EAC | APE+CUE+LOG+Artwork -> 402 Mb
© 2010 335 Records
Jazz | Funk | Blues | Fusion
Many thanks to Kosha_184
Descripstion
It's a shame that artists' careers are reduced to oversimplifications of who they are and what they're capable of. Guitarist Larry Carlton, for example—despite releasing kick-ass blues-centric records like Sapphire Blue (Bluebird, 2004) and, more recently, the exciting yet unfailingly tasty Live in Tokyo (335 Records, 2007), not to mention delivering iconic solos on Steely Dan albums like The Royal Scam (MCA, 1976) and Gaucho (MCA, 1980)—is, more often than not, associated with the smooth jazz of albums like Alone/But Never Alone (MCA, 1986). Not that there's necessarily anything wrong with that, especially when it's real players playing music that's easy on the ears but has its own set of challenges, but it's too easy to forget that Carlton can play through changes with the best of them, as his still-stunning bop-centric solo on "Mulberry Street," from Strikes Twice (MCA, 1981), amply proved nearly thirty years ago.
If Carlton can be criticized of anything, it's his emphatic lyricism and unfailing taste, though it seems incredulous that the words "too" and "melodic" could ever be used together in the same sentence. Take Your Pick teams the veteran session man and, yes, smooth jazz hit maker with Japan's Tak Matsumoto—guitarist for B'z and, with over 80 million albums sold in his country alone, no less an icon, at least in some parts of the world. Carlton's name may come first, but this is a truly collaborative effort, with the two guitarists splitting the writing and arranging duties right down the middle; Matsumoto even arranges two of his tunes for a Japanese horn section, while Carlton brings in some American ringers to spice up three of his tunes. But regardless of where the music was recorded—from Franklin and Nashville to Los Angeles and Tokyo—the core rhythm section of drummer Billy Kilson (Dave Holland, Chris Botti), bassist Michael Rhodes ((J.J. Cale, Aaron Neville, and keyboardist Jeff Babko (Sheryl Crowe}}, James Taylor) keeps things honest on a set that leans towards a lighter complexion, though between Carlton and Matsumoto, there's plenty of grit to give the music some edge and energy.
Carlton's sweeter tone, recognizable vibrato and slightly broader language makes him easily distinguishable from the largely fuzzier-toned and rockier Matsumoto, especially on tracks like the Japanese guitarist's opening "JAZZY BULLETS," a finger-snapping tune with some tasty twin-guitar melodies and ass-kicking solos. But Matsumoto proves capable of a cleaner tone and twangier disposition on "Nite Crawler 2010"—an update on Carlton's self-titled 1978 MCA debut—and the similarly light funk of the Japanese axe-slinger's "THE WAY WE WERE."
Surprisingly, the more oriental-sounding references come on Carlton tracks like "Islands of Japan," with its koto samples. The lighter disposition at the start of the disc kicks into higher gear on Carlton's rocking, horn-driven "Easy Mystery," and the greasy funk of Matsumoto's closing "A girl from China." Throughout, Carlton may navigate the changes with a little more finesse, but he's well-matched, in tone and feel, with Matsumoto, making the easygoing but undeniably satisfying Take Your Pick less a matter of "either/or" and more a case of "and."
Blue Mitchell - The Cup Bearers (1993)
EAC | FLAC+CUE+LOG+Full Artwork -> 292 Mb
© 1988 Riverside OJCCD-797-2
Hard Bop | Trumpet Jazz
Many thanks to nkomissar
Descripstion
Trumpeter Blue Mitchell and four-fifths of the Horace Silver Quintet (with Cedar Walton in Silver's place) perform a variety of superior songs on this CD reissue including Walton's "Turquoise," Tom McIntosh's "Cup Bearers," Thad Jones's "Tiger Lily" and a couple of standards. The music swings hard, mostly avoids sounding like a Horace Silver group, and has particularly strong solos from Mitchell, tenor-saxophonist Junior Cook and Walton; excellent hard bop.
