Miles Davis - Doo-Bop

Doo-Bop was jazz innovator Miles Davis' final studio album, which would have marked the beginning of the artist's turn to hip-hop-oriented tracks. However, Davis died on September 28, 1991, before the album was completed. Only six tunes for the album had been completed.[1] To finish off the album, producer Easy Mo Bee was asked to take some of the unreleased trumpet performances (stemming from what Davis called the RubberBand Session), and build tracks that Miles 'would have loved' around the recordings. The album's posthumous songs (as stated in the liner notes) are "High Speed Chase" and "Fantasy." A reprise of the song "Mystery" rounded out the album's nine-track length.

The project stemmed from Davis sitting in his New York apartment in the summer with the windows open, listening to the sound of the streets. He wanted to record an album of music that captured these sounds. In early 1991, Davis called up his friend Russell Simmons and asked him to find some young producers who could help create this kind of music, leading to Davis' collaboration with Easy Mo Bee. The result of this collaboration, Doo-Bop, was released by Warner Bros. Records on June 30, 1992, and received mixed reviews. The album won the 1993 Grammy Award for Best R&B Instrumental Performance

Dirty Dozen Brass Band-What's Going on

On August 29, the first anniversary of Hurricane Katrina, The Dirty Dozen Brass Band will release their reinterpretation of Marvin Gaye’s classic LP What’s Going On. Thirty-five years after its original release, the political and social themes of the album are just as relevant as ever. Along with many others along the Gulf Coast, the members of the Dirty Dozen Brass Band lost their homes to Katrina. Their take on What’s Going On is not only an attempt to express their feelings about this tragedy and other current events, but also a tribute to the spirit of their hometown of New Orleans.

The Stan Getz Quartet @ Chet Baker - Quintessence V2

Fans of Chet Baker know that the trumpeter and vocalist's career is divided into two distinctly different periods: His elegantly minimalist 1950s work where he helped define the "cool jazz" sound of the period, and his later efforts that were maddeningly inconsistent. This aural document from his later years--recorded in Oslo in 1983--falls into the latter category, and it's a decidedly mixed bag. Baker's voice is, sadly, far from in its top form, and his vocal performances here on standards like "Just Friends" and "But Not For Me" show him straining. Still, there are plenty of reasons to like this live recording. Stan Getz himself is in fine form throughout, his tenor saxophone tone still as rich and full-bodied as ever (especially on his gorgeous opening solo on "I'm Old Fashioned"), and his backing group (Jim McNeely on piano, George Mraz on bass and Victor Lewis on drums) swings superbly. Baker's trumpet playing was also in much finer form than his voice, and during his better moments here--as on his interplay with Getz on a lovely version of "Star Eyes"--a bit of his old self shines through.

Miles Davis - Blue Haze

Blue Haze is an album recorded in 1953 and 1954 by Miles Davis, for Prestige Records. The first track on the album is from the 3 April 1954 session which resulted in half of the album Walkin' (and was originally included on the 10" vinyl version of that album). The remainder is the result of two sessions on 19 May 1953 and 15 March 1954, the first being a quintet with John Lewis, Charles Mingus (on piano, not bass), Percy Heath and Max Roach, and the second a quartet with Horace Silver, Heath, and Art Blakey. Tracks 2 and 7 are wrongly credited as Davis compositions - they are both in fact by Eddie Vinson (see also Donna Lee for possible explanation of this). However, Vinson supposedly wrote these tunes for Davis, and this is probably how the confusion has occurred.

