Official Jazz topic

[SPEAK NO EVIL]

this is a tune

[Dubby]

Need a Jazz set on VIP2 radio really.

[Superstition]

Props to everyone dropping recommendations and favourites. Here's some more sh*t I've been enjoying recentlyJoe Lovano - Joyous Encounterzshare.net/download/547178355f453e31/Joe Lovano is one of the nicest tenor saxophonists around nowadays, with a warm, breathy tone and relaxed, measured playing. This is a stellar album from 2005, with his whole band on top of their respective forms. They demonstrate their knack for elegant collective playing - four veteran musicians get into a groove together, and swing through standards with precision and charm.Dave Brubeck Quartet - Time Outzshare.net/download/545717784382c183/Classic music from one of the most celebrated ensembles of the genre. This album is a masterclass in composition and creativity, with some of the most recognisable jazz tunes ever penned, played beautifully. Brubeck on the keys provides some of the best ever explorations of unusual rhythm and phrasing (e.g., Take Five set in 5/4 signature, Blue Rondo a la Turk in 9/8), accented by Paul Desmond's refined and feathery saxophone. But despite the irregular timings, the music never stops swinging, testament to the remarkable skill of the musicians writing and performing it

[Superstition]

Late night ColtraneJohn Coltrane - Dun Know The Tranezshare.net/download/54843948e363b27d/This is a mix of mine which I've used to introduce a few people to Coltrane's stuff. It's just an introductory selection of his music, some favourites which I tried to pick from over the span of his career. Trane had many different phases, participating in different jazz movements, obsessively seeking out new styles, new methods, new ideas. I try to provide some choice examples of most of them - from beautiful, restrained ballads (In A Sentimental Mood, Central Park West) to displays of furiously technical brilliance (Countdown), from avante-garde assaults (Sun Ship, Mars) to sombre funereal laments (Alabama), magnificent swinging hard bop (Moment's Notice, Giant Steps) and collaborations with fellow legends (Take The Coltrane, Monk's Mood, Lush Life). A nice primer for people looking to hear some of what he was aboutJohn Coltrane - A Love Supremezshare.net/download/546949354fdba966/On the previous mix, I deliberately left off any stuff from this - his most famous and important album - since this is a disc of music which is really intended as a suite in its composition, and should be taken as a whole. Coltrane here focuses his soul and spirit into crafting an offering to God: expressing a deeply spiritual journey of struggle and epiphany, and affirming thanks and devotion to the truth and beauty of the almighty. It's powerfully intense and sublimely emotional, and culminates in Trane playing out the cadence of a prayer he wrote. Deep and amazing music

[magpaul]

I'd like to see about a post about A Love Supreme in the Whatever forum..That mix looks good btw, I'm looking forward to checking it.

[YGNB]

Any opinions on On the Corner by Miles Davis? Vilified upon release, now seem as a masterpiece.

[Baroness.]

This is how you know i've really slept on this thread.I came across Robert Glasper and have been hooked for couple months and only now saw Superstition's post mentioning him.If this cold really takes a hold of me tomorrow, then this thread is me all of Sunday.Pissed my RS Pass ran out today as well.

[SPEAK NO EVIL]

^yea Robert Glasper=sicknessI'm really feeling Sketches of Spain at the moment

[Lenny]

Someone re up that Robert Glasper linkmuch appreciated

[The King]

Love it when HERoin drops them sick posts.

