MP3@192 - 78,1 mb

What is presented on this album is a representation of the level of sophistication which Afro-Carribean music now exemplifies.  Played by a combination of contemporary African-American and Latino jazz musicians, this music is sure to excite and delight.  The effortless interaction and camraderie evident between the musicians on this date demonstrates the strength uniting Afro-Carribean and Afro-American traditions.  "Island Eyes" is dedicated to Charlie Palmieri, my great friend and fellow musician.  Charlie will always be remembered as one of the all time greatest Puerto Rican pianists, arrangers, and composers.  And Finally, I'd like to thank my audience for listening and dancing to my music thoughout the years.  Peace and Love.

                                                                                                -Hilton Ruiz


Tracks

Intrepid Fox
Island Eyes
The Girl's In Love
House Of Dreams
Gee Baby Ain't I Good To You
Stand By Me
Unit Seven
Body And Soul
Soul Eyes
Solar Orbit
Naturally

ç
MP3@192 - 51,4 MB

After Cobb got sick in 47, he was seriously hurt in an car crash in 1957. This "Party Time" lp is perhaps less raucous than his pre-recovery stuff, but the lower volume here brings out his subtle tone. And Cobb's tone is just amazing. I've read appraisals of "Party Time" which describe his playing as suffering from his accident, but I don't hear it; his sound is applied to his brilliantly building solos, and the whole is great stuff.
This record was engineered by Van Gelder, so all the technical details are right. This Cobb material compares well to Jimmy Forrest and even the younger Gene Ammons.

with Ray Bryant, Wendell Marshall, Arthur Taylor, Ray Barretto

TRACKLISTING

1. When My Dreamboat Comes Home
2. Lonesome Road
3. Blues In The Closet
4. Party Time
5. Flying Home
6. The Slow Poke
7. Cocktails For Two

MP3@192 - 54 MB

Quinteplus fue un combo muy adelantado para su tiempo, formado por los músicos Jorge "Negro" González (contrabajo), Gustavo Bergalli (trompeta), Jorge Anders (saxo tenor), Gustavo Bergalli (trompeta), Santiago Giacobbe (teclados) y Norberto "Pocho" Lapouble (batería y percusiones).

Se unieron en el año 1969 y desde el principio rompieron tópicos, reconociendo su admiración por músicos como Atahualpa Yupanqui o los Hermanos Ábalos, creadores muy alejados del jazz, o dejándose influir por la floreciente escena rockequera argentina de la época. Además fueron pioneros en la incorporación de sonoridades eléctricas al jazz, pues su teclista incorporó a la sonoridad de la banda un piano eléctrico Fender, proponiendo una actualización del sonido jazz coincidente en época e intenciones con los primeros experimentos en ese sentido de Miles Davis.

La música de este disco es vitalista, con un repertorio de composiciones propias, donde se notan toques funky, elementos eléctricos perfectamente integrados, ritmos tradicionales argentinos que se dejan sentir sin borrar el espíritu jazzero, y una ágil combinación de los instrumentistas, que se dan el relevo con maestría y trazan frases claras, frescas, que llegan al oyente con facilidad.

Los temas en estudio cuentan con un excelente sonido. Los registrados el directo tienen una menor calidad en ese sentido, con cierta distorsión y menor presencia.

La portada, realmente bonita y sorprendente para un disco de jazz, incluye un monstruo dibujado, verde y perezoso, por el batería del grupo.