1.I'll Remember April D. Raye, G. DePaul and P. Johnston 7:52
2.Four M. Davis and E. Vinson 4:00
3.Old Devil Moon B. Lane and E.Y. Harburg 3:22
4.Smooch M. Davis and C. Mingus 3:04
5.Blue Haze M. Davis 6:08
6.When Lights are Low B. Carter and C. Williams 3:25
7.Tune Up M. Davis and E. Vinson 3:52
8.Miles Ahead M. Davis and G. Evans 4:28

John Coltrane - Black Pearls

Recorded in the late-1950s, the John Coltrane of BLACK PEARLS is not the shining, legendary beacon of free jazz he eventually became by the mid-'60s. At the time of PEARLS, Coltrane was a member of the Miles Davis Quintet, and this was one of his solo ventures. Like many Prestige discs of this period, it's a straight-ahead hard-bop jam session. Featuring sterling accompaniment by Red Garland (also then with Davis) on piano and Donald Byrd's crackling trumpet, PEARLS displays Coltrane's surging sheets-of-sound approach in full flower.

Recorded at the Van Gelder Studio, Hackensack, New Jersey on May 23, 1958. Originally released on Prestige

Horace Silver - Doin' The Thing

Doin' the Thing is a live album by jazz pianist Horace Silver released on the Blue Note label in 1961 featuring performances by Silver with Blue Mitchell, Junior Cook, Gene Taylor, and Roy Brooks recorded at the Village Gate in New York City.

The Allmusic review by Scott Yanow awarded the album 4½ stars and states "This live set finds pianist/composer Horace Silver and his most acclaimed quintet stretching out". The All About Jazz review of the CD rerelease by Hrayr Attarian called the album "especially unique, not only because of its quality, but because it is the only live recording of his most famous quintet. Although it was recorded 45 years ago (1961), this CD has the power to transport one back in time to the smoky room at Village Gate where one feels the raw energy of the live performance"

Tomasz Stańko - Suspended Night

Tomasz Stańko - Suspended Night

It's entirely marvelous--and almost always unexpected--to encounter a first-class jazz performer moving from a position of prominence to one of absolute top rank. Without a doubt, that is what trumpeter Thomasz Stanko has accomplished on his latest release from ECM. Here he plays with a confidence and presence often glimpsed in his previous recordings but come fully to the fore on this transcendent disc.

As impressive as Stanko is (and he's mighty impressive!), the real heroes here are, perhaps, his Polish quintet. Especially standout are Marcin Wasilewski on piano and Slawomir Kurkiewicz on bass. Not far behind is Michal Miskiewicz on drums. These players consistently set the table for the exact right moods and atmospheres for Stanko, be it elegy ("Song for Sarah"), acquiescence ("Suspended Variation I"), friskiness ("Suspended Variation II," a spirited tango), romance ("Suspended Variation III," a gorgeous ballad), hope ("Suspended Variation IV," another gorgeous ballad), joi de vivre ("Suspended Variation V," the closest thing these guys come to an up-tempo number), mystery ("Suspended Variation VI," a meditation of the vagaries and vicissitudes of life), and so on. This proves, as much as any recent recording, the magic that comes from playing with a working jazz band

Once again, as we have come to expect from engineer Jon Erik Konshaug and producer Manfred Eicher, the sound is ravishingly beautiful--with exquisite detail, presence, and warmth. ECM at the absolute top of its game. Hard to beat.

Surely one of the most purely stunningly beautiful jazz discs ever recorded, Suspended Night instantly vaults trumpeter Stanko to the very front ranks of trumpeters in the history of jazz.

Tracklist

1. Song for Sarah [05:30]
2. Suspended Variations I [08:52]
3. Suspended Variations II [08:24]
4. Suspended Variations III [07:13]
5. Suspended Variations IV [07:04]
6. Suspended Variations V [04:20]
7. Suspended Variations VI [08:54]
8. Suspended Variations VII [03:25]
9. Suspended Variations VIII [04:21]
10. Suspended Variations IX [05:52]
11. Suspended Variations X [04:47]

Personnel:
Sławomir Kurkiewicz - double bass
Marcin Wasilewski - piano
Tomasz Stańko - trumpet
Michał Miśkiewicz - drums

Grant Green - Solid

Grant Green divides opinion. While many see him as a lesser player to the likes of Kenny Burrell or Wes Montgomery, there are those, like Michael Cuscuna (writing on the liner notes of "Solid") who see him as a thread linking Charlie Christian (the virtual inventor of hollow body jazz guitar) with great jazz guitarists of today such as Peter Bernstein and John Scofield. Grant Green was "a major link to... Charlie Christian..... he absorbed Christian, then bypassed such heroes of the day as Tal Farlow, Kenny Burrell and Wes Montgomery, and moved directly to the formation of his own identity."

