Ingenious album of ingenious Neil Diamond. This album is number one sales in the USA . It is an absolute record as for the first time the actor who has passed a 65-years boundary reaches such success. The last record has been reached 2 years by Bob Dilan, but he was 65. Nile in it to year has cellebrate 67 year. Yes, it is the second Neil Diamond album completely acoustic!

• 1. If I Don’t See You Again
• 2. Pretty Amazing Grace
• 3. Don’t Go There
• 4. Another Day (That Time Forgot)
• 5. One More Bite Of The Apple
• 6. Forgotten
• 7. Act Like A Man
• 8. Whose Hands Are These
• 9. No Words
• 10. The Power Of Two
• 11. Slow It Down
• 12. Home Before Dark

Popularity: 44% [?]

Famous jazz composer John Zorn new album 2008!

“If nothing else, John Zorn is a man of stunningly diverse interests. While generally thought of as the enfant terrible of modern jazz music, Zorn’s influences include not just avant-garde jazz masters of various forms from Kagel to Ayler to early Napalm Death, but this is the same guy who stated on NPR that, “Dick Dale… is welcome to ANYBODY’S Bar Mitzvah”.

“The Dreamers”, in the tradition of The Gift, is an exploration not of Zorn’s avant-garde passions, but of his commercial ones.

Right from the start, it’s clearly going to be Ribot who’s the star of this one, particularly on the first half of the record, and really this is no surprise– Ribot eats this kind of stuff up, providing delicate lyricism (Hawaiian tinged “Mow Mow”), bleak, wailing guitar over an extended performance with stunning use of space (”Anulikwutsayl”) and fierce energy that boils over when prodded by the composition (”Of Wonder and Certainty”). Along the way, Zorn also serves up a great sing-song piece (”Toys”, the only piece on which Zorn actually performs– stating the theme and serving up the only real slice of skronk while he wails over free association from Saft and Wollesen), a great funk/blues workout (”Exodus”, another great workout for Ribot) and even a chance for Saft to show off how lyrical he can be on the Rhodes (”Nekashim”). When closer “Raksasa” finishes up its rolling atmospherics, you’ll probably find yourself either restarting the disc or reaching for The Gift to hear more like it.

While this isn’t going to appeal to Zorn’s entire audience - certainly there’s those who really want to hear the skronk all the time, “The Dreamers” really is a superb effort and a nice change of pace from Zorn. Highly recommended.”
Michael Stack

Performed by the musicians from Electric Masada - Marc Ribot (guitar), Jamie Saft (keys), Kenny Wollesen (vibes), Trevor Dunn (bass), Joey Baron (drums) and Cyro Baptista (percussion), John zorn - alt. sax.

01. Mow Mow [3:03]
02. Uluwati [3:37]
03. A Ride On Cottonfair [4:22]
04. Anulikwutsayl [9:02]
05. Toys [2:46]
06. Of Wonder And Certainty [4:30]
07. Mystic Circles [6:08]
08. Nekashim [3:56]
09. Exodus [7:02]
10. Forbidden Tears [3:07]
11. Raksasa [5:15]

Popularity: 89% [?]

Lennie Kravitz Sucess of Music in Business

We often listen everyware: “Lady” by Lenny Kravitz, “Again” by Lenny Kravitz, “Fly Away” Lenny Kravitz…
So now we are listen new 2008 album “It Is Time For A Love Revolution”
“Rolling Stone” magazine called this Lennie Kravitz album - the best of his works!

1. Love Revolution (3:14)
2. Bring It On (3:35)
3. Good Morning (4:17)
4. Love Love Love (3:21)
5. If You Want It (5:08)
6. I’ll Be Waiting (4:19)
7. Will You Marry Me (3:43)
8. I Love The Rain (4:43)
9. A Long And Sad Goodbye (5:58)
10. Dancin’ Til Dawn (5:09)
11. This Moment Is All There Is (5:07)
12. A New Door (4:38)
13. Back In Vietnam (3:45)
14. I Want To Go Home (5:06)
15. Uncharted Terrain (4:28)
16. Confused (6:47)

Popularity: 82% [?]

