Kenny Drew i Love Jerome

This CD reissue of a Kenny Dorham session that was originally on the Time label features the talented trumpeter and an all-star quintet (with Jimmy Heath on tenor, pianist Kenny Drew, bassist Jimmy Garrison and drummer Art Taylor) playing six famous themes from the Jerome Kern play Show Boat. All of the melodies ("Why Do I Love You?," "Nobody Else but Me," "Can't Help Lovin' Dat Man," "Make Believe," "Ol' Man River" and "Bill") are heard in likable and swinging versions. This is one of Dorham's better sessions from the era and is easily recommended to his fans and collectors of hard bop.

John Coltrane - Blue Train (1957) {2014 Japan SHM-CD Blue Note 24-192 Remaster TYCJ-81001}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 516 Mb | MP3 @320 -> 159 Mb
Full Artwork @ 600 dpi (png) -> 262 Mb | 5% repair rar | 24bit 192kHz remaster
© 1957, 2014 Universal Japan / Blue Note / Capitol | BN 75th The Masterworks | TYCJ-81001
Jazz / Hard Bop / Saxophone

Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Blue Train" for the first time in the world. Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train – Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry – touching upon all forms in between.

Paul Quinichette - The Vice Pres (1951-1954) {EmArcy–Verve Elite 314 543 750-2 rel 2000
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 248 Mb | MP3 @320 -> 165 Mb
Full Artwork @ 300 dpi (jpg) -> 42 Mb | 5% repair rar
© 1951-54, 2000 EmArcy / Verve Elite Edition | 314 543 750-2
Jazz / Bop / Mainstream Jazz / Saxophone

Paul Quinichette was known as "the Vice Pres" because he sounded so similar to Lester Young ("Pres") during the 1950s. Despite that fault (his lack of originality), Quinichette was quite creative and swinging within Young's style and his recordings were consistently rewarding during the era.