Tracklist:

01 Minor League 7:05
02 Ezz-Thetic 10:41
03 Grant's Tune 7:00
04 Solid 7:23
05 The Kicker 6:23
06 Wives And Lovers 9:00

Personnel:
Grant Green (guitar);
James Spaulding (alto saxophone);
Joe Henderson (tenor saxophone);
McCoy Tyner (piano);
Bob Cranshaw (bass);
Elvin Jones (drums).

Miles Davis & Milt Jackson - Quintet & Sextet (1955)

Miles Davis & Milt Jackson - Quintet & Sextet (1955)

Lesser heralded than their collaboration with Monk (as documented on BAGS' GROOVE and MILES DAVIS AND THE MODERN JAZZ GIANTS), this August 5, 1955 session with vibraphonist Milt Jackson was Miles' last all-star collaboration before the formation of his first classic quintet. It marked a farewell to an older generation of acolytes and fellow travellers. Miles was entering a new era of leadership and international stardom, and generally he would only record with his working groups.

QUINTET/SEXTET is notable for two compositions by Jackie McLean: "Dr. Jackle" and "Minor March" (it appears on his famous 1959 Blue Note date NEW SOIL as "Minor Apprehension"). The former is a Charlie Parker-ish line featuring a masterful Milt Jackson symposium on the blues--Miles' typically lyric approach, a tart, spacious flight from McLean, and a soulful, dancing Ray Bryant. The latter is a mysterious minor figure with jabbing rhythm breaks and a joyous bridge that recalls "Tempus Fugit." McLean's vaulting cadences and fervent cry anti****te the rapture of his mature style, and Bryant takes a harmonically adventuresome solo.

Elsewhere the group digs into the Bud Powell-like changes of Ray Bryant's low, slow "Changes" (over the rock solid groove of Percy Heath and Art Taylor), and the quirky harmonies and angular melodies of Thad Jones' "Bitty Ditty." "Changes" inspires a lovely muted statement from Davis, and illustrates Bryant's unique blend of blues, sanctified gospel and bebop. Davis and Jackson combine for pungent voicings on the head to "Bitty Ditty," then demonstrate their elegant mastery of harmony and swing. Both are inspired by the shape of Jones' line, completely unfazed by its intricacies.

Tracklist:

01 Minor League 7:05
02 Ezz-Thetic 10:41
03 Grant's Tune 7:00
04 Solid 7:23
05 The Kicker 6:23
06 Wives And Lovers 9:00

Personnel:
Miles Davis ( trumpet )
Milt Jackson ( vibraphone )
Jackie McLean ( alto saxophone )
Ray Bryant ( piano )
Percy Heath ( bass )
Art Taylor ( drums )

Miles Davis - Seven Steps to Heaven (1963)

Opis:
"Seven Steps To Heaven" is one of those albums that you have to take in stride and listen to track by track and not so much as a cohesive album. Miles was in a state of flux in 1963. His quintet with Hank Mobley, Wynton Kelly, Paul Chambers, and Jimmy Cobb had been disbanded, and Miles had been recording with Gil Evans. When the time came for a new lp, Miles was still working on getting a steady group together. So, in fact, this lp is in fact 2 ep's, as 2 different groups play on this lp, each with a very different character from the other.

