Blue Note

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Blue Note Trip: Saturday Night / Sunday Morning



Год: 2003
Лейбл: Blue Note
Тип релиза: mix
Жанр: Downtempo
Стиль: Jazz

Треклист

CD1
1. Unknown Artist - Intro From Blue Note Live At The Roxy 00:26
2. Donald Byrd - Black Byrd 05:50
3. Minnie Riperton - I'm A Woman 03:33
4. Buddy Rich - Beat Goes On, The 04:42
5. Candido - Serenade To A Savage 04:00
6. Edc - Desire On Fire 04:12
7. Jimmy McGriff - Deb Sombo 06:18
8. Donald Byrd - Elijah 09:00
9. Patti Drew - Fever 02:36
10. Joe Torres - Soul Cha 05:04
11. Grant Green - Sookie Sookie 07:29
12. Richard 'Groove' Holmes - Groovin' For Mr. G 03:59
13. St. Germain - Rose Rouge 06:16
14. Ronny Jordan - London Lowdown 08:32
CD2
1. Bobbi Humphrey - Smiling Faces Sometimes 06:09
2. Marlena Shaw - Save The Children 03:54
3. A Taste Of Honey - I Love You 04:29
4. Bobbi Humphrey - My Little Girl 06:24
5. Nancy Wilson - Lush Life 03:22
6. Horace Silver - Song For My Father 07:13
7. Gene Harris - As 07:28
8. Bobby Lyle - Groove 04:27
9. Lonnie Smith - Move Your Hand 04:48
10. Bobby Hutcherson - Goin' Down South 06:48
11. Candido - Ghana Spice Pt. 1 02:58
12. Dianne Reeves - Afro Blue 03:56
13. Eddie Palmeiri - Harlem River Drive 03:42
14. Gene Harris & The Three Sounds - Book Of Slim 03:16
15. Gary Bartz - Music Is My Sanctuary 04:58


http://www.flyupload.com/get?fid=7819592

Various Artists
Blue Funk



Год: 2001
Лейбл: Blue Note
Тип релиза: compilation
Жанр: Downtempo
Стиль: Funk

Треклист


1. Blue Mitchell - Who Dun It- 03:00
2. Lou Donaldson - Say It Loud (I'm Black & I'm Proud) 07:41
3. Big John Patton - Cissy Strut 06:58
4. Grant Green - Ease Back 05:47
5. Jack McDuff - Hunk O' Funk 06:02
6. Candido - Tic Tac Toe 04:04
7. Richard -groove- Holmes - Down Home Funk 04:13
8. Grant Green - Cantaloupe Woman 05:34
9. Grant Green - I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It My 05:55
10. Ronnie Foster - Don't Knock My Love 04:32
11. Lou Donaldson - (Don't Worry) If There's A Hell Below, We're All Going To Go 09:05
12. Reuben Wilson - Bambu 08:05
13. Bobby Hutcherson - Family Affair 04:27

http://www.flyupload.com/get?fid=3344482

Blue Note Salutes Motown



1. I'll Be There - Dave Koz
2. Tracks Of My Tears - Dianne Reeves
3. Ain't Nothing Like The Real Thing - Richard Elliot
4. Bird Of Beauty - Eliane Elias
5. What's Goin' On - Ray Barretto
6. I Heard It Through The Grapevine - Earl Klugh
7. You & I - Stanley Turrentine
8. You Keep Me Hanging On - Charlie Hunter
9. Ain't That Peculiar - John Patton
10. Inner City Blues (Make Me Wanna Holler) - Everette Harp
11. Smiling Faces Sometimes - Bobbi Humphrey
12. Sir Duke - Stanley Turrentine

http://www.flyupload.com/?fid=8966176

http://community.livejournal.com/relaxmusic/2562874.html

У меня любовь с этими сборниками...

Blue Note Trip 7; Birds - Beats [2008]

блю ноут - чудо! спасибо, Тарас!

