Junior Kimbrough - God Knows I Tried (1998)

Si vous essayez de restreindre le blues du Junior Kimbrough sous la marque de Delta Blues ou Chicago Blues, je vous assure que vous n'y arriverez pas! C'est un style à part entière : Hypnotic Blues! God Knows I tried est un album posthume qui présente des performances bien différentes du Junior mais qui convergent vers un point caractéristique de ce Bluesman : Saturation du son et Trance. Appréciez le génie de Kimbrough qui a forgé une carrière atypique!

Tracklist :

 1. You're Gonna Find Your Mistake   3:23

 2. How Do You Feel   3:31

 3. I Gotta Try You Girl   5:27

 4. I'm In Love With You   3:44

 5. I Cried Last Night   3:30

 6. Keep On Braggin   5:19

 7. Tramp   5:40

 8. All Night Long  (Instrumental)  6:25

 

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The Cannonball Adderley Quintet - Mercy, Mercy, Mercy : Live At "The Club" (1960)

Mercy, Mercy, Mercy incarne parfaitement l'âme du Hard-Bop. Il était enregistré dans un club à Los Angeles (et non pas au "The Club", un jazz bar à Chicago) où les boissons étaient offertes par la maison. Quoi d'autres pour mettre l'audience dans le bain?! Cannonball Adderley a signé une démonstration magistrale de son talent unique en répandant une bonne humeur et une énergie positve dans la salle. Ce n'est pas étonnant que "Mercy, Mercy, Mercy" soit  l'album le plus populaire de Connonball. Donc, préparez-vous car , apès l'écoute de cet album, vous serez emportés par une sensation irrésistible de jouissance et jubilation.

Tracklist :

 1. Introduction - Fun   8:27

 2. Games   7:19

 3. Mercy, Mercy, Mercy    5:11

 4. Sticks   3:54

 5. Hippodelphia   5:50

 6. Sack O'Woe   10:29

Credits :

Connonball Adderley - Sax Ténor

Nat Adderley - Cornet

Victor Gaskin - Contrebasse

Joe Zawinul - Piano , Piano éléctrique Wurlitzer

Roy McCurdy - Batterie

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Klazz Brothers And Cuba Percussion Mit Münchner Rundfunkorchester - Classic Meets Cuba : Symphonic Salsa

When Classic meets Latino , only one comment can be said : " That's the way how magic can happen". Highly Recommended!

Tracklist : 

 1. Cuban Sugar (after Tschaikowsky's Nußknacker Suite - Danse Caractéristi)   4:23

 2. Mambozart (after Mozart's Symphony No. 40)   4:30

 3. El Cisne Triste (after Tschaikowsky's Schwanensee & Chopin's Trauermarsch)    5:57

 4. Hochzeitsmarsch (after Mendelssohn's Hochzeitsmarsch)    4:10

 5. Salsa No. V (after Beethoven's Symphony No. 5)    4:29

 6. Cuban Danube (after Strauss'An der Schönen Blauen Donau)     5:34

 7. Sueño de Amor (after Liszt'sLiebestraum)    6:22

 8. Habanera en Habana (after Bizet's Carmen Suite)    8:20

 9. Cuban Dance (after Brahms' Hungarian Dance No. 5)    5:28

10. Der Mond ist Aufgegangen (after Volkslied)    6:15

11. Kubanischer Marsch (after Mozart's Turkischer Marsch)   4:48

12. Salsaria (after J.S. Bach's Air, BWV 991 C-Moll)    4:48

Credits : 

Tobias Foster : Piano

Kilian Foster : Contrebasse

Tim Hahn : Batterie

Alexis Herrera Estevez : Timbales

Elio Rodriguez  Luis : Conga

  

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Baby Huey - The Baby Huey Story : The Living Legend (1971)

Il existe une panoplie de bonnes raisons pour que cet album soit intitulé "The Linving Legend". Il est le seul album de l'artiste et sa parution était juste après sa mort. On ne saura jamais de quoi Baby Huey serait capable de faire s'il  serait encore vivant. James Thomas Ramey (son vrai nom) était 182 kilos de Soul, du Funk et de Blues avec une voix marquante qui brasse tous ces genres avec une facilité étonnante. La mort emporta Baby Huey le 28 octobre 1970 suite à une insuffisance cardiaque causée par sa toxicomanie et son surpoids, quelques semaines après la mort de Janis Joplin et Jimi Hendrix. Cet album est un trésor. Dommage que Baby n'a pas eu une deuxième chance.

