It's ok

Bamako-based producer/educator Paul Chandler has been documenting the sonic and cultural complexities of Malian traditional music for more than a decade and “Every Song Has Its End” is an out-of-time, visceral collection of sounds from Chandler’s unparalleled archive.

Charles Mingus - Music Written for Monterey, 1965, Not heard…played in its entirety at UCLA, September 25, 1965 (2006)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 462 Mb | MP3 @320 -> 212 Mb | Artwork | 5% repair rar
© 1965, 2006 Sue Mingus Music / Sunnyside Communications | 984 275-9
Jazz / Post Bop / Progressive Jazz

The back story behind this concert CD is that, in September 1965, Charles Mingus performed at the Monterey Jazz Festival. He had done so triumphantly well the year before, however, Mingus' 1965 set was inexplicably cut short at a half-hour (Mingus himself claims 20 minutes) and so the material he had planned for the event, much of it newly composed, was instead unreeled at UCLA a week later. Mingus later pressed a couple hundred copies of the performance into a self-released two-LP set, but the master tape was hence destroyed and the album basically forgotten until its release on CD by Mingus' widow Sue in 2006.

The combination of Damian Wilson and Adam Wakeman has never disappointed and this eloquent album continues that trend. Key to their artistic success is an understanding of songwriting and a defiant resistance against overplaying…

Bill Bruford - If Summer Had Its Ghosts (1997) {Discipline Global Mobile DGM9705}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 271 Mb | MP3 @320 -> 117 Mb
Full Artwork @ 300 dpi (jpg) -> 14 Mb | 5% repair rar
© 1997 Discipline Global Mobile / Bill Bruford | DGM970
Jazz / Fusion / Modern Creative / Post Bop / Drums

On If Summer Had Its Ghosts, a primarily acoustic trio recording, drummer Bill Bruford, bassist Eddie Gómez, and pianist/guitarist Ralph Towner create some lush, wondrous, spontaneous and melodic music. It has jazz roots, improvisational branches, and elfin extensions. There's no gimmickry or pretension, although Bruford does add some sampled colors, and Towner overdubs his instruments as well as throwing in a pinch of electronic keyboards. What you basically hear is Bruford's newest and freshest music, interpreted and extrapolated upon by three virtuosos in mellifluous interactive conversation. At their most swinging, as on the lively, four/four, tick-tock, light rimshot, mid-tempo swing of the title track, they are telepathic, with Towner effortlessly switching from acoustic 12-string to piano and Gómez laying down soulful, full, deep bass punctuations.

The combination of Damian Wilson and Adam Wakeman has never disappointed and this eloquent album continues that trend. Key to their artistic success is an understanding of songwriting and a defiant resistance against overplaying. Instead, the songs collected here are raw and direct, with the arrangements deliberately restrained and infused with a simple beauty. Laugh In Time is a seductive ballad that’s reminiscent of Cat Stevens at his finest, and the darkly amusing Blackpool Clip Joint Racket possesses the grandeur of early Billy Joel. Indeed, throughout The Sun Will Dance In Its Twilight Hour, there’s a rare consistency to the music, which mixes a contemporary approach with early-70s concise inspiration. Opener The Last American Hero, with an impossibly catchy chorus, is an upbeat tale of an airman and astronaut, and On This Battlefield is similarly direct. The inclusion of Travis guitarist Andy Dunlop alongside seductive strings only enhances the appeal. Impeccably pitched and performed, it’s an album with the potential – given the right exposure – to cross over to mass public appeal.