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The Bill Evans Trio – Moon Beams (1962/2002)
DSF Stereo DSD64/2.82MHz | Time – 39:09 minutes | 1,55 + 1,80 GB | Genre:Jazz
Official Digital Download – Source: AcousticSounds | © Riverside Records
Recorded: June 2, 1962 (#2-4, 6, 7); May 29, 1962 (# 1, 8); May 17, 1962 (#5), Sound Makers Studio, New York City
Bill Evans was left reeling by the accidental death of his brilliant bassist Scott LaFaro in mid-1961 and didn’t feel ready to record with his new bassist until nearly a year later. When he did go into the studio in May and June of 1962 with Chuck Israels and drummer Paul Motian, the “second trio” produced material for two albums that were to be among Evans’s most popular. Moonbeams includes ballad material from the sessions. The rest of the music from the sessions is in How My Heart Sings! In Moonbeams, Evans did some of his most introspective playing, his sense of loss apparent but relieved by Israels’s power and empathy. “Polka Dots and Moonbeams,” “If You Could See Me Now,” and the others represent Evans at his best, his lyricism underlaid with rhythmic firmness even in the extraordinarily slow “In Love in Vain.”
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Monika Lang Trio – A Tribute to Bill Evans (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 00:57:09 minutes | 622 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Q0buz | @ Gramola Records
Recorded: December 6-8, 2013 at Wavegarden Studio, Mitterretzbach, Lower Austria
Already at the end of the fifties the great Jazz pianist Bill Evans (1929 – 1980) was seen as “one of the most important pianists in today’s music scene.” It comes as no surprise at all that soon even Miles Davis appreciated his “sense of harmony and his lyricism”. It was also quite unusual and controversial that Davis accepted him as the only white musician in his early sextet. After that, Evans, together with his piano trio, generally found his innermost and equally indicatory own form of expression. The result of this musical dialogue were style-forming concerts and recordings, based on the “use of individually coloured chord voicings”, an “individual rhythm with a sort of subliminal, barely noticeable Swing”, distinct dynamics, a nuanced touch and the subtle use of many stylistic devices from Jazz to classical music. Required qualification for this was, of course, a classical pianist training, but also a sort of linear vocal melody line that frequently orientated itself towards film music and the great composers of the “American Songbook”. In that way, Bill Evans came to be one of the most influential pianists of modern Jazz in the studios and especially on concert stages. Evans – insecure and in bad health all his life – was a drug addict and finally died of the many resulting afflictions and diseases. Added to that, furthermore came tragedies in his entourage – the consequences were depression and increased drug use.
Giving musical honour to Evans, as also did John McLaughlin and Pat Metheny, was by no means a rarity but much more of a special challenge. To face this challenge and also live up to it needs a special sort of ability to combine technical mastering, experience and also emotion.
Twin Danger – Twin Danger (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 00:54:46 minutes | 585 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | @ Decca Crossover
Noir jazz and after–midnight blues meet in the intriguing Twin Danger. Featuring singer Vanessa Bley (daughter of jazz innovator Paul Bley) and sax player Stuart Matthewman (co-founder of Sade, Sweetback, and producer for Grammy-winner Maxwell). The self-titled debut features a unique take on the alterna-hit, “No One Knows” by Queens of the Stone Age. Satisfying fans of jazz, rock, blues and soul, Twin Danger are for both the sophisticated aficionado and the young trendsetter.
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Powerhouse – In An Ambient Way {Binaural+} (2015)
FLAC (tracks) 24-bit/192 kHz | Time – 52:07 minutes | 1,72 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital booklet | @ Chesky Records
Recorded December 1st, 2014 at the Hirsch Center in Brooklyn, NY.
In an Ambient Way embraces many elements of the jazz world: the perpetual idea of using technology to improve the world around you that Miles Davis made so clear; the continuation of the generational passing of knowledge through actual living situations; the spontaneous nature of improvised music; and, above all, the desire to discover new things, to improve, develop and add a new dimension to the listening experience for all lovers of music. (more…)
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John Scofield – Past Present (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 52:29 minutes | 1,17 GB | Genre: Jazz
Studio Master, Official Digital Download | Source: HDTracks | Artwork: Digital booklet | @ Impulse Records
9 new tracks composed by master guitarist John Scofield. Bringing back the 1990 band with Joe Lovano, Bill Stewart and Larry Grenadier stepping in for Dennis Irwin and Marc Johnson.