Al Jarreau’s voice is a super-class music instrument that’s been making marvelous music for over four decades. A seven-time Grammy Award winner, he is the only vocalist in history to win in three separate categories: jazz, pop, and R&B.  Now, he can help you make it - together with your sweetheart - with his first ever compilation of music celebrating romance, Al Jarreau “Love Songs” album. Featuring 14 soulful songs spanning 3 decades - all culled from his definitive Warner Bros. years - the album’s smooth flow proves just how fluent this talanted mucisian is in the language of the heart.

1. We’re In This Love Together
2. Teach Me Tonight
3. So Good
4. After All
5. Wait For The Magic
6. Your Song
7. Heaven And Earth
8. Through It All
9. Let It Rain
10. Not Like This
11. Brite N’ Sunny Babe
12. Secrets Of Love
13. My Foolish Heart
14. Goodhands Tonight

Popularity: 78% [?]

Eric Dolphy - alto saxophone, flute, bass clarinet
Eddie Khan - bass
J.C. Moses - drums

The history of this performance is interesting. In March, 1963 at university of state of Illinois passed festival of the modern arts and as an example, besides other executors, the opportunity has been given, to act to the representative new improvisation jazz styles “the new things ” - Eric Dolphy quartet.His name was already put on one side with such coryphaeuses as Ornette Coleman, Cecil Taylor both its closest friend and adherent John Coltrane. And not sickly, an example have resulted to students that evening! The impression of listening enormous, constantly is present some excitement as which it is possible to feel, only being present on an alive concert. Sounding simply bewitches a bass of clarnet Eric - fans of a qualitative sound is for you! Some constraint which is present on first two compositions, disappears and begins flight four together. And 22 years old Hancock!? Be sure in opinion once again, that with talent it is necessary to be born and then it to develop, as a zero increase though on one million the same will turn out. The power of this performance brings down from legs - absolutely free improvisation, a bewitching clarnet, masterly passages of a piano - all this attributes of great masters. Ingeniously. Record of a concert was carried out by efforts of a student’s radio receiving station and has been spoiled and lost down to the middle 70 - х years. Glory to the great archeologist and reanimaed Michael Cuscuna! Owing to it, in 1996 to this ingenious concert millions for the first time could hear. Death Eric Dolphy at so young age (36) is ridiculous - it is possible guess only what sides of talent could to open its tremendous feeling of freedom. For certain it the same as John Coltrane would play “Rise”. The strongest impressions of listening - the magnetic tape “walks” on a head casting memoirs on pleasant analog. Disappointment - the university breast stroke has come “to help” with two last compositions.

• 1. Softly As In A Morning Sunrise
• 2. Something Sweet, Something Tender
• 3. God Bless The Child
• 4. South Street Exit
• 5. Iron Man
• 6. Red Planet
• 7. G.W.

Popularity: 86% [?]

WINNER OF THE 2007 INDEPENDENT MUSIC AWARD FOR BEST JAZZ ALBUM

Here the history based on real events which was thought up by admirers of his creativity and it is simple its adorers. During far far times, the microphone was not necessary to jazz trumpet players. Sounds of music were so pure and shrill, that they filled with themselves all space of ballrooms and clubs without the help of everyone electronics - so was musicians like Ben Webster and Chuck Berry. Ernie Watts continues this legend. Only few musicians are reputed so many-sided and expressed as the musician as outstanding saxophonist Ernie Watts. Being the blossoming a creative power American jazzman has begun the triumphal ocurrence in the world of the big music twenty years’, having managed at so young age to make the way in an orchestra most Buddy Rich. For more than 30-years career Ernie Watts has records 12 albums, became the owner of the highest award in the field of music, Grammy twice. Cocker, James Brown, Houston, McCartney’s, Rollin Stones band -
all of them considered it as honour to work with the most dear saxophonist post-coltrain period. In 1981 under Mick Jagger invitation Ernie Watts has joined tour of group across the USA, and also has taken part in Rolling Stone’s legendary film “Let’s Spend the Night Together”.
Absolute authority above the sax: no empty note, no rash phrase; ability to introduce a power saturation and passion (in a combination to good taste) in any piece of music. “What music would i play, it is not important on a stage or in studio, in loneliness or for spectators when I would not take a saxophone in hands, music for me always is in the foreground. For me the most important to play, because I trust, what exactly during such moments music is a song of the god which sounds through me in this world “

