Bessie Smith – The Collection Audio CD (October 25, 1990) Original Release Date: March 28, 1989 Label: Sony ASIN: B0000026N0
The great Bessie sure could belt em out alright!
Peerlessly so!
Here are some of her many fine fine moments!
Bessie Smith was the greatest and most influential classic blues singer of the 1920s. Her full-bodied blues delivery coupled with a remarkable self-assuredness that worked its way in and around most every note she sang, plus her sharp sense of phrasing, enabled her to influence virtually every female blues singer who followed. During her heyday, she sold hundreds of thousands of records and earned upwards of $2.000 per week, which was a queenly sum in the 1920s. She routinely played to packed houses in the South as well as the North and Midwest. By the time the decade had ended, Smith had become the most respected black singer in America and had recorded a catalog of blues that still stands as the yardstick by which all other female blues singers are measured.
For many blacks, Smith was more than just a blues singer. Thanks to an assertive personality and an emancipated, often excessive lifestyle that included much drinking, frequent fistfights, wild sexual encounters with both men and women, and little tolerance of people who aimed to exploit her, Smith became a black cultural symbol. To many blacks, her success represented a triumph over white domination in the entertainment business. She gave hope to oppressed black women and inspired countless of other singers. Smith influenced everyone from Billie Holiday to Mahalia Jackson and Janis Joplin. Although she died 1937, still in the primer of her career, she left behind a legacy that is wonderfully rich and practically unparalleled. She ranks with the best artists the blues has ever produced.
-Amazon.com
Backed by a rotating roster of jazz stars, Smith’s potent delivery made her a peerless star of classic female blues, combining a fiercely independent, almost defiant approach with subtly effective tinges of vulnerability. Early cuts such as “Downhearted Blues,” which supposedly saved Columbia records from extinction in 1923, and “T’aint Nobody’s Bizness If I Do” feature only Clarence Williams’s piano behind her, but it’s her work with Louis Armstrong that truly stands out-Satchmo majestically bobs and weaves his cornet around Smith’s lines on “St. Louis Blues,” “Reckless Blues,” “I Ain’t Gonna Play No Second Fiddle,” and the ragtime chestnut “You’ve Been a Good Old Wagon.” Unfortunately, Columbia offers buyers only two options: this cursory 16-song introduction or an exhaustive five-volume double-CD series.
-Marc Greilsamer
Tracklisting
1. Downhearted Blues 2. ‘Taint Nobody’s Bizness If I Do 3. My Sweetie Went Away 4. Weepin’ Willow Blues 5. St. Louis Blues (with Louis Armstrong) 6. Reckless Blues 7. You’ve Been A Good Ole Wagon 8. i Ain’t Gonna Play No Second Fiddle 9. Young Woman’s Blues 10. Muddy Water (A Mississippi Moon) 11. Mean Old Bedbug Blues 12. Empty Bed Blues (Part. 1 & 2) 13. Nobody Knows When You’re Down And Out 14. Black Mountain Blues 15. Do Your Duty 16. Gimme a Pigfoot
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
Dungen has been at the vanguard of Swedish progressive rock since 2001. Led by Gustav Ejstes, the main composer, singer and instrumentalist, they continue to explore the meandering soundscapes peppered with the occasional guitar outburst. Their latest album 4 is more jazzy and sometimes even poppy than its predecessors, while retaining the seventies classic rock of feel of Pink Floyd albums like Obscure By Clouds and the output of Mike Oldfield.
Gustav Ejstes doesn’t play any guitar on this album, bringing his piano chops to the fore. His vocals are carefully floating on top of the tracks, serving as an extra instrumental layer.
A wonderful document of the summit meeting of two giants of jazz, recorded by Rudy Van Gelder at The Van Gelder Studio, Englewood Cliffs, New Jersey, September 26, 1962.
This great collection begins with a remarkable performance of “In A Sentimental Mood.” Ellington’s chattering, bell-like accompaniment sets off Coltrane’s fulsome, rhapsodic interpretation in sharp relief. For Johnny Hodges–one of Duke’s main men, and an early employer of Coltrane–”In A Sentimental Mood” was a showpiece.
The Rabbit practically owned the tune, and yet Hodges considered Coltrane’s to be the finest version of the song he’d ever heard.Which indicates how deeply rooted in the jazz and blues tradition Coltrane always was.
DUKE ELLINGTON & JOHN COLTRANE represented an opportunity for Trane to step back and reflect upon the elemental lyricism and swing that were at the heart of even his most adventurous flights–and to silence those nay-sayers who were carping about how his band with Eric Dolphy was “anti-jazz.”
“Take The Coltrane” offers up one of Duke’s great vamp tunes, and illustrates just how well the master knew how to accommodate Coltrane and play to his strengths, gently prodding him into fresh melodic directions. with its insistent bluesy hosannas and tart, off-center harmonies, “Take The Coltrane” is an improviser’s delight, as the pianist offers elegant harmonic contrasts to Trane’s backwoods preacher.
“Big Nick” is Trane’s tip of the hat to tenor man and raconteur Nick Nicholas, a tipsying, elusive little melody with a hint of Sidney Bechet (and Hodges) that allows the saxophonist to range up and down his soprano.
The remainder of the repertoire is from the Ellington/Strayhorn songbook, beginning with Duke’s infectious minor blues, “Stevie.” Ellington treats his keyboard as a mini-orchestra, and Coltrane rides Sam Woodyard’s backbeat into the sun. Strayhorn’s “My Little Brown Book” opens with a bell-like fantasia between piano and Elvin Jones’ cymbals, as Coltrane demonstrates a variety of refined ballad inflections.
“Angelica” offers an infectious Afro-Cuban dialogue between Ellington and Woodyard, and an earnest, fervent Coltrane who doesn’t rise to the tune’s humor the way a Sonny Rollins would, but when Aaron Bell seats that 4/4 in the bass…look out. “The Feeling Of Jazz” is just that, closing things out with a classic blues that shuffles happily between swing and a hard rock.
Tracklisting
1. In a Sentimental Mood 4:12 2. Take the Coltrane 4:40 3. Big Nick 4:25 4. Stevie 4:20 5. My Little Brown Book 5:20 6. Angelica 5:56 7. The Feeling of Jazz 5:30
Details:
Duke Ellington (piano); John Coltrane (tenor & soprano saxophones); Jimmy Garrison, Aaron Bell (bass); Elvin Jones, Sam Woodyard (drums)
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
Jacques Loussier Trio – Satie: Gymnopedies/Gnossiennes [1998] # Audio CD (May 26, 1998) # SPARS Code: DDD # Number of Discs: 1 # Label: Telarc # ASIN: B000007NGR
Slanting and shadow-cutting a flickering eddy Trickled in gusts of gold to the shiny flagstone Where the ambre atoms in the fire mirroring themselves Mingled their sarabande to the gymnopaedia
We spoke about his meisterwerks, the amazing Gymnopédies.
