Ondřej Smeykal – wirtuoz gry
na didgeridoo z Czeskiej Republiki zamieszkały w Pradze, na scenie alternatywnej działa od ponad 14 lat. Grał w zespołach: "Wooden Toys", "Monika Naceva", współpracował również z legendarnym alternatywnym perkusistą Pavlem Fajt. Obecnie koncentruje się na solowej pracy, wznosząc na wyżyny technikę gry. Podczas jego występów można usłyszeć różne wariacje dźwięku specyficznego australijskiego instrumentu jakim jest didgeridoo z '”Epoki Kamienia". Ondrej jest prawdziwym geniuszem w dziedzinie techniki i rytmu didgeridoo. Od ponad 8 lat zadziwia tłumy w pojedynkę wykonując niezapomniane,,show" przy użyciu jedynie didgeridoo.

Tuatara - breaking the ethers (1997)

Tuatara to supergrupa złożona z mistrzów drugiego planu. Tworzą ją perkusista Barett Martin (Screaming Trees), basista Justin Harwood (Luna), saksofonista Skerik (Critters Buggin) i najsłynniejszy z tej załogi gitarzysta Peter Buck (R.E.M.). Mieszkają w Seattle, gdzie narodził się grunge, ale muzyka ich zespołu nie ma z tym kierunkiem nic wspólnego.
Może powstała właśnie ze zmęczenia brzmieniami granymi w ich macierzystych zespołach. Po pierwsze, album przynosi wyłącznie muzykę
instrumentalną. Po drugie, jest to fascynująca podróż w krainę dźwięków przypominających dokonania mistrza filmowych soundtracków Ennio Morricone i jazzowych klasyków pokroju Milesa Davisa, Charlesa Mingusa i Rolanda Kirka. Są na płycie ukłony, za sprawą nietypowego instrumentarium (metalowe bębny, marimba, sitar, dulcimer, mandolina, wibrafon), w stronę egzotycznych brzmień i tanecznych rytmów.

Nie jest to jazz ani rock, nie ma sampli i elektronicznych beatów. Jest natomiast jak najbardziej współczesna muzyka, mogąca zadowolić zarówno tradycjonalistów, jak i miłośników ekstremalnych podróży. Przystępność rytmów miesza się z nowatorstwem aranżacji i atrakcyjnością brzmień. Muzycy Tuatary zaprosili do nagrań jeszcze trzech znakomitych gości: gitarzystę Mike'a McCready (Pearl Jam), flecistę Steve'a Berlina (Los Lobos) i perkusistę Scotta McCaugheya (Minus 5). Myślę, że wystarczy tych rekomendacji.



The band was formed in 1996 by R.E.M.'s Peter Buck (guitar), Barrett Martin of the Screaming Trees (drums and percussion), Justin Harwood of Luna (bass guitar, double bass), and Skerik of Critters Buggin (saxophones).

Originally a project to get musician friends some soundtrack work, the project evolved into an active band, doing occasional live shows, and recording their first album Breaking the Ethers, encompassing a sound influenced by various styles of music, from Lebanese and Asian music to more traditional Western folk music.

The band expanded in 1998, adding guitarist Scott McCaughey on guitar, Steve Berlin on saxophone and flute, Craig Flory on clarinets and saxophones, Mike Stone on drums, and Elizabeth Pupo-Walker on congas and other percussion. This expanded line-up released Trading With the Enemy, which added more exotic instrumentation while sticking to the familiar formula of borrowing from a variety of styles.

The band had eleven members at the time of 2001's Cinemathique, which was intended to fulfill the original desire of creating music for soundtracks. A remix album, The Loading Program, was released in 2003.

McCaughey and Buck are also permanent members of The Minus 5, and Martin has contributed to their performances and recordings as well.