Joe Henderson

Цитата:

Recorded by Rudy Van Gelder at Englewood Cliffs, New Jersey, April 1964 Personnel Kenny Dorham (trumpet) Joe Henderson (tenor sax) McCoy Tyner (piano) Richard Davis (bass) Elvin Jones (drums) Tracks Punjab; Serenity; Short Story; Brown's Town; In 'N Out Review: Joe Henderson was perhaps the least well acknowledged of the great saxophone players to emerge in the sixties. His influence, however, has been substantial. From 1963 - 67 he is the featured tenor sax player on some twenty albums for Blue Note that set a new standard in jazz, defined the future direction of the label and could all be argued for inclusion in any Top Jazz 100. Yet the catalogue released under his name as leader had been small and its availability has been patchy until very recently. As jazz suffered its crisis in popularity in the ‘seventies, many players including Joe Henderson had to find work elsewhere. If you had ever wondered why the brass section of “Blood Sweat and Tears” sounded so good it was because Joe Henderson played with them at this time. Everything changed in the mid ‘eighties when the long awaited recognition that Joe Henderson deserved finally came when three Grammy winning albums with Verve (“Lush Life”, “So Near So Far” and “Double Rainbow”) reinvigorated his career. Since then it has been a case of looking back on all that he has achieved and wondering at how so much wonderful music making could have been neglected for so long. By the time of his death in 2001, the record had more or less been put straight with most of his classic recordings available for those who cared to look. However, to hear Joe Henderson, you have to look beyond albums titled under his name and also look at the albums on which he was a sideman. That list in itself could easily fill a quarter of any Top 100 jazz albums. Lee Morgan’s “The Sidewinder” and “The Rumproller”, Kenny Dorham’s “Una Mass”, Larry Young’s “Unity”, Grant Green’s “Idle Moments” and “Am I Blue?”, McCoy Tyner's "The Real McCoy" and Bobby Hutcherson’s “Stick Up” and “The Kicker” are just a few examples. He was born in 1937 in Lima, Ohio, which is fifty miles south of Toledo. He listened to Stan Getz and Charlie Parker while still at school before going to Wayne University, Detroit where he met Yusef Lateef, Cedar Walton and Donald Byrd. In Detroit, he studied saxophone at the Teal School of Music as well as flute and bass at Wayne. By the summer of 1962 he arrived in New York having completed a two year spell in the US Army during which he had toured worldwide entertaining the troops. As Kenny Dorham describes in his liner notes to Henderson’s “Page One”, "I was introduced to this bearded, goateed astronaut of the tenor sax...I suggested that we go down to see Dexter Gordon who was headlining at the Birdland Monday Night Jazz Jamboree....Dexter Gordon .....asked the young man if he'd like to play some.....minutes afterward, the musical astronaut was in the launching pad." Kenny Dorham (15 years Henderson's senior) was to become mentor and partner in a series of wonderful albums for Blue Note in which their outstanding partnership was developed. Of the many Joe Henderson contenders for inclusion here (not just the mid eighties Verve releases or the classic Blue Notes “Page One”, “Inner Urge”, “Our Thing”, “Mode For Joe” or the two great early eighties albums with Chick Corea - “Relaxin’ at Carmarillo” and “Mirror Mirror”) the best is “In ‘N Out”. This has the beauty and the subtlety of the relationship with Kenny Dorham’s trumpet playing at its most developed and also has the expansion of musical horizons introduced by the inclusion of half of John Coltrane’s classic quartet – McCoy Tyner on piano and Elvin Jones on drums. It is a potent mix. It is not just that Joe Henderson responds so differently to John Coltrane but that he defines his own improvisional space so completely and with such originality. The quintet is completed by Richard Davis’ excellent bass playing. (Yes, he is the bass player on Van Morrison's seminal 'sixties album "Astral Weeks"). The three Henderson originals (the title track, “Punjab” and “Serenity”) are backed by two equally brilliant originals by Kenny Dorham (“Short Story” and “Brown’s Town”). This is great, inventive jazz. Kenny Dorham is a key link here. He had played with and recorded with Charlie Parker in the later forties (see the 1948 and 1949 NYC "Royal Roost" sessions of the "Charlie Parker Quintet"). By the early sixties, his own career was beginning to run out of steam somewhat but he was keen to take the young Joe Henderson under his wing and help launch his career. Perhaps Kenny Dorham heard that echo in Joe Henderson's playing of Charlie Parker; perhaps this was a way of passing on the spark of that earlier generation's inspiration to a new generation? Star Rating *****

http://rapidshare.com/files/74626580/Joe_Henderson_-_In__n_Out__1964___Blue_Note__RVG_Edition__2004_.zip

VA - Tender Feelin's - Silky Cuts For Cool Cats Selected By Blue Note (2008)



