Morgan The Pirate

This set is one of the finest Lee Morgan records. The great trumpeter contributes five challenging compositions ("Search for the New Land," "The Joker," "Mr. Kenyatta," "Melancholee," and "Morgan the Pirate") that deserve to be revived. Morgan, tenor saxophonist Wayne Shorter, guitarist Grant Green, pianist Herbie Hancock, bassist Reggie Workman, and drummer Billy Higgins are all in particularly creative form on the fresh material, and they stretch the boundaries of hard bop (the modern mainstream jazz of the period). The result is a consistently stimulating set that rewards repeated listenings.

Lee Morgan - Search For The New Land (1964) {Blue Note Japan SHM-CD UCCQ-5106 rel 2015} (24-192 remaster)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 281 Mb | MP3 @320 -> 100 Mb
Full Artwork @ 600 dpi (png) -> 168 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1964, 2015 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5106
Jazz / Hard Bop / Trumpet

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keep roof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano!

Various Artists - Milk Of The Tree: An Anthology Of Female Vocal Folk & Singer-Songwriters 1966-73 (2017) {3CD Set}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.21 Gb | MP3 @320 -> 523 Mb
Artwork @ 300 dpi (jpg) -> 24 Mb | 5% repair rar
© 1966-73, 2017 Grapefruit Records / Cherry Red Record | CRSEGBOX039
Folk Rock / Pregressive Folk / Psychedelia / Pop Fok / Electric Folk / Singer- Songwriters

Notwithstanding one or two isolated exceptions, it wasn’t until the mid-Sixties that independent female voices really began to be heard within the music industry. The feminist movement naturally coincided with the first signs of genuine musical emancipation. In North America, Joan Baez and Buffy Sainte-Marie emerged through the folk clubs, coffee-houses and college campuses to inspire a generation of wannabe female singers and musicians with their strong, independent mentality and social compassion, while the British scene’s combination of folk song revival and the Beatles-led pop explosion saw record company deals for a new generation of pop-folkies including Marianne Faithfull, Dana Gillespie and Vashti Bunyan.