Ścianka – Secret Sister (2007)

"Ścianka w trakcie koncertowania i zbierania materiału na nową płytę [Pan Planeta] zafundowała swoim słuchaczom małe odejście w rejony jazzu. Niezbyt duże, ponieważ „Secret Sister” trwa nieco ponad 20 minut. Trójmiejska grupa jest znana ze stylistycznych połączeń, właściwie już od pierwszych nagrań, stąd przejście na pole jazzu nie dziwi. Nie dziwi tym bardziej pomysł na stworzenie otoczki, jakoby muzyka znajdująca się na tej EPce, była ścieżką dźwiękową do starego, czarno-białego filmu „Mroczny ślad przeszłości” z 1964 roku, którego kopii nie sposób nigdzie odnaleźć. Ścianka nie raz sprawdzała się przy muzyce filmowej, grając jako taperzy do niemych filmów na niejednym festiwalu filmowym. Muzyka na „Secret sister” rozwija się stopniowo, odsłaniając kolejne przygody głównej bohaterki filmu, Suzanne. Tak więc od utworu tytułowego, słychać jak bohaterka wybiera się na zakupy, idzie na bal lub jedzie samochodem, aż do momentu gdy dochodzi do morderstwa. Gdy trzeba, Ścianka gra nieco spokojniej („Jasmine Girl”) lub nawet wprowadza grozę, stopniując narastające napięcie („Monica Found Death”). W innych momentach bardziej improwizuje, przywołując muzycznie perypetie bohaterki.
To pierwsza płyta w nowym składzie, gdzie z Cieślakiem i Kowalczykiem gra Michał Biela ze szczecińskiego Kristen. Oprócz nich w nagraniach wziął również udział grający na trąbce Tomasz Ziętek z Pink Freud i Ireneusz Wojtczak na flecie. Z tego względu płyta jest sygnowana jako Ścianka Quintet. Chociaż nie jest to pełny popis muzyków, bez rozszalałych, hipnotyzujących dźwięków, które można było usłyszeć na „Panu Planecie”, to jest z pewnością ciekawą propozycją dla wielbicieli formacji, jednak z większą niecierpliwością czekam na kolejną długogrającą płytę. „Secret Sister” traktuję zaś jako chwilowy odskok od prezentowanej stylistyki (sami muzycy przyznają się, że powstał właściwie dla zabawy), chociaż tak naprawdę w wypadku

1. Secret Sister - 3:43
2. Susana's Theme - 4:44
3. Shopping - 1:11
4. The Ball Scene Theme" - 4:53
5. Jasmine Girl - 2:54
6. Highway - 3:13
7. Monica Found Death - 1:34
8. Chasing Robin - 1:40

Horace Silver-The Jody Grind(1966)

Following the subtly modern bent of much of The Cape Verdean Blues, Horace Silver recommitted himself to his trademark "funky jazz" sound on The Jody Grind. Yet he also consciously chose to keep a superbly advanced front line, with players like trumpeter Woody Shaw (retained from the Cape Verdean session), altoist/flutist James Spaulding, and tenor saxophonist Tyrone Washington. Thus, of all Silver's groove-centered records, The Jody Grind winds up as possibly the most challenging. It's also one of the most underappreciated; Silver's piano playing is at its rhythmic, funky best throughout, brimming over with confidence and good cheer, and evoking memories of the classic feel of his early-'60s quintet. His compositions have a similarly bright overtone, which (as the liner notes allude to) was becoming increasingly rare in mid-'60s jazz as the fury of the avant-garde and the Civil Rights upheaval began to seep into jazz's wider consciousness. The title cut is a playful, overlooked classic on the funky side of hard bop; Silver kicks it with a tasty groove, giving the rest of the musicians plenty to play off of. The whole group absolutely burns through &"Grease Piece," a terrific hard swinger full of smoking solo statements from just about everyone on down to drum whiz Roger Humphries. Really, the whole album is packed with great grooves and tight solos, epitomizing the best virtues of Silver's music. For those who have digested classics like Song for My Father, Blowin' the Blues Away, and Finger Poppin', The Jody Grind is one of the best places to go next.

