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[Inlander]

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http://www.mediafire.com/?72ytf4x4hx3
The Clifford Brown/Max Roach Quintet: Clifford Brown and Max Roach.

Recorded 1954-1955. By the 1950s bebop had metamorphosed into hard bop, with an even greater emphasis on blues and incorporating ideas from other musical forms such as gospel. One of the principal musicians behind this movement was Art Blakey, but arguably the style's greatest group was the quintet formed by another drummer, Max Roach. Roach had been involved in bebop since the very beginning, drumming in Charlie Parker's quintet, but by the 50s he was ready, like Blakey and a handful of drummers before them, to take centre-stage (figuratively speaking) and form his own group. But in an admirable act of generosity, he asked a young and then relatively unknown trumpeter, Clifford Brown, to co-lead the group with him.

Brown, like Roach, was an absolute virtuoso on his instrument. He practiced relentlessly and had a rare command of the trumpet Although he was still a raw talent at the time this album was recorded - you can hear a few uncharacteristic missed notes in his solo on the opening track, "Delilah" - he was already a remarkable musician. His playing was largely influenced by the legendary bebop trumpeter Fats Navarro, but Brown brought a warmth and sense of joy to his music that was all his own. He recorded prolifically, both with this band and with others - just as well, because he died in 1956, aged only 25. His death was all the more tragic because he had been the great hope of jazz: in an era when too many stars of the music were dying through their own misadventure with drugs or with alcohol, Brown swore off both. He was killed in a car accident along with Richie Powell, pianist in this group (and brother of the famous Bud Powell), and Powell's wife. Max Roach, by contrast, lived to be one of jazz's great elder statesmen and teachers. He died only in August last year, at the age of 83.

But let's not get too maudlin here. This is wonderful music, the epitome of the spirit of joy and happiness and delight and shared experience that rests at the heart of jazz. Although the later version of this band, with Sonny Rollins on tenor saxophone, was the more celebrated, this original line-up - with Harold Land on tenor - is the one I prefer. Rollins may have been a better saxophonist than Land, but I love the contrast between Land's dark, romantic tone and Brown's tone, so bright it's like a sun-burst. The line-up of the group is as follows:

- Clifford Brown: trumpet
- Harold Land: tenor saxophone
- Richie Powell: piano
- George Morrow: bass
- Max Roach: drums.

Tomorrow: Duke Ellington, Ella Fitzgerald, and more!

[JimmyJazz]

The B-52's - The B-52's

Even in the weird, quirky world of new wave and post-punk in the late '70s, the B-52's' eponymous debut stood out as an original. Unabashed kitsch mavens at a time when their peers were either vulgar or stylish, the Athens quintet celebrated all the silliest aspects of pre-Beatles pop culture — bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds — to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk. On paper, it sounds like a cerebral exercise, but it played like a party. The jerky, angular funk was irresistibly danceable, winning over listeners dubious of Kate Pierson and Cindy Wilson's high-pitched, shrill close harmonies and Fred Schneider's campy, flamboyant vocalizing, pitched halfway between singing and speaking. It's all great fun, but it wouldn't have resonated throughout the years if the group hadn't written such incredibly infectious, memorable tunes as "Planet Claire," "Dance This Mess Around," and, of course, their signature tune, "Rock Lobster." These songs illustrated that the B-52's' adoration of camp culture wasn't simply affectation — it was a world view capable of turning out brilliant pop singles and, in turn, influencing mainstream pop culture. It's difficult to imagine the endless kitschy retro fads of the '80s and '90s without the B-52's pointing the way, but The B-52's isn't simply an historic artifact — it's a hell of a good time.

http://www.sendspace.com/file/uj7dxw

[Oqtober]

http://torrentfreak.com/music-industry-gets-an-injunction-against-rapidshare-080120/   :O

I got some stuff to throw up later...

[MusicScribbles]

Tortoise - Standards
Not to be a dick, but, Sixpack is 3:00 minutes too short. The song uploaded is only 36 seconds long.
Whoever uploaded this, could you upload the full song?

[Inlander]

Now, I've got a lot of music to upload, so for now at least I'm not gonna bother uploading every disc from box-sets; instead I'll focus on what I think is the single best disc from each one. 'Kay? 'Kay.

Code: [Select]

http://www.sendspace.com/file/9boqlu
Duke Ellington: The Blanton-Webster Band, disc 1.

There can be no disputing the fact that Duke Ellington was one of the greatest composers of the 20th century. Not just jazz composers, but composers full-stop. The consumate blending of tones in the greatest of his works is a pleasure to behold. That said, as is often pointed out Ellington composed not so much for instruments as for specific musicians (for instance "Concerto for Cootie", track 7 on this compilation, was written for the trumpeter Cootie Williams - all the solo work on this recording is his) - which means that the best way to hear his music, of course, is through the original recordings.

These recordings are from 1940, and the importance of particular musicians in Duke Ellington's world is the reason why this band is known as the "Blanton-Webster" band. Ben Webster was the magnificent tenor saxophonist who came up with the most extreme variation on Coleman Hawkins' then-dominant conception of the tenor sax. Webster good stomp and swing with the best of them, but his greatest gift was as a ballad player. Jimmy Blanton, meanwhile, was the innovative young bassist who Ellington discovered while the band was on the road. Listen to him play the bass on these recordings: nobody in jazz, or anywhere else for that matter, had played bass this way before. You can hear his influence on jazz bassists to this day.

There are some minor flaws with this compilation: the sound quality on these recordings isn't great, and there's been a lot of controversy about the relative merits of different reissues and remasters of these performances; also the tracks with vocals are probably not to many people's tastes these days; but all the same the sheer brilliance and beauty of this music comes bursting through. Yes, there are clicks and pops and scratches, but once you get hooked into the music itself everything else becomes secondary.

Next we'll be getting into some Ella Fitzgerald.

