Yesterdays New Quintet'

At the beginning of 2010, Medicine Show No. 1: Before the Verdict kicked off what was planned to be a monthly 12-volume series from the underground hip-hop producer. Volumes were themed, with reggae, Brazilian pop, jazz, marijuana dispensaries, and rapper Guilty Simpson all figuring into the mix. With only a few delays, the series wrapped up in 2012, with a "secret" No. 13 also seeing release that same year. The Brick collects it all with simple shrink-wrap and no bonuses to speak of, and while the revered Madlib draws the kinds of fans who would have pre-booked every release ahead of time, latecomers get an easy pickup and instant karma overflow when it comes to coolness. Dive in or keep out, but if you like edgy, dense hip-hop productions that billow out of the speakers like the best Indo smoke you've ever exhaled, best to dive in.

Ahmad Jamal - Trio and Quintet Recordings With Ray Crawford (2016) {2CD Set, Él–Cherry Red rec 1955-1961}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 584 Mb | MP3 @320 -> 368 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 1955-61, 2016 Él / Cherry Red Records | ACMEMD309CD
Jazz / Cool / Straight-Ahead Jazz / Piano / Guitar

The complete, legendary recordings made by Ahmad Jamal with the guitarist Ray Crawford in Trio and Quintet context. ‘Listen to the way Jamal uses space. He lets it go so that you can feel the rhythm section and the rhythm section can feel you. It’s not crowded. Ahmad is one of my favourites. I live until he makes another record.’ Miles Davis, 1958. The complete, legendary recordings made by Ahmad Jamal with the guitarist Ray Crawford in Trio and Quintet context. Jamal’s trios are considered to be amongst the most important in the history of jazz, creating unique articulations of space, openness and light, which still seem so far ahead of their time and which made such a profound impression on Miles Davis and his arranger, Gil Evans.

Johnny Smith's best-known album, 1952's Moonlight in Vermont (also the title of his signature song), assured the guitarist a place in jazz history. While saxophone legend Stan Getz is a prominent guest on the record, and certainly threatens to steal the show on numerous occasions, the spotlight never strays too far from Smith, who easily entrances with his supremely laid-back style…

Miles Davis - The Complete Live At The Plugged Nickel 1965 (1995) {8CD Box Set Columbia CXK 66955}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.72 Gb | MP3 @320 -> 1.04 Gb
Full Artwork @ 300 dpi (jpg) -> 38 Mb | 5% repair rar
© 1965, 1995 Sony Music / Columbia / Legacy | CXK 66955
Jazz / Hard Bop / Modal Music / Post Bop

This eight-CD set captures Miles Davis's second great quintet at its fiercest, loose with both the blossoming of familiarity between the players and the broadness of its attacks on the mostly well known tunes the group called during two nights at Chicago's Plugged Nickel in 1965. And you can hear it all, from "The Theme" that closed the quintet's sets to multiple, radically different takes of several tunes. Davis formed this band with just its heated potential in mind, opting for youth in Wayne Shorter's tenor sax, Herbie Hancock's piano, Ron Carter's bass, and, especially, Tony Williams's unlocked rhythmic energy.

These recordings established Jimmy Raney (1927-1995) as a leading modern jazz guitarist, and introduced two potentially major young jazz talents: trumpeter John Wilson, and altoist Phil Woods.
Raney was both a maturely thoughtful and emotionally honest mind. As a result, he avoids effects as an end in themselves, and whatever he played in a jazz session, he felt. Thereby he communicated directly to the listener whether his communicative materials were complex or simple. He was a man of calmly exciting conception. - Fresh Sounds Records

In 1950, when he was only 23 years, Stan Getz, which had been leading his own jazz quartet, had to attend a contract in the living Bop City of New York for which expanded its group incorporating guitarist Jimmy Raney, who was recognized as one of the most influential and talented in jazz guitar. The original concept of Raney in the melodic lines and tasteful modern harmony provided Getz the basis for developing and improving their own performance. The music created both for the next two years, while they worked together, made a great impression in the world of jazz. The compilation of these recordings of the time is an excellent example of the high level reached both artists night after night in their performances.

Quite a rare set from this important Swedish player - one recorded in Sweden by Metronome, but issued here in the US on the short-lived East-West imprint of Atlantic. The tracks all feature Gullin on baritone sax - in a variety of settings that range through quartet, quintet, sextet, octet, and big band. As always, Lars pulls far more out of the instrument than any of his contemporaries could hope to - and the backing he gets from Swedish modernists like Arne Domnerus, Rune Ofwerman, Bert Dahlander, and Sven Ake Persson really help keep things moving along at a strong pace.