Gary Mcfarland The In Sound

Gary McFarland - Point Of Departure (1963) {Impulse! Japan MVCJ-19111 rel 1998}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 218 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 600 dpi (jpg) -> 184 Mb | 5% repair rar | 20bit K2 Mastering
© 1963, 1998 Impulse! / MCA Records / Universal Victor Japan | MVCJ-19111
Jazz / Hard Bop / Post Bop / Vibes

A great record – and one that's filled with so many wonderful little moments! The whole thing's a very cool, very off-beat set of jazz tracks recorded by vibist Gary McFarland, with a group that includes Jimmy Raney on guitar, Richie Kamuca on tenor, and Steve Swallow on bass – a lineup that's as quirky as the sound of the record! The tunes are quite different than some of Gary's larger arrangements for Verve, but they've definitely got a very similar charm – quite groovy, and a unique blend of bossa influences, west coast jazz, modal rhythms, and other wonderful touches. Tracks include "Pecos Pete", "Hello To The Season", "Schlock-House Blues", and "Love Theme From David & Lisa".

Gabor Szabo - Gypsy '66 (1965) {2005 Impulse! Japan Jazz The Best Series 24bit Remaster UCCU-5271}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 192 Mb | MP3 @320 -> 81 Mb
Full Artwork @ 600 dpi (jpg) -> 147 Mb | 5% repair rar
© 1965, 2005 Impulse! / Verve / Universal Music Japan | UCCU-5271 | 24bit mastering
Jazz / Cool / Contemporary Jazz / Guitar

Guitarist Gabor Szabo's debut as a leader (after an important stint with the Chico Hamilton Quintet) is surprisingly successful. The reason this LP is a bit of a surprise is that the repertoire (in addition to two originals apiece by the leader and Gary McFarland) has a few unlikely songs by the Beatles ("Yesterday" and "If I Fell") and Burt Bacharach (including "Walk On By"). Usually jazz adaptations of rock songs in the 1960s are lightweight, but Szabo's original sound, the unusual instrumentation (two or three guitars, Sadao Watanabe on flute, Gary McFarland on marimba, bass, drums and percussion) and McFarland's clever arrangements uplift the music. The playing time at 35 minutes is a bit brief, but the performances are better than expected.

Bill Evans Trio - Consecration, The Last Complete Collection (1980) {8CD Set Alfa Japan OOR2-61~68 rel 1989}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.10 Gb | MP3 @320 -> 1.00 Gb
Artwork @ 300 dpi -> 10 Mb | 5% repair rar
© 1980, 1989 Alfa Records Japan | OOR2-61~68
Jazz / Post Bop / Modal Music / Piano

I had assumed that these recordings fit into the category of “he plays well under the circumstances.” Forget the qualifiers. Listening to this set and the previously released The Last Waltz is a bit like sharing the experience of the wild-eyed poet who has returned from feasting on the milk of paradise in Coleridge’s “Kubla Khan.” After tasting such nectar, nothing henceforward can satisfy the palette. So if the two sets (16 discs) comprising Evans’ last stand seem extravagant in quantity and price, consider the possibility that they represent the musical equivalent of Keats’ Grecian Urn, offering “all ye know and need to know.”

One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself and to his credit he never stopped evolving. Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16, followed by stints with Stan Kenton (1944-1945), Jimmy Dorsey (1945), and Benny Goodman (1945-1946)

One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound" because he had one of the most beautiful tones ever heard. Getz, whose main early influence was Lester Young, grew to be a major influence himself and to his credit he never stopped evolving. Getz had the opportunity to play in a variety of major swing big bands while a teenager due to the World War II draft. He was with Jack Teagarden (1943) when he was just 16, followed by stints with Stan Kenton (1944-1945), Jimmy Dorsey (1945), and Benny Goodman (1945-1946); he soloed on a few records with Goodman.

The Modern Jazz Quartet - The Complete Atlantic Studio Recordings 1956-1964 (2011) {7 CD Box Set Mosaic MD7-249}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.97 Gb | MP3 @320 -> 1.23 Gb
Full Artwork @ 300 dpi (png) -> 285 Mb | 5% repair rar | 24-bit remaster
© 1956-64, 2011 Mosaic / Atlantic / Rhino | MD7-249
Jazz / Cool / Bop / Third Stream / Piano / Vibes

That sound. One group conceived it. Defined it. Perfected it. The Modern Jazz Quartet was certainly one of the most distinctive voices in the history of jazz, thanks to the unique qualities of personal expression and collective vision of its members Milt Jackson, John Lewis, Percy Heath and Connie Kay (who had replaced original drummer Kenny Clarke by the time the band started recording this music). They were also exceptionally prolific during their tenure at Atlantic Records, producing 14 albums in eight years. And now, that MJQ sound gets the complete respect it deserves, thanks to our new box, The Complete 1956-1964 Modern Jazz Quartet Atlantic Studio Recordings.

Rare selections, Groove & Tururut are a series of posts about hidden and unique collections of music from the 50s, 60s, and 70s, more or less rare and more or less widespread, and probably made in foreign editions aimed at minorities. We add that the vast majority are also physically obsolete. Small treasures that make the B-side of our discography.