Blue Mitchell - Blues On My Mind (1959)
EAC | FLAC+CUE+LOG+Full Artwork -> 304 Mb
© 1988 Riverside OJCCD-6009-2
Hard Bop | Trumpet Jazz
Many thanks to nkomissar
Descripstion
For fans of great hard bop and intricate, intelligent horn arrangements, Blue Mitchell is simply too good for you to just buy this compilation. "Blues On My Mind" collects tunes from three of Mitchell's late 50s sessions, "Big Six," "Out Of The Blue" and "Blue Soul." (In fact, the photo on the cover of this CD is the same one used on "Blue Soul" -- don't get confused.) I have written reviews for all three of these albums already so I won't get into details about the songs here, but suffice it to say the music is classic. In fact, it's so good that if you buy this title you'll surely want to get the three albums in their entirety. So do yourself a favor, skip this one and go directly to the source.
Art Blakey And The Jazz Messengers - Moanin' (1958)
EAC | WAVPack+CUE+LOG+Full Artwork -> 296 Mb
© 2009 Analogue Productions CBNJ 84003 SA
Hard Bop
Many thanks to kikokakuke
Descripstion
Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band. "Are You Real?" has the most subtle of melody lines, and "Drum Thunder Suite" has Blakey's quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. "Come Rain or Come Shine" is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin' ranks with the very best of Blakey and what modern jazz offered in the late '50s and beyond.
Art Taylor - A.T.'s Delight (1960)
EAC | WAVPack+CUE+LOG+Full Artwork -> 218 Mb
© 2009 Analogue Productions CBNJ 84047 SA
Hard Bop | Trumpet Jazz
Many thanks to kikokakuke
Descripstion
Although Art Taylor was one of the busiest modern second-generation jazz drummers, working in the studio with Coleman Hawkins, Donald Byrd, John Coltrane and many others, he only released five albums under his own name, of which A.T.'s Delight was the third. And a delight it is indeed, bright and percussive, and when conga player Carlos "Patato" Valdes joins Taylor and pianist Wynton Kelly and bassist Paul Chambers on three cuts (Thelonious Monk's "Epistrophy," "Move" and a Taylor calypso-inflected original called "Cookoo and Fungi"), the rhythm pocket opens into a deep blue sea for the horn men (Stanley Turrentine on tenor sax and Dave Burns on trumpet). "Move" does exactly that, it moves, and at a blistering pace. Monk's "Epistrophy," thanks in part to Valdes, reveals its rumba roots, and has never sounded brighter. The seldom-covered Coltrane composition "Syeeda's Song Flute" seems likewise refreshed and revived. The lone Taylor original, the driving "Cookoo and Fungi," is as sharp and alert is a kitten waking from a nap in the spring sun, and Taylor's drum solo is crisp, efficient and slides seamlessly into the calypso-informed main theme. A.T.'s Delight is a solid outing, with a wonderfully nervous but completely focused energy.
Buddy DeFranco - Mr. Clarinet (1953)
EAC | FLAC+CUE+LOG+Full Artwork -> 149 Mb
© 2002 Verve MGV-8159
Bop
Many thanks to Obelix, OR
Descripstion
Over the years, Buddy DeFranco's admirers have often wondered why the clarinet's popularity as a jazz instrument declined considerably after World War II and the swing era -- why haven't more improvisers applied Charlie Parker's ideas to the clarinet, and why is the clarinet usually stereotyped as a swing/Dixieland/classic jazz instrument rather than a bebop, post-bop, avant-garde, soul-jazz, or fusion instrument? Perhaps it has something to do with the demands of the clarinet -- it is a tough instrument to master, and it becomes even more demanding when you're dealing with the complexities of bop. But those challenges never stopped DeFranco, who was 30 when he recorded Mr. Clarinet for Verve in 1953. By that time, DeFranco was being hailed as "the Charlie Parker of the Clarinet," and he lives up to that title on this excellent album (which boasts Kenny Drew on piano, Milt Hinton on bass, and Art Blakey on drums). Throughout Mr. Clarinet, DeFranco makes the clarinet sound perfectly logical as a bop instrument -- which was certainly an innovative thing to do back in the late '40s and early '50s. Whether he is playing original material or standards (including "But Not for Me" and "It Could Happen to You"), DeFranco refuses to let the clarinet's evolution end with Benny Goodman, Artie Shaw, Sidney Bechet, and Barney Bigard; he has no problem making the clarinet sound relevant to the bebop scene of 1953. (It should be noted that Shaw was also exploring bop on the clarinet in the early '50s, but regrettably, he decided to retire from music in 1955.) Most of the bop-oriented recordings that DeFranco provided in the '50s are well worth owning; Mr. Clarinet (which Verve reissued on CD in 2002) is no exception.