Ernie Watts experimented with electronic instruments in the ‘70s, went straight back to acoustic ones, and has stayed there. If all the power went off at an Ernie Watts Quartet concert, they could keep right on playing, and the audience would know that the most valuable kind of electricity was still being produced.

• 1. Analog Man
• 2. Elements
• 3. Paseando
• 4. Clinton Parkview
• 5. Company
• 6. Joshua
• 7. A Lilac Grows
• 8. Gee Baby
• 9. Morning Prayer

This type of electricity comes from a group of committed jazz musicians who have played together for years, have personal as well as musical connections, and unite as one in performance. As Ernie says, “We become music.”

Musicians

• Ernie Watts - Saxophones
• Christof Saenger - Piano
• Rudi Engel - Bass
• Heinrich Koebberling - Drums

Popularity: 87% [?]

i want to begin post topics about my top music preferences last week.

• 1) Katzen Kapell “Katzen Kapell” (1994) - eclectic Swedish band, whose experimental sound is inspired by Piazzolla, Zappa and Stravinsky
• 2) Chet Baker Quartet “Live in Tokyo, Disc I & Disk 2″ (1987) one of the lasts Chet Baker concerts
• 3) Miles Davis “Blue Haze” (1955) - rare enough album
• 4) Gonzalo Rubalcaba “Avatar” (2008) - see earlier blog posts
• 5) Nils Petter Molvaer “Khmer” (1999) - acid-jazz, electronic, trumpet

Popularity: 100% [?]

Once a drummer following the footsteps of his brother and father, a cellist until convinced to take up the bass during junior high orchestra practice, Brian Bromberg has become one of the most well-respected virtuoso bass players in jazz, thanks to his A-list studio and touring status as sideman, producer and leader of such diverse stylistic range. This year marks the American release of “Downright Upright” album, a compelling addition to his acclaimed and popular catalog that he expects will please both the casual smooth jazz fans and the jazz purists.
Already released in Japan, Downright Upright is a return to the acoustic upright bass Bromberg recently spent time with on 2006’s Wood II. But this record represents a unique progression from that lauded cd, which was laced with Bromberg’s innocent humor and embellished with solo Paul McCartney and Earth, Wind and Fire covers. Far less intimate than Wood II, Downright Upright abandons the traditional trio format and takes on new collaborative touches, including those from pianists George Duke and Jeff Lorber, trumpeter Rick Braun, saxophonists Gary Meek, Boney James, and Kirk Whalum, drummer Vinnie Colaiuta, and perhaps most noticeably, guitarists Gannin Arnold and Lee Ritenour. Having contributed to Rit’s recent album Smoke ‘N Mirrors, Brian just returned from live dates with the legendary guitarist. Ritenour’s contribution to Downright Upright underscores their complimentary, collaborative simpatico.

• 1. Cantaloupe Island
• 2. Mercy Mercy mercy
• 3. Cold Duck Time
• 4. Sunday Mornin’
• 5. The hacha Cha Cha
• 6. Chameleon
• 7. Serengeti Walk
• 8. Leisure Suit
• 9. Slow Burn
• 10. Shag Carpet

Retro-inspired grooves can mean a lot of things—it depends on how far back one wants to go.
On Downright Upright, bassist Brian Bromberg takes a retro tour of the era when Freddie Hubbard and Herbie Hancock were reaching a peak. Joe Zawinul and Eddie Harris were changing the scope of jazz. Weather Report was in, and jazz was changing rapidly. The umbrella was opening up to include innovative ideas and comfortable melodies that lingered in the mind for a lifetime.

