Bill Frisell, Paul Motian and Ron Carter

It's hard to imagine that Bill Frisell at 55 is the youngster of this group. But he is by a long shot. Not that it matters in terms of musicality; rather, it's that younger modernism and its involvement with different musical genres that make Frisell such a welcome foil for the likes of two heavyweights like Paul Motian and Ron Carter. To say that this album is all over the place is an understatement. Just look at the tunes: from the slippery little grooving blues of "Eighty-One" by Carter and his former boss Miles Davis to the ditty "You Are My Sunshine" by Jimmie Davis, Thelonious Monk's "Raise Four" and "Misterioso," and traditional tunes like "Pretty Polly" and Hank Williams' "I'm So Lonesome I Could Cry." These are just a few, but what they prove is everything. These three musicians sound so comfortable, it's like they've been playing together for years. There is great humor in the approach on some of these tunes, such as Carter taking a boogie break near the end of "Eighty-One," or the tight little counterpoint between Motian and Frisell on "Raise Four." The question as to whether the record swings or not is moot -- it does but in a very different and gentle manner. Those who have decried Frisell's move toward country music in the last decade or so needn't be worried; no matter how songs are played (and they are played as songs), this is fully a jazz date with plenty of improvisation and strange asides. Motian's musicality is one more element of the great edge this band has. He's always pushing, however gently, always singing on his kit. The rapport between Motian and Carter is wonderful on Lerner & Loewe's "On the Street Where You Live," and he and Frisell are nearly symbiotic -- check Frisell's "Monroe," or the Williams tune, or better yet the angles and corners on "Misterioso," where they paint themselves into such a tight corner it seems they'll never get out. With Carter's solid time, they weave a tapestry that's as rich and humorous as Monk's, and he's snapping his fingers wherever he is now. This is a solid and unexpected surprise from a brilliantly conceived collaboration. (allmusic)

Set List:

1. Eighty One
2. You Are My Sunshine
3. Worse and Worse
4. Raise Four
5. Pretty Polly
6. On The Street Were You Live
7. Monroe
8. Introduction
9. Misterioso
10. I'm so Lonely I could Cry

LINK: http://rapidshare.com/files/144459812/Bill_Frisell__Ron_Carter___Paul_Motian.zip


Bill Frisell - Nashville

Hi everybody!

Just bought that nice 1997 record of the great Bill Frisell, the old country style is evidently and very well arranged with Frisell's unique guitar... Great version of Neil Young's "One of These Days" it's a great record for chilling...

Set List:

1. Gimme a Holler
2. Go Jake
3. One of These Days
4. Mr. Memory
5. Brother
6. Will Jesus Wash the Bloodstained From Your Hands
7. Keep Your Eyes Open
8. Pipe Down
9. Family
10. We're Not From Around Here
11. Dogwood Acres
12. Shucks
13. The End of the world
14. Gone

LINK: http://rapidshare.com/files/143705419/Nashville.zip


Lee Konitz - Inside Hi-Fi

A great album provided by our friend Nhonhão Paranah.
This excellent recording (part of their 1987 Jazzlore series) features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are "Everything Happens to Me," "All of Me," and "Star Eyes," but all eight performances are well played and swinging. (allmusic)


1. Kary's trance
2. Everything happens to me
3. Sweet and Lovely
4. Cork 'n' Bib
5. All of Me
6. Star Eyes
7. Nesushi's Instant
8. (back home again In) Indiana


Tell your friends, We're back on Track! - Keith Jarrett Tokyo '96

To re-inaugurate this blog I present to you one of my favorites albuns. Recorded in 1996 in Tokyo, Keith Jarret (piano), Gary Peacock (bass) and Jack DeJohnette (drums) really demonstrate a unusuall and singular way of playing in trio. No more words, enjoy.


1. It could happen to you
2. Never let me go
3. Billie's bounce
4. Summer Night
5. I'll remember April
6. Mona Lisa
7. Autumm Leaves
8. Last Nght When We were young/Caribbean Sky
9. John's Abbey
10. My funny valentine/Song



Ok, it was a long year, nice albums and great jazz.
I am not posting anything else, enjoy what is here...
The links are going to become dead because of copyright laws...

Thank you all.



Charlie Haden - Nocturne

For the lovers out there.

Charlie Haden - Nocutrne (with gonzalo rubacalba and friends..)