[Superstition]

Sick show coming up on BBC4. The story of four classics from 1959 - Kind of Blue, Dave Brubeck's Time Out, Mingus Ah Um, and Ornette Coleman's Shape Of Jazz To Come:http://www.bbc.co.uk/iplayer/episode/b00jf...t_Changed_Jazz/

[Superstition]

Sick show coming up on BBC4. The story of four classics from 1959 - Kind of Blue, Dave Brubeck's Time Out, Mingus Ah Um, and Ornette Coleman's Shape Of Jazz To Come:http://www.bbc.co.uk/iplayer/episode/b00jf...t_Changed_Jazz/

^Program is available on the iPlayer until Saturday. Highly recommended.Also available this week is an incredible concert by the legendary Stan Getz, performed at the LSE in 1966:http://www.bbc.co.uk/iplayer/episode/b00jw...n_Getz_Quartet/Don't miss these shows, some golden footage in both. Back to the present-day, and another album which has been occupying me lately:Brandford Marsalis Quartet - Metamorphosenzshare.net/download/58573667b33aaf26Brilliant album despite the rather budget looking cover. These guys are stellar musicians, who've played together for many years, and developed a strong rapport and real collective voice. Branford is one of my favourite saxophonists; expressive, versatile, rhythmically immaculate. He vibes perfectly with Joey Calderazzo on the piano, and Tain Watts on the drums is a force of nature. They sizzle with the best during excited and clamorous uptempo pieces, but imo their always shine most on slower, more lighter and lyrical compositions. This album's a mix of both, and is end-to-end niceness

[Trilliam]

mingus mingus mingus

[Superstition]

The Philadelphia Experimentzshare.net/download/58973016400cf9f0Sick little jazz-funk album from 2001 - Questlove on drums, with Christian McBride on bass and Uri Caine on piano. All Philadelphia natives, they give a gloriously soulful account of Philly's musical character, bringing together deep funk and jazz and executing it with style and skill.

[Captain Planet]

im loving the brass arrangememnts in jazz recently

anybody got any tips for a budding composer?

[Captain Planet]

& can we re-up some of these albums

they are quite very scarce on the net

[Nola D]

oo well done on bumpin this thread, the way i need to step my knowledge up when it comes to jazz.

came across this the other day though, loving the artwork for some of these jazz lp cover the designs were so abstract and creative

http://www.birkajazz.com/archive/columbia.htm

[Supermalt]

edit: this thread is big

[Captain Planet]

[Nola D]

not my links but i thought id post em anyway

http://www.megaupload.com/?d=WHT6LDT0

http://rs90.rapidshare.com/files/346184866/Jose_James_-_Blackmagic.rar

[Captain Planet]

WOW

[Captain Planet]

THIS ALBUM>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

[NomeAgreguesLópez]

i just downloaded these albums and thought i would share,not eloquent enuff 2 give them the Superstition treatment so its a copy and paste ting

eric dolphy-out to lunch

http://sharebee.com/d89a5c0b

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.

miles davis-relaxin with the miles davis quintet

http://www.zshare.net/download/49099372dad9be/

Relaxin' features the Miles Davis Quintet in a pair of legendary recording dates -- from May and October of 1956 -- which would generate enough music to produce four separate long-players: Cookin', elaxin', Workin', and Steamin'. Each of these is considered not only to be among the pinnacle of Davis' work, but of the entire bop subgenre as well. As with the other titles, Relaxin' contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet -- who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) -- to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" -- from the play Guys and Dolls -- includes some remarkable soloing via Coltrane and Garland. Davis' solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin' offers something for every degree of jazz enthusiast. Likewise, the quintet's recordings provide a tremendous introduction for the curious jazz consumer.

duke ellington & john coltrane

http://www.zshare.net/download/103366052494f63d/

DUKE ELLINGTON & JOHN COLTRANE begins with a remarkable performance of "In A Sentimental Mood." Ellington's chattering, bell-like accompaniment sets off Coltrane's fulsome, rhapsodic interpretaion 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 accomodate 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 repetoire 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 infectuous 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.

been rinsing this one while revising

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oh yeah and this is one i've had for time but feel 2 post it anyways, very big

gil evans-the individualism of gil evans

http://rapidshare.com/files/132947388/THE_..._EVANS.rar.html

Those who only know Gil Evans though his collaborations with Miles Davis will be astounded when they discover The Individualism of Gil Evans. The five recording sessions that went into the making of this album yielded music as compelling as anything Evans created with Miles. And that’s no minor feat, considering just how instrumental the trumpet playing genius was in helping Evans push the limits of jazz orchestration on such classics as Sketches Of Spain and Porgy & Bess. Forever known by his partnership with Miles, The Individualism of Gil Evans was the only album that the composer/pianist recorded as a leader during the period of 1961-1968, years when jazz clubs were closing, but, as evidenced here, the music was far from dying.