[Inlander]

. . . And now:

Code: [Select]

http://www.mediafire.com/?2atjkecb9mv
Ella Fitzgerald sings the George and Ira Gershwin Songbook, disc 3.

Recognising that she was wasted singing the novelty numbers and contemporary pop songs that were the stock in trade of big band singers, in 1956 the great jazz producer and promoter Norman Granz brought Fitzgerald over to his newly formed Verve Records label to record a multi-volume album, Ella Fitzgerald Sings the Cole Porter Songbook. The astounding commercial, critical and artistic success of this album gave Granz and Fitzgerald the impetus to continue on with a series of "Songbook" albums which collectively set in stone the Great American Songbook, and became icons of jazz singing and of American popular song. Of the entire sequence, the pinnacle was the George & Ira Gershwin Songbook, recorded in 1959 and arranged by Nelson Riddle (who'd made his name earlier that decade arranging albums for Frank Sinatra). This album found Fitzgerald at her absolute vocal peak, tackling dozens of songs by arguably the greatest songwriting team to come out of Tin-Pan Alley, backed by arrangements that were unashamedly lush, adult and sophisticated. There have been few singers with such perfect enunciation as Fitzgerald: in songs such as these, where the lyrics - by turns clever, funny, and moving - are absolutely paramount she was nothing the ideal singer, Moments to listen out for: the wonderful way in which the music builds and builds and then erupts on "Slap that Bass"; the wry delight to be found in the lyrics of "Isn't it a Pity" (can you imagine anyone other than Ira Gershwin referring to Schopenhauer in the lyrics of a pop song?); the tartness turning to affection in Fitzgerald's voice in "Boy, What Love Has Done to Me"; and, finally, the wonderful and exhilarating moment in "I Got Rhythm" when Fitzgerald, having been cruising along coolly throughout the song, suddenly takes a cue from the trumpets and launches into one of the most memorable and wonderful scat solos in all of jazz: it's like an aeroplane taking off and starting to soar.

Uploading next: something a little different from Stan Getz.

[Joseph]

John Zorn - Spy Vs. Spy: The Music Of Ornette Coleman

Code: [Select]

http://www.mediafire.com/?3odhmymtbwe

John Zorn teams up with fellow altoist Tim Berne, bassist Mark Dresser and both Joey Baron and Michael Vatcher on drums to perform 17 Ornette Coleman tunes which range chronologically from 1958's "Disguise" to four selections from 1987's In All Languages. The performances are concise with all but four songs being under three minutes and seven under two, but the interpretations are unremittingly violent. The lack of variety in either mood or routine quickly wears one out. After about ten minutes, boredom sets in, although, when taken in short doses, the performances have the potential of shocking (or at least annoying) most listeners.

John Zorn - The Big Gundown: John Zorn Plays the Music of Ennio Morricone

Code: [Select]

http://www.megaupload.com/?d=TUR6H8OJ

On this intriguing concept album, altoist John Zorn (who also "sings" and plays harpsichord, game calls, piano, and musical saw) utilizes an odd assortment of open-minded avant-garde players (with a couple of ringers) on nine themes originally written for Italian films by Ennio Morricone, plus his own "Tre Nel 5000." These often-radical interpretations (which Morricone endorsed) keep the melodies in mind while getting very adventurous. Among the musicians heard on the colorful and very eccentric set (which utilizes different personnel and instrumentation on each track) are guitarists Bill Frisell and Vernon Reid, percussionist Bobby Previte, keyboardist Anthony Coleman, altoist Tim Berne, pianist Wayne Horvitz, organist Big John Patton, and even Toots Thielemans on harmonica and whistling among many others. There are certainly no dull moments on this often-riotous program.

[Inlander]

Code: [Select]

http://www.mediafire.com/?321gaoymg2u
Stan Getz & Bob Brookmeyer: Recorded Fall 1961.

Although he achieved a level of stardom rare in jazz with his bossa-nova recordings, Stan Getz was far from a one-trick pony. He'd started out, like everyone of his generation and before, as a soloist in a big band - most notably in Getz's case, with Woody Herman. He then moved into playing small-group jazz, and his soft, velvety tone on the tenor saxophone, directly inspired by Lester Young, started to win him fame and admiration. Throughout his life he was identified as the archetypal "cool" jazz musician, but as this album shows he could play fast, too, without losing his signature sound.

Although he played on numerous occasions with the valve trombonist Bob Brookmeyer (who composed half of the songs here), this album was the only occasion on which this particular band (which also included the great drummer Roy Haynes) got into a studio and did some recording. But in a way it's all that's needed: for a musician, Getz, who sometimes seemed to mine musical seams for all they were worth, this album stands out as a unique and sparkling jewel, and a demonstration - if any were needed - that Getz had that one elusive quality that all great jazz musicians need: the ability to swing and swing hard, at any tempo.

Personnel are:

- Stan Getz: tenor saxophone
- Bob Brookmeyer: valve trombone
- Steve Kuhn: piano
- John Neves: bass
- Roy Haynes: drums.

Next time: a treat for all you bebop fans, some classic music from Dizzy Gillespie's pioneering big band.

[roulettescars]

awe, john Zorn is the dopeshow. Thanks a ton.

[bulldawg982]

Tortoise - Standards
Not to be a dick, but, Sixpack is 3:00 minutes too short. The song uploaded is only 36 seconds long.
Whoever uploaded this, could you upload the full song?

damn you are right... but i dont have the full length song. i am sorry. i just recently got my tortoise back and i did not know it was fucked  up. if someone could help and upload that song, that would be super cool . otherwise ill try to find another copy.

*edit*
here, this is all i could find. unfortunately... m4a...

Code: [Select]

http://www.sendspace.com/file/2nfh8g

[bulldawg982]

The Libertines - The Libertines

where is track 3?

[Inlander]

Code: [Select]

http://www.mediafire.com/?a6d0hdxrzdw
Dizzy Gillespie: The Complete R.C.A. Victor Recordings (big band tracks only).

