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Eden Brent - Ain't Got No Troubles (2010)

Posted By: Designol
Eden Brent - Ain't Got No Troubles (2010)

Eden Brent - Ain't Got No Troubles (2010)
EAC | FLAC | Image (Cue&Log) ~ 250 Mb | Mp3 (CBR320) ~ 105 Mb | Scans ~ 42 Mb
Blues, Boogie-Woogie, Jazz-Blues | Label: Yellow Dog Records | # YDR 1716 | 00:45:51

Eden Brent hails from Greenville, MS, a place steeped in the Delta blues, but she's only 300 miles from New Orleans, and it's that city's carefree rhythms and happy-go-lucky attitude that informs the music on Brent's second album. Brent is a piano player with an impressive groove anchored by a strong rhythmic left hand and a playful way with the high end of the keyboard. Her vocals are just as strong, with a smoky, sultry feel that often brings to mind Janis Joplin, but a mellower Joplin who doesn't have to strain for the high notes or growl to get her point across. She's also a first-class songwriter, using the blues as a jumping-off place for her ironic musings on the familiar subjects of good times and no-good men. She cut this album in New Orleans and is joined by some remarkable players, including ex-Meter George Porter on bass, producer Colin Linden on guitar, and ace Americana drummer Bryan Owings.

Duke Robillard & Herb Ellis - Conversations In Swing Guitar (1999)

Posted By: Designol
Duke Robillard & Herb Ellis - Conversations In Swing Guitar (1999)

Duke Robillard & Herb Ellis - Conversations In Swing Guitar (1999)
EAC | FLAC | Image (Cue&Log) ~ 302 Mb | Mp3 (CBR320) ~ 132 Mb | Scans included
Guitar Jazz, Swing, Jazz Blues | Label: Stony Plain | # SPCD 1260 | 00:48:22

This is a not very challenging, but thoroughly charming, summit meeting between a blues guitar master and a jazz guitar legend. Taking four classic swing tunes ("Just Squeeze Me," "Avalon," "Stuffy," and, inevitably, "Flyin' Home"), two Robillard originals, and a jointly composed slow blues, and helped out by bassist Marty Ballou and drummer Marty Richards, Duke Robillard and Herb Ellis deliver a 48-minute swing guitar master class, Conversations in Swing Guitar. Ellis comes from jazz and Robillard from the blues, so their approaches are just distinct enough to keep things interesting; although both play with a clean, fat jazz tone and no one ever really hauls off and shreds, Robillard tends towards bent notes and funky chordal things while Ellis thinks a bit more in terms of long lines and florid ornamentation. Every so often you might find yourself wishing that the edges were just a bit rougher, but both of these guys are clearly having a great old time, and you will too.

Mose Allison - The Best of Mose Allison (1988)

Posted By: Designol
Mose Allison - The Best of Mose Allison (1988)

Mose Allison - The Best of Mose Allison (1988)
EAC | FLAC | Image (Cue&Log) ~ 304 Mb | Mp3 (CBR320) ~ 137 Mb | Scans included
Hard Bop, Jazz Blues, Vocal Jazz, Piano Jazz | Label: Atlantic Jazz | # 1542-2 | 00:56:23

The Mose Allison installment in Atlantic's Jazz Anthology series of 1970 is superior to most in that line simply on the grounds of time. Since Allison's songs were usually brief, Atlantic was able to fit 12 of them onto a single LP and thus provide a wider selection of his output, unlike others in that series that included only five or six tracks, making it serve as a pretty good capsule introduction to one of American music's most idiosyncratic individualists. Many of his most famous songs are here – "Your Mind Is on Vacation," "New Parchman," "I'm the Wild Man," "I Don't Worry About a Thing," and "Your Molecular Structure," along with covers like "Rollin' Stone" and a rushed live remake of his biggest "hit," Willie Dixon's "Seventh Son".

