jazznikტრადიციულად კარგ ალბომებს ტვირთავ... არ გაგიადვილა იმ პროგრამამ ჩამოტვირთვა?
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ტრომბონისტების თემა გრძელდება
Curtis Fuller : Jazz..It's Magic (1957)
NYC, September 5, 1957
1. Two Ton
2. Medley:
It's Magic
My One and Only Love
They Didn't Believe Me
3. Soul Station
4. Club Car
5. Upper Berth
Personnel:
Curtis Fuller (tb)
Sonny Red (as)
Tommy Flanagan (p)
George Tucker (b)
Louis Hayes (d)
http://bin.ge/file/29572/Fuller-by-Ciber---.rar.htmlhttp://rapidshare.com/files/209272903/Fuller_by_Ciber-_-.rarTrombonist Curtis Fuller's recordings for Savoy in the 1950s, like those of labelmates Hank Mobley, Milt Jackson, Wilbur Harden, Donald Byrd, and others, were prototypes in the development of hard bop. The next stage would come with the subsequent work of many of the same artists for Blue Note, where improved recording technique, greater attention to writing and arranging, and a more generous policy with respect to preparation and rehearsal time helped bring in the classic hard bop era of the late '50s and early '60s. On Fuller's Jazz...It's Magic, the hard bop prototype is still under refinement, but it's easy to enjoy the music in its essential elements: elegant, bluesy melodies; earthy, yet sophisticated, solo work; and fresh treatments of standards. For this 1957 date, Fuller is joined by the appealingly urbane Tommy Flanagan (piano), the versatile Louis Hayes (drums), and George Tucker (bass), whose loping but solid style resembles Paul Chambers'. Joining the trombonist in the frontline is the relatively obscure alto player Sonny Red, who has a clean, expressive, melodic approach to the Charlie Parker legacy that provides many of this CD's best moments. Three Fuller originals, Frank Foster's "Upper Berth," and a medley of ballad standards make up the program. If there are any misgivings about the CD, it would be the long medley (over 13 minutes), which drags on the overall pace. That said, Red's and Flanagan's solo spots on the medley are superb, but the listener's attention can be expected to wander by the time the trombonist finally steps up for his three choruses.
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დიდ პატივს ვცემ ამ შემსრულებელს
Esbjörn Svensson Trio - Live in Paris 2005
Jazz, bootleg (Radio broadcast by France Inter) | mp3 @ 160 kbps
The Music:
01. Intro (announcer)
02. Seven Days of Falling
03. Eighty-Eight Days in My Veins
04. Mingle in the Mincing-Machine
05. Band Introduction by Esbjörn Svensson
06. In the Tail of Her Eyes
07. The Unstable Table and the Infamous Fable
08. Viaticum
09. When God Created the Coffeebreak
10. Behind the Yashmak
11. Believe Beleft Below
12. A Picture of Doris Travelling with Boris
13. Spunky Sprawl
The Players:
Esbjörn Svensson - Piano
Dan Berglund - Acoustic Bass
Magnus Öström - Drums
http://up.jeje.ge/download.php?id=DA8544C922http://rapidshare.com/files/224015966/E.S....ve_In_Paris.rarPianist and composer Esbjörn Svensson looms among the most influential and innovative figures in contemporary jazz, drawing on inspirations spanning from Baroque to techno to create a body of work that earned both commercial and critical approval. Svensson was born in Västeras, Sweden, on April 16, 1964 -- his mother was a classical pianist and his father a die-hard jazz buff, but in spite of his classical training he first gravitated toward pop, playing in a series of amateur rock & roll bands alongside high-school classmate and drummer Magnus Öström. After studying music at Stockholm's Kungliga Musikhögskolan, Svensson worked as a session player, and in 1985 formed a bop-inspired duo with drummer Fredrik Norén. In 1993, he reconnected with Öström, and together with bassist Dan Berglund they formed the Esbjörn Svensson Trio, which would become universally known by the acronym E.S.T. Although the group's debut LP, When Everyone Has Gone, earned scant attention, the trio quickly emerged as a fixture of the Swedish festival circuit in addition to backing singers including Viktoria Tolstoy and Louise Hoffsten -- while Svensson's piano balanced the structural complexity of his classical background with the improvisational daring of postwar influences like Bill Evans and Keith Jarrett, Öström's powerhouse drumming channeled more mainstream influences like rock and funk, and in time E.S.T. earned a fan following that extended far beyond the confines of the conventional jazz cognoscenti.
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