Recorded 1947-49. By the 40s, the big bands of the swing era in the 1930s had largely died. Although a few still struggled on, after the Second World War it was no longer financially viable to employ such large groups. And with the emergence of bebop in the 40s, the swing era well and truly came to a close.

However, the early pioneers of bebop had all got their starts in the big bands. In the late 40s one of the creators of bop, Dizzy Gillespie, decided to form his own big band, devoted entirely to the "new music". It was the first all-bebop big band, and although it didn't last long it created some of the most exciting music of the era.

Adding to this excitement was the inclusion of the Cuban percussionist Chano Pozo. Pozo was integral in helping Gillespie's interest in Afro-Caribbean music to find a voice within the big band. The greatest example of this musical conglomeration is "Manteca" - track 10 on this collection. Gillespie also used the big band to explore other new territory for bop, such as the inclusion of vocalists - always a mainstay of the big bands of the 30s.

Gillespie would soon dissolve the big band and go back to playing in small groups, as was more usual in the bebop world. But these recordings are still with us, and they're still just as powerful and as fascinating and - sometimes - as confounding as the day they were recorded.

Tomorrow: Benny Goodman, Grant Green, Coleman Hawkins, Billie Holiday.

[Trillian]

I find it kind of amusing that if you put the first two names in the list of artists you are uploading, Inlander, you get Benny Green which just happens to be another jazz pianist. 

I am in the process of uploading Wynton Marsalis, Nat King Cole, and  Pink Martini.  Will be here shortly if mediafire decides to stop being mean to me. 

[KickThatBathProf]

Oh man, Benny Green was a guest artist at the jazz fest at the college I go to.

I was pretty much drooling the whole time.  He was that good

[JimmyJazz]

Random albums I upped for my friend that I thought I'd post here (it's mostly metal):



The Mantle - Agalloch

Agalloch's second album, The Mantle, is a leaps-and-bounds improvement over their first full-length, 1999's Pale Folklore. That wasn't a bad album, but it was hampered by a low-budget production job that didn't suit the sophisticated tone of the music. The improved production is the first thing that stands out here, evident in the more detailed arrangements, the classier guitar tones, and the fuller overall sound. That said, the music itself has also evolved and matured. Along with the Katatonia-inspired guitar work and grim, scratchy black metal vocals also present on Pale Folklore, a number of other sounds work their way into The Mantle, among them prominent acoustic guitar-strumming and cleanly sung vocals, Scandinavian-tinged folk guitar-picking (the middle breakdown during "I Am the Wooden Doors" is straight out of Ulver's bag), timpani percussion, and a few subtle electronic interludes. It is not just the range of sounds that's impressive, though, but rather how smoothly they are woven together, creating an album that flows from beginning to end, using its entire 68-minute running time to make its point without wearing out its welcome. Agalloch's biggest strength, much like the early work of Ulver and Katatonia, is their ability to create an epic type of listening experience without resorting to bombast or heavy-handedness, and that quality is plainly evident here. Factor in the excellent artwork and packaging (which features photos of the bandmembers looking very poised and European), and you have one of 2002's most accomplished and surprising metal-related albums.

http://www.sendspace.com/file/9nmsua



Oceanic - Isis

Oceanic is the next logical step for Isis after the ugly, grandiose Celestial, the Aaron Turner-led outfit's second full-length looking simultaneously inward and outward, reaching into the nether regions of outer space while still keeping its feet firmly earthbound. Yes, it's an ambitious record, one that isn't immediately consumed and digested — rather, it consumes and digests the listener with grand and hypnotic waves of sound. Songs blur together as aggressive, post-hardcore guitar riffery trades with lengthy, meditative bouts of electronic exploration, a technique that would result in plodding, pretentious mush in less capable hands. Instead, Oceanic successfully mirrors the dense, unimaginable power of its namesake, combining the minimalist metallic art of Godflesh with the bipolar mood swings and Black Sabbath muscle of West Coast brethren Neurosis. Turner's deathcore growl-shouts serve to puncture the instrumental tension that balloons slowly and painstakingly inflates throughout the album's 63 minutes, with ex-Dirt Merchants singer Maria Christopher occasionally drifting hazily into the arrangements. "Weight," at nearly 11 minutes, doesn't necessarily move as much as it evolves toward its goal, starting with lazy, but purposeful, melodic whale songs before logically concluding with Christopher's repetitive dub vocal and a droning organ suggesting spiritual rebirth. OnlyIsis could get away with writing hardcore hymns about the inevitability of elemental forces and pull it off with such conviction and attention to detail. The album may initially seem to exist in hazy head space, but clarity comes with further submergence, assuming you're willing to lay back and float, letting the water take you into both conscious and subconscious realms. Oceanic is a masterfully complex symphony of majestic noise and melody, an all-consuming trip into the earth and mind that defies genre and, often, description — simply put, a triumph.

http://www.sendspace.com/file/362wh2



Don't Break the Oath - Mercyful Fate

All of Mercyful Fate's potential was fulfilled on Don't Break the Oath, a doomy, gothic collection of post-Priest/Maiden black metal preoccupied with Satan and the occult. Hank Shermann and Michael Denner keep their progressive rock tendencies reigned in while still delivering plenty of the neo-classical feel that gives the music its atmosphere, and King Diamond uses his vocal range to great theatrical effect. Fate's sound and attitude were highly influential on later gothic/black metal bands, especially in Europe, and Don't Break the Oath consistently encapsulates their appeal.