Madeleine Peyroux - The Blue Room (2013) CD + DVD Limited Edition

Posted By: Designol
Madeleine Peyroux - The Blue Room (2013) CD + DVD Limited Edition

Madeleine Peyroux - The Blue Room (2013) CD + DVD Limited Edition
EAC | FLAC | Tracks (Cue&Log) ~ 295 Mb | Mp3 (CBR320) ~ 109 Mb | Time: 00:47:37
DVD5 | NTSC | 16:9 (720x480) VBR | LPCM, 2ch, 1536 kbps | 00:37:58 | ~ 2.6 Gb
Vocal Jazz, Jazz-Blues | Label: Decca / Emarcy | # 0602537242702 | Scans ~ 183 Mb

On The Blue Room, her second Decca recording, Madeleine Peyroux and producer Larry Klein re-examine the influence of Ray Charles' revolutionary 1962 date, Modern Sounds in Country and Western Music. They don't try to re-create the album, but remake some of its songs and include others by composers whose work would benefit from the genre-blurring treatment Charles pioneered. Bassist David Pilch, drummer Jay Bellerose, guitarist Dean Parks, and pianist/organist Larry Goldings are the perfect collaborators. Most these ten tracks feature string arrangements by Vince Mendoza. Five tunes here are reinterpretations of Charles' from MSICAWM. "Take These Chains" commences as a sultry jazz tune, and in Peyroux's vocal, there is no supplication – only a demand. Parks' pedal steel moves between sounding like itself and a clarinet. Goldings' alternating B-3 and Rhodes piano offer wonderful color contrast and make it swing. Her take on "Bye Bye Love" feels as if it's being narrated to a confidante, and juxtaposes early Western swing with a bluesy stroll. A rock guitar introduces "I Can't Stop Loving You," but Peyroux's phrasing has more country-blues in it than we've heard from her before. The use of a trumpet in "Born to Lose" and "You Don't Know Me," with Mendoza's dreamy strings, allow for Peyroux to deliver her most stylized jazz performances on the set.

Clarence 'Gatemouth' Brown - American Music, Texas Style (1999)

Posted By: Designol
Clarence 'Gatemouth' Brown - American Music, Texas Style (1999)

Clarence 'Gatemouth' Brown - American Music, Texas Style (1999)
EAC | FLAC | Image (Cue&Log) ~ 322 Mb | Mp3 (CBR320) ~ 128 Mb
Label: Blue Thumb | # 547 536-2 | Time: 00:55:37 | Scans ~ 53 Mb
Modern Electric Texas Blues, Jazz-Blues, Rhythm & Blues

Clarence "Gatemouth" Brown was 74 when he recorded American Music, Texas Style, and the Texas bluesman made it clear that he still had plenty of energy. On this CD, Brown really emphasizes his love of jazz. Young hard bop players like trumpeter Nicholas Payton and alto saxman Wes Anderson are on board, and the veteran singer/guitarist offers no less than three standards from Duke Ellington's repertoire ("I'm Beginning to See the Light," "Don't Get Around Much Anymore," and son Mercer Ellington's "Things Ain't What They Used to Be") and two classics from Charlie Parker's years with Jay McShann ("Hootie Blues," "Jumpin' the Blues"). Meanwhile, the jazz influence is hard to miss on such fast jump blues as "Rock My Blues Away" and "Without Me Baby." Brown's voice is thinner than it used to be, but his guitar playing is as energetic as ever. While this CD isn't definitive, it's a good, solid effort that Brown can be proud of.

Clarence 'Gatemouth' Brown - Gate Swings (1997)

Posted By: Designol
Clarence 'Gatemouth' Brown - Gate Swings (1997)

Clarence 'Gatemouth' Brown - Gate Swings (1997)
EAC | FLAC | Image (Cue&Log) ~ 337 Mb | Mp3 (CBR320) ~ 131 Mb | Scans ~ 58 Mb
Label: Verve, Gitanes Blues Productions | # 314 537 617-2 | Time: 00:56:46
Modern Electric Texas Blues, Jump Blues, Jazz-Blues, Swing