For the various sessions that comprise the album, Evans put together an impressive and diverse collection of musicians, including such purveyors of individualism as Eric Dolphy, Wayne Shorter, Ron Carter, Steve Lacy, and Elvin Jones. From the album’s lush opening to its bluesy conclusion, Evans consistently conjures a vast musical canvas, leaving plenty of wide-open spaces in his compositions for the soloists to soar. His subtle use of large ensembles and his mastery of space approach that of Miles, with whom he co-wrote the CD’s opening track, “Time Of The Barracudas,” for a Peter Barnes play of the same name. My whole understanding of the album begins with this mood-establishing gem, and my heart goes out to a whole generation of listeners that had to experience the original vinyl without it. They were denied the majesty of Wayne Shorter’s solo, which was so beautifully lyrical that it seduced Miles, who immediately invited the saxophonist to join his band. Shorter’s playing takes on a brooding, almost hallucinatory quality on “The Barbara Song,” a Kurt Weill melody from Three-Penny Opera. An underrated pianist, Evans’ own exquisitely textured playing on “The Barbara Song” is sublime. “Las Vegas Tango” (later covered by Robert Wyatt) is a cinematic, Ellington-flavored epic, filled with the call and response of trumpets and woodwinds, and driven by bassist Ron Carter’s dark tango rhythms. “Flute Song / Hotel Me” has the low down and dirty feel of a strip-tease vamp which, like the album closer, “Spoonful,” showcases Evans’ bluesy piano playing. It is not only noteworthy as the original album’s sole Gil Evans/Miles Davis collaboration, but also because it features Eric Dolphy on bass clarinet. Dolphy’s adds his unmistakable touch to the song with intense but restrained playing. “El Toreador” encapsulates the feeling of Sketches of Spain in a mere 3 1/2 minutes. It is perfectly followed by the minimalist “Proclamation,” a previously unreleased track. “Nothing Like You” and “Concorde” are two upbeat little ditties that jarringly break up the dream-like mood of the album, making them dubious “bonus” tracks. Program your CD player to skip them. Thankfully the dream-like mood is picked up again and given satisfying climax on the 14-minute long blues, “Spoonful.” Evans knocks out some mean licks, pounding the piano with startling passion. The man could really play. Kenny Burrell’s guitar hints at T-Bone Walker, with a fluid bending of the notes. It’s hard to believe that Evans originally hated this performance of “Spoonful,” but learned to love it upon hearing it again decades later, approving its inclusion on the CD reissue. Perhaps ears grow wiser with age.

Password??? Please, Soy colombiano y necesito del jazz. Necesito escuchar buena mierda de Gil Evans. Desde el otro lado del charco, por favor y gracias!

[Jam]

Them Google searches there

[NomeAgreguesLópez]

i just downloaded these albums and thought i would share,not eloquent enuff 2 give them the Superstition treatment so its a copy and paste ting

eric dolphy-out to lunch

http://sharebee.com/d89a5c0b

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.

miles davis-relaxin with the miles davis quintet

http://www.zshare.net/download/49099372dad9be/

Relaxin' features the Miles Davis Quintet in a pair of legendary recording dates -- from May and October of 1956 -- which would generate enough music to produce four separate long-players: Cookin', elaxin', Workin', and Steamin'. Each of these is considered not only to be among the pinnacle of Davis' work, but of the entire bop subgenre as well. As with the other titles, Relaxin' contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet -- who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) -- to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" -- from the play Guys and Dolls -- includes some remarkable soloing via Coltrane and Garland. Davis' solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin' offers something for every degree of jazz enthusiast. Likewise, the quintet's recordings provide a tremendous introduction for the curious jazz consumer.