http://www.sendspace.com/file/fl9rdl



To Mega Therion - Celtic Frost

The bombastic "Innocence and Wrath" starts To Mega Therion off on just the appropriate note — Wagnerian horn lines, booming drums, and a slow crunch toward apocalypse. Nobody can say Tom Warrior and his merry men don't know how to make the end of the world sound appropriately dramatic. With that setting the tone, it's into the maddeningly wild and woolly Celtic Frost universe full bore, Warrior roaring out his vocals with glee and a wicked smile while never resorting to self-parodic castrato wails. "The Usurper" alone is worth the price of admission, an awesome display of Warrior's knack around brute power and unexpectedly memorable riffs. It isn't so much headbanging as body-slamming that Celtic Frost are after here. While there's not a lot of variety throughout Therion — everything is mostly as already indicated, big, loud, and invoking death and storm clouds conjured up by pagan gods — what does crop up outside the formula makes a good experience even better. Mostly that's got to do with the subtle touches the band buries in the mix — wailing noises, chanting choirs, and more than once an actual sense of space and echo, like the group is really thundering down from the Alps. The contrast of a brief operatic aria and groaning demon voice behind Warrior on "Circle of the Tyrants," right before leading into a mind-blowingly powerful full-on band assault, is one such prime moment. Other prime cuts in general include the perfectly titled "Dawn of Megiddo" — can't get any better than that, really! — the shadowy instrumental mood-out "Tears in a Prophet's Dream," and "Eternal Summer," which makes such a prospect seem like the last thing on earth one would want. Ending on another prime note, the hyperdramatic "Necromantical Screams," To Mega Therion is and remains death metal at its finest.

http://www.sendspace.com/file/dexd40



Larks' Tongues in Aspinic - King Crimson

King Crimson reborn yet again — the newly configured band makes its debut with a violin (courtesy of David Cross) sharing center stage with Robert Fripp's guitars and his Mellotron, which is pushed into the background. The music is the most experimental of Fripp's career up to this time — though some of it actually dated (in embryonic form) back to the tail end of the Boz Burrell-Ian Wallace-Mel Collins lineup. And John Wetton was the group's strongest singer/bassist since Greg Lake's departure three years earlier. What's more, this lineup quickly established itself as a powerful performing unit working in a more purely experimental, less jazz-oriented vein than its immediate predecessor. "Outer Limits music" was how one reviewer referred to it, mixing Cross' demonic fiddling with shrieking electronics, Bill Bruford's astounding dexterity at the drum kit, Jamie Muir's melodic and usually understated percussion, Wetton's thundering (yet melodic) bass, and Fripp's guitar, which generated sounds ranging from traditional classical and soft pop-jazz licks to hair-curling electric flourishes. The remastered edition, which appeared in the summer of 2000 in Europe and slightly later in America, features beautifully remastered sound — among other advantages, it moves the finger cymbals opening the first section of the title track into sharp focus, with minimal hiss or noise to obscure them, exposes the multiple percussion instruments used on the opening of "Easy Money," and gives far more clarity to "The Talking Drum." This version is superior to any prior CD release of Larks' Tongues in Aspic, and contains a booklet reprinting period press clippings, session information, and production background on the album.

http://www.sendspace.com/file/cg5q1c



Scum - Napalm Death

As a rallying call for what seemed like millions of bands to follow, not to mention the launching point for the varying careers of Justin Broadrick, Nick Bullen, Mitch Harris, Lee Dorrian, and Bill Steer, Scum deserves its reputation alone. But it's also fun to listen to — a strange word to use, but no doubt about it, the album has its own brand of rock & roll kicks taken to an almost ridiculous extreme. Split between the original lineup, with Broadrick and Bullen, and the next one, with Dorrian, Steer, and Shane Embury, Scum is a portrait of a place, time, and state of mind. Opener "Multinational Corporations" is the deep breath taken before the plunge: skittering cymbals, low-key feedback squalls, Bullen's rasped hatred — and then all hell breaks loose. The riffs by both the Broadrick/Bullen and Steer/Embury teams use hyperconcentrated Black Sabbath-via-Motörhead-and-Metallica approaches as starting points, but the moorings are cut loose when everyone concentrates on nothing but speed itself. The combination of hyperspeed drums, crazed but still just clear enough guitar and bass blurs, and utterly unintelligible vocals takes the "loud hard fast rules" conclusion to a logical extreme that the band's followers could only try to equal instead of better. Interspersed throughout all this on various songs are more obviously deliberate constructions — parts of the title track, say, or the focused chug-and-stomp start of "Siege of Power." They act as just enough pacing for the rampages elsewhere, where unrelenting, intense sound becomes its own part of weird ambient music, textures above all else. It's little surprise the free jazz/noise wing latched onto Scum as much as wound-up-as-hell headbangers did worldwide. That practically no song survives past two minutes — much less one — is all part of brusque do-the-job-and-do-no-more appeal. The most legendary number as a result: "You Suffer (But Why?)," running at a mere two seconds.

http://www.sendspace.com/file/nnc3om

[Inlander]

Code: [Select]

http://www.mediafire.com/?c23lilxdr1d
Benny Goodman: At Carnegie Hall 1938 (disc 2).

Although there were better band-leaders during the swing era, Benny Goodman plays a crucial role in popularising jazz and bringing it to the attention of a wider audience. When Goodman brought his big band and various smaller groups - both of which included several black musicians, something that was highly controversial at the time - to play at Carnegie Hall in January of 1938, it was the first time that jazz had every been played at that famous concert hall. Although many jazz groups would follow, Benny Goodman opened the path for them. It was, without doubt, an historic occasion.

And you can hear the history weighing heavily on the musicians in the first half of the concert. Especially at the beginning, they're a little stiff, as if scared to play anything even slightly out-of-place. Only the legendary drummer Gene Krupa seems to realise that if the night is to be truly memorable, the musicians have to play confidently and comfortably and with all the excitement that jazz holds. By the second half of the concert, which I've uploaded for you here, you can hear that the musicians have indeed started to relax into the occasion, and even started to enjoy themselves. The swing is easier and stronger, the solos are more confident - culminating in an absolutely incredible, 12-minute performance of "Sing, Sing, Sing" in which the big band finally lets out all the stops - all the while with Krupa providing an unstoppable beat, virtually holding up the entire band by himself.

Fortunately the concert was recorded; unfortunately, the lacquer masters that were cut on the night have not worn well over the years, as you might expect. This is a recording that puts the "lo" in "lo-fi" - but it's still one well worth hearing, not just for the history but for the music, too.

