Gary Burton Live at Midem 1981

Gary Burton - Live In Cannes (1981) {Jazz World ‎JWD102.214 rel 1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 242 Mb | MP3 @320 -> 125 Mb
Full Artwork @ 300 dpi (png) -> 54 Mb | 5% repair rar
© 1981, 1995 Jazz World / Intermusic / Movieplay | ‎JWD 102.214
Jazz / Post Bop / Vibes

This eight track (52 minutes) album is from an '81 concert in Cannes, France. The sound is very good–crisp and clean sounding with a slight warmth that's very agreeable. Needless to say this is another live set of some great Burton playing. The tunes with Jamal give a nice foundation for Burton, and there's some audience clap-along in the beginning of "One" but that soon ends. "No More Blues" is another good solo spotlight for Burton and he does a very fine job on this tune. On "The Night…" the rhythm section is very good–both Michelot and Humair are very fine at setting a good foundation for Burton while subtly pushing the tune along. "Autumn…" is one of the better tunes here from this particular group with Jamal, with everything coming together nicely.

Larry Bunker Quartette featuring Gary Burton - Live at Shelly's Manne-Hole (1963) {Vault–EMG remastered, rel 2011}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 207 Mb | MP3 @320 -> 102 Mb
Full Artwork @ 300 dpi (jpg) -> 13 Mb | 5% repair rar
© 1963, 2011 Vault / Essential Media Group
Jazz / Cool / Post Bop / Drums / Vibes

The versatile West Coast jazz drummer, vibraphonist and percussionist Larry Bunker is featured here leading an amazing quartet featuring world renowned vibraphonist Gary Burton; Mike Wofford (piano) and Bob West (bass); recorded live in 1967 at the famous West Coast jazz club, Shelly's Manne-Hole, founded by the legendary jazz drummer Shelly Manne, featuring compositions by Mike Gibbs, Cole Porter, Phil Woods, Jerome Kern and others. All selections newly remastered.

In 1983 when this performance was taped in Cannes, France during the Midem Festival, B.B. King was carrying one of the best bands of his entire career. Under the leadership of trumpeter Calvin Owens the band were tight and concise supporting B.B's stinging guitar and vocals to exceptional effect. These workouts on many of his greatest hits are the perfect introduction to the King of the Blues.

In 1983 when this performance was taped in Cannes, France during the Midem Festival, B.B. King was carrying one of the best bands of his entire career. Under the leadership of trumpeter Calvin Owens the band were tight and concise supporting B.B's stinging guitar and vocals to exceptional effect. These workouts on many of his greatest hits are the perfect introduction to the King of the Blues.

This live album, recorded circa 1980 at London's Marquee Club, is a mixed bag, featuring material from Gary Moore's 1979 solo album Back on the Streets and his band project G Force. Most impressive, perhaps, is the incredible musicianship in this performance from Moore and drummer Tommy Aldridge. Besides rocking out with "Back on the Streets" and "Run to Your Mama," the band locks into a great groove on "She's Got You." But they reach an absolute peak with a beautiful rendition of Moore's first U.K. hit, the instrumental ballad "Parisienne Walkways," a melody so lovely that Moore plagiarized himself 12 years later, tweaking it only slightly to create his hit "Still Got the Blues."

Power guitarist Gary Moore's Live at Monsters of Rock is a dream come true for every guitar freak out there. Teamed with his trio of Cass Lewis and Darrin Mooney, Moore turns it up to 14 and powers his way through razored, crunching covers of the Yardbirds' "Shapes of Things" and Free's "Wishing Well" before delving into his own rather voluminous catalog. Performances of the riff-laden "Rectify," the bluesed-out "Stand Up," and the completely adrenaline-fueled metal of "Out in the Fields" take this over the top. But the final track, a deeply moving version of "Pariesienne Walkways," is a fitting tribute to the tune's original vocalist and former Thin Lizzy bandmate Phil Lynott. There is nothing but pure power here – no restraint, no mixing, no overdubs, nothing but pure Monsters of Rock power. This is the guitar record Moore had been promising his entire career.