Tracklist :
 1. Listen To Me  6:41
 2. Mama Got Yourself Together  6:15
 3. A Change Is Going To Come   9:31
 4. Mighty Mighty   2:49
 5. Hard Times   3:23
 6. California Dreamin'   4:48
 7. Runnig   3:39
 8. One Dragon Two Dragon   4:03

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Max Roach - We Insist! Max Roach's Freedom Now Suite (1960)

 We insist! est un album phare de la période de la lutte pour les droits civiques au début des années 1960. Le travail de Max Roach se focalise sur les injustices subies par les Afro-Américains. Il est accompagné par Abbey Lincoln qui chante cet oppression comme personne ne la jamais fait avec une une voix aussi puissante et si expressive de la douleur, le désespoir et la révolte grandissante des noirs.

Ceci est un album qui, aprés 50 ans de sa parution, reste tenace et fort de message. C'est un MUST qui vous marquera à vie. 

Tracklist :
 1. Driva' Man   5:10
 2. Freedom Day   6:02
 3. Triptych : Prayer/Protest/Peace   7:58
 4. All Africa  7:57
 5. Tears For Johannesburg   9:36


Credits :
Max Roach  : Batterie
Booker Little : Trompette
Julian Priester : Trombone
Walter Benton : Sax Ténor
Coleman Hawkins : Sax Ténor
Abbey Lincoln : Chants
Thomas Duvail, Raymond Matillo : Percussions
Michael Olatunji : Percussions, Conga, Batterie, Chants
James Schenk : Contre-Basse

  

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Irina Karamarkovic Band - Songs From Kosovo (2009)

"Here we have an extraordinary album offering jazz interpretations of traditional songs from the Serbian region of Kosovo. They are performed in Serbian language by a young jazz singer whose roots are deep in that tradition with imaginative support by her Austrian trio. What makes this unusual project so beguilling and accessible is the sinceriity, passion and authority of Irina's voice and the creative sensitivity of her accompanists.

The songs, sometimes simple and sometimes wuite complex, are ostensibly typical folk music themes of love lost and found,. However, there is a broader political dimension reflecting the recent Serb-Kosovan history of a shatttered homeland, society and culture. Such expressions of deep feelings of loss and dislocation have a particularly local resonance. Sadly, of course, these experiences and  emotions have their parallels in most countries and give the music powerful relevance beyond the Balkans. You do not need to know the language to realise that Irina is singing the truth."

                                                               Bob Weir (Jazz Journal) 

Tracklist : 
 1. Pristina Ce Da Postane Turisticko Mesto    0:18
 2. Preletese Tice Lastavice   5:56
 3. Hapi Syte E Seza   5:16
 4. Majko Mila   6:11
 5. Biser Mara Po Jerezu Brala  5:21
 6. Gusta Mi Magla Padnala   6:40
 7. Tudja Zemljo   6:04
 8. Sto Si Rano Podranila Marijo  5:19
 9. Devojce Tanko Visoko  5:52
10. Simbil Cvece   6:45
11. Zajdi, Zajdi   3:04
12. Doala Je Sestra Jelena   1:16


Credits : 
Irina Karamarkovic : Vocals
Stefan Heckel : Piano
Wolfram Derscmidt : Bass
Viktor Palic : Drums

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Donald Byrd - Kofi (1971)

Kofi a été extrait des derniers enregistrements de Byrd sous le label Bluenote avant son exploration du territoire du Soul-Fusion. Le jeu de Byrd est superbe (le moindre qu'on puisse dire). En plus , il est épaulé par une bande de vétérans de jazz : Ron Carter et Airto Moreira; ce qui a donné à Byrd la possibilité de signer un de ses plus réussis albums de sa fameuse  période de l'expérimentation électrique. Kofi et Fufu, les deux premières pistes, expriment l'originalité et l'authenticité de l'oeuvre de Byrd : ils combinent des souches de Jazz des années 1960 : Hard Bop, Funk, modal, électrique.. Kofi est un album atmosphérique, tribal et funky ce qui fait de lui un album UNIQUE et PASSIONNANT!