Up next: some down-time with Grant Green.

[kelseyleigh]

The Libertines - The Libertines

where is track 3?

Bother.  I didn't even notice but I don't have it. 

...sorry.  Maybe someone else can help you out, for I have certainly failed ye. 

[imapiratearg]

I will rise to the task!

TO MEDIAFIRE! AWAAAAAAAAAAAAAAAAAAAY!

*Transition scene.*

Behold!  The fruits of my labour!

"Don't Be Shy" by The Libertines!

[Inlander]

Code: [Select]

http://www.mediafire.com/?clrabxproka
Grant Green - Idle Moments.

I'm going to give you the art for this one, too, because it's one of the best album covers in the history of jazz:



In the 1960s, Blue Note records pretty much made itself the home of hard bop. There are countless albums - many very good indeed - on the label from this decade offering hard-driving jazz played by the same basic line-up of instruments that had been dominant since the bebop era: saxophone (usually tenor), trumpet, piano, bass, and drums. This album is a little different: although the majority (that is, three of the four tunes) are fairly typical Blue Note hard-bop - albeit of a very high quality - the line-up was something else again. Led by the silky guitar of Grant Green, augmented by the equally supple vibraphone of Bobby Hutcherson (the legendary tenor saxophonist Joe Henderson, practically Blue Note's in-house saxophonist during this era, is also present) - it's clear that something a little different was going on here. And that something was the title track. Clocking in at a quarter of an hour, "Idle Moments", the tune, is a beautiful midnight meditation, as dark and as blue and as cool as the album's cover. Hearing the guitar and vibraphone in unison on the main theme, one wonders why this isn't a sound utilised more often in jazz. From the very first notes, all the musicians in the group are on exactly the same wave-length, and over the ensuing fourteen minutes and fifty-two seconds their focus never wavers for a second. It'd be tempting to call the music "trance-like" if it wasn't so gripping to the listener, too.

Next time: something very special indeed, Coleman Hawkins and Ben Webster.

[Scandanavian War Machine]

JimmyJazz, that is some excellent fucking music you uploaded there.

[Trillian]

Oh man, Benny Green was a guest artist at the jazz fest at the college I go to.

I was pretty much drooling the whole time.  He was that good

mmm...yeah.  I got to work with him while I was in school.  It was amazing.  Although, I am not a pianist really, so I mainly just stood there and gawked until I was supposed to sing.    It is amazing to me that hardly anyone I talk to even know who he is.  I think he is entirely too great to have so little recognition, although it might just be around these parts.

[Inlander]

Code: [Select]

http://www.mediafire.com/?bosayyeb1bz
Coleman Hawkins Encounters Ben Webster.

Recorded 1957. In the 1950s, while most major jazz labels were dedicating themselves to recording the "new" music of bop and hard bop, Norman Granz of Verve Records (and others) set about recording the great artists of earlier jazz eras, those who might otherwise have been largely forgotten about. Two of those greats were Coleman Hawkins and Ben Webster.

Hawkins had been recording since the 20s, when he got his big break with Fletcher Henderson's big band. He was almost single-handedly responsible for making the tenor saxophone a jazz instrument - in fact, probably the jazz instrument. So important was Hawkins that during the swing era almost every tenor saxophonist modeled his sound on Hawkins - until, that is, Lester Young came along. But Hawkins was never one to rest on his laurels: he continued not only to record, but to keep in touch with new developments in the music. He was involved in what's regarded as the first ever bebop recording session - and many afterwards.

Of all the saxophonists who adapted Hawkins' sound to their own needs, none was more extreme in his approach than Ben Webster. The beneficiary of several tailor-made compositions by Duke Ellington, Webster's sound was by turns woozy and romantic, and tough and stomping. But in a way, Webster was made for the post-swing era: when recording technology allowed him to come into a studio and stretch out languidly on the ballads that became his specialty. Especially on his ballad performances, Webster's playing was marked by a marvelous use of the tenor saxophone to produce all sorts of sounds besides the actual notes - most notably, a kind of dry, tuneless rasp, heavy on the vibrato, which he employed to surprisingly moving effect.

So this recording presents Coleman Hawkins and one of his greatest disciples, two greats of an earlier era who never really stopped moving forwards in the music, two men who'd already proved everything they had to prove, and now didn't feel the need to do anything more than just settle down and make some great music. This recording is miles away from the traditional jazz "battles", where each player tried to out-do each-other: this is more akin to two old friends sitting down and having a drink and a long conversation together. Just listen to the way they play in unison on the opening track, "Blues for Yolande" - magic.

The personnel is:

- Coleman Hawkins: tenor saxophone
- Ben Webster: tenor saxophone
- Oscar Peterson: piano
- Herb Ellis: guitar
- Ray Brown: bass
- Alvin Stoller: drums.

In a couple of hours: some vintage Billie Holiday.

[Inlander]

Code: [Select]

http://www.mediafire.com/?chtxhezp04g
Lady Day - the Complete Billie Holiday on Columbia, 1933-1944 (disc 4).

There's really not much I can say about Billie Holiday that you probably haven't already heard. She was one of the greats, simple as that. But not so simple, of course - because what made her great was not her singing, as such, but the delivery of that singing. She was no Ella Fitzgerald in the vocal stakes: she had a minuscule range, and her voice wasn't particularly strong - but like Miles Davis after her, what she lacked in skills and technique she more than made up for with pure, brilliant musicality. She modeled her singing on Louis Armstrong - and after her, generations to this day would in turn model their singing on hers, trying to copy her timing and rhythm, the famous way she hung back just behind the beat and made it all sound so effortless.