duke ellington & john coltrane

http://www.zshare.net/download/103366052494f63d/

DUKE ELLINGTON & JOHN COLTRANE begins with a remarkable performance of "In A Sentimental Mood." Ellington's chattering, bell-like accompaniment sets off Coltrane's fulsome, rhapsodic interpretaion 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 accomodate 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 repetoire 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 infectuous 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.

been rinsing this one while revising

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oh yeah and this is one i've had for time but feel 2 post it anyways, very big

gil evans-the individualism of gil evans

http://rapidshare.com/files/132947388/THE_..._EVANS.rar.html

Those who only know Gil Evans though his collaborations with Miles Davis will be astounded when they discover The Individualism of Gil Evans. The five recording sessions that went into the making of this album yielded music as compelling as anything Evans created with Miles. And that’s no minor feat, considering just how instrumental the trumpet playing genius was in helping Evans push the limits of jazz orchestration on such classics as Sketches Of Spain and Porgy & Bess. Forever known by his partnership with Miles, The Individualism of Gil Evans was the only album that the composer/pianist recorded as a leader during the period of 1961-1968, years when jazz clubs were closing, but, as evidenced here, the music was far from dying.

For the various sessions that comprise the album, Evans put together an impressive and diverse collection of musicians, including such purveyors of individualism as Eric Dolphy, Wayne Shorter, Ron Carter, Steve Lacy, and Elvin Jones. From the album’s lush opening to its bluesy conclusion, Evans consistently conjures a vast musical canvas, leaving plenty of wide-open spaces in his compositions for the soloists to soar. His subtle use of large ensembles and his mastery of space approach that of Miles, with whom he co-wrote the CD’s opening track, “Time Of The Barracudas,” for a Peter Barnes play of the same name. My whole understanding of the album begins with this mood-establishing gem, and my heart goes out to a whole generation of listeners that had to experience the original vinyl without it. They were denied the majesty of Wayne Shorter’s solo, which was so beautifully lyrical that it seduced Miles, who immediately invited the saxophonist to join his band. Shorter’s playing takes on a brooding, almost hallucinatory quality on “The Barbara Song,” a Kurt Weill melody from Three-Penny Opera. An underrated pianist, Evans’ own exquisitely textured playing on “The Barbara Song” is sublime. “Las Vegas Tango” (later covered by Robert Wyatt) is a cinematic, Ellington-flavored epic, filled with the call and response of trumpets and woodwinds, and driven by bassist Ron Carter’s dark tango rhythms. “Flute Song / Hotel Me” has the low down and dirty feel of a strip-tease vamp which, like the album closer, “Spoonful,” showcases Evans’ bluesy piano playing. It is not only noteworthy as the original album’s sole Gil Evans/Miles Davis collaboration, but also because it features Eric Dolphy on bass clarinet. Dolphy’s adds his unmistakable touch to the song with intense but restrained playing. “El Toreador” encapsulates the feeling of Sketches of Spain in a mere 3 1/2 minutes. It is perfectly followed by the minimalist “Proclamation,” a previously unreleased track. “Nothing Like You” and “Concorde” are two upbeat little ditties that jarringly break up the dream-like mood of the album, making them dubious “bonus” tracks. Program your CD player to skip them. Thankfully the dream-like mood is picked up again and given satisfying climax on the 14-minute long blues, “Spoonful.” Evans knocks out some mean licks, pounding the piano with startling passion. The man could really play. Kenny Burrell’s guitar hints at T-Bone Walker, with a fluid bending of the notes. It’s hard to believe that Evans originally hated this performance of “Spoonful,” but learned to love it upon hearing it again decades later, approving its inclusion on the CD reissue. Perhaps ears grow wiser with age.

Password!! ¿?