Ścianka - Statek kosmiczny

Płyty nie promowały single, powstał natomiast teledysk do "Piosenki no 3". Debiut zebrał pozytywne recenzje i przysporzył Ściance sporą popularność; sprzedano ponad 5 tysięcy egzemplarzy płyty. Pod koniec 2009 roku ukazała się, nakładem wytwórni Cieślaka My Shit In Your Coffee, zremasterowana reedycja albumu.
Utwór "Skuter" stał się oficjalnym hymnem 2. OFF Festiwalu – festiwalu muzyki alternatywnej w Mysłowicach.
Mimo że oficjalne źródła i okładka płyty podają taką nazwę albumu, często spotyka się tytuł Statek kosmiczny.
Debiut Ścianki spotkał się z życzliwym przyjęciem krytyki muzycznej. Tomek Zrąbkowski z "Brum" pisał, że Ścianka "unicestwia swą energią, pasją, żywotnością, nieograniczoną inwencją grania, pokręconą strukturą, wciągającą melodią, rozpasaną improwizacją, nieposkromionym temperamentem, wykręconą wrażliwością i destrukcyjnym zapałem". Grzegorz Brzozowicz w Machinie przyznał płycie ocenę 4/5 i "Typ Machiny". Recenzent uznał, że "Statek kosmiczny wypełnia eklektyczna muzyka, która ujawnia wiele fascynacji, jakim podlegają muzycy zespołu", i znalazł w muzyce grupy inspiracje muzyką takich zespołów, jak The Jon Spencer Blues Explosion, The Residents, Hawkwind. Skrytykował teksty zespołu, ale podsumował recenzję stwierdzeniem, że "grupa (...) w swoim sopockim garażu nagrała płytę, która daje nadzieję na odrodzenie się inteligentnej rodzimej muzyki rockowej"[7]. Artur Lipiński w zinie "Wiatry" ukuł termin "Post-fuckin'avant-hendrix'grunge-noise-rock" na określenie muzyki Ścianki, którą przyrównał do muzyki spod znaku wytwórni noise'owych Amphetamine Reptile i SKiN GRAFT. Jolka Madziar z "XL" skrytykowała łączenie Ścianki z trójmiejską sceną yassową, znajdując w muzyce grupy nawiązania do The Stooges, Captaina Beefhearta, Velvet Underground, MC5 i Pink Floyd.


1. Skuter 2:32
2. Ścianka 7:18
3. Piosenka nr 3 3:45
4. Insect Power 2:34
5. Czerwone kozaki 7:51
6. Sopot 2:56
7. Trans-Atlantyk 8:57
8. Sprawa 5-ciu pracowników 0:30
9. Chudy 3:12
10. Down There Low 7:54
11. Sopot II 3:53
12. Piórko 6:39
13. Ja nie 5:07

Robotobibok - Jogging

"Płyta, którą trzymam w ręku jest ze wszech miar nietypowa, a przez to - bardzo ciekawa (...)Robotobibok składa się z pięciu muzyków, którzy tworzą bardzo oryginalne dźwięki, łącząc w dość niepojęty dla mnie sposób dość tradycyjne elementy jazzowego grania z wyraźnymi ukłonami w stronę zupełnie nie jazzowej współczesności. Zdecydowanie najbardziej podoba mi się utwór otwierający płytę. Już po pierwszych dźwiękach okazuje się, że jego tytuł: "Sonda-jungle", nie jest przypadkowy. To nic innego jak próba trawestacji pamiętnej dla wielu trzydziestolatków i osób nieco starszych melodii towarzyszącej czołówce niezapomnianego telewizyjnego programu
popularnonaukowego o tym samym tytule, autorstwa tragicznie zmarłych Zdzisława Kamińskiego i Andrzeja Kurka. Próba trzeba dodać znakomita! Tłem dla charakterystycznych dźwięków tworzących tą wpadającą w ucho melodię jest świetny, motoryczny rytm, kojarzący się dość jednoznacznie z połamanymi, junglowymi kawałkami, granymi raczej w klubach tanecznych niż jazzowych