Later in her career she'd gain a reputation as a bit of a miserablist, wallowing in self-pity, but at the beginning of her career, as captured in these recordings, there's as much joy as sorrow, as much light as shade. This collection of recordings comes from the epic ten-C.D. set of her complete Columbia recordings from 1933-1944, and it's difficult to pare that down to just one disc to share with you all - but in the end I've chosen disc 4, for several reasons: firstly, it starts off with a bunch of Gershwin songs, and if there's one blight on Holiday's early career it's the dross she was often obliged to sing, so it's a pleasure to hear her tackle some truly first-rate material; second, the middle part of the disc features several of her famous collaborations with Lester Young; and finally, this disc contains my single favourite Billie Holiday recording, "On the Sentimental Side".

That's it for today. Tomorrow: Mingus, Monk, Mulligan!

[valley_parade]

Flogging Molly - Float

Code: [Select]

http://www.mediafire.com/?25222lzlb3u
Behold, the power of album leaks.

[Misereatur]

This thread just went from Great to Awesome.

I wish I had more time on my hand to upload more albums.

[Clintaga]

Flogging Molly - Float

Code: [Select]

http://www.mediafire.com/?25222lzlb3u
Behold, the power of album leaks.

Oh My God! I have-- Whi- Wha!?

Is so dizzy... Oh my atrophied Punk/Ska gland is reinflating, YEAH Tin Whistle YEAH!

[Kai]

I just want to take this moment to say that Harry/Inlander's post these past few pages have been absolutely stellar.

[morca007]

Flogging Molly - Float

Code: [Select]

http://www.mediafire.com/?25222lzlb3u
Behold, the power of album leaks.

Oh my science, thank you so much.
This is the only album of the year that I can look at and say "I can't wait to go spend money on this album!"

[Liz]

Code: [Select]

http://www.mediafire.com/?eiyzxoyc52n

Even those allergic to musicals may be won over by Once, a tender-hearted Irish romance with songs by Czech Republic–born Markéta Irglová and Frames frontman Glen Hansard. (The film's director, John Carney, actually used to play bass in the group.) The trick here is that Irglová and Hansard also play the leads; because their characters are shown busking, writing music, or rehearsing, the songs are smoothly integrated in the film. The overall acoustic mood won't surprise fans of the Frames--some tracks ("Say It to Me," "When Your Mind's Made Up") have even popped up on the band's albums, though the arrangements are more pared-down here, befitting the scruffy, street-musician setting. Being the lesser-known entity, Irglová feels like a revelation; she sounds a bit like a folkie Björk on "If You Want Me," and her song "The Hill" is downright heartbreaking. Irglová and Hansard had already made the 2006 album The Swell Seasontogether, so their collaboration here feels really organic--they sound particularly good together on the title track, for instance. Now that's the kind of magic you want from musicals. --Elisabeth Vincentelli

[KickThatBathProf]

Oh man, Benny Green was a guest artist at the jazz fest at the college I go to.

I was pretty much drooling the whole time.  He was that good

mmm...yeah.  I got to work with him while I was in school.  It was amazing.  Although, I am not a pianist really, so I mainly just stood there and gawked until I was supposed to sing.    It is amazing to me that hardly anyone I talk to even know who he is.  I think he is entirely too great to have so little recognition, although it might just be around these parts.

Yeah, I was so envious of Jazz I (I'm in 3, out of 5).  Plus, they played with Nachito Herrera this year.

Also, our Jazz I is quite phenomenal, so I am envious of them out of principal

[MusicScribbles]

I'm way too tired to put up album art and AMG quotes here, so if you don't know any of these guys, you can always wikipedia them.

COIL - Love's Secret Domain

Code: [Select]

http://www.mediafire.com/?cnujhit31xo
COIL - Musick To Play In The Dark Volume 1

Code: [Select]

http://www.mediafire.com/?emv1s1d4dfy (Part 1)
http://www.mediafire.com/?cxkm99o3mxn (Part 2)
Mr. Bungle - Mr. Bungle

Code: [Select]

http://www.mediafire.com/?22enjzdytnl (Part 1)
http://www.mediafire.com/?bunxnn4xr3c (Part 2)
The Breeders - Pod

Code: [Select]

http://www.mediafire.com/?5mykdn3mc4g
Tim Buckley - Blue Afternoon

Code: [Select]

http://www.mediafire.com/?0bsjh80zuuw
Q And Not U - Different Damage

Code: [Select]

http://www.mediafire.com/?6hxtmxmadon
Devendra Banhart - Rejoicing In The Hands

Code: [Select]

http://www.mediafire.com/?63zbtoqjes2
Devendra Banhart - Cripple Crow

Code: [Select]

http://www.mediafire.com/?3jtu9dis35w
Tangerine Dream - Electronic Meditation

Code: [Select]

http://www.mediafire.com/download.php?5wh74eohwmz
Growing - 1000 AD: Anno Domini

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http://www.mediafire.com/?ctxteqdhejm

[michaelicious]

Does anybody like Faraquet? If not, you should!

Faraquet/Akarso Split EP

Code: [Select]

http://www.mediafire.com/?fdiltb2yxyj
The Akarso songs are pretty good if you like music with lots of yelling. They have a couple other releases I haven't been able to track down

The View From This Tower

Code: [Select]

http://www.mediafire.com/?31gyyy3agie

Also, I have a strange request (oh no!). Would anyone be so kind as to upload "Yr Web" by Silkworm. It's track number 6 from Lifestyle and the version I ripped from my CD is all skippy.

[ledhendrix]

Thank you very much for the Mr bungle. This thread is the best thread ever.

Edit: Nooooo Mr Bungle won't download, it says "Invalid Quickkey"

[Spinless]

I have some live bootlegs from the Owls. One of them particularly is very interesting, the songs are still in the relatively 'early' stages. The music is mostly complete, but a lot of Tim's lyrics and singing is completely improvised and totally different to how they appeared on the album. Obviously, the sets include the obligatory cover song, in this case "Under Pressure".
The audio quality is rather good for the earlier show, not so good for the later show.

I'll upload it if 8 of you say "Yes please Mr. Darryl, sir"
1 person for each track of the studio album.