Personnel:
Brian Bromberg: upright bass, piccolo bass;
Rick Braun: trumpet, flugelhorn;
Boney James, Gary Meek, Kirk Whalum: tenor saxophone;
Lee Ritenour, Gannin Arnold: guitar;
George Duke: piano;
Jeff Lorber: piano, organ;
Vinnie Colaiuta: drums.

Brian Bromberg born in Tucson and now based in Los Angeles, Bromberg tested out of high school early to dedicate his life to music. The decision would pay off shortly thereafter when he met Marc Johnson, bass player to famed pianist Bill Evans. Sensing a rare opportunity, Johnson kept Bromberg in mind upon learning that sax great Stan Getz needed a bass player to join his quintet. After a successful audition, the freshly nineteen-year old Bromberg joined Getz in December of 1979.

Working with a crew that normally reserves its studio and stage time for smooth jazz or a similar, pop-inspired, contemporary form, Bromberg brings his big bass and piccolo bass aboard for a veritable party. He and his sidemen inject plenty of life into the scene on Downright Upright, honoring the jazz legends who have paved the way. These are no mere sidemen with Bromberg, either. Each brings a veteran’s feel for contemporary jazz to the session, giving the bassist a rich palette from which to select. George Duke’s piano solo on “Chameleon,” for example, provides one of the session’s high points. The others join Bromberg in creating several more plateaus on a session that comes recommended for its broad appeal and for its unmistakable groove.

As an in-demand producer, bassist and studio designer Brian’s myriad talents have placed him in the forefront of the West Coast musical community. Co-partner in the Artistry Music Group, whose label has seen multiple Grammy nominations in their short existence, as well as owner of his own popular recording studio in L.A.’s San Fernando Valley, Bromberg brings his knowledge of an artist’s perspective to a forward thinking, musically exciting new highpoint in a career filled with tremendous accomplishments.

The bassist solos frequently on both his acoustic bass and his electric piccolo bass with an expressive nature that finds him tearin’ up the strings passionately. The sound of the smaller instrument resembles that of a bass guitar as Bromberg applies it to “Chameleon,” “Leisure Suit,” “Slow Burn” and “Cold Duck Time.” His five original compositions maintain the momentum found in the album’s first three tracks, while his covers of older familiar tunes prove satisfying.

Popularity: 94% [?]

From official Hanckock site:

“On ‘River: The Joni Letters’ (September 25th, Verve), the always progressive pianist/composer Herbie Hancock aimed to dissect the lyrics of some of Joni Mitchell’s most famous songs. Instead of the instruments accompanying the lyrics, Hancock and producer Larry Klein arranged the music to interpret or express the emotions of the lyrics, all while keeping the melodies Mitchell fans know and love. This goal is most evident on “Both Sides Now,” one of four instrumental tracks on the record, which also features vocals by Norah Jones, Tina Turner, Corinne Bailey Rae, Luciana Souza, Leonard Cohen, and Mitchell.”

1. “Court and Spark” - (with Norah Jones)
2. “Edith and the Kingpin” - (with Tina Turner)
3. “Both Sides Now”
4. “River” - (with Corinne Bailey Rae)
5. “Sweet Bird”
6. “The Tea Leaf Prophecy (Lay Down Your Arms)” - (with Joni Mitchell)
7. “Solitude” (Ellington)
8. “Amelia” - (with Luciana Souza)
9. “Nefertiti” (Shorter)
10. “The Jungle Line” - (with Leonard Cohen)

“Joni Mitchell and Herbie Hancock, along with Miles Davis, Wayne Shorter, Pablo Picasso, and other great artists of our time, share an incessant and profound creative restlessness. They each have always had the desire and need to break fresh ground with each note played or stroke of the brush. It was exactly this kind of curiosity which motivated Davis to hire Hancock in 1963 to be a part of, along with Wayne Shorter, Ron Carter, and Tony Williams, arguably one of the most important groups of musicians of the twentieth century. It was in fact Miles who told Hancock to ⌠never finish anything. Hancock, like Joni Mitchell, has gone on to explore many different genres and mediums to express his incessant curiosity, working in the context of jazz, electronic music, funk, orchestral, and film music.”