John Scofield updates his early-90s quartet with drummer Bill Stewart and saxophonist Joe Lovano by recruiting bassist Larry Grenadier for his fetching, appropriately titled Impulse! debut, Past Present. The nine exciting tunes Scofield penned on Past Present reflects his philosophy on playing jazz music. He stresses the importance of being knowledgeable of the musics deep, complex roots while simultaneously being spontaneous and in the moment while performing it. For an artist with such a multifaceted discography as Scofields, getting to the root of jazz means channeling the blues, as demonstrated on the discs closing, titled-track. (more…)
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Hank Mobley – The Turnaround! (1965/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 40:31 minutes | 1,39 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Digital Booklet | @ Blue Note Records
Recorded March 7, 1963 and February 5, 1965 at Van Gelder Studio in Englewood Cliffs, NJ.
The Turnaround! is jazz tenor saxophonist Hank Mobley’s 1965 Blue Note release. The hard bop, soul jazz instrumentalist and composer collaborated with some of the ’60s most proficient jazz musicians on this release, including Herbie Hancock, Philly Joe Jones, Paul Chambers, Freddie Hubbard and Donald Byrd, among others.
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Title: The Sound of Jazz
Release Date: 2015
Genre: Jazz, Bop, Hard Bop, Avant-Garde Jazz, Cool, Dixieland, Folk Jazz, Mainstream Jazz, Post-Bop, Vocal Jazz, West Coast Jazz
Director: Jack Smight
Artist: [1-10] The Sound Of Jazz (1957): Henry “Red” Allen, Count Basie, Roy Eldridge, Jimmy Giuffre; Coleman Hawkins, Billie Holiday, Thelonious Monk, Gerry Mulligan, Ben Webster, Lester Young; [11-14] Jazz From Studio 61 (1959): Ahmad Jamal Trio, Ben Webster-Buck Clayton Quintet; [15-17] Jamin’ The Blues (1944): Lester Young, Harry Sweet Edison, Illinois Jacquet, Among Others; [18] Stage Entrance Tv Show (1952): Charlie Parket, Dizzy Gillespie; [19-22] The Sound Of Miles Davis (1959): Miles Davis, John Coltrane, Wynton Kelly, Paul Chambers, Jimmy Cobb, The Gil Evans Orchestra
Production/Label: Think Visual
Duration: 02:44:11
Quality: Blu-ray
Container: BDMV
Video codec: MPEG-2
Audio codec: AC-3
Video: MPEG-2 21999 kbps / 1920*1080i / 25 fps / 16:9
Audio: English Dolby Digital 2.0 / 48 kHz / 192 kbps
This Blu-ray disc compiles some of the finest classic jazz performances ever filmed. The Sound of Jazz was a 1957 CBS TV show which reunited some of the genre’s greatest stars for a one-hour performance that was presented as performed, with no editing. It was a true live-TV experience which produced some of the most moving jazz scenes ever filmed, among them the final meeting of Billie Holiday and Lester Young. The show also produced a studio album by the same title, which is added in its entirety as a bonus on this package. CBS would repeat its success in 1959 with yet another show, this time featuring Miles Davis, Ahmad Jamal and Ben Webster on different sets. Davis is heard both in a quintet format (with John Coltrane on tenor sax) and with the Gil Evans orchestra. Also included here are Gjon Mili’s classic 1944 short film Jammin’ The Blues, one of the very rare movies showcasing Lester Young, and the only existing footage of Charlie Parker on live TV.