Clarence "Gatemouth" Brown's tough-minded approach to the blues, country, Cajun, and jazz insures a minimum of nonsense and a maximum of variety, while his virtuosity on the guitar and fiddle insures the highest standards. Nonetheless, Brown's 1997 album is a landmark for the 73-year-old picker who won a Rhythm & Blues Foundation Pioneer Award. All 13 tunes on Gate Swings find Brown working with his regular road quartet plus a 13-piece horn section, enabling him to prove that Duke Ellington, Count Basie, and Lionel Hampton have been as important to his music as any bluesman or Creole fiddler. Gate Swings includes tunes by all three of those big-band leaders as well as compositions by Buddy Johnson, Percy Mayfield, Louis Jordan, and Brown himself, and they all swing with the massive force that only a big horn section can muster. Brown has leaned in this direction before, but Gate Swings is special, because it features the horn arrangements of Wardell Quezergue, an alumnus of the Dave Bartholomew band who arranged many of the best New Orleans R&B hits in the '60s and '70s.

Clarence 'Gatemouth' Brown - No Looking Back (1992)

Posted By: Designol
Clarence 'Gatemouth' Brown - No Looking Back (1992)

Clarence 'Gatemouth' Brown - No Looking Back (1992)
EAC | FLAC | Image (Cue&Log) ~ 231 Mb | Mp3 (CBR320) ~ 117 Mb | Scans included | 00:41:33
Modern Electric Texas Blues, Jazz-Blues, Cajun | Label: Alligator | # ALCD 4804

Clarence "Gatemouth" Brown was one of the most jazz-oriented of bluesmen, a colorful guitarist and a primitive but swinging fiddler. On this release he includes many instrumental sections in his performances including four all-out boppish jazz jams ("Digging New Ground," "C-Jam Blues," "The Peeper" and the stomping "We're Outta Here"). Brown's vocals, which feature consistently intelligent lyrics ("Better Off With The Blues" is particularly memorable), are part of the music rather than the entire show; he even gives his obscure backup horns chances to solo. The set is a particularly strong example of Gatemouth Brown's music with each of the 11 selections (except perhaps for "I Will Be Your Friend," a poppish vocal duet with Michelle Shocked) being well worth hearing.

Clarence 'Gatemouth' Brown - One More Mile (1983)

Posted By: Designol
Clarence 'Gatemouth' Brown - One More Mile (1983)

Clarence 'Gatemouth' Brown - One More Mile (1983)
EAC | FLAC | Image (Cue&Log) ~ 284 Mb | Mp3 (CBR320) ~ 109 Mb
Label: Rounder | # CD 2034 | Time: 00:39:48 | Scans included
Modern Electric Texas Blues, Jazz-Blues, Cajun

For his second Rounder album, Clarence "Gatemouth" Brown offers his "World Music Texas Style" - a compelling synthesis of blues, jazz, Cajun music and even a touch of country. With horn arrangements by Bill Samuel and Homer Brown, the album is a showcase for Gate's virtuoso abilities as a guitarist and violinist, which always tap his blues roots while offering constant musical surprises. 1983 Grammy Award finalist.

Madeleine Peyroux - Dreamland (1996)

Posted By: Designol
Madeleine Peyroux - Dreamland (1996)

Madeleine Peyroux - Dreamland (1996)
EAC | FLAC | Tracks (Cue&Log) ~ 225 Mb | Mp3 (CBR320) ~ 102 Mb | Artwork included
Vocal Jazz, Jazz-Blues, Standards | Label: Atlantic | # 7567-82946-2 | 00:39:39

Madeleine Peyroux made a bit of a stir in 1996 due to her voice sounding remarkably close at times to Billie Holiday's. This wide-ranging set features Peyroux singing swing standards, originals and tunes that hint at country and folk music. Her supporting cast, which changes on each selection, includes a restrained James Carter on tenor and bass clarinet, Marc Ribot on dobro and guitar, trumpeter Marcus Printup, pianist Cyrus Chestnut and violinist Regina Carter, among others. A very interesting release which, despite the derivative nature of Peyroux's voice, is full of surprises. Highlights include "Walkin' After Midnight," "I'm Gonna Sit Right Down and Write Myself a Letter," "La Vie en Rose" and "Muddy Water".