MUSICOS:
Gustavo Bergalli (Trompeta)
Jorge Anders (Saxo tenor)
Santiago Giacobbe (Piano electrico)
Jorge González (Contrabajo y bajo electrico)
Carlos "Pocho" Lapouble (Bateria)

TEMAS:
01 - Loberman ,el hombre lobo
02 - Los ejes de mi carreta
03 - Blackman , el justiciero
04 - El marques
05 - El pasito de nano
06 - Zamba de mis pagos
07 - La vuelta del elefantor
08 - Oda a Billy Joe

[center]
MP3@320 - 102 MB

The three electronic, hip-hop-influenced albums Herbie Hancock recorded during the 1980s--of which Future Shock was the first, followed by Sound System and Perfect Machine--have been the most maligned by fans of his enormously influential '60s-era jazz work. The reissue of all three albums, each newly remastered with bonus mixes and new liner notes, makes it clear Hancock was much more than simply a jazz pianist reaching for a pop crossover audience. To be sure, Hancock got his pop hit with Future Shock's "Rockit," and there's plenty on Future Shock that sounds dated, from the early 80's synthesizer tones to the almost consciously stiff-sounding hip-hop beats that permeate every track. But dig a little deeper, and it's clear this is supremely intelligent dance music, with a combination of producer-bassist Bill Laswell's Kraftwerk-influenced industrial production and Latin percussionist Daniel Ponce's Bata drum, Pete Cosey's screeching guitar--which echoes his work with Miles Davis's 1970s band--Sly Dunbar's rock-solid funk drumming, and Grand Mixer D.S.T.'s radical (for the time) turntable scratching. And, of course, there's "Rockit", the track that introduced a generation of young listeners to Hancock and break-dancing robots in music videos. All in all, a reissue well worth revisiting. --Ezra Gale

Released: 1983
Genre: Electronic
Style: Future Jazz, Electro
Credits: Co-producer - Material
Mixed By - Dave Jerden
Scratches - Grandmixer D. ST.* (tracks: A1,B1,B3)
Notes: Produced by Herbie Hancock & Material.

Herbie Hancock : keyboards.
Bill Laswell : bass.
Michael Beinhorn : keyboards.

Tracklisting:
1   Rockit (5:22)
    Percussion [Bata] - Daniel Ponce
  Scratches - Grandmixer D.St.
2   Future Shock (8:02)
    Backing Vocals - Bernard Fowler
  Clavinet - Herbie Hancock
  Drums, Bongos - Sly Dunbar
  Guitar - Pete Cosey
  Lead Vocals - Dwight Jackson, Jr.
  Written-By - Mayfield* 
3   TFS (5:15)
    Piano - Herbie Hancock 
4   Earth Beat (5:10)
    Percussion [Bata] - Daniel Ponce
  Scratches - Grandmixer D.St.
5   Autodrive (6:25)
    Piano - Herbie Hancock 
6   Rough (6:57)
    Backing Vocals - Bernard Fowler
  Drums - Sly Dunbar
  Scratches, Voice - Grandmixer D.St.
7   Rockit (Mega Mix) (6:18)

MP3@192kbps -207MB

Amazon.com
Given his seemingly effortless ability at melding such disparate forms as jazz and gospel with his own rare melodic gifts, it's not hard to view George Gershwin as America's first classical crossover artist. But as this glorious, 41-track double-disc introduction to Gershwin's epochal repertoire quickly demonstrates, that assessment woefully shortchanges the sheer grandeur of "Rhapsody in Blue" or the sultry earthiness of "Summertime." Singer and pop musicologist Michael Feinstein produced the set (as well as contributing a new recording of "Home Blues"), and under his guidance it understandably leans toward Gershwin's remarkable body of songcraft, though it also includes more concert-oriented pieces such as the "Rhapsody" and "Prelude No. 2," both in original performances by the composer. But Feinstein's loving sense of American pop song history insures that the performances here are both inspired and enlightening. Indeed, his choices represent not only a who's who of 20th-century pop and saloon singers--spanning a rich pantheon that includes Jolson, Kelly, Astaire, Holliday, Sinatra, Bennett, Waters, Torme, Clooney, Day, Vaughan, and Fitzgerald--but deftly underscore Gershwin's transcendent synthesis of style, era, and distinctly American subject matter. Also includes a written tribute by modern songwriter Diane Warren and an essay by Pulitzer Prize winner Tim Page. -–Jerry McCulley