Tracklist :
 1. Kofi  7:46
 2. Fufu   9:39
 3. Perpetual Love   7:38
 4. Elmina   8:37
 5. The Loud Minority   9:57


Credits :
Donald Byrd : Trompette
Ron Carter : Contre Basse
Bob Cranshaw - Guitare Basse (#1,2)
Airto Moreira (#1,2), Mickey Roker - Batterie
Lew Tabackin - Flute, Sax Tenor
Willy Richardson - Guitare Electrique (#3,4,5)
Airto Moreira , Dom Um Romao : Percussions
Duke Pearson : Piano
Frank Foster : Sax Tenor
Bill Campbell : Trombone

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Ray Charles - Genius+Soul=Jazz/My Kind of Jazz (1997)

Cette réédition est en fait une combinaison des deux albums jazz de Ray Charles parus en 1960 et en 1970. Ray reprend les standards de jazz les plus connus comme "The Sidewinder" de Lee Morgan ou encore l'éternel "I Remember Clifford" de Benny Golson  tout en (bien évidemment) ajoutant sa propre touche  : les gospel moans et un peu de funk..Une Vraie PERLE à écouter et réécouter!

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Ahmad Jamal - Rossiter Road (1986)

Few of pianist Ahmad Jamal 's many recordings are not worth picking up, and this effort for Atlantic boasts some fresh material and fine playing. Jamal performs seven of his lilttle-known originals and the obscure "Yellow Fellow" . The close musical communication by the players is, as always , the main reason to acquire this release.

                                                  Scott Yanow (Allmusic Review)

Tracklist :
 1. Milan   5:50
 2. If I Find The Way   4:12
 3. Without You   5:18
 4. Acorn   4:58
 5. Yellow Fellow   6:20
 6. Autumn Rain   5:32
 7. Winter Snow   4:11
 8. Rossiter Road   6:09


Credits :
Ahmad Jamal : Piano
James Cammack : Bass
Herlin Riley : Drums
Manolo Badrena : Percussions

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Pharoah Sanders - Karma (1969)

"...Anyone who enjoyed [Coltrane's] A LOVE SUPREME will certainly find this music pleasurable and rewarding...KARMA is a beautiful expression of the conviction [that there is a beneficient deity who watches over the universe offering an eternal grace to each man]..."

                                               Rolling Stone Magazine (10/18/69)

Pharoah Sanders' third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. There only two tracks on Karma, the 32-plus minute "The Creator Has a Master Plan" and the five -and-a-half-minute "Colours". The band is one of Sanders finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathanial Bettis on percussion. "Creator" begins with a quote from "A Love Supreme", with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' wn deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas  enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that "Colours," with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it.

                                                  Thom Jurek (Allmusic Review)

Tracklist : 

 1. Creator Has a Master Plan   32:47

 2. Colors    5:36

Credits : 
Pharoah Sanders : Tenor Sax
Leon Thomas : Vocals, Percussion
James Spaulding : Flute
Julius Watkins : French Horn
Lonnie Liston Smith : Piano
William Hart, Frederick Waits, Billy Hart : Drums
Nathanial Bettis : Percussion

Reggie Workman, Ron Carter, Richard Davis : Bass

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Lee Morgan - The Sidewinder (1963)

Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's  compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan   was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson who at 26 was just beginning to play dates with Blue Note after getting out of the military. Henderson  makes a major contribution to the album, especially on "Totem Pole," where his solos showed off his singular style, threatening to upstage Morgan, who is also fairly impressive here. Barry Harris, Bob Cranshaw and Billy Higgins are all in good form throughout the album as well, and the group works together seamlessly to create an album that crackles with energy while maintaining a stylish flow.