1.Robotobibok - sonda - jungle 7.37
2.Robotobibok - n.o.l. 7.59
3.Robotobibok - maraton tańca 6.19
4.Robotobibok - lincoln continental 10.16
5.Robotobibok - podróż do meksyku 9.12
6.Robotobibok - pięcioro dzieci i coś 7.09
7.Robotobibok - jogging 7.45
8.Robotobibok - pięcioro dzieci i coś (live) 4.33

Stan Getz Bob Brookmeyer-Recorded Fall (1961)

There have been many perfect duos in jazz such as Monk & Coltrane, Gillespie/Parker and this perfect match: Stan Getz and Bob Brookmeyer. One reason for this perfect union is Brookmeyer's talent as a gifted writer/arranger plus his inate Kansas city wit--much of this loosens up Getz from his formality and makes listening to them fun. This disc also features perhaps the best rhythm section Getz ever had like the perennial Roy Haynes on drums, John Neves on bass and ex-Coltrane pianist, Steve Kuhn. They were so perfect together that Getz later fired them perhaps because they upstaged him. But don't let that minor fact deter you from checking out this disc since all the tunes are well matched for this duo like the ballads, "A Nightingale Sang in Berkeley Square" or Brookmeyer's "Who Should Care" or the swinging standards like "Nice Work If You Can Get It". Outside of Getz, Brookmeyer would also team up later with another Kansanian, Clark Terry (The Power of Positive Swing'ng) but check this one out since we hear a pre-Bossa Nova Getz at his best!!


1. Minuet Circa '61 -Bob Brookmeyer 10:38
2. Who Could Care -Bob Brookmeyer 4:46
3. Nice Work If You Can Get It -George Gershwin_Ira Gershwin 5:58
4. Thump, Thump, Thump -Bob Brookmeyer 6:52
5. A Nightingale Sang In Berkeley Square-Manning Sherwin Eric Mashwitz 6:59
6. Love Jumped Out -Buck Clayton 7:46

Morphine - Cure for Pain

It’s almost impossible for an album to have nothing but great songs on it. ‘Cure For Pain’, however, is full of great tracks that switch from sad to blues and upbeat jazz, always reflecting an extraordinary chemistry between Sandman, Conway and Colley.

I got ‘Cure For Pain’ as soon as it came out and it still finds its way to my cd player. Every time I listen to this album I get the feeling of a dark, smoky, almost underground Boston atmosphere, full of Sandman’s distinctst ive, deep vocals, anchored by two string slide bass, baritone sax and a drum kit. Morphine intertwines a sound that cannot be easily categorized as rock or blues. Instead, they call to mind lounge jazz elements mingled with the grind of blues, inviting me gradually into a dark alcove of sound, while maintaining rock & roll provisions.

‘Cure For Pain’ is a fearless, energetic album with blasting saxophone-riffs and resounding bass. Morphine’s sounds are smooth, with bluesy sax tunes flirting around deep basslines. Sandman’s songwriting is deceivingly simple, yet craftily performed, his voice a lyrical sensibility, a gloomy mournful bass that echoes despair, confusion, and melancholy. Colley’s sax is at times raw, at times refined; Conway’s drums drive the music alongside Sandman’s groovy basslines. What makes the album a classic is that, although the Boston trio doesn’t uncover much versatility in its instruments, still it produces an unremitting depth on its sound, nothing like the agreeable state of unconsciousness associated with their namesake drug.

It’s pretty much impossible for an album to have nothing but great songs on it. ‘Cure For Pain’, however, is full of great tracks that switch from sad to blues and upbeat jazz, always reflecting an extraordinary chemistry between Sandman, Conway and Colley. Mixing jazz elements with grunge sounds, admittedly, the album’s highlights are the title track ‘Cure For Pain’, ‘Buena’, ‘Candy’ and ‘Thursday’. Yet, the album has other great tracks such as ‘Dawna’, the haunting opening of the album; ‘In Spite of Me’ with Sandman’s whispering voice drifting over reverb drenched mandolins; ‘Miles Davis Funeral’, the atmospheric album’s finale.