DISC 1:
1. Prelude No. 2 For Piano
2. I Got Rhythm - (with Ethel Waters)
3. Oh Lady, Be Good - (with Buck & Bubbles)
4. Summertime - (with Billie Holiday)
5. Nice Work If You Can Get It - (with Maxine Sullivan & Her Orchestra)
6. They Can't Take That Away From Me - (with Fred Astaire)
7. Swanee - (with Al Jolson)
8. Liza - (with Benny Goodman)
9. Someone To Watch Over Me - (with Frank Sinatra)
10. 'S Wonderful - (with Dinah Shore/Buddy Clark)
11. Do It Again - (with Jane Russell)
12. Soon - (with Dorothy Kirsten)
13. Fascinatin' Rhythm / Someone To Watch Over Me - (with Morton Gould, His Piano & Orchestra)
14. Man I Love, The - (with Billie Holiday & Her Orchestra)
15. Let's Call The Whole Thing Off - (with Fred Astaire)
16. Love Is Here To Stay - (with Gene Kelly)
17. How Long Has This Been Going On? - (with Felicia Sanders)
18. Blues - (with Harry James & His Orchestra)
19. But Not For Me - (with Doris Day)
20. Foggy Day, A - (with Rosemary Clooney)
21. I'll Build A Stairway To Paradise - (with Georges Guetary)
22. Third Movement - (Allegro Agitato, with Oscar Levant)

DISC 2:
1. Of Thee I Sing Overture - (with Buffalo Philharmonic)
2. They All Laughed - (with Tony Bennett)
3. Of Thee I Sing - (with The Hi-Lo's)
4. Promenade (Walking The Dog) - (with The Los Angeles Philharmonic)
5. I've Got A Crush On You - (with Ella Fitzgerald)
6. Somebody Loves Me - (with Alberta Hunter)
7. Love Walked In / Embraceable You - (with Maureen McGovern)
8. Mine - (with Dick Hyman)
9. Isn't It A Pity - (with Mel Torme)
10. Introduction And Jazzbo Brown - (with Andre Kostelanetz & His Orchestra)
11. It Ain't Necessarily So - (with Aretha Franklin)
12. Bess, You Is My Woman Now - (with Robert McFerrin/Adele Addison)
13. I Loves You, Porgy - (with Miles Davis)
14. My Man's Gone Now - (with Sarah Vaughan)
15. There's A Boat Dat's Leavin' Soon For New York - (with Cab Calloway)
16. Who Cares? - (with Tony Bennett)
17. Rhapsody In Blue
18. Strike Up The Band - (with Andre Kostelanetz & His Orchestra)
19. Home Blues - (with Michael Feinstein)

Personnel
Aretha Franklin
Artie Shaw - clarinet
Sarah Vaughan
Lester Young - tenor saxophone
Jo Jones - drums
Bunny Berigan - trumpet
Joe Bushkin - piano
Michael Feinstein - vocals, piano
George Gershwin - piano
Dick McDonough - guitar

Also: Frank Sinatra, Miles Davis, Tony Bennett, Doris Day, Rosemary Clooney, Billie Holiday, Benny Goodman, Al Jolson[/center]

MP3@320 - 92 MB

Bennie Maupin was one of the first musicians to record for ECM, playing on a Marion Brown record in August 1970, when the label was just a few months old. Born in Detroit in 1940, Maupin was encouraged in his early musical development by Yusef Lateef, John Coltrane and Eric Dolphy. Jack DeJohnette introduced him to Miles Davis, and Bennie's bass clarinet was to become one of the signature sounds of the epochal Bitches Brew. The early 70s, however, were spent mostly working with Herbie Hancock's ensembles and The Jewel In The Lotus is essentially a pooling of players from the Hancock circle, including Herbie himself in his only ECM appearance. The Jewel In The Lotus was Bennie Maupin's first leader record. The album was recorded in March 1974, and could be described as a sequence of pulsing tone-poems, full of glowing, compound sound-colors and subtle interactions - a jazz-and-Buddhism-inspired floating chamber music that was way ahead of its time. The recording shows Maupin very much concerned with the totality of the musical conception, with the form as a whole. He is an exceptional improviser, thinking compositionally and directing group music in the moment.

