John Grant

Grant Green - The Latin Bit (1962) {Blue Note CDP 8376452 rel 1996, Ron McMaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 429 Mb | MP3 @320 -> 142 Mb
Full Artwork @ 600 dpi (jpg) -> 24 Mb | 5% repair rar
© 1962, 1996 Blue Note / Capitol | CDP 7243 8 37645 2 5
Jazz / Hard Bop / Soul Jazz / Guitar

Grant Green, being known mainly as a soul jazz guitarist, eventually gravitated into the popular boogaloo sound. The Latin Bit is the natural bridge to that next phase, though a bit premature for most in 1961-1963, even relative to the subsequent bossa nova craze. Pianist Johnny Acea, long an underrated jazzman, is the nucleus of this session, grounding it with witty chops, chordal comping, and rhythmic meat. The Latino rhythm section of drummer Willie Bobo and conga player Carlos "Patato" Valdes personify authentic, seasoned spice, while at times the chekere sound of Garvin Masseaux makes the soup too thick.

Grant Green - For The Funk Of It (1969-1971) {Blue Note 7243 5 60141 2 1 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 302 Mb | MP3 @320 -> 109 Mb
Full Artwork @ 300 dpi (jpg) -> 36 Mb | 5% repair rar
© 1969-1971, 2005 Blue Note / Capitol | 7243 5 60141 2
Jazz / Soul Jazz / Jazz Funk / Guitar

For the Funk of It is the second thematically focused volume in Blue Note's Original Jam Master Series that draws from guitarist Grant Green's late-period recordings for the label, from 1969 to 1972. Some of the players involved in these sessions include drummer Idris Muhammad, saxophonist Claude Bartee, Jr., Cornell Dupree (rhythm guitar), percussionists Hall Bobby Porter and Ray Armando, bassist Chuck Rainey, organist Emanuel Riggins, and many others. The material here is less bombastic than the soul and funk covers on Green's Ain't It Funky Now!, but they are still deep in the jukebox soul-jazz groove that was rapidly disappearing during the era.

Featuring 15 tracks of the month’s best new music by John Cale, The Dirty Three, Linda Thompson, The Folk Implosion, John Grant, Cassandra Jenkins, Eiko Ishibashi, Bill MacKay and more.

Having earned his composing stripes after the 1960s, John Adams had the pioneering work of Steve Reich, Philip Glass, and Terry Riley close at hand as he ventured into his trade. And, while minimalism's historical continuum helps place Adams, he used Reich, Glass, and Riley (among others) only as a starting point. And here's proof: a 10-CD retrospective of nearly all Adams's recorded compositions on Nonesuch Records, the label that also issued Steve Reich 1965-1995 and Kronos Quartet: 25 Years. Adams's Harmonium, a choral work of startling energy and effervescence, appears here in a new recording, as do distillations of both The Death of Klinghoffer and Nixon in China, two path-clearing operas.

Locus iste celebrates two milestones for the Choir of St John’s College, Cambridge: as well as 2019 marking the 150th anniversary of the consecration of the college chapel, this release is coincidentally the choir’s 100th recording – 60 years on from George Guest’s iconic first recording of ‘Hear my prayer’ for Argo, released in 1959.