                                         Stacia Proefrock (Allmusic Review)

Tracklist :
 1. The Sidewinder   10:21
 2. Totem Pole   10:11
 3. Gary's Notebook   6:10
 4. Boy, What A Night  7:34
 5. Hocus Pocus  6:25
 6. Totem Pole   9:57


Credits :
Lee Morgan : Trumpet
Joe Henderson : Tenor Saxophone
Barry Harris : Piano
Bob Cranshaw : Bass
Billy Higgins : Drums

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Big Bill Broonzy - Black, Brown and White (1951)

Who said  that the blues was a music of submission? It's true that  most blues tell the misery affecting the singer without other forms of claims. But some  political themes are sometimes referred directly. This is the case of the "Black, Brown and White"'s Big Bill Broonzy. In the chorus, the blues man denounces discrimination against blacks :

 They says if you was white, should be all right

If you was brown, stick around

But as you's black, m-mm brother, git back git back git back

Tracklist :
 1. Get Back   3:05
 2. Hey Baby   2:56
 3. Stump Blues   3:01
 4. Willie Mae   2:51
 5. Walkin' Down  A Lonesome Road   3:17
 6. Mopper's Blues   2:40
 7. I Know She Will   3:14
 8. Hollerin' And Cryin' The Blues   3:07
 9. Leavin' Day   3:03
10. Southbound Train   3:01
11. Tomorrow   2:51
12. You Changed   2:54
13. The Bunny Hop   2:58
14. John Henry   3:19
15. The Crawded Song  2:51
16. Bill Bailey, Won't You Please Come Home   3:25
17. Make My Gateway  3:24
18. Jimmy Crack Corn   3:04
19. Backwater Blues  3:21
20. In The Evening  3:28
21. Trouble In Mind   2:36

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Wikipedia

Black Joe Lewis And The Honeybears - Tell 'Em What Your Name Is! (2009)

Since March 2009, I cannot stop listening to this album! Everything is there: Funk, Groove, blues tunes to Junior Kimbrough and especially the attitude! It put you in the challenge to stand still listening to these songs! Get out your dancing shoes, you will not ever regret..

Tracklist :
  1. Gunpowder  2:10
  2. Sugarfoot   3:18
  3. I'm broke  4:08
  4. Big Booty Woman   3:06
  5. Boogie   3:17
  6. Master Sold My Baby   3:35
  7. Get Yo Shit   2:49
  8. Humpin'   3:01
  9. Boby Boshay   2:46
 10. Please Pt. Two   2:26

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Willie Dixon - Willie's Blues (1959)

"Hoochie Coochie Man", "Back Door Man," "Evil," "Little Red Rooster" .. It's him! Willie Dixon was hailed as the prolific bluesman and most Influential musician of all time! His distinctive voice takes you directly to the apogee of Chicago blues sound that he was one of the founders! His songs have been covred by the greatest artists: Jimi Hendrix, Bob Dylan, Cream, The Rolling Stones, The Doors, The Allman Brothers ... Recommanded!

Tracklist :  1. Nervous   3:18 2. Good Understanding   2:18 3. That's My Baby   3:25 4. Slim's Thing   3:26 5. That's All I Want Baby   2.19 6. Don't You Tell Nobody   2:08 7. Youth To You   3:19 8. Sittin' And Cryin' Thr Blues  3:25 9. Built For Comfort   2:3710. I Got A Razor   4:1811. Go Easy   5:5712. Move Me   3:21

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John Coltrane - Giants Steps (1959)

History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this John Coltrane’s debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks,, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one. Coltrane (tenor sax) is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums) as well as Paul Chambers -- who was the only band member other than Coltrane have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind of Blue, sans Miles Davis of course. . At the heart of these recordings, however, is the laser-beam focus Of Coltrane’s tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound." Coltrane’s polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening. He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of "Countdown" does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral "Naima" was the last tune to be recorded, and is the only track on the original long-player to feature the Kind of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty.