Madeleine Peyroux - Keep Me in Your Heart For A While: The Best Of Madeleine Peyroux (2014) 2CDs

Posted By: Designol
Madeleine Peyroux - Keep Me in Your Heart For A While: The Best Of Madeleine Peyroux (2014) 2CDs

Madeleine Peyroux - Keep Me in Your Heart For A While:
The Best Of Madeleine Peyroux (2014) 2CDs

EAC | FLAC | Tracks (Cue&Log) ~ 624 Mb | Mp3 (CBR320) ~ 250 Mb | Scans ~ 86 Mb
Vocal Jazz, Vocal Pop, Jazz-Blues | Label: Rounder | # 0888072361577 | 01:48:12

The 2014 career-spanning anthology Keep Me in Your Heart for a While: The Best of Madeleine Peyroux, showcases tracks from throughout the Georgia-born, Paris-based vocalist's career. Starting with her 1996 debut album, Dreamland, and running through her 2013 studio effort The Blue Room, Keep Me in Your Heart for a While reveals Peyroux's transformation from a bluesy, Billie Holiday-influenced vocal ingenue to a mature and sophisticated interpreter of popular song, both new and old. Here we get such tracks as "La Vie en Rose," "Smile," "Between the Bars," "Dance Me to the End of Love," and more. Also included is Peyroux's previously unreleased recording of Warren Zevon's "Keep Me in Your Heart," from the film Union Square.

Clarence 'Gatemouth' Brown - Blackjack (1977) Reissue 1999

Posted By: Designol
Clarence 'Gatemouth' Brown - Blackjack (1977) Reissue 1999

Clarence 'Gatemouth' Brown - Blackjack (1977) Reissue 1999
EAC | FLAC | Image (Cue&Log) ~ 293 Mb | Mp3 (CBR320) ~ 129 Mb | Scans included
Label: Sugar Hill | # SHCD-3891 | Time: 00:45:08
Modern Electric Texas Blues, Jazz-Blues, Rhythm & Blues, Cajun

To call the multitalented Gatemouth Brown, a mainstay of the Texas music scene for over half a century, a bluesman would be inaccurate. Not completely wrong, for Brown's influence on Texas blues has been enormous, but certainly not the whole picture. On Blackjack, Brown (who sings and plays harmonica and a plethora of stringed instruments, from guitar to viola) goes from blues ("Chickenshift") to jazz ("Honey Boy," with a nice drum solo from David Peters) to country ("Dark End of the Hallway") and back again. Not every musician can handle this kind of variety, but Brown makes it work, whether it's the straight-ahead blues of "Here Am I" or "Street Corner" (which has a great harmonica intro), the Cajun-inflected "When My Blue Moon Turns to Gold Again," or the jazz-blues feel of "Tippin' In." It's easy to see, or rather to hear, why Brown has been so influential: every track on Blackjack is performed with the deft assurance of a master.

Clarence 'Gatemouth' Brown - Sings Louis Jordan (1973)

Posted By: Designol
Clarence 'Gatemouth' Brown - Sings Louis Jordan (1973)

Clarence 'Gatemouth' Brown - Sings Louis Jordan (1973)
EAC | FLAC | Image (Cue&Log) ~ 379 Mb | Mp3 (CBR320) ~ 132 Mb | Scans ~ 64 Mb
Label: Black & Blue (The Definitive Black & Blue Sessions) | # BB 936.2 | Time: 00:57:33
Modern Electric Texas Blues, Rock & Roll, Rhythm & Blues, Jazz-Blues, Swing

A fresh sort of setting for Clarence Gatemouth Brown – as the session focuses his bluesy talents on the music of Louis Jordan – a combination that comes across surprisingly well on this early 70s set! The tunes are mostly numbers from the 40s vintage of Jordan's big years of recording – but they're nicely recast here in a smaller combo mode, with more distinct touches of electric blues and jazz – thanks to Brown's work on guitar, the Hammond of Milt Buckner, and tenor of Arnett Cobb! Clarence takes the tunes in an easygoing vocal style that's maybe more his own than Jordan's – which is a great way to change up the tunes – and titles include "Ain't Just Alike A Woman", "Somebody Done Changed The Lock Of My Door", "Salt Pork West Virginia", "It's A Low Down Dirty Shame", and"Is You Is Or Is You Ain't My Baby".