The Eminent Jay Jay Johnson, Vol. 1

By Scott Yanow / Allmusic

Considered by many to be the finest jazz trombonist of all time, J.J. Johnson somehow transferred the innovations of Charlie Parker and Dizzy Gillespie to his more awkward instrument, playing with such speed and deceptive ease that at one time some listeners assumed he was playing valve (rather than slide) trombone. Johnson toured with the territory bands of Clarence Love and Snookum Russell during 1941-1942, and then spent 1942-1945 with Benny Carter's big band. He made his recording debut with Carter (taking a solo on "Love for Sale" in 1943), and played at the first JATP concert (1944). Johnson also had plenty of solo space during his stay with Count Basie's Orchestra (1945-1946). During 1946-1950, he played with all of the top bop musicians, including Charlie Parker (with whom he recorded in 1947), the Dizzy Gillespie big band, Illinois Jacquet (1947-1949), and the Miles Davis Birth of the Cool Nonet. His own recordings from the era included such sidemen as Bud Powell and a young Sonny Rollins. Johnson, who also recorded with the Metronome All-Stars, played with Oscar Pettiford (1951) and Miles Davis (1952), but then was outside of music, working as a blueprint inspector for two years (1952-1954). His fortunes changed when, in August 1954, he formed a two-trombone quintet with Kai Winding that became known as Jay and Kai and was quite popular during its two years.
After Johnson and Winding went their separate ways (they would later have a few reunions), Johnson led a quintet that often included Bobby Jaspar. He began to compose ambitious works, starting with 1956's "Poem for Brass," and including "El Camino Real" and a feature for Dizzy Gillespie, "Perceptions"; his "Lament" became a standard. Johnson worked with Miles Davis during part of 1961-1962, led some more small groups of his own, and by the late '60s was kept busy writing television and film scores. J.J. Johnson was so famous in the jazz world that he kept on winning Downbeat polls in the 1970s, even though he was not playing at all. However, starting with a Japanese tour in 1977, Johnson gradually returned to a busy performance schedule, leading a quintet in the 1980s that often featured Ralph Moore. In the mid-'90s, he remained at the top of his field, but by the late '90s and early into the 2000s, the legendary musician fell ill with prostate cancer, and sadly took his own life on February 4, 2001.


Capri / Gigi Gryce / 3:40
Lover Man / Davis-Ramirez-Sherman / 3:54
Turnpike / J. J. Johnson / 4:18
Sketch / John Lewis / 4:25
It Could Happen To You / J. van Heusen – J. Burke / 4:46
Get Happy / H. Arlen – T. Koehler / 4:51
Capri / Alternate take / 3:51
Turnpike / Alternate Take / 4:13
Get Happy / Alternate Take

Link: Jay Jay Johnson - The Eminent

Ornette Coleman - Sound Grammar


Fifty years after he astonished the musical world with his initial recorded forays into free jazz, Ornette Coleman remains astounding. Sound Grammar introduces his so-called two-bass band, a quartet featuring son Denardo on percussion and Tony Falanga and Greg Cohen on acoustic bass. The unusual combination works spectacularly well, as displayed on this fervent live album. Now in his 70s, Coleman has lost little in terms of instrumental prowess on his customary alto saxophone (his occasional trumpet and violin remain as attractively flinty as ever); his utterly distinctive writing still stands heads above both his peers and even the most inventive of jazz's younger generations. Coleman's ace in the hole has always been his combustible mixture of the aggressive and the lyrical. Where, say, "Jordan," and "Song X" roil and slash, the gorgeous ballad "Sleep Talking" and the easy-grooving blues "Turnaround" speak in poetic tongues. If Coleman naturally dominates the proceedings with his riveting horn, his compatriots provide proactive interplay whose fascinating tonal qualities (Falanga's bowed bass against Cohen's pizzicato) add layers of bracing texture. Coleman has been shaking things up since he first made himself known, and Sound Grammar sends the message that he doesn't intend to quit stirring up action anytime soon. -- Steve Futterman

When so much jazz is recycled or reissued, a new Ornette Coleman album is cause for celebration. But Sound Grammar, the free-jazz legend's first release in a decade, is special even by his lofty standards. Coleman was 75 when this live-in-Italy set was recorded in 2005. But he sounds pluckier than he has in years. Pared down to its eloquent basics, the music has a rare combination of beauty, power, lift, and melodic immediacy. With two bassists providing contrasting textures and internal drama--Greg Cohen plucks his acoustic instrument while Tony Falanga bows his--Ornette plays with his usual songful brilliance on alto saxophone and also sounds great on trumpet, a secondary instrument on which he usually demonstrates yeoman skills. (He also dabbles on violin.) Sound Grammar could be better engineered--the astute catchall drumming of Ornette's son Denardo Coleman is too far back in the mix and the basses frequently don't have enough presence. But this album stands with Ornette's best. Two of the songs, "Turnaround" and "Song X," are remakes; the rest of the material is just as good. --Lloyd Sachs

Ornette Coleman: sax, violin and trumpet
Denardo Coleman: drums and percussion
Gregory CVohen: bass
Tony Falanga: bass

1. Jordan (after introducing the band members)
2. Sleep Talking
3. Turnaround
4. Matador
5. Waiting for You
6. Call to Duty
7. Once Only

All songs composed and arranged by Ornette Coleman

Link: Ornette Coleman - Sound Grammar