And here is an interesting interpretation thereof into te jazz genre, thanks to Joe le Taxi.
Satie’s work was monumentally influential on the word of music. A true polymath, he was also very involved in other aspects of the avant garde – writing, art and theatre.
Indeed he could be called the father of minimalism!
Alfred Éric Leslie Satie (17 May 1866 – Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie.
Satie was introduced as a “gymnopedist” in 1887, shortly before writing his most famous compositions, the amazing Gymnopédies. I’ve no idea what a “gymnopedist” is exactly… except that it is related to some ancient Greek dance called the gymnopaedia!
Later, he also referred to himself as a “phonometrograph” or “phonometrician” (meaning “someone who measures (and writes down) sounds”) preferring this designation to that of “musician,” after having been called “a clumsy but subtle technician” in a book on contemporary French composers published in 1911.
The Gymnopédies, are three majestic series of piano compositions written by Satie, published in Paris starting in 1888. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure.
Collectively, the Gymnopédies are regarded as the precursors to modern ambient music – gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass – first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality!
In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.
I have long considered Satie’s Gnossienne to be some of the most emotionally touching and versatile pieces in music. So to pass a lazy afternoon, I went searching for as many versions of them as possible. I found everything from guitar to harp to dancefloor remixes. But there was one interpretation that stood out from all of them: the Jacques Loussier Trio interpretations.
First, I disagree vehemently with what one can only describe as the dense and snobbish two star review below. Satie’s music is not degraded here; it is simply reinterpreted into a new genre. But my ears (nor those of any other reviewer, it seems) detect any degredation or “dumbing down” of Satie. Rather, the Loussier Trio handle Satie’s delicate pieces with all the care they deserve. They do well at playing minimalistically, using no more notes than are necessary. I can’t help but think that this is the way Satie would have wanted it, as his compositions cry out for exactly that style.
While there are a few question marks on the CD (for instance, trying to fit a 3/4 Gymnopedie into 4/4)even the weaker tracks (relatively speaking) are worth a good listen. The Gnossienne (particularly the first four) take the cake, though!
A brief descriptive note before I leave you to buy the CD. Any lover of the “new” European (particularly Nordic) jazz, such as the Esbjorn Svensson trio, or the Tord Gustavsen trio, will UNQUESTIONABLY love the Jacques Loussier trio. Loussier has mastered the type of sparse and dark sound achieved by the said trios.
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
The god of love preparing to depart. Alexandra hoisted on his shoulder, They slip between the sentries of the heart.
Upheld by the simplicities of pleasure, They gain the light, they formlessly entwine; And radiant beyond your widest measure They fall among the voices and the wine.
It’s not a trick, your senses all deceiving, A fitful dream, the morning will exhaust – Say goodbye to Alexandra leaving. Then say goodbye to Alexandra lost.
Even though she sleeps upon your satin; Even though she wakes you with a kiss. Do not say the moment was imagined; Do not stoop to strategies like this.
As someone long prepared for this to happen, Go firmly to the window. Drink it in. Exquisite music. Alexandra laughing. Your firm commitments tangible again.
And you who had the honor of her evening, And by the honor had your own restored – Say goodbye to Alexandra leaving; Alexandra leaving with her lord.
Even though she sleeps upon your satin; Even though she wakes you with a kiss. Do not say the moment was imagined; Do not stoop to strategies like this.
As someone long prepared for the occasion; In full command of every plan you wrecked – Do not choose a coward’s explanation that hides behind the cause and the effect.
And you who were bewildered by a meaning; Whose code was broken, crucifix uncrossed – Say goodbye to Alexandra leaving. Then say goodbye to Alexandra lost.
Say goodbye to Alexandra leaving. Then say goodbye to Alexandra lost.
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
A performance by a jazz trio has not sounded this good in years and years!
Prodigious technique, an emphasis on harmonic impressionism and delicately strung arpeggios, a preference for the high-wire austerity of piano, bass, and drums: if jazz pianist Brad Mehldau sounds like he’s grooming himself as the next Bill Evans, his second album only heightens the comparisons, right down to its deadly serious title.
Happily, Mehldau pulls it off on this critically-acclaimed 1997 release, which finds his luminous touch bringing fresh power to standards (including the opening “Blame It on My Youth,” “I Didn’t Know What Time It Was,” and a lovely reading of the Beatles’ “Blackbird”) and some equally strong originals. Drummer Jorge Rossy and bassist Larry Grenadier prove sympathetic partners, but it’s Mehldau who transcends mere technical cuff-flashes to let the underlying lyricism carry the day.
-Sam Sutherland
Simply wonderful. in Art of the Trio Volume 1 Brad Mehldau clearly seems to inherit the cloak of the marvelous Bill Evans, argueably, the best Jazz pianist of all time. The song are deep lyrical, just beautiful. Expressions of true emotion. His bass player Paul Grenadier meshes well, placing emphasis and pushing back where needed without seeming to get into turf battles (as sometimes happened with Evans) and Jorge Rossy drums are also perfect. A well oiled machine.
The best stuff here is the standards: “Blame it on my Youth”, “I didn’t know What Time it Was”, the bouncy “Nobody Else but Me” and “Blackbird” (I always wonder why Jazz groups don’t work more with the lyrical Beatle melodies, as Jazz musicians of the past used the pop melodies of Cole Porter, and Gershwin?). But the best of all is the heart wrenching, slow “I Fall in Love Too Easily”. It takes courage to publicly display this kind of deep sadness (it isn’t just a tempo). There must have been a failed love affair somewhere…
The original songs are, well, not up to the level of the standards, but what can you expect? They’re new. It’s really it’s a great record from beginning to end. Despite some sad songs, the Trio genuinely seems to be enjoying themselves in playing!
Well recorded, good harmonics on the piano.
I would love to see Brad and the Trio make another CD this good!
1. Blame It on My Youth 2. I Didn’t Know What Time It Was 3. Ron’s Place 4. Blackbird 5. Lament For Linus 6. Mignon’s Song 7. I Fall in Love Too Easily 8. Lucid 9. Nobody Else But Me
Jazz of the Beat Generation / Jack Kerouac Spoken Word Mp3 @ 128kbs /61.5mb
Great “Beat” music from the era of Jack Kerouac interspersed with Spoken Word clips from the great man!
A Unique Collection of Music, Literature and Spoken Word Material Exploring Jazz as a Central Theme in the Counter Cultural Explosion in America in the 1950′s Known as the Beat Movement. Packaged in a Glossy Box with Artwork Reminiscent of Fifties Beatnik Paperback Book Cover Art.