Wayne Shorter - Tenor Saxophone
Lionel Loueke - Guitar
Vinnie Colaiuta - Drums
Norah Jones - Background Vocals, Piano
Tina Turner - Vocal
Corinne Bailey Rae - Vocal
Joni Mitchell - Vocal
Luciana Souza - Vocal
Leonard Cohen - Vocal

My opinion will be such: ceativity of Herbie Hancock the period (”Maiden Voyage”) i like some more.
So i like his modal jazz songs with Ron Carter, Freddie Hubbard and Tony Williams.

Popularity: 98% [?]

Artist - Marcus Miller
Title - Marcus
Lable - Concord Jazz
Style - Jazz-Funk | Jazz | Smooth Jazz
Date Released - 04.03.2008

Miller is a talented multi-instrumentalist who is not only skilled on electric bass, but also keyboards, clarinet, sax, sitar and probably a few more besides. Just about everything shows up on his seventh solo album, a 13-track collection that’s top-heavy with his own compositions — not that there’s anything wrong with that.

Miller boarded the fusion train in the 1970s, a few years after it left the station through his work with David Sanborn. In the 1980s, Miller worked with Davis. Davis didn’t create jazz, rock, funk fusion, but the fact that the legendary jazz innovator embraced the genre gave it credibility. Miller has also collaborated with artists such as Mariah Carey, Jay-Z, Michael Franks, ZZ-Hill and Billy Idol.

Working with artists representing a wide variety of genres is a major theme on this latest work. One highlight is Corinne Bailey Rae, wrapping her sultry vocals around rendition of Denise Williams’ 1976 classic “Free.” Miller plays it pretty straight on this rendition that holds pretty close musically to Williams original. The main difference is Miller’s bass playing, in which he employs his signature thumping and plucking funky style. The version also includes some definite jazz influenced improvising by Miller, as well as a saxophone solo.

“He’s joined by some talented friends too. It’s an outstanding group that includes vocalists the caliber of Keb’ Mo’, Corinne Bailey Rae and Lalah Hathaway. Other performers include Shihan the Poet, jazz icon David Sanborn, and actress Taraji Henson (who made her singing debut in the movie Hustle and Flow).

Henson’s vocalizing on the bonus track, “Lost Without U [Spoken Word],” backed by Hathaway and the Ivey Sisters, is surprisingly enjoyable, and is a different take on Hathaway’s earlier version of the same tune. Hathaway is at her best with “Ooh,” a piece she co-wrote with Miller, and according to the album notes he backs her delicious singing with no less than seven different instruments.

There’s lots more to be found here - even Shihan the Poet, if that’s your thing - but the bottom line is simply that the album is a good collection of R&B flavored jazz that should be well worth a listen for any fans of good music — and isn’t that why we’re all here? “
Geezer Music Club

“Many so-called “straight ahead jazz” artists clearly don’t have the comfort or interest in commenting musically on the contemporary music genres, such as R&B and rock, that have supplanted jazz in terms of popularity. A major reason for their reluctance has to do with the fact that many jazz artists don’t believe R&B and rock music compares on a qualitative level to the music from the Great American Songbook. Even those who might want to try don’t feel they have the understanding of contemporary music. That leaves the task of translating the contemporary musical canon in the hands of so-called “smooth jazz” artists, and those results are often uninspiring.”
Howard Dukes

Popularity: 99% [?]