Mark Sandman is deeply missed. And Morphine that disbanded immediately after Sandman’s untimely death from heart attack, are deeply missed too from the low rock scene for their jazz and blues conventions that sculptured their own world of gloomy rock beauty. However, the genius of the Boston trio is not lost. It still remains on their moodiness that drips out of ‘Cure For Pain’ mostly from Sandman’s slow-burning passion for the women he writes and sings about. With his velvet, deep voice makes cold, rainy nights fearful, but also savoury. This is the genius of Morphine.

Cure for Pain is, without any doubt, one of the best and most progressive rock albums of the '90s.

Grant Green - Ain't it Funky Now (2005)

Between 1969 and 1973, guitarist Grant Green made a string of albums that not only topped the jazz charts but also hit the Soul and R & B charts. The music he recorded found a new life a decade later when he became one of the most sampled artists in Hip Hop. The grooves he created, most often with Idris Muhammad on drums, have permeated the club scene around the world. And the band he led and the music he played served as a prototype for what is now known as the jam band scene. These three compilations gather the best and most influential performances of those album. "Ain't That Funky" contains Green's instrumental treatments of hits by James Brown, The Meters, The Isley Brothers and Kool & The Gang among others. "For The Funk Of It" collects the most popular funk originals by Grant and his band. "Mellow Madness" draws groove-based performances on tunes by Herbie Hancock, Donald Byrd and Lennon & McCartney among others. Together, these collections sum up a great artist at the peak of his popularity with the essential tracks that remain a strong part of the musical landscape to this day.


1. Ain't it Funky Now!
2. Ease Back
3. It's Your Thing
4. Love on a Two-Way Street
5. Let the Music Take Your Mind
6. I Don't Want Nobody to Give Me Nothing
7. Betcha by Golly Wow

Lafayette Afro Rock Band - Afon- 10 Unreleased Afro Funk Recordings (1971-1974)

Lafayette Afro Rock Band was a French funk rock band formed in Roosevelt, Long Island, New York in 1970. Though almost unknown in their native United States, they are now universally celebrated as one of the standout funk bands of the 1970s and admired for their use of break beats.
Upon their relocation to Paris, the local music scene influenced the group's work, and they adopted the name Lafayette Afro Rock Band after releasing their debut LP. The band's next two LPs, Soul Makossa and Malik, respectively included the songs "Hihache"and "Darkest Light," which would be sampled in numerous culturally significant hip-hop compositions. Following collaborations with Mal Waldron and Sunnyland Slim, the band's popularity waned, leading to their breakup in 1978.

Afro-Love 5:26
Sikiliza 4:05
Racubah 3:21
Ozan Kouklé 5:45
Afon 6:00
Scorpion Flower 6:32
Heeles And Soles 4:30
The Gap 3:02
Red Mach Box 9:29
Little Sister 3:21

Rotterdam Ska-Jazz Foundation Motiv Loco (2007)

In an era of overproduced Pop and electronic DJ superstars, the Rotterdam Ska-Jazz Foundation (RSJF) keeps it real. Taking the music of the sixties as a starting point, they start where others have left. But be careful! The Rotterdam Ska-Jazz Foundation is NOT a retro band in any perspective. Armed with drums, bass, guitar, piano, organs, and a wide range of horns, the Rotterdam Ska-Jazz Foundation has been refining their mix of Ska, Jazz, Rock-Steady, Reggae and Soul over the past six years.

With their second full length effort out now on Megalith Records, this is one loco-motiv train to ska-ville that shows no evidence of running out of \'steam\' anytime soon. If these sounds don\'t shake your foundation, you must be dead. This is ska music today, not yesterday and not tomorrow, but right now. To live in the now, you must also catch this band live. Taking only one musical trip to the United Sates a few years back, the best chance is to catch a ride to Europe and see them in their home country. But hopefully with the success of this new
record, along with their other release \"Kingston Kitchen\" of which they recorded and played alongside ska \'big man\' Dr. Ring Ding, they will
get invited to come back to the states and grace us with their ground moving ass shaking ska sounds from the old country...