The Mixture of Jack Kerouac’s Spoken Word Poetry Mixed Between Charlie Parker, Lester Young, Thelonious Monk and Other Beat Jazz Masters Creates a Perfect Audio History of the Beat Generation.
Includes Deluxe 36 Page Booklet with Extensive Liner Notes.
Tracklisting
01. Beat Generation – Jack Kerouac 02. Gasser – Roy Eldridge 03. Real Crazy Cool – Big Jay McNeely 04. Hey! Ba-Ba-Re-Bop – Lionel Hampton 05. In a Little Spanish Town – Lester Young 06. Fantasy: The Early History of Bop [Section 1] – Jack Kerouac 07. Salt Peanuts – Dizzy Gillespie 08. Scrapple from the Apple – Charlie Parker 09. Fantasy: The Early History of Bop [Section 2] – Jack Kerouac 10. Half Nelson – Miles Davis 11. Sorry, Wrong Rhumba – George Shearing 12. Fantasy: The Early History of Bop [Section 3] – Jack Kerouac 13. Slim’s Jam – Slim Gaillard 14. Fantasy: The Early History of Bop [Section 4] – Jack Kerouac 15. I Only Have Eyes for You – Billy Eckstine 16. Hunt – Dexter Gordon, Wardell Gray 17. Fantasy: The Early History of Bop [Section 5] – Jack Kerouac 18. Hackensack – Thelonious Monk 19. Subconscious-Lee – Lennie Tristano 20. Stella by Starlight – Stan Getz 21. Line for Lyons – Gerry Mulligan Quartet 22. Nutty – Thelonious Monk
The great Chet with some beautiful interpretations of Fab Four classics! Nice!
Tracklisting
01 – I Feel Fine 02 – Yesterday 03 – If I Fell 04 – Can’t Buy Me Love 05 – I’ll Cry Instead 06 – Things We Said Today 07 – A Hard Day’s Night 08 – I’ll Follow the Sun 09 – She’s a Woman 10 – And I Love Her 11 – Michelle 12 – She Loves You
Mélanie Dahan – La Princesse Et Les Croque-Notes [2008] mp3 – 320kbs – 102.5mb + 21.5mb
More great French music, very kindly sent to us by our copain Joe taxi, a renowned expert in all things French. From French music to French cinema to French pussy! And everything in between!
Here’s a rising star in the French jazz scene, the talented – and rather hot! – Mélanie Dahan!
Recently nominated for JAZZ IN JUAN-LES-PINS REVELATIONS (famous jazz festival in the south of France) and named as “the young hopeful of French jazz vocal” at LES COULEURS DU JAZZ festival in 2005, swinging MELANIE DAHAN encompasses her wide array of influences from French chanson to the Jazz and Latin repertoire, to be emotionally believable at every turn.
A brand-new project was born in 2006: Melanie DAHAN has been fortunate to meet a tremendous musician, pianist GIOVANNI MIRABASSI, to pay a tribute to a famous French lyricist from Montmartre: BERNARD DIMEY. A full justice is done to his lyrics, all marked by strong melodies and meaty harmonic progressions.
“A very pure and honey voice with a delicate swing and sensitivity, a remarkable talent who fully deserves to prosper in the jazz landscape… ” (JL BARON)
“Melanie Dahan hasn’t had her hour of glory yet, but it won’t be long coming.” (Jean-Michel Proust – Nouvel Observateur – TSF Jazz radio in Paris)
Melanie Dahan was 11 years old when she first started to sing: she was the youngest member of a troupe of singers, dancers, and comedians, called “LES GAVROCHES”. She performed in several musicals and shows on stage for 5 years.
After that great experience, she switched to jazz, maybe because at home she grew up bathed in the sound of jazz and bossa nova, favoured by her amateur pianist father. Also maybe because one day, she fell in love with jazz when she listened to album “Unforgettable” by Natalie Cole and live album “Ella in Berlin”. Then without taking any jazz lesson, only inspired by her favourite singers, she decided to look for musicians and to give a first gig in October 2001.
Melanie gained valuable experience by performing live with her band. She elegantly sang the well-known standards but also original compositions (lyrics: Melanie DAHAN / music: Pierre BERTRAND). She had the opportunity to meet truly good musicians:pianists PIERRE CHRISTOPHE, AHMET GULBAY, contrabassists NICOLA SABATO, MARC MICHEL LEBEVILLON, drummer BENJAMIN HENNOCQ…“Playing here and there in Parisian jazz clubs, connecting with the audience, I quickly realized how exciting it was to be able to improvise and swing to vary tunes and suit my own style. It gets you right there!”
Melanie has always been a good student. After High School, she studied International Trade at SorbonneUniversity in Paris. But as music was a deep passion for her, she was secretly aspiring to a singing career. In 2003, she took the plunge and she decided to perform professionally.
She learnt vocal technique at STUDIO DES VARIETES and she eventually studied jazz at IACP and BILLEVANSPIANOACADEMY under the tutelage of Sara Lazarus and Michelle Hendricks. Today she still feels like studying jazz (is there an end one day?) and she is herself a singing instructor.
Discography
-Guest on DVD “Ca se passe a St-Germain des pres” (2006) – pianist AHMET GULBAY
-Album project with GIOVANNI MIRABASSI to be released in 2006-07
From a concert at DIVAN DU MONDE (Paris) in August 2006
Contrairement au croque-notes de la chanson de Brassens, certainement aucun regret ne doit envahir les musiciens qui ont eu l’heureuse idée d’accepter de jouer avec la chanteuse Mélanie Dahan dont le premier disque était déjà en rupture de stock un mois après sa sortie en avril et dont une nouvelle édition vient combler ceux qui ne l’avait pas trouvé.
Il est vrai que celle-ci a fait un choix digne d’une princesse pour l’accompagnement des chansons de son premier album avec notamment le pianiste Giovanni Mirabassi grandement réputé pour le cantabile merveilleux de son piano et qui montre encore son talent exceptionnel dans l’improvisation autour de la chanson française.
Quant à la liste des morceaux interprétés elle constitue aussi un choix de princesse avec les plus grandes références de la chanson française : Aznavour, Brassens, Nougaro, Léo Ferré … à qui la jeune chanteuse emprunte des textes poétiques avec un naturel et une fraîcheur d’esprit étonnante, que ceux-ci soient ou non conçus à l’origine pour être portés par des hommes, la jeune femme les offre dans une interprétation d’une grande délicatesse et clarté qui en exalte la beauté.
Soutenue par des musiciens dont les arrangements jazz auraient certainement fait rêver, et feront jaloux encore, les interprètes initiaux, Mélanie Dahan par sa voix chaleureuse charme agréablement les oreilles sensibles aux beaux textes et mélodies.