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First time on a Blu-Ray format. This classic jazz film was a 1957 CBS TV show which reunited some of the genre s greatest stars for a one-hour performance that was presented with no editing. Includes a final meeting of Billie Holiday and Lester Young. Also included are follow-up shows featuring Miles Davis, Ahmad Jamal and Ben Webster on different sets. An extra bonus is the 1944 short, Jammin the Blues showcasing Lester Young plus the only TV clip of Charlie Parker known to exist.
Blu-Ray DVD plus CD of The Sound of Jazz album
01. Open All Night / Blues
02. The Count Blues
03. Wild Man Blues
04. Rosetta
05. Dickie s Dream
06. Blue Monk
07. I Left My Baby
08. Fine And Mellow
09. The Train And The River
10. Blues My Naughty Sweetie Gives To Me
11. Darn That Dream
12. Ahmad s Blues
13. Chelsea Bridge
14. Duke s Place
15. The Midnight Symphony
16. On The Sunny Side Of The Street
17. Jammin The Blues
18. Hot House
19. So What
20. The Duke
21. Blues For Pablo
22. New Rhumba
Sticker on front cover says 24 bit / 96kHz but all audio tracks are 24 bit / 192 kHz.
Artist: Herbie Hancock
Title: Empyrean Isles / Maiden Voyage
Genre: Jazz, Hard Bop, Modal, Piano Jazz
Label: © Blue Note Records/Universal Music Enterprises
Release Date: Empyrean Isles – 1964 (BLP 4175/BST 84175); Maiden Voyage – 1965 (BLP 4195/BST 84195)/2015
Recorded: Empyrean Isles – June 17, 1964; Maiden Voyage – March 17, 1965; Van Gelder Studio, Englewood Cliffs, New Jersey.
Mastered: tracks 1-4: Bernie Grundman at Bernie Grundman Mastering; tracks 6-10: Robert Vosgien at Capitol Mastering; tracks 11-15: Alan Yashida
Quality: Blu-ray Audio
Length: 02:04:48
Size: 22.6 GB
Video: MPEG-4 AVC 950 kbps / 1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio: English DTS-HD MA 2.0 / 192 kHz / 6475 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)
Audio: English LPCM 2.0 / 192 kHz / 9216 kbps / 24-bit
Audio: English Dolby TrueHD 2.0 / 192 kHz / 5881 kbps / 24-bit (AC3 Embedded: 2.0 / 48 kHz / 640 kbps)
Jazz icon Herbie Hancock’s solo career blossomed on Blue Note Records in the mid-to-late ’60s with classic albums including Maiden Voyage and Empyrean Isles. Throughout his career, Hancock has always pushed musical boundaries, exploring a wide variety of jazz idioms while bringing his flair and innovation to every single setting. His Blue Note albums of the 1960’s ranged all the way from post bop to Latin jazz, to straight ahead and free form.
Empyrean Isles, recorded when Hancock was 24 and a new member of the Miles Davis Quintet, features the pianist pushing the envelope of hard bop, creating fresh, new music in the process. In a quartet setting with Freddie Hubbard, Ron Carter and Tony Williams, Hancock shows that he was familiar with both avant-garde jazz and groovin’ R&B. His four compositions include the original and most exciting version of “Cantaloupe Island” and the swingingly unpredictable “One Finger Snap.”Empyrean Isles brims with the power and adventure of the best of ’60s jazz while gracefully crossing over into uncharted territory in signature Hancock fashion.
However, 1965’s Maiden Voyage is arguably the best in the bunch. Every single cut on the exquisite 5-track offering from the haunting title track to the gentle, swinging “Dolphin Dance” has found its way into the standard jazz repertoire. Hancock and company – Ron Carter (bass), George Coleman (tenor saxophone), Freddie Hubbard (trumpet) and Anthony Williams (drums) – fashioned a modern jazz milestone here with extraordinary compositions, interplay and solos and in 1999 Maiden Voyagewas recognized as such when it was inducted into the Grammy Hall of Fame. (more…)
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Wynton Kelly Trio, Wes Montgomery – Smokin’ At The Half Note (1965/2013)
DSF Stereo DSD64/2.82MHz | Time – 41:10 minutes | 1,62 GB | Genre: Jazz
Source: ISO SACD | © Verve Records
Recorded June 1965 at the Half Note, New York City; and September 22, 1965 at Van Gelder Studio, Englewood Cliffs, New Jersey.
Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
A Tremendously Important Historic Jazz Record That Pairs Guitar Virtuoso Wes Montgomery With Miles Davis’ Rhythm Section – Paul Chambers and Jimmy Cobb
This is timeless music that has inspired innumerable jazz guitarists and aficionados. In fact, jazz guitar great Pat Metheny has said, “I learned to play listening to Wes Montgomery’s Smokin’ At The Half Note.” Metheny additionally said that the solo on “If You Could See Me Now” is his favorite of all time.
This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history.
Highlights include the Miles Davis opener, “No Blues” and the following track, Tadd Dameron’s “If You Could See Me Now.” And the album’s versions of “Unit 7” and “Four On Six” have helped to establish these songs as jazz standards.
Name:Natalie Dessay & Michel Legrand: Entre Elle & Lui – Live at the Château de Versailles
Released: 2014
Genre: Instrumental, Soundtrack
Artists: Natalie Dessay, Michel Legrand, Pierre Perchaud, Francois Laizeau, Pierre Boussaguet
Two icons of French song – Natalie Dessay and Michel Legrand – follow the huge worldwide success of their album Entre Elle et Lui with a DVD of the very special concert on the 11th June 2014 at the Orangerie of the Château de Versailles. This is a unique collaboration from two giants of French music. The CD release in 2013 was hotly anticipated and received great critical acclaim upon its release. Natalie Dessay brings her lyrical voice and fresh interpretations to a selection of some of Michel Legrand’s best-loved songs including La Valse des Lilas, Les moulins de mon cœur (Windmills of Your Mind), Duo de Guy et Geneviève, Papa Can You Hear Me and many more.
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Sonny Clark – Cool Struttin’ (1958) [Reissue 2000]
FLAC (tracks) 24 bit/96 kHz | Time – 37:43 minutes | 920 MB
DAD to Hi-Res FLAC – Source: Classic Records’ DAD 1037 | Covers
Recorded in 1958, this legendary date with the still-undersung Sonny Clark in the leader’s chair also featured a young Jackie McLean on alto (playing with a smoother tone than he had before or ever did again), trumpeter Art Farmer, and the legendary rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, both from the Miles Davis band. The set begins with one of the preeminent “swinging medium blues” pieces in jazz history: the title track with its leveraged fours and eights shoved smoothly up against the walking bass of Chambers and the backbeat shuffle of Jones. Clark’s solo, with its grouped fifths and sevenths, is a wonder of both understatement and groove, while Chambers’ arco solo turns the blues in on itself. While there isn’t a weak note on this record, there are some other tracks that stand out, most notably Miles’ “Sippin’ at Bells,” with its loping Latin rhythm. When McLean takes his solo against a handful of Clark’s shaded minor chords, he sounds as if he may blow it — he comes out a little quick — but he recovers nicely and reaches for a handful of Broadway show tunes to counter the minor mood of the piece. He shifts to both Ben Webster and Lester Young before moving through Bird, and finally to McLean himself, riding the margin of the changes to slip just outside enough to add some depth in the middle register. The LP closes with Henderson and Vallée’s “Deep Night,” the only number in the batch not rooted in the blues. It’s a classic hard bop jamming tune and features wonderful solos by Farmer, who plays weird flatted notes all over the horn against the changes, and McLean, who thinks he’s playing a kind of snake charmer blues in swing tune. This set deserves its reputation for its soul appeal alone. (more…)
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Sonny Rollins 24 Bit Vinyl Pack
Genre: Jazz
Styles: Bop, Hard-Bop, Post-Bop, Jazz Instrument, Saxophone Jazz
Source: vinyl
Codec: FLAC
Bitrate: ~ 2,900 kbps
Bit Depth: 24
Sample Rate: 96 kHz
1956 Tenor Madness – Prestige PRLP 7047 (US) (Reissue 2013)