Art Farmer - The Many Faces of Art Farmer (1964)
EAC | FLAC+CUE+LOG+Full Artwork -> 419 Mb
© 2008 Gambit Records 69252
Post-Bop | Contemporary Jazz
Many thanks to Obelix, OR
Descripstion
Two albums for the first time on CD!
- Art Quintet: The many faces of Art Farmer"
- Mundell Lowe Septet: "Porgy and Bess"
First time on CD for the album The Many Faces of Art Farmer (1964) plus Mundell Lowe's arrangement of Gershwin's Porgy & Bess (1958) featuring Art Farmer and Ben Webster. On The Many Faces Of..., Farmer surrounded himself with splendid musicians like alto saxophonist Charles McPherson, pianist Tommy Flanagan and bassist Ron Carter. As a bonus to this outstanding LP, we have added another equally rare album. Although this selection of tunes from Gershwin's Porgy & Bess was arranged by guitarist Mundell Lowe and originally released under his name, both Art Farmer and Ben Webster shine on it as featured soloists. 17 tracks total.
David Murray - Recording NYC 1986
EAC | FLAC+CUE+LOG+Full Artwork -> 329 Mb
© 1986 DIW 32DIW802CD Japan
Avant-Garde | Free Jazz | Contemporary Jazz
Many thanks to Obelix, OR
Descripstion
The quartet on N.Y.C. 1986 is a roadhouse-raunchy quartet, kicked down Highway 61 by the sometimes winningly crude guitarist Blood Ulmer. The bass solos by the Revolutionary Ensemble's Sirone sound like giant rubber bands snapping, and great free drummer Sunny Murray (no relation) lays down a conversational backbeat Murray's sound is harder, more brittle here, with fast nannygoat vibrato — more reckless, in keeping with the setting. It's music from the outskirts, halfway between Freeville and Bluestown.
Seamus Blake - Bellwether (2009)
EAC | FLAC+CUE+LOG+Full Artwork -> 384 Mb
© 2009 Criss Cross Jazz
Post-Bop | Contemporary Jazz
Many thanks to tdelyon
Descripstion
Some albums are named for a time, a place, an experience, or even a person. Others have a concept. Saxophonist Seamus Blake takes on concept with Bellwether, a term for leader or trendsetter.
Born in England and raised in Vancouver, Canada, Blake has gained recognition by Down Beat and JazzTimes magazines, and finished first in the 2002 Thelonious Monk Jazz Competition. His associations include Mark Turner, Kurt Rosenwinkel, Larry Grenadier and Victor Lewis. For Bellwether, Blake is accompanied by guitarist Lage Lund, pianist David Kikoski, bassist Matt Clohesy and drummer Bill Stewart.
"A Beleza Que Vem," one of five Blake compositions, is an easygoing piece that features the leader on soprano saxophone, playing the melody in duet with Lund. Bass and drums are subtle, rim shots and strategically placed splash cymbals subtly accenting Kikoski's solo. Blake stretches out plenty on his solo, the music building in intensity, at one pointy, as if to signal the end, but he plays on.
"Subterfuge," another original, features Blake on tenor. Guitar and sax blend on the lead of a song in 4/4 time but which, because of some creative note placement, often sounds like another time signature. Lund's solo subtly references Pat Metheny, while Stewart gives the entire kit a workout during his solo.
Some of Bellwether's selections are symphonic in mood, but whether symphonic or hard charging, the music is always cohesive and expressive. Each musician shines as an individual, but there's never a moment when the group concept is lost.