Group 1- Miles, George Coleman (tenor), Victor Feldman (piano), Ron Carter, (Bass), Frank Butler (dr) (tracks 1,3,5). This group is quite traditional in outlook, and the tracks played show this. Miles' beautifully heartfelt performances are backed perfctly by Feldman's supple and understated piano. This group proved that Miles could pack a wallop on the standards. The tenor of Coleman and Carter's bass compliment Miles and Feldman very well. As a fan of jazz, I very much enjoy what this very short lived quintet did (2 days in April 1963 was the life of this group).

Group 2- Miles, Coleman, Carter, Herbie Hancock, Tony Williams. 4/5 of what would be the 2nd great quintet are in action on tracks 2,4,6. The character of the band is immediatly felt on "Seven Steps to Heaven" (group 1 also recorded the song, as well as "So Near So Far"- track 4- and "Summer Nights", which landed on the "Quiet Nights" lp; perhaps at some point both takes of both of these songs will be on a remastered version of this lp to showcase the very different interpretations of the songs by the old and new guard), as Ron Carter's walking bass is pushed by Williams' drumming. Herbie Hancock's style is also apparent- a more open style as opposed to Feldman's more traditional block chord style.



This album definitely is an overlooked classic. The original versions of "Joshua" and the title track are worth the price of admission; "So Near, So Far" is absolutely beautiful. Add to that a chance to hear the underrated Victor Feldman on the ballad portion of the album (especially "I Fall in Love Too Easily"). But the greatest thing about this recording is the debut of what was the rhythm section to end all rhythm sections: even this early as a unit, Herbie Hancock, Ron Carter, and the late Tony Williams sound awesome.

Tracklist:

01 Basin Street Blues
02 Seven Steps to Heaven
03 I Fall in Love too Easily
04 So Near, So Far
05 Baby Won't You Please Come Home
06 Joshua

Personnel:
Miles Davis (trumpet);
George Coleman (tenor saxophone);
Victor Feldman, Herbie Hancock (piano);
Ron Carter (bass instrument);
Frank Butler, Tony Williams (drums).

the kilimanjaro darkjazz ensemble - the kilimanjaro darkjazz ensemble [2007]

The Kilimanjaro Darkjazz Ensemble - to właściwie duet z Holandii, Jason Kohnen i Gideon Kiers którzy zadebiutowali w 2006 roku w wytwórni Planet Mu.
Chcąc napisać kilka słów o tym krążku, słuchając go w tle, łapie się na tym, jak wiele emocji on we mnie wyzwala i tym samym jak niesamowitym materiałem częstują wyżej wymienieni panowie. Nie chcę, by zabrzmiało to jak anty-rekomendacja, w żadnym wypadku - jednak wypada mi ostrzec co niektórych, a właściwie przygotować przed pierwszym odsłuchem. Na początek więc - na pewno nie jest to płyta do relaksu, mi przynajmniej Niepokój obecny od początku do końca płyty nie pozwala na umysłowy odpoczynek. Nie znaczy to jednak, że któraś z kompozycji mnie męczy.
Niewinnie otwierający ,,The Nothing Changes'' z przewijającym się gitarowym riffem w filmowym stylu zdradza naturę albumu, na myśl przychodzą obrazy z pierwszych filmów grozy, którymi zresztą rzekomo panowie się inspirowali. Dalej natrafiam na prawdziwą ucztę - utwór ,,Pearls for Swine'' przybija mnie do łóżka - potężny, chaotyczny aby następnie stać się melodyjnym. Kolejne utwory na przemian równoważą i wzbudzają chaos. Pięknie multiinstrumentalne, jazzowe kompozycje całe utkane w eksperymenty i zabiegi elektroniczne. Projekt wyjątkowy, wydaje mi się, że z tą samą mocą co wzbudza huśtawkę nastrojów, tak samo wywołuje on skrajne opinie. Pozostaje pytanie, czy macie odwagę?

