CHARLIE PARKER - GROOVIN HIGH
Swingmatism
[2:43]3.9 Mb
The Jumpin Blues
[3:07]4.5 Mb
Tinys Tempo
[2:56]4.2 Mb
Ill Always Love You
[3:02]4.3 Mb
Romance Without Finance
[3:04]4.4 Mb
Red Cross
[3:09]4.5 Mb
Dream of You
[2:53]4.1 Mb
Groovin High
[2:41]3.9 Mb
Dizzy Atmosphere
[2:48]4 Mb
All the Things You are
[2:48]4 Mb
Salt Peanuts
[3:17]4.7 Mb
Shaw Nuff
[3:01]4.3 Mb
Hot House
[3:10]4.5 Mb
Hallelujah
[4:01]5.8 Mb
Get Happy
[3:43]5.3 Mb
Slam Slam Blues
[4:29]6.4 Mb
Congo Blues
[3:54]5.6 Mb
Takin Off
[3:09]4.5 Mb
20th Century Blues
[2:56]4.2 Mb
The Street Beat
[2:29]3.6 Mb
Charlie Parker "Groovin High" Album Review
Groovin' High review
This is a great album for jazz enthusiasts and new jazz listeners alike. This album presents several of Charlie Parker's great tunes which have also developed into jazz standares such as, Billie's Bounce, Hot House, Ornithology, and Groovin'High.
ZBIGNIEW NAMYSLOWSKI QUARTET - ZBIGNIEW NAMYSLOWSKI QUARTET
Siodmawka
[8:10]12.6 Mb
Rozpacz
[6:22]9.7 Mb
Straszna Franka
[10:59]16.8 Mb
Chrzaszcz Brzmi W Trzcinie
[9:06]14.7 Mb
Moja Dominika
[7:15]10.4 Mb
Szafa
[7:09]11.6 Mb
Lola Pijaca Miod
[1:32]2.4 Mb
Zbigniew Namyslowski Quartet "Zbigniew Namyslowski Quartet" Album Review
Jazz fills up my life. It means to me everything
"Jazz fills up my life. It means to me everything -- said Namyslowski. -- Playing in a quartet suits me best... Until recently I did not set great store by composition. But now to be successful one cannot merely play Horace Silver's themes and other people's arrangements. And so I have created my own quartet and my own music, to be able to play what I want and how I want...".
Quoting these words I cannot help recalling a thin and insignificant looking boy who burdened with a huge cello scrambled on to the gigantic stage of the Forest Opera in order to play with the Modern Combo group, which was taking part at the II International Jazz Festival at Sopot (August 1957), as a completely unknown soloist. And yet a few years later Zbyszek Namyslowski won recognition not only with jazz fans and connoisseurs at home but also with the exacting critics abroad -- after numerous tours of his quartet in such countries as Italy, Belgium, West Germany, Switzerland, Czechoslovakia, Yugoslavia, Finland, USA.
Namyslowski went through most suitable stages before he achieved his present-day results; he played the trombone in traditional and swing bands, for some time also the trumpet and cornet, and when there was need he accompanied the vocalists on piano. But the ambitious musician was never after the label of a "multi-instrumentalist". Eventually he chose the alto saxophone in which he could prove himself completely. What we appreciate with Namyslowski particularly is his equally enthusiastic attitude to all styles in jazz; he is always himself while playing hard-bop along with rhythm and blues, free-jazz and the third current along with the fringes of pop-music, and who at the same time would feel an irresistible fascination towards new ventures? A separate chapter could be devoted to Namyslowski's compositions, the more so that his ambition is to draw inspiration from Polish folk-lore which leads to the sort of music that Poland exports as her contribution to the world of jazz.
While writing on Namyslowski we must say a few words about the remaining members of the band as they also have their say in modern jazz. The pianist ADAM MATYSZKOWICZ (b. 1940) made his first steps as jazzman within the Cracow "jazz boheme"; in 1963 he made his mark as member of "The Jazz Darlings", and already in those days critics predicted him a fine career which was to lead him subsequently to appearances in the quartet of the known Polish tenore saxophonist Michal Urbaniak. His greatest success abroad was his accompanying to the known Polish group "Novi" which won the first prize at the 15th International Jazz Festival in Zurich (1965). The percussionist CZESLAW BARTKOWSKI also became a jazzman in a student milieu having begun his career in the FAR quartet. In 1961 he made himself known to the wider public at the International Jazz Jamboree at the Warsaw Philharmonic, then he participated in the triumphant tour of Namyslowski's quartet (among others in Britain, Italy, West Germany). From time to time he joins other bands such as the excellent quartet of the Polish pianist Krzysztof Komeda. The bass player JANUSZ KOZLOWSKI (b. 1941) started, like his colleagues, as member of modern student bands. For some time he played with traditional bands such as "Warsaw Stompers", Ragtime Jazz Band, the group Bossa Nova Combo and "Pagart's" big band with whom he went on numerous tours abroad.