                                                                 Lindsay Planer (Allmusic Review)

Tracklist :
 1. Giant Steps   4:47
 2. Cousin Mary  5:50
 3. Countdown  2.26
 4. Spiral   6:01
 5. Syeeda's Song Flute  7:05
 6. Naima   4:24
 7. Mr. P.C.   7/02
 8. Giant Steps (Alternate Take)  3:45
 9. Naima (Alternate Take)   4:32
10. Cousin Mary (Alternate Take)   5:48
11. Countdown (Alternate Take)   4:36
12. Syeeda's Song Flute (Alternative Take)   7:04

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Charlie Parker - Jam Sessions (1952)

One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time.

 JAM SESSION was compiled from a 1952 jam session which brought together three of history's greatest alto saxophonists: Parker, Johnny Hodges and Benny Carter, as well as Ben Webster and Flip Phillips on tenor sax.  Orchestrated  by Norman Granz to come as close to an authentic jam session as possible, this is the first of the Jazz at the Philharmonic series. The album includes an original blues tune ("Jam Blues"), a medley of ballads selected by each musician, and a mellow blues tune called "Funky Blues".  The  standard  "What is This Thing Called Love", stands out particularly for its follow-the-leader style ending, with each musician trading fours. Interestingly, the meeting of these three greats, with their widely varying styles, results not in spectacular and fiercely competitive playing, but rather in a slight muting and sense of reserve from all three.

Tracklist : 

 1. Jam Blues   14:42

 2. What Is This Thing Called Love?   15:51

 3. Ballad Medley   17:23

 4. Funky Blues   13:27

Credits : 

Charlie Parker, Benny Carter, Johnny Hodges : Alto Sax

Ben Webster, Flip Phillips : Tenor Sax

Oscar Peterson : Piano

Charlie Shavers : Trumpet

Barney Kessel : Guitar

Ray Brown : Bass

J.C. Heardna : Drums

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Alice Coltrane - Journey in Satchidananda (1970)

"I hope that this album will be a form of meditation and a spiritual awakening for those who listen with their inner ear. Om Shanti"

                                                                                               Alice Coltrane

The CD reissue of Alice Coltrane landmark Journey Satchidananda reveals just how far the pianist and widow of John Coltrane come in the three years after his death. The compositions here are wildly open and droning figures built on whole tones and minor modes. And while it's true that one can definitely hear her late husband's influence on this music, she wouldn't have had it any other way. Pharoah Sanders’ playing on the title cut, "Shiva-Loka," and "Isis and Osiris" (which also features the Vishnu Wood on oud and Charlie Haden on bass) is gloriously restrained and melodic. Coltrane’s playing, too, is an element of tonal expansion as much as it is a modal and melodic device. With a tamboura player, Cecil McBee on bass, Rashied Ali on drums, and Majid Shabazz on bells and tambourine, tracks such as "Stopover Bombay" and the D minor modally drenched "Something About John Coltrane" become exercised in truly Eastern blues improvisation. Sanders plays soprano exclusively, and the interplay between it and Coltrane’s piano and harp is mesmerizing. With the drone factor supplied either by the tamboura or the oud, the elongation of line and extended duration of intervallic exploration is wondrous. The depths to which these blues are played reveal their roots in African antiquity more fully than any jazz or blues music on record, a tenet that exists today over 30 years after the fact. One last note, the "Isis and Osiris" track, which was recorded live at the Village Gate, features some of the most intense bass and drum interplay -- as it exists between Haden and Ali -- in the history of vanguard jazz. Truly, this is a remarkable album, and necessary for anyone interested in the development of modal and experimental jazz. It's also remarkably accessible.