1. Shameless
2. No More Sorrow
3. The Movement
4. Ranglin Man
5. Goldie
6. Revolver
7. MoTiv Loco
8. Milestones
9. M9
10. Knead The Dough
11. El Penumbra
12. Epilogue

Herbie Hancock - Mr Funk

Opening with the Head Hunters version of "Watermelon Man" and closing with the electro-embracing crossover hit, "Rockit," Mr. Funk is a semi-random skip across Hancock's Columbia recordings, and it technically spans 1973-1983 (at least going by release dates), rather than the 1972-1988 range printed on its cover. Its track list looks more like a promo sampler for a round of reissues than a proper introduction to this productive and often trailblazing phase of Hancock's career.


01. Watermelon Man
02. Actual Proof
03. Hang Up Your Hang Ups
04. Heartbeat
05. Kuru / Speak Like A Child
06. Cantelope Island
07. Swamp Rat
08. Come Running To Me
09. 4 AM
10. Everybody’s Broke
11. Rock It

The Harper Brothers - Artistry (1991)

One of the most hyped jazz groups of the late '80s, the Harper Brothers (co-led by drummer Winard Harper and trumpeter Philip Harper) symbolized what was right and wrong about the "Young Lions" movement. The musicianship in this hard bop unit was excellent and the young players respected their elders, but strong originality was lacking (they were largely revisiting the past) and the Harper Brothers received an excess of publicity at the expense of more innovative players. Still, during its five years, the group produced four enjoyable bop albums for Verve, and its sidemen (altoist Justin Robinson, tenors Javon Jackson and Walter Blanding, pianists Stephen Scott and Kevin Hays, and bassists Michael Bowie and Nedra Wheeler, among them) all had strong starts to their career. Both Winard and Philip Harper have grown musically since the band's breakup. ~ Scott Yanow, All Music Guide

During 1988-1992,were one of the leading Young Lions groups in jazz, younger musicians playing within the style of hard bop as typified by the 1960s recordings on Blue Note. The third of the Harper Brothers' four recordings is very much in the tradition, and much of the time sounds very much like 1965 or the early-'60s Jazz Messengers. Philip Harper's style mixes together aspects of Lee Morgan and Freddie Hubbard, Javon Jackson could almost pass for Joe Henderson, and the rhythm section is laid-back, soulful, supportive, and swinging. The originals are in the hard bop style ( with "J.W." influenced by "Giant Steps" ), and even "Yes Sir, That's My Baby" undergoes an effective transformation. The results are enjoyable if derivative.

Personnel:
Nedra Wheeler - Bass
Javon Jackson - Sax (Tenor)
Philip Harper - Trumpet
Winard Harper - Drums
Kevin Hays - Piano
The Harper Brothers- Main Performer

The Harper Brothers - Artistry Tracks:
01 1239A
02 Dakini
03 JW
04 Artistry
05 In God We Trust
06 Reflections
07 Beulah
08 Yes Sir, That’s My Baby
09 Mother’s Love
10 Down on Duncan

Robotobibok- Instytut Las

Marcin Ciupidro - vibraphone
Artur Majewski - trumpet, el. piano
Michal Karbowski - electric bass
Kuba Suchar - drums, MiniMoog