THE KILIMANJARO DARKJAZZ ENSEMBLE are a project which has always been tied to films. Films are luxurious because they dispose of all these boring, unimportant, and trivial parts of our lives. This allows them to fully control our sensations, to put us in a very specific mood. Joy and sadness are occasionally OK, endless joy or endless sadness are clinical. But there is one sensation which can be persistent and unconditionally bearable at the same time. In the absence of a better alternative, let's call it "the mood". The mood is what TKDE are aiming at. The mood.

Tomasz Stańko - Music For K

Back in 1970, when this disc was recorded, Tomasz Stanko, by now an internationally established and admired jazz personality, was already known as one of the very few convincing free-jazzmen. In his bold endeavours he was lucky to enjoy some understanding and sensitive partners. Earlier, in the sixties Stanko's experiences were both as a sideman and a leader. He cooperated with such greats as Krzysztof Komeda, Wlodzimierz Nahorny, Zbigniew Namyslowski, Andrzej Trzaskowski, Don Cherry and Albert Mangelsdorff, but his favourite partners were Janusz Muniak, Janusz Stefanski, Zbig Seifert and - a bit later - Bronislaw Suchanek. Tomasz Stanko Quintet flourished without personal changes for five years (1969-1973), scoring a big success during 1970 Jazz Jamboree.

Around that time, a year after untimely death of Krzysztof Komeda (1939-1969), the quintet recorded four pieces by Stanko, naming the LP after the main composition: Music for K", thus paying homage to the memory of deceased friend and expressing his emotional attitude toward his premature death. However, Stanko didn't attempt to relate here to Komeda's sound or style
and remains very much himself presenting his peculiar, personal way of shaping music, remote, on the surface only, from the structural clarity. His predilection toward spontaneous development of music, based on very few indispensable determinants, surprisingly dovetails here with the emotional content of such deeply felt numbers like "Cry" and "Music for K". It seems obvious that Stanko's free stems rather from Coltrane's last work and his shades of expression are rich and many.

Cinematic Orchestra - Live At The Royal Albert Hall

Live at the Royal Albert Hall is a live album by The Cinematic Orchestra, released in the UK on April 14, 2008 on Ninja Tune Records. The origi,al concert was performed on November 2, 2007 at The Royal Albert Hall in London.The Cinematic Orchestra is a British jazz and electronic outfit, created in the late 1990s by Jason Swinscoe. The band is signed to Ninja Tune independent record label. In addition to Swinscoe, the band includes PC (former DJ Food member Patrick Carpenter) on turntables, Luke Flowers (drums), Tom Chant (Saxophone), Nick Ramm (piano), Stuart McCallum (guitar) and Phil France (double bass). Former members include Jamie Coleman (trumpet), T. Daniel Howard (drums), Federico Ughi (drums) and Alex James (piano). The most recent addition to the band is Mancunian guitarist Stuart McCallum.

Miles Davis - Miles Ahead (1957)

[b]Miles Davis - Miles Ahead (1957)[/b]

Opis:
Album ten wyznacza drugi etap współpracy z Gilem Evansem. Pierwszy zaoowocował albumem Birth of the Cool. Do drugiego będą jeszcze należały Porgy and Bess i Sketches of Spain.

Jest to właściwie płyta koncepcyjna; 10 kompozycji tworzy jazzową suitę.

Album został nagrany na czterech sesjach. Jednak w trakcie postprodukcji Davis zadecydował o piątej sesji. Popoprawiał wszystkie pomyłki i opuszczenia w czasie jego solowych partii poprzez nałożenie "łat". Ponieważ nieoczekiwanie album był monofoniczny można te wstawki łatwiej wyłowić niż na poprawionym wydaniu stereofonicznym.

Na oryginalnym albumie nie był w ogóle wymieniony pianista Wynton Kelly, którego partia fortepianowa na alternatywnym "Springsville" znalazła się w "Springsville" wydanym na albumie.

Oryginalny album ukazał się z całkowicie niepasującą do płyty okładką przedstawiającą młodą białą kobietę na żaglówce[1]. Wszystkie późniejsze wydania miały już na okładce fotografię Milesa Davisa.