Released: 1974
Genre: Jazz
Style: Fusion
Credits: Bass - Buster Williams
Drums - Billy Hart
Drums, Marimba - Frederick Waits
Engineer - Dennis Ferrante
Engineer [Mix] - Jan Erik Kongshaug
Percussion - Bill Summers
Piano, Electric Piano - Herbie Hancock
Producer - Manfred Eicher
Reeds, Voice, Glockenspiel, Written-By - Bennie Maupin
Trumpet - Charles Sullivan (tracks: A2, A3)

01-Ensenada.mp3
02-Mappo.mp3
03-Excursion.mp3
04-Past + Present=Future.mp3
05-The Jewel in the Lotus.mp3
06-Winds of Change.mp3
07-Song for Tracie Dixon Summers.mp3
08-Past is Past.mp3

MP3@320 - 87 MB

El año 2003 es el año Carla Bruni: este exmaniquí, nacido en Turín en 1968, consiguió maravillosamente su reconversión revelando sus talentos de auteur-compositeur-interprete Arreglado y realizado por Louis Bertignac (exguitarrista del grupo Teléfono), este disco incluye doce canciones incluidos « Raphaël », « Tout le monde » y un reestreno de Serge Gainsbourg « La noyée ». Sus baladas hablan de los hombres, del amor, del désamour de una manera púdica y delicada Este primer disco, vendido a millones de ejemplares, es un verdadero exito internacional El triunfo del corazon, de la sensibilidad sobre el cuerpo y las apariencias: Se me dice que nuestras vidas no valen mucho/que pasan en un momento como se descolorean las rosas...

Quelqu’un m’a dit
Raphaël
Tout le monde
La noyée
Le toi du moi
Le ciel dans une chambre
J’en connais
Le plus beau du quartier
Chanson triste
L’excessive
L’amour
La dernière minute

MP3@320 - 80 MB

El nuevo álbum de Carla Bruni supone un cambio con respecto a su anterior trabajo. Y no sólo un cambio de idioma, este en inglés, el otro en francés.

Algo se ha perdido de la magia y cercania de Quelqu’un m’a dit, esa imagen de la chica guapa que canta en francés tenía tirón y referentes claros en la historia musical del país galo, apelando a nuestro subconsciente romántico-sexual. Ahora la referencia son las cantautoras americanas de los 90, atormentadas y desquiciadas .

Pero al igual que el tiempo le ha sentado mal a Quelqu’un m’a dit aun siendo un disco bastante aceptable, a No Promises estoy convencido de que le va a sentar de maravilla. No en vano Carla experimenta nuevas vías de expresión, sin renunciar al intimismo ni a la melodía.

Un disco que se hace más grande a medida que se escucha, cuyas canciones son textos musicados de algunos de mis poetas favoritos, como Yeats o Auden.

Me atrevería a decir (aunque se que es una exageración) que es el álbum que hubiera hecho Leonard Cohen si fuera mujer y hubiera nacido 40 años más tarde. Y es que esta chica no tiene ni un pelo de tonta.

Guillermo Carvajal


Lista:
1. Those Dancing Days Are Gone
2. Before The World Was Made
3. Lady Weeping At The Crossroads
4. Felt My Like With Both My Hands
5. Promises Like Pie Crust
6. Autumn
7. If You Were Coming In The Fall
8. I Went To Heaven
9. Afternoon
10. Ballade At Thirty Five
11. At Last The Secret Is Out