Siodmawka (Seven-Four Bars) -- After the composition based on Polish mountaineer's themes called "Piatawka" (Five-Four Bars) in which Namyslowski used rarely appearing in jazz rhythm 5/4, the composer went here still farther and used in "Siodmawka" the beat 714. Along with the free form we hive here harmonies of a mountaineer's tune. This is undoubtedly one of the most interesting items of the record.
Despair -- In respect of melody and harmony, an equally interesting piece. This is a twelve-bar form of blues, but without the use of the blues scale.
Frances the Terror -- Here we come to know the quartet operating within free-jazz, the sort of music which perhaps does not appeal to all, but expresses, however, the artistic changes occurring in our days and the evolution of jazz. The band is improvising in two tempi, two phases, and does it very consistently.
The Beetle Humming in the Reeds -- A folk-tune again, this time it's a Krakowiak. The quartet plays it with dash and half-jokingly.
My Dominique -- A typical ballad of simple harmonies, in slow tempo. The composer wrote it with his little daughter, Dominika, in mind.
The Wardrobe -- The composition, which is being played dynamically and in a "dirty" way, may be regarded as a mixture: free harmony + big beat. Let's hear what's been the result.
Mead Drinker Lola -- A sort of Charleston, a musical joke with typical solo parts. It can do without commentary, being simply a musical relaxation.
"Despite the comings and goings of our many American visitors in 1964, one of the most refreshing things to hit the British jazz scene last year was the visit of these four young Poles. This album... is a striking illustration of the high standard of European jazz. ("Melody Maker", London, Jan. 9th 1965)
"...As an orthodox modern jazz group, they possess all the qualities one would look for in their American counterpart... As a group, the four men are obviously well accustomed to each other's playing.. In addition their music has a strange attractive flavor which one can only put down to their contact with Polish folk music...". ("The Times", London, 18.3.1966)
(original line notes from the album's back cover)
LEE RITENOUR - PORTRAIT
Asa
[5:20]7 Mb
Turn the Heat Up
[4:00]5.1 Mb
Windmill
[4:19]5.6 Mb
White Water
[5:01]6.8 Mb
Portrait
[4:29]5.8 Mb
G-Rit
[3:31]4.8 Mb
Shades in the Shade
[4:29]6.3 Mb
Childrens Games
[4:22]5.3 Mb
Runaway
[4:42]6.2 Mb
Route 17
[4:39]6 Mb
Lee Ritenour "Portrait" Album Review
One of the best jazz/pop/funk CDs ever recorded!
I'm a 53 year old professional guitarist and have been a Lee Ritenour fan for decades. In my opinion "Portrait" is the best album Lee has ever recorded, and one of my all-time favorites by anybody in the business. The incredible vocals of Eric Tagg and Phil Perry on "Turn the Heat Up" are worth the price of the CD alone, not to mention the suberb digital quality of the recording as a whole. This is much better than any of the "Best of" CDs by Lee. Just listen to the samples.
Video "PORTRAIT"(Lee Ritenour/H.Mason)Lorenzino1's version
An awesome song, as usual with Lee Ritenour!This version is like a little test for me, cause it's the 5th time that I record it, & when I've listen, I've remove the others versions!It's not to talk about me, but every guitarist knows that what Lee Ritenour can do ain't easy, & for that song, the problem was to play the melody at the good moment,to be "with" the rhythmic;That's why I've record it 5 times, and I just think that it's just acceptable, I'm not really happy of what I've played!I'm gonna let it till the moment I'll be able to play it better, & for that, there's just 1 solution:working!The more difficult, as Lee Ritenour said himself, is the silences, the moments where you mustn't play any note, without it to sound like an hesitation, & here, when I've done it, it made as if I was hesiting!I repeat:I'll work it more to have a more acceptable version!
HUGH MASEKELA - STILL GRAZING
Child of the Earth
[4:43]7.6 Mb
Ha Lese Le Di Khanna
[6:47]10.8 Mb
Felicidade
[10:14]15.9 Mb
Up Up and Away
[5:34]9.7 Mb
Bajabula Bonke (the Healing Song)
[6:31]10.4 Mb
Grazing in the Grass
[2:38]4.2 Mb
Gold
[4:10]6.6 Mb
Mace and Grenades
[3:55]7.7 Mb
Languta
[4:51]8.5 Mb
Been Such A Long Time Gone
[4:01]6.6 Mb
Stimela (Coal Train)
[6:28]10.6 Mb
Hugh Masekela "Still Grazing" Album Review
Great mix of jazz, pop, African (world) beats
I bought this CD mainly because I knew the hit "Grazing in the Grass". What I discovered was some fascinating music. Masekela could not only play trumpet but had some great singing pipes as well namely on "Child of the Earth". I always disliked the well-known version of "Up, Up and Away" by The Fifth Dimension, but Hugh's instrumental version is just fabulous. I especially love the piano accompaniement on these songs. Yeah, some songs are sung in his native tongue but so what. The music is still great such as on the 2nd track. Some political stuff but so what. Buy and enjoy.
No comments:
Post a Comment