Melvin Taylor & The Slack Band - Rendezvous With The Blues (2002)

Posted By: Designol
Melvin Taylor & The Slack Band - Rendezvous With The Blues (2002)

Melvin Taylor & The Slack Band - Rendezvous With The Blues (2002)
EAC | FLAC | Image (Cue&Log) ~ 374 Mb | Mp3 (CBR320) ~ 128 Mb | Scans ~ 58 Mb
Label: Evidence Records | # ECD 26123-2 | Time: 00:55:38
Electric Blues, Chicago Blues, Blues-Rock, Jazz-Blues

Rendezvous With the Blues marks another step in the normalization of Melvin Taylor. With Lucky Peterson on keyboards, Taylor is much more the featured lead guitarist in a straight-band context that too often finds him fighting for room to move in the full arrangements. He takes a jazzy lead on the opening "Coming Home Baby," but that runs counter to the measured, mid-tempo groove that dominates the first three tracks and seems like a move to court the contemporary rock-blues audience. So does some of the material – no originals, with ZZ Top, Stephen Stills, and Carlos Santana's tribute to John Lee Hooker in the songwriter credits on one side and Charles Singleton and Prince for contemporary black funk/rock relevance on the other. Horns kick in to punctuate the slinky, clavinet-anchored funk on "I'm the Man Down There," but Taylor's solo gets cluttered up by a duel with Peterson (on guitar here). Taylor is better-served when he escapes the rock beat straitjacket on "Tribute to John Lee Hooker" – the Latin-tinged rhythms give his guitar more freedom to float and sting.

Melvin Taylor & The Slack Band - Melvin Taylor & The Slack Band (1995)

Posted By: Designol
Melvin Taylor & The Slack Band - Melvin Taylor & The Slack Band (1995)

Melvin Taylor & The Slack Band - Melvin Taylor & The Slack Band (1995)
EAC | FLAC | Image (Cue&Log) ~ 326 Mb | Mp3 (CBR320) ~ 118 Mb
Label: Evidence | # ECD 26073-2 | Time: 00:51:16 | Scans ~ 33 Mb
Electric Blues, Chicago Blues, Jazz-Blues

The U.S. release of Melvin Taylor's two early-'80s LPs by Evidence a decade later was a shock introduction to a blues guitarist who seemingly blazed out of nowhere – outside of Rosa's Lounge in Chicago, that is. "Blazed" is the right word, too, because Taylor is a total maximalist who unleashes torrents of notes to fill up every space. But he's so convincing a player that the concept of "blues guitar hero" might get a good name again, even with fans dead-tired of excess who never thought they'd think things like, "Man, can Melvin Taylor play the ever-loving (add the expletive superlative of your choice) out of the guitar" again. Taylor's first real-time release, Melvin Taylor & the Slack Band, is a pretty straightforward affair – basic trio with minimal overdubs, servicable vocals in an Albert King mode, and a mix of originals and very classic covers. The opening "Texas Flood" lets him rip on a slow blues, constantly changing up his playing with wah-wah blitzes as the real ace in his sonic hole.

Taj Mahal - Like Never Before (1991)

Posted By: Designol
Taj Mahal - Like Never Before (1991)

Taj Mahal - Like Never Before (1991)
EAC | FLAC | Image (Cue&Log) ~ 327 Mb | Mp3 (CBR320) ~ 138 Mb | Scans ~ 68 Mb
Label: Private Music | # 261 679 | Time: 00:47:19
Contemporary Blues, Rhythm & Blues, Jazz-Blues, Country-Blues

This record was originally released in 1991 after Taj had taken a break for a number of side projects including children's records. He was obviously refreshed - the record is full of new ideas and incorporates new production techniques, check out the lovely song "Every wind in the river" and also the scratching and rap stylings of "Squat that rabbit". A bit radical for blues but both work very well. Taj revists the song "Giant step" and also takes the traditional blues "Blues with a feeling" to New Orleans, with an added dash of steel guitar (!?!). Guests include banjo player David Johnson, guitarist David Lindley, Andy Kravitz and Bill Summers and the backing band sound great throughout. This is a really good, imaginative record that saw Taj coming back to form and his next couple of records in the 90s were even better.