Tracklist:

1. Springsville (J. Carisi) [3:27]
2. The Maids of Cadiz (L. Delibes) [3:53]
3. The Duke (D. Brubeck) [3:35]
4. My Ship (I. Gershwin/K.Weill) [4:28]
5. Miles Ahead (M. Davis/G. Evans) [3:29]
6. Blues for Pablo (G. Evans) [5:18]
7. New Rhumba (A. Jamal) [4:37]
8. The Meaning of the Blues (R. Troup/L. Worth) [2:48]
9. Lament (J.J. Johnson) [2:15]
10. I Don't Wanna Be Kissed (by Anyone but You) (H. Spina/J. Elliott) [3:05]


Miles Ahead is a jazz album by Miles Davis that was released in 1957 under Columbia label as CL 1041. This was the first album following Birth of the Cool that Davis recorded with Gil Evans, with whom he would go on to release albums such as Porgy and Bess and Sketches of Spain. Gil Evans combined the ten pieces that make up the album in a kind of suite, each following the preceding one without interruption. Davis is the only soloist on Miles Ahead, which also features a prominent horn section.

A fifth recording date involved Davis alone (re-)recording material to cover or patch mistakes or omissions in his solos using overdubbing. The fact that this album originally was produced in mono makes these inserted over-dubbings rather obvious in the new stereo setting.

Nostalgia 77-The Garden

Nostalgia 77-The Garden

Upon first hearing The Garden, one may not feel inclined to acknowledge it as a "producer's" record. It feels quite different from Lamdin's 2004 scratch-inflicted debut Songs for My Funeral. The presence of metronome-perfect sequencing techniques (if they're even there at all) is incredibly subtle and often entirely unnoticeable. Clearly, Lamdin was not the lone creative force behind this effort. Rather than overwhelming production techniques, the buffet of musicianship present on The Garden makes the record. Horns, upright bass, live[?] drum set, keys, and electric guitar supply an ideal stripped down yet incredibly full sound.

The vacillation of The Garden can be somewhat disorienting, as one minute you'd swear you were hearing something off the latest off Ninja Tune, and a moment later, you'd be better off assuming it was vintage Blue Note. Its overall theme seems to shift slightly from piece to piece. Some songs are anchored in jazz-funk and fusion, some in Afrobeat, some in sample-derived hip-hop, and even a few in avant free jazz (minus the frenzied percussion). And though the musicianship throughout the album remains constant, no two songs sound particularly alike in style.

The Garden is 100% instrumental (vocal-free) with one exception: The White Stripes cover "Seven Nation Army" featuring vocals from blue-eyed UK soulstress Alice Russell. Ha! And you thought Joss Stone's "Fell in Love With a Boy" was the last of it! 'Fraid not. In any case, Lamdin's take on Jack and Meg is perhaps more tolerable than the latter mentioned. However, it does seem a tad out of place here since, after all, it's the only vocal track on the record and just so happens to be decidedly gimmicky.

Ben Lamdin’s creations range from heavy funk, to hip-hop based beats mixed with dusty old jazz, obscuro funk and psych bits and pieces.

Nostalgia 77 aka Ben Lamdin first burst onto the scene with his heavy, new funk based sound in 2002. In 2004 he moved away from the distinctive raw funk of his previous singles and he branched out to explore a more downtempo and jazz infused style. Nostalgia’s sound moved to hip-hop based beats fused with dusty old jazz; obscuro funk and psych bits and pieces, repolishing and rearranging them for modern day headphone junkies.



Tracklist:
1. Cheney Lane 4:40
2. Changes 5:56
3. Green Blades of Grass 3:30
4. The Hunger 7:29
5. You and Me 4:36
6. After Ararat 4:51
7. Freedom 5:17
8. Seven Nation Army 4:22
9. The Garden 3:19

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.

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

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