[gardenhead_]

Yes please Mr. Darryl, sir!
Please!

[Inlander]

I just want to take this moment to say that Harry/Inlander's post these past few pages have been absolutely stellar.

Thanks! I'm glad somebody's been appreciating them. I hope you're enjoying the music, too! I know old-school jazz isn't to everyone's tastes, but I never liked it until I started listening to it in earnest, so maybe I can make some converts.

Anyway, been a bit slack today - I've been away from the 'puter for most of the day. Here's something for you all:

Code: [Select]

http://www.mediafire.com/?8nd29y1xnil
Charles Mingus: the Clown.

Recorded February-March 1957. Not the most famous of Mingus's albums, nor the most popular, and certainly not the most accomplished. But pretty much all of Mingus's 50s albums are worth hearing, and this one's no exception. I'm sharing it with you because it's an album I love, and not many people give it a chance.

If for no other reason, you ought to listen to this album just to hear the first track, "Haitian Fight Song". It starts off with a typically amazing Mingus bass solo and just builds from there into a rumbling , boiling monster of a track. It's like hearing Mingus and his favourite drummer, Dannie Richmond, light a fire under the band: the level of energy and excitement that's surging through the performance by its end is absolutely astonishing. This is music as only Mingus could create it, tempestuous, fiery, passionate, and thrilling. (Incidentally, some of you may recognise it from its somewhat bizarre appearance in the Jerry Maguire - where it is, incidentally, the butt of a small joke, those fucking philistines).

The other track worth mentioning in particular on this album (though there are only four) is the title track, which closes off the album. Mingus was always interested in the spoken and the written word, and especially in the relationship between jazz and poetry. "The Clown" is actually a story, narrated by Jean Shepherd, with musical accompaniment and responses by Mingus and the rest of the band. Like the best jazz solo, the narration can be heard again and again without losing any of its power. Shepherd's timing is spot on - he's not just talking over the band, he is in fact, on this one performance, an integral part of the band.

Coming up real soon: Thelonious Sphere Monk.

[Inlander]

Right now, in fact!

Code: [Select]

http://www.mediafire.com/?cx1uwwyobxs
Thelonious Monk: Monk's Music.

Recorded June 26, 1957. Although he was generally associated with bebop, in truth Monk's music was in a category all of its own. Like the best composers, he had a deep understanding of musical history and drew on all his knowledge in his compositions, and in his piano playing. And like the best geniuses, he made out of it something entirely unique. It can be difficult to get into Monk's music because it's so different to anything else we're used to hearing - and yet, so strangely familiar at the same time. It's like an alien's come down and tried to interpret jazz - and Monk did little to dismiss this impression, habitually hiding behind dark glasses and a stunning array of hats.

Still, his music draws us in, and it drew in his fellow musicians, too: the best jazz players of the day were practically queuing up to play with him. Just look at the two tenor saxophonists on this album: Coleman Hawkins and John Coltrane. There's a double act you don't see too often. In fact, Monk had pinched Coltrane from Miles Davis's quintet earlier in the decade - after Davis had started to get fed up with Coltrane's heroin use (this was long before Trane kicked the habit, of course).

I'm not a musicologist so I can't say too much about the music on this album. Suffice to say, it's all classic Monk - except, that is, the opening track. Less than one minute long, "Abide With Me" is a slow, beautiful arrangement of the old hymn scored for just the trumpet and the saxophones. It's a beautiful but unusual way to start the album - but then, what else would we expect from Thelonious Monk?

EDIT: the track numbering on this upload might lead you to think that I've left some tracks off. In fact, jazz reissues are often obsessed with padding out the original album with alternative takes of particular songs. Sometimes, as was the case here, the alternative takes are programmed in alongside the masters. I've removed these alternative takes, to leave the original album intact.

The last upload for tonight will be worth waiting for, I promise: Gerry Mulligan's famous "pianoless quartet" with Chet Baker.

[valley_parade]

This is the only album of the year that I can look at and say "I can't wait to go spend money on this album!"

I spent $40 on a hoodie when I saw them this summer, got kicked in the face, and have bought their last three. They owe me one.

The band I will be spending on is (obviously) Boris, and here are the two full-lengths I don't think we've uploaded yet:

Absolutego+

Code: [Select]

http://www.mediafire.com/?exm6nx4zdmh
Mabuta No Ura

Code: [Select]

http://www.mediafire.com/?dckuvonmask
Absolutego is probably one of the biggest influences on my noise/drone project.

[Inlander]

Last one from me for tonight.

Code: [Select]

http://www.mediafire.com/?8ijjy120vyv
Gerry Mulligan: the Original Quartet with Chet Baker (disc 1).

This was one of the most famous groups in the history of jazz - and not just for their music. With a line-up of Mulligan on baritone saxophone, Chet Baker on trumpet, and a frequently changing rhythm section of bass and drums, this quartet quickly became defined by what it lacked, rather than what it had: it became known as "the pianoless quartet". In fact, this was due to accident more than design: Mulligan was hardly a radical, set on doing away with tradition. Although he was integral in many new developments in jazz in the 40s and 50s, he retained throughout his life a deep and abiding love of the older elements of jazz - as can be seen by the recordings on this disc of such classic songs as "Making Whoopee", which dated all the way back to the 20s. When this quartet broke up Mulligan would - like Dizzy Gillespie before him - try to revive the music of the big bands, with his Concert Jazz Band. But it would always be the quartet with Chet Baker for which Mulligan was most famous.

The quartet was a study of contrasts: the definitive "cool" jazz band, formed by an artist who had little time for the phrase; the quintessential "West Coast" band, fronted by two men who grew up a long, long way away from Los Angeles. Nonetheless, in the 1950s the sound of the quartet was as fresh as an ocean breeze: jazz has rarely been so light and filled with space as this. In fact, sometimes it can almost seem like there's too much space in the music: the listener can sometimes feel lost without the familiar chords of a piano anchoring the music; sometimes trying to listen to the music of this quartet is like trying to catch air. Sometimes all you can do is just let the music wash over you, and grab what you can as it does so. It's worth the effort, though.

