Get Ready, cuz this is a big one.
Jazz Like no body's business.
Dave Douglas' Tiny Bell Trio - Live In Europe
http://www.sendspace.com/file/qeoab7
Julius Arthur Hemphill - The Jah Band - Georgia Blue (Nels CLine's First Professional Recording I Believe)
http://www.sendspace.com/file/b1b59e
James Carter-Conversing With the Elders
http://www.sendspace.com/file/r929fs
Modern Young Saxophone God, this disc has him performing wioth a collection of his heros, track him down.
Billy Bang - Vietnam The Aftermath
Outside Jazz Violinist/Viet Nam vet/Recovering Junkie or something
http://www.sendspace.com/file/7bwkwu
Louis Sclavis - Dans La Nuit - For The Silent Movie By Charles V
http://www.sendspace.com/file/ovropx
"he intersection between film and contemporary music is one that has been mined with good results. Bill Frisell’s music for the films of Buster Keaton, John Zorn’s Filmworks series and the recently re-released Art Ensemble of Chicago soundtrack for Les Stances a Sophie all mark interesting directions taken by the musicians and also tend to awake new interest in films that had previously been ignored. For the restored version of Charles Vanel’s 1930 silent film Dans La Nuit, Bertrand Tavernier commissioned a new score by composer and clarinetist Louis Sclavis. The two had worked previously on Tavernier’s Ca commence aujourd’hui, and Tavernier wanted a new score for this film in hopes that it would bridge the gap between the era of the film and the contemporary French art scene.
Dans La Nuit, one of the last French silent movies, was directed by Charles Vanel, who also plays the male lead. Vanel plays a quarry worker who, after sustaining an injury during a rock blast, has to wear a protective face mask. The inevitable follows, and his wife (played by Sandra Milovanoff) takes a lover while her husband is laboring in the mines. Vanel’s acting career continued for nearly sixty years and he would appear in over 200 films, among them works by Jacques Feyder, Luis Bunuel, Henri-George Clouzot and a role as the detective shadowing Cary Grant’s character in Hitchock’s To Catch a Thief.
One of the successes of Sclavis’ soundtrack is the way it seems at once both historical and fresh. Sclavis, who began as a classical clarinetist and was introduced to jazz first through Sidney Bichet and then through American avant-garde expatriates including the Art Ensemble of Chicago and Sun Ra, made the mixture of historical realism and artistic creation a main goal in the project. The composer says “I did not want to banish this work of cinema to its own period...but to try, in composing today for a film of yesterday, to bring it to life in a different way, to imagine bridging connections, to use the time between its creation and the present as an echo-chamber and to take advantage of the distortions produced.” In addition to the composed pieces, which had to be rigorously written and timed to match the action of the film down to the second, there are also several tracks on the album that were improvised in real time while the players watched the cinema unfold.
Some of the pieces are decidedly period pieces, like the sing-songy theme for the movie, which alternates between a fanciful descending melody and a bouncy waltz featuring Jean Louis Matinier’s accordion prominently. The incidental music offers a darker, more impressionistic approach, with quiet lyrical passages slowly building in intensity, signaling growing intrigue and, one imagines, infidelity.
For his fifth outing on the ECM label, Sclavis has assembled a group featuring some of France’s leading players. Drummer Francois Merville and cellist Vincent Courtois are both members of his touring band. Violinist Dominque Pifarely has worked with Sclavis in a variety of settings, including the Louis Sclavis-Dominique Piflarely Acoustic Quartet. Accordionist Jean-Louis Matinier is considered one of the top virtuosos on his instrument and has worked with Willem Breuker, David Friedman, Gianluigi Trovesi and is to be featured on a soon-to-be-released ECM album with Anouar Brahem.
By Bruce Wallace"
Larry Young's Unity
http://www.sendspace.com/file/16f4cx
"Yet another one of those awesome, powerful Blue Note sessions from the
mid-60's. The atmosphere at these sessions must have been electric
because all of the musicians are on top form. Larry Young's organ
playing on this album is quite incredible - perhaps only matched on his
own Groove St album for Prestige. There were a small core of great organ
players - many of them signed to Blue Note, but Larry Young was unique
in that he approached the organ as Coltrane approached the sax. But
Young is just one of four great innovators on this album. Woody Shaw not
only shines with his playing, but contributes the best compositions with
the marching band influenced Zoltan - a lydian mode stormer named for
composer Zoltan Kodaly and The Moontrane - an homage to Coltrane which
is perfect for the remaining quartet members at this session; Elvin
Jones' and Joe Henderson. Maybe the best post-bop, organ-led session of
all-time."
Mary Lou Williams - Zoning
http://www.sendspace.com/file/x2vsjc
Just Look her up, from Big Band, swing, Bop, to Free Jazz, THE GODDESS of Jazz Piano
David Murray Octet - Home
http://www.sendspace.com/file/vcdg79
This to me is the PERFECT ALBUM. A stunning example of how the "Avant Garde" can swing. This Album truly belies all of the opinions of Wynton marsalis, and the "Young Lions".
David Murray Quartet - Interboogieology
http://www.sendspace.com/file/z093g7
More Murray, I cannot state this more emphatically, he truly is amazing. I'm sitting on about 25 or 30 albums of his as a LEADER, and that's of his maybe 125 or so. If you add the records of him as a co-leader, or sideman (to Jack Dejohnette, Branford Marsalis, James "Blood" Ulmer, and many more) you're looking at about 500 albums or so.
