Sonny Clark

The original line on Gary Clark, Jr. was that the young Texas guitarist was supposed to be the future of the blues, having been mentored by Jimmie Vaughan and Eric Clapton, but as his star rises, Clark has made it increasingly clear that his creative ambitions run a lot deeper than being the next hotshot guitar slinger. On his major-label debut, 2012's Blak and Blu, Clark demonstrated he isn't interested in following the path of blues traditionalists, and while there's plenty of great guitar work on 2015's The Story of Sonny Boy Slim, this is by no means a conventional blues album.

The original line on Gary Clark, Jr. was that the young Texas guitarist was supposed to be the future of the blues, having been mentored by Jimmie Vaughan and Eric Clapton, but as his star rises, Clark has made it increasingly clear that his creative ambitions run a lot deeper than being the next hotshot guitar slinger. On his major-label debut, 2012's Blak and Blu, Clark demonstrated he isn't interested in following the path of blues traditionalists, and while there's plenty of great guitar work on 2015's The Story of Sonny Boy Slim, this is by no means a conventional blues album.

Various Artists - From Modern Jazz To New Thing (1957-1959) - La Grande Histoire Du Jazz Vol. 4 (2010) {Box 25CD - 100 of 100}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 11.5 Gb | MP3 @320 -> 5.02 Gb
Full Artwork @ 300 dpi (png) -> 745 Mb | 5% repair rar
© 1957-59б 2010 Le Chant du Monde | 574 1975.99
Jazz / Hard Bop / Modal Music / Third Stream

An epic 100 CD chronological documentation of the history of jazz music from 1898 to 1959, housed in four boxed sets. Each box contains 25 slipcase CDs, a booklet (up to 186 pages) and an index. The booklets contain extensive notes (Eng/Fr) with recording dates and line-ups. 31 hours of music in each box, totalling 1677 tracks Each track has been restored and mastered from original sources.

ESOTERIC proudly introduces a new series of re-master collcection - A great Jazz collection from Blue Note rebel. The reissue of historical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. These new audio versions feature ESOTERIC′s proprietary re-mastering process to achieve the highest level of sound quality.

The Buddy DeFranco Quartet - In A Mellow Mood (1954) {2013 Japan Jazz The Best Series 24-bit Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 251 Mb | MP3 @320 -> 104 Mb
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© 2013 Verve / Universal Japan | UCCU-9954
Jazz / Bop / Clarinet

In Memoriam. RIP Mr. Buddy. Buddy De Franco, a highly accomplished and exquisite jazz clarinetist who began his career in several leading swing bands of the 1940s before pivoting to bebop in the late 1940s and early '50s and teaming with leading jazz artists throughout the LP era, died on Dec. 24. He was 91. The album may be laidback, but it's hardly mellow at all – thanks to the presence of Sonny Clark on piano! The session's one of those great 50s pairings of Clark's piano and the clarinet of Buddy DeFranco – proof not only that Buddy could sound pretty darn soulful when he wanted, but also that he was always willing to grow and bring in some new ideas to his music.

Various Artists - Blue Note Explosion: New York Is Our Home (2008) [2CD] {Blue Note}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 906 Mb | MP3 @320 -> 315 Mb
Full Artwork @ 600 dpi (jpg) -> 130 Mb | 5% repair rar
© 2008 Blue Note / Capitol / EMI | 50999-521433-0-4
Jazz / Hard Bop

New York Is Our Home brings together twenty tracks recorded by Blue Note artists between 1953-58 which helped shape the hard bop template. The compilation includes a handful of acknowledged early classics, but also some primo lesser-known tracks. Hard bop was at the apex of African-American culture from 1955 to around 1965, when rock and soul drove it from the throne. By the time it declined, the music was heavily, often excessively codified. Between 1954-57, however, when most of the tracks on New York Is Our Home were recorded, everything was still to play for. Horace Silver may be the pianist on ten of these tracks, and Art Blakey the drummer on eight, but the only thing that runs through all of them is African-centric energy, as received through blues and gospel. Beyond that, individual expression is key.