RUS: Нравится слушать хорошую музыку? Добро пожаловать. Здесь ты обязательно найдешь то, что тебе по душе. У нас много музыки, концертов и фильмов (для ознакомления). К тому же здесь много твоих единомышленников.
Artists: Maria João, Aki Takase
Album: Looking for Love
Label: enja (5075)
Year: 1987; release: 1988
Genre: Jazz, Modern creative (piano & voice)
Format, bitrate: FLAC
Time: ~57:30
Size: ~250 MB incl. 3% recovery (2 files)
While remaining steeped in the musical traditions of her native Japan, pianist and composer Aki Takase emerged as one of the most versatile figures in contemporary jazz, her work running the gamut from conventional structures and harmonies to complete abstraction. [...] From 1988 to 1994, Takase regularly played in a duo with Maria João and maintained her busy festival schedule. (Extract from Aki Takase’’s biography at itunes.apple.com)
Genre: Hard Bop
Artist: Lee Morgan
Albums: Vol.3
Released: 1957
Label: Blue Note
Quality: mp3, 320 kbps
Size: 106 Мб
Morgan, a leading (hard bop & modal jazz) trumpeter and composer, recorded prolifically from 1956 until a day before his death in February 1972. Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. On his 13th birthday his sister Ernestine gave him his first trumpet. His primary stylistic influence was Clifford Brown, who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, and remained a member for a year and a half, until economics forced Dizzy to disband the unit in 1958. He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader for the company, with more than 250 musicians. He also recorded on the Vee-Jay label.
He was a featured sideman on several early Hank Mobley records, as well as on John Coltrane’s Blue Train (1957), on which he played a trumpet with an angled bell (given to him by Gillespie) and delivered one of his most celebrated solos on the title track.
Joining Art Blakey’s Jazz Messengers in 1958 further developed his talent as a soloist and composer. He toured with Blakey for a few years, and was featured on numerous albums by the Messengers, including Moanin’, which is one of the band’s best-known recordings. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This version of the Jazz Messengers, including pianist Bobby Timmons and bassist Jymie Merritt, would record the classic The Freedom Rider album. The drug problems of Morgan and Timmons forced them to leave the band in 1961, and the trumpeter returned to Philadelphia, his hometown. According to Tom Perchard, a Morgan biographer, it was Blakey who introduced the trumpeter to heroin, an addictive drug that impeded his career trajectory.
On returning to New York in 1963, he recorded The Sidewinder (December 1963), which became his greatest commercial success. The title track cracked the pop charts in 1964, and served as the background theme for Chrysler television commercials during the World Series. The tune was used without Morgan’s or Blue Note’s consent, and intercession by the label’s lawyers led to the commercial being withdrawn. Due to the crossover success of “The Sidewinder” in a rapidly changing pop music market, Blue Note owners encouraged other of its artists to emulate the tune’s “boogaloo” beat. Morgan himself repeated the formula several times with compositions such as “Cornbread” (from the eponymous album Cornbread) and “Yes I Can, No You Can’t” on The Gigolo. According to drummer Billy Hart, Morgan said he had recorded “The Sidewinder” as filler for the album, and was bemused that it had turned into his biggest hit. He felt that his playing was much more advanced on Grachan Moncur III’s essentially avant-garde Evolution album, recorded a month earlier, on November 21, 1963.
After this commercial success, Morgan continued to record prolifically, producing such works as Search for the New Land (1964), which reached the top 20 of the R&B charts. He also briefly rejoined the Jazz Messengers after his successor, Freddie Hubbard, joined another group. Together with John Gilmore, this lineup was filmed by the BBC for seminal jazz television program Jazz 625, the 35 minute set now available on DVD.
As the 60’s progressed, he recorded some twenty additional albums as a leader, and continued to record as a sideman on the albums of other artists, including Wayne Shorter’s Night Dreamer; Stanley Turrentine’s Mr. Natural; Freddie Hubbard’s The Night of the Cookers; Hank Mobley’s Dippin’, A Caddy for Daddy, A Slice of the Top, Straight No Filter; Jackie McLean’s Jackknife and Consequence; Joe Henderson’s Mode for Joe; McCoy Tyner’s Tender Moments; Lonnie Smith’s Think and Turning Point; Elvin Jones’ The Prime Element; Jack Wilson’s Easterly Winds; Reuben Wilson’s Love Bug; Larry Young’s Mother Ship; Lee Morgan and Clifford Jordan Live in Baltimore 1968; Andrew Hill’s Grass Roots; as well as on several albums with Art Blakey and the Jazz Messengers.
He became more politically involved in the last two years of his life, becoming one of the leaders of the Jazz and People’s Movement; the group demonstrated during the taping of talk and variety shows during 1970-71 to protest the lack of jazz artists as guest performers and members of the programs’ bands. His working band during those last years featured reedmen Billy Harper or Bennie Maupin; pianist Harold Mabern, bassist Jymie Merritt and drummers Mickey Roker or Freddie Waits. Maupin, Mabern, Merritt and Roker are featured on the well-regarded 3-disc, Live at the Lighthouse, recorded during a two-week engagement at the Hermosa Beach club, California, in July 1970.