01. Minnie Riperton feat. José Feliciano - Light My Fire
02. Marlena Shaw - Feel Like Making Love
03. Ronnie Foster - Me & Mrs. Jones
04. Minnie Riperton - I'm A Woman
05. Labi Siffre - Doctor Doctor
06. Bobby Womack - Daylight
07. Sheree Brown - It's A Pleasure
08. Maze feat. Frankie Beverly - While I'm Alone
09. Gene Harris - Peace Of Mind (Digitally Remastered)
10. Donald Byrd - Places And Spaces
11. A Taste Of Honey - I Love You
12. Gene Dunlap - Before You Break My Heart
13. Bob Dorough - Three Is A Magic Number
14. Natalie Cole - Annie Mae
15. Lou Rawls - You've Made Me So Very Happy
16. Labi Siffre - Love-A-Love-A-Love-A-Love-A-Love

Here

VA - Capitol Rare (Funky Notes From The West Coast)


Tracklisting:



Capitol Rare (Funky Notes From The West Coast)

Cannonball Adderley - Somethin Else

JULIAN CANNONBALL ADDERLEY

MILES DAVIS, trumpet;

HANK JONES, piano;

SAM JONES, bass;

ART BLAKEY; drums


1. Autumn Leaves – 11:00
2. Love For Sale – 7:03
3. Somethin' Else – 8:12
4. One For Daddy-O – 8:21
5. Dancing In The Dark – 4:04
6. Bangoon – 5:05

http://rghost.ru/438257
When Cannonball Adderley scheduled the 1958 recording of what was to be his only Blue Note LP, he called on his old employer from their days as quintet members on Columbia, Miles Davis. The reunion resulted in one of the greatest and most revered Jazz LPs ever: Somethin' Else.

Цитата:

WHAT manner of album is this? Julian Cannonball Adderley, the leader of the group that remains so ardently aflame throughout these sides, is an alto saxophonist cast in the Charlie Parker bop mold. Miles Davis, the other half of the front line, has been the subject of learned dissertations in which he is identified with a branch of jazz known as cool music. And Hank Jones, whose piano is the third important voice in the quintet, has spent a substantial part of the past two years as a sideman with a big band led by the King of Swing. Art Blakey's drums have been associated with an alleged new school that has variously been billed as "hard bop" and "hard funk." As for Sam Jones, bass, he is Sam Jones, bass, though lately there has been a tendency to categorize and pigeonhole even the bass players. What is remarkable about the above-cited facts is not that members of various schools have been able to assemble and collaborate in the production of a superlative jazz album, but rather the fact that they are not really as various as the critics might have you believe. Both Cannonball and Miles agree that there has been far too much labeling of jazz-men, that there is an almost limitless degree of overlapping between schools, and that what counts is not the branding of the music but the cohesive quality of their concerted efforts. Only three years have elapsed since Cannonball fired his initial salvo at the Gotham scene. He would have been unable to sit in on the important night that marked his New York debut had not school been out. School to Julian Adderley meant Dillard High in Fort Lauderdale, Fla., where he had been band director since 1948. Wandering north, he and his brother Nat found themselves at the Bohemia, where the incumbent group was Oscar Pettiford's combo. It happened that Jerome Richardson had not yet arrived for work, but Julian's offer to step into the spotlight was greeted with some wariness by Pettiford, who had never heard, or heard of, the plump, cheerful-faced newcomer. To put him in his place, Oscar beat the band off with I'll Remember April at an impossible tempo. But Cannonball had come up in the Parker school that knows of no tempo impossibilities. He met the challenge with a long solo that just about knocked Pettiford off the stand. Soon the word spread around town, and before many days had passed Cannonball's recording career had begun. By the following year he had earned enough acclaim to enable him to renounce the academic life in favor of a full-time jazz career, touring with his own quintet. Julian Cannonball Adderley (the name has nothing to do with ammunition; it is a corruption of cannibal, a nickname given him in tribute to his healthy appetite) was born September 15, 1928, in Tampa, Fla. His music studies at high school and college in Tallahassee between 1940 and '48 gave him a solid background first on trumpet, later on various reed instrument He has been a bandleader off and on for the past decade, generally as a sideline during his years at Dillard High, and in 1952-3, while he was in the Army, as leader of a large dance band as well as a small group. During a recent television appearance, when he was introduced as a representative of bop in the NBC educational series The Subject Is Jazz Cannonball was interviewed concerning his original reaction to Bird. "Well," he said, "I listened to all the other alto players, and some of them were fine, but there still seemed to be something lacking. When I first heard Bird, I knew immediately that that was it. His style was completely original, far ahead of anything I had heard, and his harmonic sense was unorthodox." From that point on, the impetus and inspiration behind Adderley's work was almost exclusively Charlie Parker. Despite the apparent disparity between the hard-hop approach of Cannonball and the supposedly cool personality of Davis, their collaboration (Adderley broke up his own quintet to loin Miles in late 1957) seems quite logical in the light of Miles' own background, since he was a partner of Bird himself in the Parker quintet during its early years and can be heard on many of Bird's earliest and greatest records It seems useless to add anything about the contribution to jazz of Miles, probably the most influential trumpeter alive in terms of impact on the present musical generation. What he had learned originally from Clark Terry and others in and around St. Louis he later expanded when he heard Vic Coulson in New York ("it was impossible to try to play like Dizzy, so I listened to Vic") - All this experience was slowly leavened into a new personality; what had been a hop partnership with Charles Parker grew into an individual ownership, a talent that knew the virtues of understatement as well as the beauties of a more directly assertive expression. Today Miles finds orientation and guidance in a variety of sources, some of them unlikely, or at least unexpected: "All my inspiration today," he asserts, "comes from Ahmad Jamal, the Chicago pianist. I got the idea for this treatment of Autumn Leaves from listening to him." Autumn Leaves, an extended treatment that invests the composition with a great deal more complexity and elaboration than has ever been heard on any previous version, starts out in a long introduction as an apparently unidentifiable G Minor melody. Miles brings in the theme, followed by Julian; later there is an ad-lib interlude by Hank Jones suggested by Miles, and a return to tempo at a slightly slower pace. Blakey remains discreet and tasteful throughout. The performance closes with another passage that seems to float in mid-air on a nameless minor theme, built around three triads: C Minor, A Minor, and B-Flat Major. Love for Sale opens with a pretty ad-lib Hank Jones introduction. Miles' opening statement of the theme is muted and spare, ending the first 16 measures on a moody 9th. There are Latin interludes throughout as the three soloists take turns at the microphone; a repeated riff fades out at the end. Cannonball's solo on this track is perhaps the most typical of all in the set: the big, round sound, the Parker-oriented phrasing and harmonic sense, consistently interesting linear development all are in evidence. Somethin' Else is, to me, the most exciting of the five mood-evoking tracks in this set. It establishes at once, and sustains throughout its considerable length, a certain mood of restrained exultancy, a low-glowing Davis fire that burns contemplatively until stirred to even greater warmth by the embers of Adderley's stimulation. The performance begins with Miles uttering short, simple phrases, mostly between the tonic and dominant of the scale, all answered in echo-and-response style by Cannonball. Though the construction of the piece is the traditional 12 measures in length, its harmonic movement is unconventional and strikingly effective in its creation of a mood. Starting out on F-7th with a flat 5th, it proceeds to D-raised 9th flat 6th, C-raised 9th flat 6th, B-Flat-7th flat 5th, then back to the D-raised 9th, C-raised 9th, and finally moving from C to D to the tonic F. Hank's solo on this one is in block-chord style. "That delicate touch of Hank's," says Miles "There's so few that can get it. Bill Evans and Shearing and Teddy Wilson have it. Art Tatum had it." And in tribute to Art's manner of swinging the rhythm section he adds," Sonny Greer used to swing like that with sticks and brushes in the Ellington band in the old Cotton Tail days" One for Daddy 0 dedicated to the popular Chicago disc jockey Daddy-O Daylie and composed by Cannonball's brother, Nat, returns to the 12-bar theme but this time closer to the traditional funky blues spirit, with an inspiring and inspired beat. After the theme it is transmoded into a minor blues with Julian alternating between simple phrases and double time statements Miles solo starts out simply with a plaintive use of the flatted 7th in measures nine and ten of his first chorus; a couple of choruses later he reached higher than we are normally accustomed to expect from a trumpeter generally associated with the middle register of the horn; but the upward movement clearly is a natural outgrowth rather than a contrived effect. Some months ago there was a complaint, in a misinformed and insensitive article that appeared in Ebony, that "Negroes are ashamed of the blues." The white author of the piece would doubtless be incapable, on hearing this Davis solo, of perceiving the porcelain-like delicacy of his approach to the blues. Certainly this is not the blues of a man born in New Orleans and raised among social conditions of Jim Crow squalor and poverty, musical conditions of two or three primitive chord changes; this is the blues of a man who has lived a little; who has seen the more sophisticated sides of life in Midwestern and eastern settings, who adds to what he has known of hardships and discrimination the academic values that came with mind-broadening experience, in music schools and big bands and combos, in St. Louis and New York and Paris and Stockholm. This is the new, the deeper and broader blues of today; it is none the less blue, none the less convincing, for the experience and knowledge its creator brings to it. Far from being ashamed of the blues, Miles is defiantly proud of his ability to show its true contemporary meaning. Hank has a couple of solo passages, one in single-note lines, another making economic use of thirds and fourths. After the performance has reached its clearly successful climax Miles can be heard asking for a reaction from the control booth. It need hardly be added that Alfred Lion got just what he wanted. Dancing in the Dark is Cannonball's individual showcase. "I made him play this," says Miles, "because I remembered hearing Sarah Vaughan do it like this." It might be added that in Julian's two choruses, since he is not restricted to a prescribed set of lyrics, he does even more with it than Sarah was able to do. In closing perhaps it would be appropriate to point out, for those not familiar with the latest in terminology, that the title number of the Miles Davis original, which also provided the name for this album, is a phrase of praise. And if I may add my personal evaluation, I should like to emphasize that Cannonball and Miles and the whole rhythm section and, indeed, the entire album certainly can be described emphatically as "somethin' else." -LEONARD FEATHER Author of The Book of Jazz