Robotobibok (a blend of two Polish words for robot and skiver) was formed in 1998 in Wroclaw, Poland. From the very beginning, their music has seemed to combine modern electronic music with the energy of improvised jazz. Strong and acoustic drums, bass and trumpet intertwine with dreamy vibraphone and characteristic 70's analogue electronica. `
The result evokes the atmosphere of 70's electric jazz and early electroacoustic experiments. The core of Robotobibok's music is their post-jazz rhythm section, ostensibly inspired by the newest electronica, but going further and building more intricate structures. Robotobibok also try to develop their own language in improvisation; individual instruments sometimes do solo, but none of them dominates in the end.
Robotobibok's three records: Jogging (2000), Instytut Las (2003) and Nawyki Przyrody (2004) were released by its own label, Vytvornia OM (Technology in service of meditation), which also released other befriended projects (Tomasz Gwinciński, AGD).
For the last four years, the band has been relentlessly touring (among others, Knitting Factory - New York 2002, Paradiso - Amsterdam 2004; AB - Brussels 2004), also at various festivals: "XI Warsaw Summer Jazz Days 2002", "Sergey Kuryokhin International Festival 2003" in Berlin, "Eurosonic Festival 2004" in Groningen, "16th Dour Festival" in Dour and "26th Saalfelden Jazz Festival". Robotobibok have played next to Nils Peter Molvaer and Khamer, Chicago Underground Duo/Trio, Tied and Tickled Trio, De Kift and Fennesz.

Horace Silver - Song For My Father

"My mother was of Irish and Negro descent, my father of Portuguese origin. He was born on the island of Maio, one of the Cape Verde Islands"

A jazz standard, "Song for My Father" is here in its original form. It is a Bossa Nova in F-minor with an AAB head. On the head, a trumpet and tenor saxophone play in harmony. The song has had a noticeable impact in pop
music. The opening bass piano notes were borrowed by Steely Dan for their song "Rikki Don't Lose That Number", while the opening horn riff was borrowed by Stevie Wonder for his song "Don't You Worry 'Bout a Thing". Earth Wind & Fire also borrowed the opening bass notes for their song Clover.

Allmusic reviewer Steve Huey praised the album:

One of Blue Note's greatest mainstream hard bop dates, "Song for My Father" is Horace Silver's signature LP and the peak of a discography already studded with classics...it hangs together remarkably well, and Silver's writing is at his tightest and catchiest.

The album was identified by Scott Yanow in his Allmusic essay "Hard Bop" as one of the 17 Essential Hard Bop Recordings

Tracklist:

1. Song for My Father – 7:15
2. The Natives Are Restless Tonight – 6:08
3. Calcutta Cutie – 8:28[3]
4. Que Pasa – 7:45
5. The Kicker – 5:24
6. Lonely Woman – 7:03

The following tracks were added to various CD reissues:

1. Sanctimonious Sam – 3:52
2. Que Pasa" (trio version) – 5:35
3. Sighin' and Cryin – 5:23
4. Silver Treads Among My Soul – 3:50

New York Ska-Jazz Ensemble - Step Forward (2008)

The New York Ska-Jazz Ensemble is an internationally renowned recording and touring group. Since the band's inception in 1994, they have released nine CD's and they have performed regularly throughout Europe, Canada, USA, South America and the Caribbean. The band has been featured in Downbeat, Reggae Nucleus, The Beat, and various other Jazz magazines.


Tracklist

01. Boogie Stop Shuffle 04:16
02. Feel Da Vibe 04:54
03. Welcome 03:19
04. Linecheck Samurai 03:22
05. Take Five 05:04
06. Pretty Flower 02:57
07. Step Forward 03:42
08. Wicked 04:44
09. Kansas City 02:59
10. You Are My Love 03:42
11. Go Home 04:03
12. Red Eye 04:07

Jazz Quintet 60 (1962)

Jazz Quintet 60 from 1962 for Metronome Denmark.
Allan Botschinsky (tp), Niels Husum (ts), Bent Axen (p), Niels-Henning Orsted Pedersen (b), Bjarne Rostvold (ds).
Legendary Scandinavian rarity from Denmark featuring a who's who of the Danish Jazz scene from the past 50 years.

Personnel:
Bass - Niels-Henning Řrsted Pedersen
Drums - Bjarne Rostvold
Piano - Bent Axen
Saxophone [Tenor, Soprano] - Niels Husum
Trumpet, Flugelhorn - Allan Botschinsky

[B]Tracklist:[/B]

01 Buddah

02 246

03 More Peace

04 Cuba Libre

05 Billie's Bounce

06 Around 3-4 Time

07 Pokerface

08 Ballad Nr. 2

09 Blue and Yellow

10 Sunny Monday