Morgan was murdered in the early hours of February 19, 1972, at Slugs’, a jazz club in New York City’s East Village where his band was performing. Following an altercation between sets, Morgan’s live-in girlfriend (Helen More), shot him in the heart, killing him instantly. He was 33 years old.
Clifford Brown was born October 30, 1930 in Wilmington, Delaware. As a young high school student Brown began playing trumpet and within a very short time was active in college and other youth bands. By his late teens he had attracted the favourable attention of leading jazzmen, including fellow trumpeters Dizzy Gillespie, Miles Davis and Fats Navarro. At the end of the 40s he was studying music at Maryland University and in 1952, following recovery from a serious road accident, he made his first records with Chris Powell and Tadd Dameron. In the autumn of 1953 he was a member of the big band Lionel Hampton took to Europe. Liberally filled with precocious talent, this band attracted considerable attention during its tour. Contrary to contractual stipulations, many of the young musicians moonlighted on various recordings and Brown in particular was singled out for such sessions. Back in the USA, Brown was fired along with most of the rest of the band when Hampton learned of the records they had made. Brown then joined Art Blakey and in mid-1954 teamed up with Max Roach to form the Clifford Brown-Max Roach Quintet. The quintet was quickly recognized as one of the outstanding groups in contemporary jazz and Brown as a major trumpeter and composer. On June 26th, 1956, while driving between engagements during a nationwide tour, Brown and another quintet member, pianist Richie Powell, were killed in a road accident.
The early death of musicians in jazz, and of talented artists in other fields, has often led to the creation of legends. Inevitably, in many cases the legend greatly exceeds the reality, and speculation on what might have been relies more upon the imagination of the recounter than upon any hard evidence. In the case of Clifford Brown, the reality of the legend is impossible to refute. At a time when many modern jazz trumpeters sought technical expertise at the expense of tone, Brown, in common with his friend and paradigm, Navarro, had technique to spare but also developed a rich, full and frequently beautiful tone. At the same time, whether playing at scorching tempos or on languorous ballads, his range was exhaustive. He was enormously and brilliantly inventive but his search for original ideas was never executed at the expense of taste. In all his work, Brown displayed the rare combination of supreme intelligence and great emotional depths. His playing was only one aspect of his talent; he was also a fine composer, creating many works that have become modern jazz standards. Although his career was brief, Brown’s influence persisted for a while in the work of Lee Morgan and throughout succeeding decades in that of Freddie Hubbard. Fortunately for jazz fans, Brown’s own work persists in the form of his recordings, almost any of which can be safely recommended as outstanding examples of the very best of jazz. Indeed, all of his recordings with Roach are classics.
CLIFFORD BROWN The Beginning And The End (1973 US 7-track LP, which brings together the first and last recorded performances of Clifford’s from March 21st, 1952 to June 25th, 1956, representing the short but eventful four year recording career ofone of the most unique voices on trumpet in jazz, cut short by a horrific car accident at only 25. The picture sleeve suffers slightly from some general shelfwear but remains very good, the vinyl near mint. A great play copy of this legendary figure in jazz at a great price… KC32284).
Genre: Jazz Gypsy
Label: City Park Records / Jive Music
Number of Compositions: 14
Total Time: 47:01
Year: 2009
Format, bitrate: MP3 320 Kb/s CBR
File Size: 103,41 Mb (MP3) + covers
The young and exceptionnal Gipsy guitar player comfirms on his 2nd album, that he belongs to the absolute top musicians. Brilliant, now even more tightened performance and a very nice choice of tunes made for the “Django"-year! The trio with father Joschi b and Martin Spitzer rhythm g got even more tight in their playing!
Artist: Gerry Mulligan
Title Of Album: Gerry Mulligan Jeru
Recording information: Nola Studios, New York, New York (06/30/1962).
Release Date : Aug 16, 2005
Label: Columbia / Legacy
Genre: Jazz / Bop
Quality: mp3,320 kbps
Mono/Stereo: Stereo
Total Time: 00:36:26
Total Size: 82.9 mb
Artist: Chet Baker
Albums: Chet Baker in Tokyo
Released: 1987
Label: Evdence music
Quality: mp3 CBR 320
Size: CD1 - 124 mb, CD2 - 134 mb
Total playing time CD1 - 55:34 CD2 - 60:03
Perhaps this is Chet Baker’s greatest recording. The fact that it was recorded less than one year before his death fuels the “what if” scenarios. Could Chet have continued to make great music like this on into the ‘90’s? We’ll never know, but we do know that Chet was in great shape that night in 1987. Chet plays wonderful, long solos on “My Funny Valentine” and “Arborway”. The ballads are so moving and sincere, they’ll send chills down your spine. But most of the album is upbeat and lively. You’ll also hear some great piano work by the great, underrated Harold Danko. The concert was filmed for Japanese television and is available on DVD. - Chetbakertribute.com
What's new 