Tracklisting
01. La salle et la terrasse 02. L’enfant maquillé 03. La princesse et le croque-notes 04. Les poètes 05. J’aimerais tant savoir 06. Rimes 07. Je hais les dimanches 08. Si tu me payes un verre 09. A Bicyclette 10. La mer à boire 11. Je me suis fait tout petit 12. Le petit bal perdu
Personnel
Mélanie Dahan, chant Giovanni Mirabassi, piano Marc-Michel Le Bévillon, contrebasse Matthieu Chazarenc, batterie Pierrick Pédron, saxophone alto
Sharon Robinson – Everybody Knows July 2008 – Jazz / Contemporary
Everybody got this broken feeling Like their father or their dog just died
I’ve been enjoying this great LP from Sharon Robinson for the past week or so. It’s a real summer delight!
Robinson has for many years been well known in the music scene as a songwriter, musician, singer and producer. Her songs have been covered by a wide array of well known artists and she has performed with some giants of modern music. Just look at her profile at the end of this post to see the extent of her work!
Sharon is probably best known though for her work with the one of the greatest song craftsmen of all time, King Leonard Cohen!
She has co-written some great songs with Lenny (including all the tracks on 2001′s Ten New Songs), produced one Lenny album (Ten New Songs), appeared on a number of different Lenny albums, and is currently part of Lenny’s wonderful tour band.
Three of the tracks on this LP are co-written with Cohen – Everybody Knows, Alexandra Leaving and Summertime.
These three tracks are majestic pieces of songwriting. The seminal title track Everybody Knows, was originally recorded by Lenny on his majestic ‘comeback” album “I’m Your Man” while Alexandra Leaving was recorded on “Ten New Songs”.
Nice piece where Leonard Cohen shares his thoughts on his recording of Alexandra Leaving:
Alexandra Leaving (3 min. 41 sec.) HI | LO[Windows Media]
However, the least known of these three joint-written tracks, Summertime, a supremely beautiful and haunting song is, for me, not only the highlight of this album, but one of the most beautiful songs I’ve heard in a long time.
This sublime track was written while they were on the road together during the 1979 “Field Commander Cohen Tour” and was subsequently recorded by both Diana Ross and Roberta Flack.
In this new album, Robinson is proudly stepping out of the great man’s shadow and with a series of wonderful tracks, taking giant steps towards creating her own artistic legacy.
Sharon’s own songs are of exceptionally high quality too and show that she’s learned much during her years with the great master.
At their best, her songs bear the Lenny hallmarks of exquisite wordplay, wit and craftsmanship, strong intelligent lyrics overlaying suitably apposite and beautiful melody. This reaches its apotheosis on great tracks such as Invisible Tattoo and Party for the Lonely.
And let’s not forget Sharon’s beautiful singing voice and idiosyncratic singing style! She sure can belt em out a tad better than Lenny! She’s also a very accomplished, classically trained musician!
All in all, this album is a refreshingly wonderful collection, a pure joy. It’s a must have for all true music fans, let alone fans of the great Leonard Cohen!
My CD player is almost worn out from playing this album! Check it out now mofos!
Many of these great tracks can be heard on Sharon’s MYSPACE page, a few may even be downloadable from there.
By the way, the LP’s cover artwork is a nice painting of Sharon done by Lenny !
Tracklisting
1. Invisible Tattoo 4:26
2. Party for the Lonely 3:41
3. Everybody Knows 5:26
4. The Train3:45
5. Secondhand 3:40
6. Forever In a Kiss 4:04
7. The High Road 4:09
8. Sustenance 4:03
9. Alexandra Leaving 5:06
10. Summertime 3:51
As for live appearances by Robinson, right now, Sharon’s committed to the Cohen Tour for the next year as more dates are planned for Autumn and into the new year.
The good news though is that Sharon will be doing a few spot dates!
These include an opening slot at the Hollywood Bowl on Aug. 27 and a festival in Dublin on Aug. 29 and 30.
Be sure to check her out!!
Extracts from reviews;
“A Phenomenal Project!” … “Robinson’s intelligent lyrics, excellent production andriveting alto voice define the word “compelling” to my ear.”
- Carol Archer, Smooth Jazz Editor, R&R
“Invisible Tattoo,” is the new album’s signature track and one of the finest adult pop songs of 2008.” ….. “And in a market that is deathly short on intelligent, high quality adult pop music, Everybody Knows is an auspicious, welcome first offering by a talented artist whose time in the sun has thankfully arrived.”
- Chris Rizik, SoulTracks
“A Knockout!…The best I’ve heard in a long time.” .. “Beautiful songs, great arrangements and a super voice.”
It seems odd that Sharon Robinson is classified as a “new artist,” but after two notable decades in the music business, she is finally letting the world discover what music insiders have known for years.Though she’s spent the most time as a supporting vocalist for artists ranging from Stevie Nicks to Aaron Neville, Robinson is best known in the industry as a Grammy-nominated songwriter, having collaborated for several years with legendary lyricist Leonard Cohen. Similar to Gordon Chambers’ transition five years ago, Robinson is now moving to the forefront to display her formidable skills with 2008′s Everybody Knows.
The most obvious and expected influence on Everybody Knows is Cohen, whose 2001 album Ten New Songs was produced by Robinson. But perhaps even more powerful a comparison is to another former Robinson accomplice, Brenda Russell, especially on “Invisible Tattoo,” the new album’s signature track and one of the finest adult pop songs of 2008. Hinting at the vibe of Russell’s “Piano In the Dark,” but with Robinson’s smoky alto voice floating over a deep groove reminiscent of Sade’s best work, the cut is mesmerizing, and sets a high opening bar for the album.
The rest of Everybody Knows is immensely interesting, though perhaps too consistently downbeat for most listeners. Rich, occasionally oblique lyricism pervades the ten moody, ambient pieces, providing a sense of gravitas that is atypical for modern adult soul music. The mood works best on the title cut and on the beautiful Aaron Neville-like track, “The High Road,” a chilling song about a sad-but-resigned lover attempting to maintain her dignity at the end of a relationship.
The compelling lyrical content takes the disc a long way, nearly making it essential. But the album is dragged down by an overall sameness in tempo and Robinson’s attractive but unchangingly breathy vocals, making it impossible to sustain for the entire CD the enthusiasm brought by the opening cuts. While any of the ten cuts is worthy on its own (put your iPod on shuffle for this one), each loses impact when all are joined together, back to back, over an hour. But despite the lack of sonic variety, it is tough to find fault with the consistent strong material that graces it the album. And in a market that is deathly short on intelligent, high quality adult pop music, Everybody Knowsis an auspicious, welcome first offering by a talented artist whose time in the sun has thankfully arrived. Recommended.
