The Dave Brubeck Quartet - Time Out
Track listing
All pieces composed by Dave Brubeck, except "Take Five" by Paul Desmond. The album was recorded over three sessions that took place on June 25, July 1, and August 18, 1959.
Side A
"Blue Rondo à la Turk" – 6:44
"Strange Meadow Lark" – 7:22
"Take Five" – 5:24
Side B
"Three to Get Ready" – 5:24
"Kathy's Waltz" – 4:48
"Everybody's Jumpin' " – 4:23
"Pick Up Sticks" – 4:16
The title "Blue Rondo à la Turk" echoes Mozart's "Rondo alla Turca" from his Piano Sonata No. 11.
Personnel
Musical
Dave Brubeck — piano
Paul Desmond — alto saxophone
Eugene Wright — double bass
Joe Morello — drums
http://rapidshare.com/files/240516600/dabr..._timo.part1.rarhttp://rapidshare.com/files/240573230/dabr..._timo.part2.rarhttp://rapidshare.com/files/240618057/dabr..._timo.part3.rarhttp://rapidshare.com/files/240687125/dabr..._timo.part4.rarhttp://rapidshare.com/files/240814151/Brub...meout_cover.rarPass: aksman
Time Out is a 1959 album by The Dave Brubeck Quartet, based upon the use of time signatures that were unusual for jazz (mainly waltz or double-waltz time, but also 9/8, and most famously 5/4).
Although the album was intended as an experiment (Columbia president Goddard Lieberson was willing to chance releasing it) and received negative reviews by critics upon its release, it became one of the best-known and biggest-selling jazz albums, reaching number two in the U.S. Billboard "Pop Albums" chart, and produced one single — Paul Desmond's "Take Five" — that reached number five in the Billboard "Adult Contemporary" chart.
In 2005 it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry.
* * *
The Dave Brubeck Quartet - Time Out (50th Anniversary)
Track Listing
-------------
CD1
[01].Blue Rondo a La Turk
[02].Strange Meadow Lark
[03].Take Five
[04].Three to Get Ready
[05].Kathy's Waltz
[06].Everybody's Jumpin'
[07].Pick Up Sticks
CD2
[01].St. Louis Blues
[02].Waltz Limp
[03].Since Love Had Its Way
[04].Koto Song
[05].Pennies from Heaven
[06].You Go to My Head
[07].Blue Rondo a La Turk
[08].Take Five
http://flameupload.com/files/LNUGT6LE/TDBQTO.part1.rarhttp://flameupload.com/files/01ZEWBVI/TDBQTO.part2.rarThe year 1959 could easily go down as the one of most important years in the history of recorded jazz. In addition to Miles Davis' Kind of Blue (Columbia), it saw the release of the Dave Brubeck Quartet's groundbreaking LP Time Out. Columbia Records got the risky inclination to release the album's third track, the Paul Desmond-penned title song, as a single and it went on to become the first jazz single to sell one million copies. Despite the fact that "Take Five" might be one of the top three most-recognized jazz recordings ever, the album's history shows that it almost wasn't even released. According to Brubeck (in an interview included on a bonus DVD), Time Out made Columbia executives extremely skeptical on three major counts. First, Brubeck wanted to feature nothing more than an abstract painting on the cover. Second, the execs feared the album's groundbreaking, unconventional time signatures wouldn't hold up in dance halls. Third, all of the tunes were originals, meaning standards like "Stardust" and "Body and Soul" wouldn't pad the more unfamiliar works. Luckily, company President Goddard Lieberson believed in Brubeck's vision, resulting in what remains today as one of music's undisputed masterpieces. The aforementioned DVD that comes with it includes a 30-minute interview conducted in 2003 with a lively and reflective Brubeck where he discusses in great detail the album's origin, as well as that of each individual track. The DVD also features an interactive, multi-angle "piano-lesson" where the viewer can toggle through four different camera angles that simultaneously shoot Brubeck performing a solo version of "Three to Get Ready." The crown jewel of this edition, however, has to be the bonus disc featuring the same quartet from Time Out in various performances at the Newport Jazz Festival in 1961, '63 and '64. It's hard to describe the thrill of listening to this classic ensemble playing at its very best and to audiences whose enthusiasm equals that of the performers on stage. Highlights include the haunting, noir-ish "Koto Song," as well as Brubeck's magnificent solo work on "Pennies From Heaven.