Ultimately, for all his musical innovation, the most radical thing about Gerry Mulligan was the way he conceived of his own instrument: he does things with a baritone saxophone that simply shouldn't be possible. The horn that for decades had been the power-hitter of the saxophone world becomes, in Mulligan's hands, as light and as nimble as a dancer. Listening to him sketch in arpeggios in the background as Chet Baker takes another solo in the foreground is a marvel. Like all great jazz musicians, Mulligan didn't really belong to anybody's school or style - only his own.

Tomorrow: Sonny Rollins, Art Tatum - and would you like some Basie with your Sinatra? Of course you would!

[valley_parade]

Actually, more Gerry Mulligan would be nice, man.

[michaelicious]

Yes please Mr. Darryl, sir.

[Spinless]

2/8

[bbqrocks]

Wow, thanks for all the jazz. And I suspect faraquet will be on my speakers for a very long time.

[pat101]

DJ Shadow & Cut Chemist - The Hard Sell

 MP3/V2 (VBR)

http://www.mediafire.com/?cbimel70shu

[jimbunny]

The Tiny - Close Enough

a warm, spare chamber pop effort

Beautiful minimalist pop. Cello/bass/piano trio. Here's the video for "Closer" - http://www.youtube.com/watch?v=J7opgGkM6BA

Right. Here's the link: http://www.mediafire.com/?42yg2ityhy2

And here's some more folk, pop, ambient, and "chill-out" (I don't think that's a genre):



Devon Sproule - Upstate Songs
http://www.mediafire.com/?1xmqyk0mjm9

Not counting track 5, "Should Have Been Snow," this may be a perfect collection of soft n' sad folk songs. Just Sproule's supple voice and a picked acoustic guitar, and a basketfull of sound melodies stroll through a melancholy, bitter, and by turns optimistic emotional landscape. Really, they're just good songs. Except for "Should Have Been Snow," which is perhaps just out of place on this album.

Here's the CD Baby page (you can listen to 2:00 clips from most songs, read reviews, as well as, you know, buy the CD): http://cdbaby.com/cd/devonmusic2




Breathe Owl Breathe - Canadian Shield
http://www.mediafire.com/?ephzuwuvuma

For those of you who missed Climb In when I upped it some time ago, you may redeem yourselves. Actually, you just missed a good time; and the good times continue on Canadian Shield. Not to say the songs here are feel-good songs. This album is more reflective, and at times downright sad. But if "Run Off" doesn't bring a smile to your face, then I don't know you. The arrangements are for the most part kept pretty spare - banjo/guitar, cello, bass, percussion - so that the entrance of, say an accordion, can be revelation to a mystery. The vocal harmonies are beautiful and delicate, complementing the light and nature-infused poetry of the lyrics. Basically, this band makes me happy in a way that very few other bands approximate.

CD Baby: http://cdbaby.com/cd/breatheowl3



Helios - Eingya
http://www.mediafire.com/?bzy99xh2rgx

I can't tell you how many times I've either done homework or just sat and relaxed to this album. It keeps it just interesting enough that I can listen to it without getting bored. Here's allmusic:

This album is about moods -- digitally constructed moods, yes, but these constructions are powered by typical moody post-rock fuel: delicate piano, soft-spoken guitar, and laid-back drums. . . . Some field recordings are carefully used throughout the album, and the track list has obviously been sequenced in order to lull listeners into a comfort zone and leave them there. On first listen, Eingya evokes a lot of post-rock bands (and not the worst of them), even though it actually sits somewhere between that genre and a melodic form of experimental ambient. In any case, the music lacks some character to truly leave a mark, but it provides a wonderful listening experience nevertheless.

Lemon Jelly - Lost Horizons
http://www.mediafire.com/?0s0zymhrt5d

This one's just for fun. I'm a ramblin' man...

there's an overarching sense to Lost Horizons: the idea that this might even be a proper concept album if one put the work into deciphering it. But it's so summery, pretty, and enjoyable to chill out to that detective work simply sounds too hard.

[sean]

Yes please Mr. Darryl, sir.

[Joseph]

I have some live bootlegs from the Owls. One of them particularly is very interesting, the songs are still in the relatively 'early' stages. The music is mostly complete, but a lot of Tim's lyrics and singing is completely improvised and totally different to how they appeared on the album. Obviously, the sets include the obligatory cover song, in this case "Under Pressure".
The audio quality is rather good for the earlier show, not so good for the later show.

I'll upload it if 8 of you say "Yes please Mr. Darryl, sir"
1 person for each track of the studio album.

I remember you talking about uploading those a while back, and then it never materialized.  I was sad.  But now I'm happy!

Yes please Mr. Darryl, sir.

[imapiratearg]

Hey, MusicScribbles.  That Breeders album keeps giving me an "Invalid Quick Key" error.  :[

[blanktom]

Helios - Eingya
http://www.mediafire.com/?bzy99xh2rgx

I can't tell you how many times I've either done homework or just sat and relaxed to this album. It keeps it just interesting enough that I can listen to it without getting bored. Here's allmusic:
Quote from: allmusic
This album is about moods -- digitally constructed moods, yes, but these constructions are powered by typical moody post-rock fuel: delicate piano, soft-spoken guitar, and laid-back drums. . . . Some field recordings are carefully used throughout the album, and the track list has obviously been sequenced in order to lull listeners into a comfort zone and leave them there. On first listen, Eingya evokes a lot of post-rock bands (and not the worst of them), even though it actually sits somewhere between that genre and a melodic form of experimental ambient. In any case, the music lacks some character to truly leave a mark, but it provides a wonderful listening experience nevertheless.

somebody PLEASE put up more stuff like this. i dont have enough music to sleep to.

[KvP]

When I get off of work I'll up Selected Ambient Works Vol. II. It'll put your ass to sleep like a callous veterinarian.