                                                               By Thom Jurek (AMG)

Tracklist :
 1. Journey in Satchidananda   6:40
 2. Shiva-Loka   6:38
 3. Stopover Bombay   2:54
 4. Something About John Coltrane   9:45
 5. Isis & Osiris   11:30


Credits :
Alice Coltrane : Harp, Piano
Pharoah Sanders : Saxophone, Percussion
Rashied Ali : Drums
Cecil McBee : Bass (except #5)
Majid Shabazz : Bells, Tambourine (except on #5)
Tulsi - Tamboura
Vishnu Wood - Oud on #5
Charlie Haden : Bass on #5

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Allison Miller - Boom Tic Boom (2010)

From the first seconds of "Cheyenne", Allison miller sets the tone for her album with a drum solo accompanied by Myra Melford improvistions on piano and Todd Sickafoose on bass: an album of modern jazz accessible to almost everyone. Miller has managed the difficult task. On the other hand, the members of this trio have excelled in improvistions without falling into excessive sophistication. I like this album and I recommend it!

Tracklist :
 1. Cheyenne   7:15
 2. Fead  5:53
 3. Intermission   6:53
 4. Rockin' Chair   6:21
 5. Be Melting Snow   7:44
 6. CFS (Candy Flavored Sidewalks)   6:31
 7. Big Lovely   7:41
 8. Night   9:47

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Pharoah Sanders - Africa (1987)

As Kevin Whitehead's liner notes to this release reflect, Sanders "pays explicit tribute to his late mentor John Coltrane -- as this set's Coltrane-oriented sound makes unashamedly clear." Actually, Coltrane penned only one of the eight tunes, while Sanders wrote six, but the spirit of the master looms heavily throughout. Sanders displays an uncanny resemblance to Trane's unique way of over-blowing and his special ability to get inside a ballad. Pianist John Hicks is in perfect form and contributes mightily to the success of the session. Most will probably prefer the original Coltrane to Sanders' imitations, but Africa is nonetheless a joyous and worthy tribute to one of the giants of jazz. This album marked somewhat of a backtrack for the saxophonist, as he had frequently become identified with much more traditional playing.
                                                        Steven Loewy, AMG

Tracklist : 
 1. You've Got To Have Freedom   10:06
 2. Naima   5:29
 3. Origin   6:55
 4. Speak Low   8:10
 5. After The Morning   6:35
 6. Africa  8:26
 7. Heart To Heart   7:24
 8. Duo  4:34


Credits : 
Pharoah Sanders (Tenor Saxophone)
Curtis Lundy (Double Bass)
Idris Muhammed (Drums)
John Hicks (Piano)

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Raùl Paz - Havanization (2010)

Throughout the Havazination listening, I was pleasantly surprised by a very nice mixture of latin jazz and pop rhythms. I was pleasantly surprised because he is an artist that I do not know before. Nicely? because, looking, I learned that Raul had trained classical music in Cuba.
This album celebrates the rebirth of life in Cuba, where they can talk, sing, discuss topics that were until recently banned ... Raul paz confirms the meaning of his message by singing something other than the air, although admittedly popular and pleasant in their retro character, of BUENA VISTA SOCIAL CLUB.

Tracklist :

 1. Mejor  3:55

 2. Tengo   3:32

 3. Habana  4:02

 4. Gentel   3:48

 5. Aire   3:53

 6. Carnaval   3:36

 7. Flores En La Ciudad

 8. Tal Como Fue   3:20

 9. Carino   4:16

10. Un Lugar   3:32

11. Passan   3:35

 

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Art Blakey & The Jazz Messengers - Moanin' (1958)

Art Blakey's Moanin' is a must for any jazz freak's collection! It includes three Hard Bop tracks that are immortal and will always make your toes tapping and your fingers snapping. You will get the swing from start to finish with the unforgettable perfomances of Lee Morgan (trumpet) and Golson (Tenor sax). Highly recommended!

Tracklist :
 1. Moanin'  9:35
 2. Moanin' (alternative take)   9:21
 3. Are You Real   4:50
 4. Along Come Betty  6:11
 5. The Drum Thunder Suite   7:35
 6. Blues March  6:17
 7. Come Rain Or Come Shine   5:47


Credits :
Art Blakey : Drums
Lee Morgan : Trumpet
Benny Golson : Tenor Sax
Bobby Timmons : Piano
Jymie Merritt : Bass

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