By Chris Rizik
PROFILE – SHARON ROBINSON
Songs by Sharon Robinson
On “Dear Heather”:
Both songs written with Leonard Cohen recorded by Leonard Cohen on “Dear Heather”:
“The Letters” “There For You”
On “Ten New Songs”:
All these songs written with Leonard Cohen recorded by Leonard Cohen on “Ten New Songs”:
“A Thousand Kisses Deep”
Also recorded by Chris Botti on “A Thousand Kisses Deep”, and by several others
“In My Secret Life” “Alexandra Leaving” “Love Itself” “That Don’t Make it Junk” “By the Rivers Dark” “Here It Is” “You Have Loved Enough” “Boogie Street” “The Land of Plenty”
Other songs:
“Everybody Knows”
written with: Leonard Cohen recorded by: Leonard Cohen on “I’m Your Man”, “Cohen Live” , “More Best Of” ; Concrete Blonde on “Ghost of a Texas Ladies Man” and “Pump up the Volume” soundtrack album ; Don Henley on “Actual Miles- Henley’s Greatest Hits” , and many others.
“Waiting For the Miracle”
written with: Leonard Cohen recorded by: Leonard Cohen on “The Future” , “Natural Born Killers” soundtrack album , “Wonder Boys” soundtrack album
“New Attitude”
written with: Bunny Hull and John Gilutin recorded by: Patti LaBelle on “Beverly Hills Cop” soundtrack album , “Patti LaBelle Live” , and many others
“Summertime”
written with: Leonard Cohen recorded by: Diana Ross on “Red Hot Rhythm & Blues” , Roberta Flack on “Set the Night to Music”
“Every Day of My Life”
recorded by: Aaron Neville on “The Tatooed Heart”
“Life’s Lessons”
recorded by: Carl Anderson on “Pieces of a Heart”
“This is the Love”
recorded by: Randy Crawford on “Rich and Poor”
“All American”
written with: Brenda Russell recorded by: Brenda Russell on “Kiss me with the Wind”
“Hot Together”
recorded by: The Pointer Sisters on “Hot Together” , “Stakeout” soundtrack album
“Inner Rhythm”
written with: Matthew Wilder recorded by: Donny Osmond on “Donny Osmond” and “Best of Donny Osmond”
“I Got Your Number”
written with: Hamish Stuart recorded by: The Temptations on “Together Again”
“Cross My Heart”
written with: Hamish Stuart recorded by: Diana Ross on “Red Hot Rhythm & Blues”
“A Man and A Woman”
recorded by: Ute Lemper on “Crimes of the Heart” , Amy Keys on on “Lover’s Intuition”
“If I Could”
written with: Chris Botti recorded by: Chris Botti on “A Thousand Kisses Deep”
“Do It In Luxury”
written with: Chris Botti and Keefus Chauncia recorded by: Chris Botti on “A Thousand Kisses Deep”
“That Was Then, This Is Now”
written with: Soulshock and Carlin recorded by: Vanessa Rubin on “New Horizons”
“The High Road”
recorded by: Bettye LaVette on “I’ve got my own hell to raise”
Film and Television
“Beverly Hills Cop”
USA 1985 “New Attitude”
“Exotica”
Canada 1994 “Everybody Knows”
“Pump up the volume”
USA 1990 “Everybody Knows”
“Stakeout”
USA “Hot Together”
“Natural Born Killers”
USA 1994 “Waiting for the Miracle”
“Platinum”
Canada 1997 “Waiting for the Miracle”
“Kiss the sky”
USA 1998 “Waiting for the miracle”
“Sex TV” (TV series)
Canada 199X “Everybody Knows”
“Wonder boys”
USA 2000 “Waiting for the miracle”
“Judging Amy” (Episode in TV series)
USA 2001 “Everybody Knows” (Don Henley)
“Amnesia”
Italy 2002 “In My Secret Life “
“Pomor Tuljana”
Croatia 2002 “Everybody Knows”
“The Good Thief “
USA 2003 “ A Thousand Kisses Deep”
“The Favourite Game”
Canada 2003 “A Thousand Kisses Deep”
“Amateur Man” (Two episodes in TV series)
Greece 2003 “Waiting for the miracle”
“Land of Plenty”
USA 2004 “The Letters” and “The Land of Plenty”
“L Word” (episode in TV series)
USA 2004 “In My Secret Life”
“Nathalie”
France 2004 “Boogie Street”
Awards
“New Attitude”
Grammy Nominations (3) for Best R&B Song, Best Soundtrack Album (“Beverly Hills Cop”), best R&B vocal performance (Patti LaBelle)
“New Attitude”
Grammy for Best Soundtrack Album (“Beverly Hills Cop”) (1985)
Touring and Concerts
Leonard Cohen 1979, 1980, 2008 Ann-Margret Show 1976-1985 Brenda Russell Thelma Houston Rick Nelson Sweet Inspirations John Baldry Lead singer in numberless top 40 bands
Session Work
Patti LaBelle Michael Bolton Brenda Russell Stevie Nicks Morris Day Robbie Krieger Jennifer Warnes Patrice Rushen Leonard Cohen Aaron Neville
Studies
Ethel Newman – classical piano Salem College, W.Va. California Institute of the Arts Oxford Theater, Los Angeles Kyozan Joshu Sasaki, Roshi
Willie Nelson & Wynton Marsalis: Two Men With The Blues Mp3 @ 192kbs # Original Release Date: July 8, 2008 # Label: Blue Note Records # ASIN: B0016NF06O
Two giants of very different musical genres here combine in a fascinating work!
This Blue Note release documents the boys’ special performances on January 12 and 13, 2007 at Jazz at the Lincoln Center, where they tackle some classic blues and jazz numbers.
The collaboration apparently came about when Natalie Cole had to cancel a series of shows with Wynton’s band at the last minute and somehow Willie stepped into the breach.
An album for real fans of music! Willie meets N’yorlans!
No, Willie doesn’t try to pay the trumpet! Neither does Wynton start crooning “You were always on my mind”!
Here’s some info on the project;
The event was simply billed as “Willie Nelson Sings the Blues,” but the historic two-night stand on January 12 and 13, 2007 at Jazz at Lincoln Center was far more than that. Call it a summit meeting between two American icons, Willie Nelson & Wynton Marsalis, two of the most significant figures in modern-day country and jazz, who discovered common ground in their love for jazz standards and the blues.
Their performance stirred the sounds of New Orleans, Nashville, Austin and New York City into a brilliantly programmed mix that was equal parts down-home and cosmopolitan, with plenty of swing and just a touch of melancholy.
To say that these shows were a hot ticket would be an understatement!
