The Complete Cuban Jam Sessions

Various Artists - The Complete Cuban Jam Sessions (2018) {5CD Set Craft Recordings CR00100 rec 1956-1965}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 889 Mb | MP3 @320 -> 414 Mb
Full Artwork @ 600 dpi (jpg) -> 93 Mb | 5% repair rar
© 1956-65, 2018 Panart / Craft Recordings / Concord Music | CR00100
Jazz / Latin Jazz / Cuban / Charanga / Salsa / Cha-Cha / Descarga / Mambo

Five legendary Cuban jam sessions originally released over a span of almost a decade (1956-1965) by Cuba's first independent record label Panart. Reissued together as a set in their entirety and original format here for the first time, The Complete Cuban Jam Sessions albums encapsulate a stylistic and historic panorama of Cuban music, from big band son montuno to Afro-Cuban rumba, mambo, cha-cha-cha and country acoustic guajira music.

Charlie Parker - Bird: The Complete Charlie Parker On Verve (1946-1954) {2005 10CD Box Set Verve-Universal 983 3382}
EAC rip (secure mode) | FLAC (tracks) +CUE+LOG -> 2.71 Gb | MP3 @320 -> 1.79 Gb
Full Artwork @ 600 dpi (jpg) -> 716 Mb | 5% repair rar
© 1949-54, 2005 Verve / Universal Music Italia Srl | 983 3382
Jazz / Bop / Small Group / Big Band / Saxophone

As a leader, Charlie Parker recorded for Savoy and Dial during 1945-1948 and then for Verve exclusively (at least in the studios) during 1949-1954. This remarkable ten-CD box set, which adds quite a bit of material to an earlier ten-LP set, contains all of these recordings plus Bird's earlier appearances with Jazz at the Philharmonic. The JATP jams are highlighted by Parker's perfect solo on "Oh Lady Be Good," a ferocious improvisation on "The Closer," and a solo on "Embraceable You" that tops his more famous studio recording. In addition, this box has all of the "Bird and Strings" sides, his meetings with Machito's Cuban orchestra, the 1950 session with Dizzy Gillespie and Thelonious Monk, small-group dates (including a 1951 meeting with Miles Davis), odd encounters with voices and studio bands, the famous "Jam Blues" with fellow altoists Johnny Hodges and Benny Carter, and his final recordings, a set of Cole Porter tunes. The fact-filled 34-page booklet is also indispensable. Highly recommended.

In many countries, state-owned radio companies took a significant role in recording and broadcasting music that did not interest commercial firms. This was also the case in Finland. Even though Finnish Broadcasting Company Yleisradio, known as Yle, was not actually a state corporation but a license-based joint-stock company, it was a public service that had a total monopoly on the Finnish radio waves.

Volker Kriegel - Lost Tapes: Mainz 1963-1969 (2013) {2CD Set Jazzhaus 101 726}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 707 Mb | MP3 @320 -> 326 Mb
Full Artwork @ 600 dpi (png) -> 463 Mb | 5% repair rar
© 1963-69, 2013 SWR / Jazzhaus | 101 726
Jazz / Bop / Cool / Guitar

The complete - and previously unheard - early work of a later celebrated jazz guitarist recorded in first-class audio quality and produced by SWF-Landesstudio Rheinland-Pfalz in Mainz, as it was then known. It is fascinating to discover the sources from which Volker Kriegel - just 19 years old at the time of the first session - derived inspiration for some of the best known jazz standards: John Lewis' Django, a relaxed Thelonious Monk (Rythm-A-Ning), Autumn Leaves, Norwegian Wood, and other down-tempo numbers of the bop and beat era before discovering his personal laid-back style.

Pax is one of those seminal Andrew Hill albums that sat locked in Blue Note's vaults for a decade before the first five cuts here were finally released as part of a double-LP package in 1975 entitled One for One. The final pair, recorded at the same time, didn't see the light of day until they appeared on the limited-edition Mosaic Select Blue Note recordings a decade after that. The personnel on this disc is a dream band: Hill with Joe Henderson, Freddie Hubbard, Richard Davis, and Joe Chambers. All of the these players but Hubbard had played with Hill before, and the telepathy is simply synchronistic. The opening cut, "Eris," is a sprawling blues clocking in at nearly 11 minutes. Full of Hill's knotty harmonics, and truly fiery playing by Hill and Hubbard, it's one of Hill's finest moments on record from the mid-'60s…