Complete Guitarist

Sharon Isbin is a multiple Grammy Award winning American classical guitarist and the founding director of the guitar department at the Juilliard School. Described by the Boston Globe's Michael Manning as a musician who plays "beyond virtuosity," guitarist Sharon Isbin has been a consistent challenge for critics, who struggle to find the right superlative that would do justice to her exquisite playing. A Renaissance woman of the guitar, Isbin performs worldwide at famous venues, commissions new works from distinguished American composers (more than any other guitarist) for her instruments, collaborates with a wide variety of musicians, and indefatigably searches for new music to play.

Grant Green & Baby Face Willette - Trio/Quartet - Complete Recordings (2014) {2CD American Jazz Classics 99103 rec 1961-62}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 916 Mb | MP3 @320 -> 367 Mb
Full Artwork @ 600 dpi (jpg) -> 274 Mb | 5% repair rar | 24bit remaster
© 1961-62, 2014 Blue Note / American Jazz Classics | 99103
Jazz / Hard Bop / Soul Jazz / Guitar / Organ

This release presnts all of Grant Green and Baby Face Willette's collaborative albums as leaders. Recorded in 1961-62, they consist of the LP "Grant's First Stand" (Blue Note BST-84064), issued under the guitarist's name, and “Baby Face” Willette's albums "Face to Face" (Blue Note BST-84068) and "Stop and Listen" (Blue Note BST-84084). Other than their three LPs as leaders, Green and Willette only recorded together on Lou Donaldson's album Here ‘Tis, from which it has been added the title song, a long blues, as a bonus.

Atlanta street singer Peg Leg Howell wasn't really much of a guitarist, but his songs, many of which were made up of fragments of street vendor calls and other pre-blues material, have a sort of greasy and rough-hewed grace to them, and when combined with Eddie Anthony's careening fiddle runs, achieved a distinct sound (part string band, part hokum jug band) all too rare in early blues. His "Skin Game Blues" is a poignant and perfectly nuanced classic in the genre, while "Coal Man Blues"……

The bass has seen its share of extraordinary innovators in the hundred-plus years of jazz history. Stanley Clarke, much like such hallowed figures as Jimmy Blanton, Charles Mingus and Scott LaFaro, was a game changer on his instrument. Unlike those who came before him though, Clarke helped alter the nature of both the acoustic and electric configurations of the bass. His groundbreaking work of the 1970s has been so integrated into the very fabric of modern jazz bass playing that a return visit to his own brilliant recordings can be nothing less than a revelatory listening experience.

For generations, Sidney Bechet's legacy of great jazz recordings has been reissued carefully, both casually and haphazardly. One of several chronological options, the 12-volume Masters of Jazz "Complete Edition" takes a most exactingly thorough approach, mapping Bechet's every appearance in the recording studio, week by week and session by session, regardless of who was initially designated as the primary artist. 1923, Vol. 1 in the series covers a four-month period from late July to early November 1923…