Luckily, the tapes were rolling and the results of this unique collaboration now constitute the Blue Note album Two Men With The Blues for everyone who couldn’t cram into The Allen Room. Featuring great playing from one of the hottest bands around these classic tracks are given new life by the extraordinary dual talents of Willie Nelson and Wynton Marsalis.
At a time when most people are thinking of retirement, Willie has never been busier. His profile has been high in recent weeks with his various career retrospective releases and sold out tour and this album can rightly stake it’s place alongside anything else he has done.
Wynton rarely sounds so relaxed and both of these musical giants are clearly having the time of their lives together on these new interpretations of some of the greatest songs of the 20th century.
A video excerpt from the show of Willie and Wynton playing a live version of the Hogey Charmichael classic Stardust.
Everyone knew that this summit of master musicians would be special. The session was recently broadcast on National Public Radio’s Jazz at Lincoln Center, and as we already have an Amazon video excerpt of the event, we can expect to see the entire meeting on PBS, with DVD as pledge gift.
The CD, however, has had the opportunity for further electronic mixing and improvements by Delfeayo Marsalis and Jeff Jones.
So what can we say about the quality of the music and the personalities? How many superlatives are there? But you first must be a Willie Nelson fan and you must be a jazz enthusiast who honors Wynton Marsalis and the Lincoln Jazz folk for their precision and urban sophisticated development of New Orleans roots.
Thus if you are among that very large number of music lovers, you must own this recording. Even the insert notes and photos are nicely done.
As for the selections, we have Nelson’s own oft recorded theme song, Georgia on My Mind, and we also have Stardust, which was included in the album of the same title that demonstrated that Nelson was more than a country singer; indeed that album is his all-time best seller. I, however, enjoyed Rainy Day Blues and the other tunes that follow, which are what the album is supposed to be about: the blues.
This album is simply fun. You will love it.
Dr. Debra Jan Bibel “World Music Explorer”
1. Bright Lights Big City 2. Night Life 3. Caldonia 4. Stardust 5. Basin Street Blues 6. Georgia On My Mind 7. Rainy Day Blues 8. My Bucket’s Got A Hole In It 9. Ain’t Nobody’s Business 10. That’s All
The Westbrook Blake – Bright As Fire [Settings Of William Blake By Mike Westbrook] (1980, 1991 Reissue)
“Perhaps the greatest work in all British jazz” (INDEPENDENT ON SUNDAY)
Michael John David ‘Mike’ Westbrook (born March 21, 1936 in High Wycombe) is a highly successful British jazz pianist, composer, and writer of orchestrated jazz pieces.
His work for the theatre began with Adrian Mitchell’s Tyger a celebration of William Blake, staged by the National Theatre in 1971. This became a vehicle for his Brass Band of the 70′s and 80′s and the LP ‘The Westbrook Blake – Bright As Fire’ followed on in 1980.
A revised and expanded version of the work was re-recorded in 1997 and named ‘Glad Day’.
“…Arguably the most majestic work to appear in recent years. It’s marriage of Inspirational lyrics and uplifting scoring, performed by some of the most talented musicians in Europe, harks back to the jazz suites of Ellington…” THE GUARDIAN
“Mike Westbrook makes full use of his two striking vocalists, Kate Westbrook and Phil Minton, and coaxes fervent performances from horn men Chris Biscoe and Alan Wakeman. He finds music to snatch the ecstasy of ‘I See Thy Form’ and desolation of ‘London Song’, turns ‘A Poison Tree’ into a blood-curdling tango. and fashions a magnificent anthem for ‘Let The Slave/The Price of Experience’ , Blake’s great paeans to freedom, dignity, and compassion.” THE WIRE
“Westbrook’s settings are among the greatest British music of the century…bold, optimistic and inspiring”. THE INDEPENDENT.
“Bright as Fire pulls no emotional punches, Blake’s visionary words matched by some of Westbrook’s most trenchant writing”. THE TIMES
“It’s one of the great fortuitous yokings together of the century: Blake’s forthright lyrics, and Westbrook’s English-Ellington music, the words brilliantly sung by Kate Westbrook and Phil Minton and accompanied by a septet with three great sax players in Peter Whyman, Chris Biscoe and Alan Wakeman”.
THE INDEPENDENT
Tracklisting
1 The Fields (5:40) 2 I See Thy Form (3:55) 3 London Song (7:10) 4 A Poison Tree (2:30) 5 Holy Thursday (15:00) 6 Let The Slave / The Price Of Experience (9:07)
Wynton Marsalis – Wynton Marsalis Mastersound Original Master Recording Gold CD Wave / Mp3 @320k.
Wynton Marsalis’s 1982 debut was recorded before the trumpeter had reached his 20th birthday and when he was still a member of Art Blakey’s Jazz Messengers. In many ways it was a pivotal event for jazz in the ’80s, as Marsalis became the central figure in a return to the acoustic styles of the late ’50s and ’60s and the model for all the young lions to come.
While there are elements of Miles Davis in Marsalis’s style, the strongest parallels are with Lee Morgan and Freddie Hubbard, the pyrotechnic trumpeters who arrived at about the same age in the late ’50s and who first made their talents known in Blakey’s group. Even with a Harmon mute, on Ron Carter’s “RJ,” Marsalis suggests Hubbard’s precise articulation. Saxophonist Branford Marsalis recalls Wayne Shorter’s pre-fusion style, and Herbie Hancock, Ron Carter, and Tony Williams, featured on four tracks, pick up where they’d left off with Miles Davis and on numerous Blue Note dates.
The music is taut, thoughtful, and filled with youthful bravado, but more fascinating still is how a leading-edge style of the ’60s succumbed to fusion in the ’70s only to return as a full-blown conservative movement in the next decade.
This, the debut album of perhaps the most influential jazz musician in the world, was recorded in 1982, when he was but nineteen years old. It features three of his own original compositions, as well as those of band-members Herbie Hancock (piano), Ron Carter (bass) and Tony Williams (drums). They, along with his brother Branford Marsalis (tenor sax) form an unbelievably tight group that plays with deadly precision and a musical maturity that transcends interpretation. The compositions are startingly creative, many with reflective or enigmatic undertones.
The improvisations are handled masterfully; this was perhaps the first group since the sixties to really take group improvisation seriously. The players perform as a group unit, using each other’s ideas in their own solos to give the music continuity.
The rhythm section is especially precise, masterfully handling the complex counterpoint that jazz musicians have come to expect from Marsalis compositions. There is an unbelievable raphor between the Marsalis brothers who, having played together for so many years, seem to feed off of one another.