1957 Way Out West – Contemporary Records Fantasy S7530, 1988 (US)
1959 Sonny Rollins and the Contemporary Leaders – RTB 2221136
1962 What’s New? – Pure Pleasure N2PY-2267 180g (US)
1962 The Bridge – RCA Living Stereo LSP 2727-45 180g (US)
1963 Sonny Meets Hawk – RCA Living Stereo LSP 2712 200g (US)
1966 East Broadway Run Down – Impulse AS9121 180g (US)
1973 Horn Culture – Milestone M-9051 (US)
1978 Pure Gold Jazz – RCA ANL1-2809 (US)
Sonny Rollins will go down in history as not only the single most enduring tenor saxophonist of the bebop and hard bop era, but also as one of the greatest contemporary jazz saxophonists of them all. His fluid and harmonically innovative ideas, effortless manner, and easily identifiable and accessible sound have influenced generations of performers, but have also fueled the notion that mainstream jazz music can be widely enjoyed, recognized, and proliferated. Born Theodore Walter Rollins in New York City on September 7, 1930, he had an older brother who played violin. At age nine he took up piano lessons but discontinued them, took up the alto saxophone in high school, and switched to tenor after high school, doing local engagements. In 1948 he recorded with vocalist Babs Gonzales, then Bud Powell and Fats Navarro, and his first composition, “Audubon,” was recorded by J.J. Johnson. Soon thereafter, Rollins made the rounds quickly with groups led by Tadd Dameron, Chicago drummer Ike Day, and Miles Davis in 1951, followed by his own recordings with Kenny Drew, Kenny Dorham, and Thelonious Monk.
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Dizzy Gillespie 24 Bit Vinyl Pack
Genre: Jazz
Styles: Bop, Big Band, Jazz Instrument, Trumpet Jazz
Source: vinyl
Codec: FLAC
Bitrate: ~ 1,500 – 5,000 kbps
Bit Depth: 24
Sample Rate: 48 khz, 96 kHz, 192 kHz
*Note* Some of the tags are in Russian.
24.192
1988 Dizzy Gillespie – Melody (RU)
24.96
1957 Dizzy Gillespie and Stuff Smith –
Verve 2332 081 (Reissue 1970s) (Germany)
1978 Oscar Peterson & Dizzy Gillespie – Melody Polydor GMBH (RU)
1978 Oscar Peterson & Dizzy Gillespie – Melody C60-10287-88 (RU)
24.48
1988 Arnett Cobb, Dizzy Gillespie, Jewel Brown – Show Time
Fantasy F-9659 (US)
Dizzy Gillespie’s contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis’ emergence in the 1970s that Dizzy’s style was successfully recreated. Somehow, Gillespie could make any “wrong” note fit, and harmonically he was ahead of everyone in the 1940s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz.
Stanley.Jordan.Trio.The.Paris.Concert.2007.1080p.MBluRay.x264-LOUNGE | 8.74 GB
I have always been astounded that so many beginning musicians begin their musical explorations on the guitar. Despite being an at least competent pianist, I have never been able to master the fretboard technique to really be able to eke out even the most basic chords on the guitar. I blame my somewhat stubby fingers for this inability, but of course my more musically astute colleagues point out that I have no problem voicing extremely complex chords on the piano with those same stubby fingers. Perhaps it’s the more “graph like” quality of voicing items on the guitar that throws me off, or something endemic to actual guitar technique. I might have had better luck had I adopted Stanley Jordan’s innovative, almost keyboard-esque, approach: instead of using his left hand to finger notes and his right hand to strum, Jordan exploits the “tapping” technique where he uses both hands to play the fretboard almost like a pianist percussively presses the keys. Surprisingly, Jordan’s approach doesn’t result in an overly staccato sound, and in fact there are beautifully sustained legato passages in a lot of Jordan’s work. This 2007 Paris concert, part of in-Akustik’s New Morning (a Paris nightclub) Blu-ray series, finds the guitarist and his ace band in fine form as they move through both originals and standards.
http://www.blu-ray.com/movies/Stanley-Jordan-Trio-The-Paris-Concert-Blu-ray/9652/ (more…)
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