Black Magic 1949

Novelist Alexander Dumas tells his writer-son of Joseph Balsamo, a gypsy boy in southern France who was embittered because his parents were wrongfully hanged and he himself was tortured by the order of Viscount de Montagne. Years later, the man, a carnival charlatan, attracts the attention of Dr. Mesmer, a pioneer in the study of hypnotism. Balsamo rejects Mesmer's plea that he use his power for healing and, instead, decides to use it to seek wealth and fame.

Bud Powell - The Complete Bud Powell on Verve (1994) {5CD Set Polygram 314521669-2 rec 1949-1956}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 847 Mb | MP3 @320 -> 634 Mb
Full Artwork @ 600 dpi (jpg) -> 599 Mb | 5% repair rar
© 1949-56, 1994 Mercury / Clef / Norgran / Verve / Polygram | 314 521 669-2
Jazz / Bop / Piano

This five-CD deluxe set contains an impressive 150-page booklet and reissues every scrap of music that the innovative pianist Bud Powell recorded for Verve. The first disc has the best music, four truly outstanding sessions from 1949-51. The other performances (trio sides from 1954-56) are much more erratic, particularly the alternate takes, with gems followed by completely lost solos. Bop fans will want this set but more general collectors are advised to pick up the Blue Notes first.

Tiny Grimes was one of the earliest jazz electric guitarists to be influenced by Charlie Christian, and he developed his own swinging style. Early on, he was a drummer and worked as a pianist in Washington. In 1938, he started playing electric guitar, and two years later he was playing in a popular jive group, the Cats and the Fiddle. During 1943-1944, Grimes was part of a classic Art Tatum Trio which also included Slam Stewart. In September 1944, he led his first record date, using Charlie Parker; highlights include the instrumental "Red Cross" and Grimes' vocal on "Romance Without Finance (Is a Nuisance)." He also recorded for Blue Note in 1946, and then put together an R&B-oriented group, "the Rockin' Highlanders," that featured the tenor of Red Prysock during 1948-1952. Although maintaining a fairly low profile, Tiny Grimes was active up until his death, playing in an unchanged swing/bop transitional style and recording as a leader for such labels as Prestige/Swingville, Black & Blue, Muse, and Sonet.

VA - A Time To Remember 1940-1949: 10 CDs each one including an exclusive 20-track music compilation of original hit recordings by the original artists.

Dizzy Gillespie Big Band - Algo Bueno - The Complete Bluebird/Musicraft Recordings & The Pleyel Concert (1946 - 1949)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 717 Mb | MP3 @320 -> 359 Mb
Full Artwork @ 600 dpi (jpg) -> 21 Mb | 5% repair rar
© 1946-49, 1999 Definitive Records / Disconforme | DR2CD 11138
Jazz / Big Band / Bop / Latin Jazz / Trumpet

This double CD collects all of the Dizzy Gillespie Big Band sides from 1946-1949 for the Bluebird and Musicraft labels, including seven previously unissued cuts. These bands were renowned for their hard-swinging styles that accented the toughness of bebop wailing R&B and Latin/Cuban grooves. Some of Diz's sidemen included Milt Jackson, Cecil Payne, Ray Brown, Willie Bobo, Yusef Lateef, Johnny Hartman, Leo Parker, John Lewis, Sonny Stitt, Kenny Dorham, James Moody, Ernie Henry, Al McKibbon, and dozens of others. Here are formidable versions of "Two Bass Hit," "Cubana Bop," "Jump Did-Le-Ba," "Oop-Pop-A-Da," and many others. In addition to the studio sides there is an entire Paris concert included from a radio transcription, making these sides indispensable. The only downside is the lack of liner notes – though full session notation is included.

Material from the Dave Brubeck Trio & Quartet Fantasy era recorded during the period of 1949 - 1954. The 4 CD release includes an integral booklet in several languages.
In the 1950s and '60s, few American jazz artists were as influential, and fewer still were as popular, as Dave Brubeck. At a time when the cooler sounds of West Coast jazz began to dominate the public face of the music, Brubeck proved there was an audience for the style far beyond the confines of the in-crowd, and with his emphasis on unusual time signatures and adventurous tonalities, Brubeck showed that ambitious and challenging music could still be accessible…