Последний выложенный альбом - супер-классика, предтеча "Kind Of Blue" и ваще - шедевр.

Игорь всегда в теме

У кого нет берите, думаю что-то понравится
VA - Blue Note Trip 8 [Compiled By DJ Maestro Blue Note] 2CD (2009)


VA ~ Blue Note Trip 8 CD1 - Swing Low 67:05
01. Buscemi Feat. Joy Adegoke - Hidden
02. Teddy Edwards & Les McCann - Our Love Is Here To Stay
03. Cannonball Adderley - Jive Samba (Live In Japan)
04. Jimmy McGriff - Blue Juice
05. Digable Planets - For Corners
06. Soulive - Bridge To Bama
07. 4 Hero - Won't You Open Up Your Senses (Remix)
08. The Three Sounds - Azule Serape
09. Osunlade - A Time To Remember (Remix)
10. Reuben Wilson - Ronnie's Bonnie
11. Gene Harris - Feeling You, Feeling Me Too!
12. Donald Byrd - Blackjack
13. Bobbi Humphrey - Jasper Country Man
14. Willie Bobo - Funky Sneakers
15. Grant Green - I Don't Want Nobody To Give Me Nothing

VA ~ Blue Note Trip 8 CD2 - Fly High 71:30
01. Sabrina Starke - Romeo & Juliet
02. Brother Jack McDuff - Butter (For Yo' Popcorn)
03. Grant Green - Ain't It Funky Now
04. Gene Harris And The Three Sounds - What's The Answer
05. Lou Donaldson - Sassie Lassie
06. Les McCann - Que Rico
07. Duke Pearson - Chili Peppers
08. Miles Davis - Deception
09. Don Wilkerson - Camp Meetin'
10. Patti Drew - Suffer
11. Les McCann - McCanna (Instrumental)
12. Buscemi ft Fay Lovsky - Nao Falo Portugues (Jazz Rework)
13. Don Wilkerson - Dem Tambourines
14. Acoustic Alchemy - Tied Up With String
15. Kyoto Jazz Massive - Kudu (Re-Work)
16. Frank Foster - Little Miss No Nose

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tarasta, сколько у тебя музыки на жестком диске?

Mirage писал(а):

tarasta, сколько у тебя музыки на жестком диске?

вопрос задан не правильно. Он должен звучать как "сколько у тебя жёстких дисков???"

Marselle писал(а):

Mirage писал(а): tarasta, сколько у тебя музыки на жестком диске? вопрос задан не правильно. Он должен звучать как "сколько у тебя жёстких дисков???"

Ну или так, просто столько музыки выкладывает здесь, а это вед наверняка не вся что есть. Там наверное терабайты.