Their technical virtuosity, even at such young ages, is so amazing and effortless that this listener often forgets just how difficult the passages are. The most impressive track on the CD is the beautiful ballad “Who Can I Turn To (When Nobody Needs Me).” Here, Marsalis showcases his amazing Miles Davis-like ability to breathe exciting life into the most simple phrases, milking every note for all its emotional worth and directly addressing the ambiguity of human life.
All in all, the album brings the magnificent phenomenon of swing back to life. In an era of funk rhythms and hard rock, Marsalis dared to be sophisticated, tasteful, and skillful, and this is the perfect way to start or augment any jazz collection. As Marsalis himself would say, “It was swinging. It started off swinging, it kept on swinging, and those who heard it will remember it.”
- Appropriated reviews.
Tracklisting
1. Father Time 2. I’ll Be There When The Time Comes 3. RJ 4. Hesitation 5. Sister Cheryl 6. Who Can I Turn To (When Nobody Needs Me) 7. Twilight
Miles Davis – Miles Davis in Europe (1963) [Remastered 2005] EAC rip | FLAC + CUE + LOG -> 304Mb | MP3 @320 -> 142Mb Full Artwork @300 dpi -> 68Mb (png) Columbia/Legacy | CK 93583
Recorded live in France at the Festival Mondial, du Jazz Antibes, Miles Davis in Europe captures trumpeter Davis in late 1963.
While Four & More and My Funny Valentine — both taken from the same 1964 New York Philharmonic Hall concert — are most often cited as this lineup’s essential live recording, Miles Davis in Europe is a no less exciting listen.
The band, including tenor saxophonist George Coleman, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams, had recorded Seven Steps to Heaven a few months earlier, which would turn out to be the one studio album Davis would make with the lineup.
Already, the band’s adventurous, avant-garde leanings are on display with the young Williams propelling Davis to scorching heights on the fast swinger “Milestones.” Similarly, Hancock helps turn the standard “I Thought About You” into an impressionistic and free-flowing ballad allowing Davis to spread wide swaths of tonal color and deep note bends across the stage.
Although Coleman would depart the group in less than a year, he proves himself here to be a muscular, keen improviser who deserved more attention than he got at the time.
The 2005 Columbia reissue of Miles Davis in Europe includes one bonus track not available on the original LP as well as new liner notes from noted comic book scribe Harvey Pekar.
Tracklisting
01. Introduction (by Andre Francis) 02. Autumn Leaves 03. Milestones 04. I Thought About You 05. Joshua 06. All Of You 07. Walkin’
Grab the LINKS to the upload files in the txt file here:
Credits: Ken Druker Executive Producer Hollis King Art Direction Bryan Koniarz Producer Kazumi Matsumoto Series Design Hal Mooney Arranger, Conductor, Producer Nina Simone Piano, Vocals Sherniece Smith Art Producer Jeff Willens Mastering
More great stuff from the late great Nina.
Perhaps a bit more conscious of contemporary soul trends than her previous Philips albums, this is still very characteristic of her mid-’60s work in its eclectic mix of jazz, pop, soul, and some blues and gospel.
Hal Mooney directs some large band arrangements for the material on this LP without submerging Simone’s essential strengths. The more serious and introspective material is more memorable than the good-natured pop selections here.
The highlights are her energetic vocal rendition of the Oscar Brown/Nat Adderley composition “Work Song” and her spiritual composition “Come Ye,” on which Simone’s inspirational vocals are backed by nothing other than minimal percussion.
Review by Richie Unterberger
Tracklisting
1. Don’t You Pay Them No Mind 2. I’m Gonna Leave You 3. Brown Eyed Handsome Man 4. Keeper of the Flame 5. Gal from Joe’s 6. Take Me to the Water 7. I’m Going Back Home 8. I Hold No Grudge 9. Come Ye 10. He Ain’t Comin’ Home No More 11. Work Song 12. I Love My Baby
Personnel: Art Pepper (alto sax) Milcho Leviev (piano) Bob Mugnusson (bass) Carl Burnett (drums)
Not A Through Street (Deleted 1990 Japanese 7-track 2-CD set) is a great album featuring a set recorded live at YBC TV Hall, Yamagata, Japan on March 14th 1978 and featuring Milcho Leviev on piano, Bob Magnusson on bass and Carl Burnett on drums.
Art Pepper concluded a very successful tour of Japan with a concert in Yamagata that was recorded and released on two Storyville CDs. The first CD has just 38 minutes of music, but the quality is quite high. Pepper (with pianist Milcho Leviev, bassist Bob Magnusson and drummer Carl Burnett) performs lengthy versions of two originals (“Ophelia,” “My Laurie”) and “Besame Mucho”; the latter was a request from his Japanese friends that was very well received and became a permanent part of his repertoire. The recording quality is excellent and Pepper is in explorative and somewhat inspired form.
The second of two CDs taken from the final night of Art Pepper’s 1978 Japanese tour features the great altoist (along with pianist Milcho Leviev, bassist Bob Magnusson and drummer Carl Burnett) exploring two of his originals (“The Trip,” and “Red Car”), a lyrical version of Michel Legrand’s “The Summer Knows” and an intense rendition of “Caravan.” None of the Storyville sets have been reissued elsewhere, and each adds to the remarkable legacy of Art Pepper whose second career (covering 1975-82) was arguably even greater than his first.
Art Pepper/Live In Japan Vol 1(Storyville STCD4128) Art Pepper/Live In Japan Vol 2(Storyville STCD4129) Art Pepper/Not A Through Street Live In Yamagata 78(TOFREC88901-2)
Allmusic.com:
Tracklisting
1. Ophelia (11:26) 2. Besame Mucho (10:59) 3. My Laurie (15:56) 38:21 4. Caravan (12:55) 5. The Trip (10:29) 6. The Summer Knows (8:23) 7. Red Car (14:47)
John Martyn – Grace And Danger (1980) (1973) Mp3 @192
“The messages I was getting back were that Chris felt it was too sad and he didn’t want to put it out. He felt it too depressing and didn’t want it released.” - Martin Levan, producer
“I freaked: ‘Please get it out! I don’t give a damn how sad it makes you feel- It’s what I’m about: direct communication of emotion.” - John Martyn, 1981
Grace And Danger is the 1980 album by John Martyn, written and recorded while he was in the process of divorcing from his wife Beverley.
The songs strongly reflect the emotional upheaval that Martyn was experiencing at the time.
The album was produced by his friend Phil Collins who was similarly in the process of divorce from his wife. Collins also played drums and provided backing vocals.
The release of the album was delayed by Island Records for a year apparently because Chris Blackwell the label owner (and a friend of both John and Beverley) found the album too depressing.
The UK photographer/artist Sandy Porter created the image used on the cover (winner of the European album cover of the year) for Island Records. Whilst working on Grace and Danger, Bruno-Christian Tilley, Island Records’ designer on Grace and Danger and U2′s Boy album, commissioned Sandy to create the alternate image for the Boy cover which was to used on US and international releases of the album. This due to fears that the band might be accused of child pornography if the original image had been used.