Ilya - They Died for Beauty
01. Bellissimo (5:00)
02. Quattra Neon (5:27)
03. Bliss (4:04)
04. Heavently (5:18)
05. Soleil Soleil (6:17)
06. Pretty Baby (5:06)
07. All For Melody (4:37)
08. Happy And Weak (8:15)
09. They Died For Beauty (5:11)
Lossless* (APE):
http://rapidshare.com/files/240923201/I_IDFB_03_L.part1.rarhttp://rapidshare.com/files/240920305/I_IDFB_03_L.part2.rarMP3:
http://rapidshare.com/files/240933860/I_IDFB_03_M.rarHQ Covers:
http://rapidshare.com/files/240938424/HQ_Covers_I_TDFB.rar * * *
ეს ყველა დასტოინ ჯაზზ Downloader....Mel Rhyne - Organ-izing - 1960
Tracks:
01. Things Ain't What They Used to Be
02. Blue Farouq
03. Barefoot Sunday Blues
04. Shoo Shoo Baby
Personnel:
Andy Simpkins - Bass
Albert "Tootie" Heath - Drums
Johnny Griffin - Saxophone, Sax (Tenor)
Gene Harris - Piano
Blue Mitchell - Trumpet
Melvin Rhyne - Organ
http://rapidshare.com/files/234524987/MR1960OI.1.rarhttp://rapidshare.com/files/234521059/MR1960OI.2.rarPassword: fd56gh
Mel Rhyne is best known as Wes Montgomery's organist on and off in the late 1950s and '60s. He led few dates of his own until his rediscovery in the 1990s, so the CD reissue of this early jam session is quite welcome. Rhyne leads an all-star sextet that also includes trumpeter Blue Mitchell, tenor saxophonist Johnny Griffin, pianist Gene Harris (the piano and organ work quite well together), bassist Andy Simpkins, and drummer Albert "Tootie" Heath. Each of the four basic tunes are at least eight-and-a-half minutes long, with all but one exceeding ten-and-a-half minutes. However, with four strong soloists, the music never slows down or loses its momentum. Highly recommended.~ All Music Guide ”
Hugh Masekela - Phola 2009
ethno jazz, fusion | South Africa
Tracklist:
1. Mwanayu Wakula 4:50
2. Ghana 5:23
3. Bring It Back Home 5:29
4. Malunegelo 5:54
5. Moz 5:33
6. Sonny Boy 7:13
7. Weather 5:32
8. The Joke Of Life (Brinca De Vivre) 6:04
9. Hunger 9:00
http://rapidshare.com/files/239187393/HjuSkela09.rarHugh Masekela has an extensive jazz background and credentials, but has enjoyed major success as one of the earliest leaders in the world fusion mode. Masekela's vibrant trumpet and flugelhorn solos have been featured in pop, R&B, disco, Afropop and jazz contexts. He's had American and international hits, worked with bands around the world, and played with African, African-American, European and various American musicians during a stellar career. His style, especially on flugelhorn, is a charismatic blend of striking upper register lines, half valve effects, repetitive figures and phrases, with some note bending, slurs and tonal colors. Though he's often simplified his playing to fit into restrictive pop formulas, Masekela's capable of outstanding ballad and bebop work. He began singing and playing piano as a child, influenced by seeing the film Young Man With A Horn at 13. Masekela started playing trumpet at 14. He played in the Huddleston Jazz Band, which was led by anti-apartheid crusader and group head Trevor Huddleston. Huddleston was eventually deported, and Masekela co-founded the Merry Makers of Springs along with Jonas Gwangwa. He later joined Alfred Herbert's Jazz Revue, and played in studio bands backing popular singers. Masekela was in the orchestra for the musical King Kong, whose cast included Miriam Makeba. He was also in the Jazz Epistles with Abdullah Ibrahim, Makaya Ntshoko, Gwanga and Kippie Moeketsi. Masekela and Makeba, his wife at that time, left South Africa one year before Ibrahim and Sathima Bea Benjamin in 1961. Such musicians as Dizzy Gillespie, John Dankworth and Harry Belafonte assisted him. Masekela studied at the Royal Academy of Music, then the Manhattan School of Music. During the early '60s, his career began to explode. He recorded for MGM, Mercury and Verve, developing his hybrid African/pop/jazz style. Masekela moved to California and started his own record label, Chisa. He cut several albums expanding this formula and began to score pop success. The song "Grazing In The Grass" topped the charts in 1968 and eventually sold four million copies worldwide. That year Masekela sold out arenas nationwide during his tour, among them Carnegie Hall. He recorded in the early '70s with Monk Montgomery and the Crusaders. Masekela moved in a more ethnic direction during the '70s. He traveled to London to play with Nigerian Afrobeat great Fela Kuti and his Africa '70; then came a session with Dudu Pukwana, Eddie Gomez and Ntshoko among others that resulted in his finest jazz/African album, Home Is Where The Music Is. Masekela toured Guinea with the Ghanian Afropop band Hedzoleh Soundz, then recorded a series of albums with them both in California and Africa with guest stints from the Crusaders, Patti Austin and others. Masekela alternated between American and Africa, cutting a successful pop/dance album with Herb Alpert in the late '70s. During the '80s, Masekela returned to South Africa. He visited Zimbabawe and Botswana, and recorded two albums with The Kalahari Band that once more merged jazz-rock, funk and pop. Masekela was part of Paul Simon's Graceland tour in the mid-'80s, while he continued recording and produced sessions by Makeba. Starting in the mid-90's, Masekela began releasing a stream of albums and collections that showed his versitility and growth in South African jazz. Though the jazz content of his work has varied over the years, Hugh Masekela has far more material on the plus side than the negative. ~ Ron Wynn, All Music Guide
This post has been edited by PapaShultz on 5 Jun 2009, 23:04 
· 
JAZZ DOWNLOAD Vol. 15, ჯაზი ჩვენშია.....
