Taga Jones le Poignard

Thad Jones & Mel Lewis - The Thad Jones / Mel Lewis Quartet (1977) {A&M CD-0830 rel 1989 remastered}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 352 Mb | MP3 @320 -> 149 Mb
Full Artwork @ 300 dpi (png) -> 40 Mb | 5% repair rar | digitally mastered
© 1977, 1989 Artists House / Fantasy Records / A&M Records | CD-0830
Jazz / Hard Bop / Post Bop / Cornet / Piano Trio

This is one of the finest small-group sessions of cornetist Thad Jones' career. With strong and very alert assistance from drummer Mel Lewis (his co-leader in their celebrated big band), pianist Harold Danko, and bassist Rufus Reid, Jones plays at his peak on six standards, two of which were issued for the initial time on this CD reissue. Four of the songs are at least nine minutes long (two are over 15 minutes), yet Jones never loses his momentum. The musicians constantly surprise each other and there are many spontaneous moments during this often brilliant outing.

Quincy Jones - Complete Recordings 1960-1962 (2014) {4CD Set Enlightenment EN4CD9010}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.72 Gb | MP3 @320 -> 668 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 1960-62, 2014 Enlightenment | EN4CD9010
Jazz / Modern Big Band / Progressive Big Band

It was during the 1960s that Quincy Jones became a world renowned Jazz musician and composer of film soundtracks, but it was not until about the middle of the decade that success of this nature began to come his way, soon after he had composed the score for Oscar nominated The Pawnbroker. Indeed, during the first few years of the 1960s he lived as a working musician, bandleader and the musical director of Barclay Records - the French imprint of Mercury - but could barely earn enough to pay the bills. This however, did not prevent Quincy from continuing to perform and release music of a quite superlative nature.

As complete sets of Brahms piano music go, it's hard to get more complete than this set by Martin Jones on Nimbus. Jones includes not only the canonical two Rhapsodies, three Sonatas, four Ballades, six sets of variations, ten Hungarian Dances, sixteen Waltzes and twenty-eight short piano pieces, but also the almost forgotten sarabandes, gigues, gavottes, studies, canons and transcriptions. Listeners looking for the most complete Brahms available need look no further. Listeners who do look no further, however, will have to settle for good but by no means great performances. Jones has a big tone coupled to an impressive technique and many of his performances are quite fine. But too often here he seems to be merely going through the motions, turning in accomplished but unexciting sometimes even dutiful performances. When extroverted virtuosity is called for in the Paganini Variations, Jones is almost but not altogether on top of the notes.

"I was trying to find the thread that connects one type of music - one type of musician - toanother, and to follow that thread in some kind of natural, evolutionary way." - (Tom Jones on the "This Is Tom Jones' TV show)
In the handful of years that the show aired on television, a host of famous actors, comedians and singers graced the stage. After it made its debut appearance, the programme went on to have two more series with a total of 65 episodes by the time it came to an end in 1971. Perhaps most impressive was the calibre of musical talent that Jones managed to book for the show. The series’ ran from 1969 to 1971 and saw him singing with everyone from Jerry Lee Lewis to Crosby, Stills, Nash & Young. Jones’ authenticity as a singer and performer shine through on these prized duets that often highlighted his own musical tastes which were varied and eclectic. London Calling revisits these incredible performances, made for prime time television audiences in the UK and USA over 50 years ago. Featuring an array of exclusive performances from iconic artists in the captivating company of the one and only Tom Jones! Fully restored and professionally remastered original TV broadcasts, presented with background notes and timeline photos.

Norah Jones named her eighth proper studio set Visions because many of the musical ideas occurred to her in the middle of the night, right when her consciousness was hazy: they weren't fully realized so much as an apparition. That sense of dreaminess carries through to the finished product but not in ways that are commonly associated with such a description. Far from being an album constructed for twilight hours – a dimly lit excursion into mood music – Visions is clear and light, its textures vividly articulated and its rhythms mellow and fluid. It's music that feels alive, inhaling and exhaling with a gentle insistence; it's never rushed, never clipped. Despite the record's inherent relaxation, Visions never quite proceeds in a linear path.