Tracklisting
01.Some People Are Crazy 02.Grace And Danger 03.Lookin’ On 04.Johnny Too Bad 05.Sweet Little Mystery 06.Hurt In Your Heart 07.Baby Please Come Home 08.Save Some (For Me) 09.Our Love
Personnel
John Martyn – Lead Guitar and vocals Tommy Eyre – Keyboards, Synthesisers John Giblin – Bass Phil Collins – Drums, Backing Vocals Dave Lawson – additional synthesisers
John Martyn – John Martyn – Live At Les Cousins (1968) – VERY RARE!! Mp3 @192
Mentored by Hamish Imlach, John Martyn’s professional musical career began when he was seventeen, playing a blend of blues and folk that resulted in a unique style that made him a key figure in the London folk scene during the mid-1960s.
He signed to Chris Blackwell’s Island Records in 1967 and released his first album, London Conversation, the following year.
This first album was soon followed by The Tumbler (December 1968), which was moving towards jazz.
This rare recording captures Martyn between his first two LPs and charts the change of musical course he was then taking.
Tracklisting
01 Back Again - 01 Dont Think Twice It’s Alright 02 Goin’ Down To Memphis 03 Winding Boy 04 Woodstock 05 Traffic Light Lady 06 Would You Believe Me 07 Jelly Roll Bake
Inside Out was Martyn’s fifth solo album, and his seventh if one includes the two albums he’d made with his then wife, Beverley.
Featuring a great band – including Steve Winwood – It was his jazziest release to date, featuring two fan-favourites, “Fine Lines” and “Make No Mistake,” as well as two songs that he enjoys playing live as jazz epics, “Outside In” and “Look In.”
It is noted in allmusic’s review that it is probably his most experimental album.
This experimentalism came as something of a shock to fans when it arrived directly after his best-loved album, the softer and more melodic Solid Air.
An 18-minute live version of “Outside In” later appears on his self-distributed Live at Leeds album.
Tracklisting
01. Fine Lines 02. Eibhli Ghail Chiuin Ni Chearbhail 03. Ain’t No Saint 04. Outside In 05. The Glory Of Love 06. Look In 07. Beverley 08. Make No Mistake 09. Ways To Cry 10. So Much In Love With You
Personnel
John Martyn – vocals, guitar Danny Thompson – bass, double bass Chris Stewart – bass Steve Winwood – bass, keyboards Chris Wood – flute, horns Remi Kabaka – percussion Kesh Sathie – tabla Bobby Keyes – saxophone
Mose Allison – Down Home Piano (1957-59) MP3 | 320Kbps | 86MB cover OJC | 1996 | Total time: 38:02
A great compilation from one of Van Morrison’s heroes, Mose!
Mose has for decades been a consistently wonderful and innovative composer, player and singer in his own right and this great collection bears this out.
Although Mose Allison is perhaps best known for his enjoyably idiosyncratic vocal style, he is first and foremost a marvelous piano player with a unique style pitched somewhere between a New Orleans bordello and the rhythmic and harmonic experimentation of Thelonious Monk or Sun Ra.
This well-chosen 1966 compilation (released after Allison had split for Atlantic Records) pulls together ten of his best instrumentals from four of his six Prestige albums, and it makes a strong case for Allison as one of the most inventive piano players and composers of his generation.
The selection runs from the definitive performance of Allison’s signature ballad “Crepuscular Air” (which foreshadows nearly the entire career of West Coast cool pianist Vince Guaraldi) to the witty, technically impressive and musically joyous post-bop workouts “Devil in the Cane Field” and “The Minstrels.”
Throughout, Allison’s interplay with his longtime bassist Addison Farmer is fantastic; Allison’s left-hand walking bass runs are usually in counterpoint to Farmer’s inspired comping, adding greatly to the songs’ rhythmic complexity.
Mostly, however, Down Home Piano is quite simply enormous fun to listen to.
Tracklisting
1. Dinner On The Ground 3:19 2. Crepuscular Air 3:47 3. Mule 3:57 4. Creek Bank 4:39 5. Town 3:27 6. Devil In The Cane Field 4:07 7. The Minstrels 3:32 8. Moon And Cypress 4:06 9. Carnival 3:03 10. Mojo Woman 4:05 All compostions by Mose Allison
Personnel: Mose Allison (Vocals and Piano) Addison Farmer (Double Bass) Ronnie Free (Drums) – 1,3,4,6-8 Nick Stabulas (Drums) – 2,5,9,10
We advocate free speech and freedom of expression.
We are lovers of music, fun, cartoons, art, photography, cinema, Jack Daniels, literature, manga and Asian babes!
We post this and other sorts of other stuff here, things we ourselves would like to see on a site, things that interest us. The aim is to have FUN! Oh and express our views and tastes (the latter term is used very loosely!) where we see fit! Now, certain views and tastes and opinions may differ with those of viewers. So what? That’s fine! If you don’t like it … just leave!
We’ve had problems before, on a previous blog, with people of a certain right-wing / censorial ilk who object to freedom of expression and views that are different from their own. One of these mofos got the blog shut down because certain views or content differed to their own narrow world view!
Now, we really don’t want the same BS again!!
Therefore, if you are some right-wing, censorial, prude with no sense of humour, this ain’t the place for you. So f**k off back to Afghanistan or, at least, get out of this site and leave us alone!
PLEASE NOTE: Contributors here are adult and mature (after a fashion!). Therefore, by definition, the same adjectives apply to our content. More plainly, we are not writing posts for children! Therefore, if you are not of legal adult age, f**k off now!
PLEASE NOTE: You cannot download software, movies, films at our site, nor do we host any files here. We simply provide links to pre-existent content freely available on the World Wide Freedom Web and thus content which is available to all internet users under Freedom of Information Act and other legislation.
We are huge fans of music. One of our aims is to promote bands and music we like. Any music content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
However, if there is some content here that somebody has a valid objection to, please send an email to stupidand@gmail.com and the content shall be immediately removed.
Sharon is probably best known though for her work with the one of the greatest song craftsmen of all time, King Leonard Cohen!
As for live appearances by Robinson, right now, Sharon’s committed to the Cohen Tour for the next year as more dates are planned for Autumn and into the new year.
The event was simply billed as “Willie Nelson Sings the Blues,” but the historic two-night stand on January 12 and 13, 2007 at Jazz at Lincoln Center was far more than that. Call it a summit meeting between two American icons, Willie Nelson & Wynton Marsalis, two of the most significant figures in modern-day country and jazz, who discovered common ground in their love for jazz standards and the blues.
