C.a. Quintet

VA - Rolling Stone Rare Trax Vol. 47: Another Time Another Planet - A Journey Into A Far-Out Sound
EAC+LOG+CUE | FLAC: 213 MB | Full Artwork | 5% Recovery Info
Label/Cat#: None, Promo | Country/Year: Germany 2006
Genre: Rock | Style: Space-, Experimental-, Alternative Rock

RARE TRAX is a continued series of promotional samplers given away with the german edition of Rolling Stone magazine since the 1990's and has reached volume 80 already. Each version covers a special topic and presents lesser known songs and/or artists.

Now regarded as one of the most iconic figures in jazz history, back in the late 1950s John Coltrane was a regular ""gun for hire"" participating in many sessions by studio-assembled bands led by a wide array of leaders. None were more unusual than the two albums he recorded with Ray Draper, a truly unique exponent of modern jazz tuba. Although still in his teens, the prodigal brassman was already a member of drummer Max Roach's group and had begun to emerge as an equally promising composer, highlighted by the number of themes from his pen featured on these two sets. Recorded during Coltrane's celebrated ""sheets of sound"" period, Draper's brace of albums are noteworthy for their inclusion of three compositions written by the other twin-peak of modern jazz saxophone, Sonny Rollins, two of which Coltrane did not record elsewhere.

Doug Sahm once sang, "You just can't live in Texas if you don't have a lot of soul," and, as a proud son of the Lone Star state, he seemed bent on proving that every time he stepped in front of a microphone. Whether he was playing roots rock, garage punk, blues, country, norteño, or (as was often the case) something that mixed up several of the above-mentioned ingredients, Doug Sahm always sounded like Doug Sahm – a little wild, a little loose, but always good company, and a guy with a whole lot of soul who knew a lot of musicians upon whom the same praise could be bestowed. Pulling together a single disc compilation that would make sense of the length and breadth of the artist's recording career (which spanned five decades) would be just about impossible (the licensing hassles involved with the many labels involved would probably scotch such a project anyway), but this disc, which boasts 22 songs recorded over the course of eight years, is a pretty good starter for anyone wanting to get to know Sahm's music.

Bill Barron - Quintet & Sextet (1961-1962) {2012 2CD Savoy Jazz-Fresh Sound Records FSR-CD 707}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 885 Mb | MP3 @320 -> 331 Mb
Full Artwork @ 300 dpi (jpg) -> 20 Mb | 5% repair rar
© 1961-62, 2012 Savoy / Fresh Sound Records | FSR-CD 707 | 24bit remaster
Jazz / Hard Bop / Saxophone

The three albums tenorman Bill Barron made as a leader for Savoy Records in early 60s embody every facet of this accomplished jazzman as a talented soloist, composer and arranger. And, despite the similarities in their harmonic ideas, Barron was not a slavish disciple of John Coltrane.

Now regarded as one of the most iconic figures in jazz history, back in the late 1950s John Coltrane was a regular ""gun for hire"" participating in many sessions by studio-assembled bands led by a wide array of leaders. None were more unusual than the two albums he recorded with Ray Draper, a truly unique exponent of modern jazz tuba. Although still in his teens, the prodigal brassman was already a member of drummer Max Roach's group and had begun to emerge as an equally promising composer, highlighted by the number of themes from his pen featured on these two sets. Recorded during Coltrane's celebrated ""sheets of sound"" period, Draper's brace of albums are noteworthy for their inclusion of three compositions written by the other twin-peak of modern jazz saxophone, Sonny Rollins, two of which Coltrane did not record elsewhere.

Listeners who think they know Schubert's popular Quartettsatz in C minor and String Quintet in C major should try this 2008 recording of those works by the Artemis Quartet. The driving Quartettsatz beginning the disc is justly famous for inaugurating Schubert's maturity as a chamber music composer, but the tender Andante following it here is a rarely recorded fragment that would have furnished the Quartettsatz with a slow movement had Schubert completed the movement.