The Best Jazz Albums of all times! 156 album jazz hay nhất mọi thời đại! Last Update: 12/10/2006: 08

Download Cecil Taylor - Unit Structures

1. Steps          2. Enter, Evening (Soft Line Structure)          3. Enter, Evening (Alt. Take)          4. Unit Structure/As Of A Now/Section          5. Tales (8 Whisps)

vậy thôi để tớ update bài đầu cho mọi người.
Khi các bác upload nếu nhớ mình đang upload album số mấy thì ghi luôn cho tdev dễ tìm nhá

Ặc, nhìn cái list của các bác là tui muốn bệnh rồi
Tui mới nghe Jazz nên có tìm đỏ mắt cũng không thể thấy mấy album đó trong đống nhạc của mình. Sẵn mới đây bác GL giới thiệu trang www.grammy.ru (mấy album của George Benson), mình đã vào xem và mới tìm được thêm 2 album trong số 156 album mà bluebeach đưa lên. Hôm nay post lên đây hy vọng góp chút công sức, chứ đứng ăn không hoài kỳ quá
Carla Bley: Escalator Over The Hill (JCOA, 1971)
http://www.grammy.ru/music/mcatalog.php?act=list&singer=Carla+Bley
Charlie Haden: Dream Keeper (Blue Note, 1990)
http://www.grammy.ru/music/mcatalog.php?act=list&singer=Charlie+Haden&album=Dream+Keeper
Cám ơn toàn thể mọi người lần nữa nha^_^

02. Charles Mingus - The Black Saint And The Sinner Lady (Impulse!, 1963)
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1. Solo Dancer
2. Duet Solo Dancers
3. Group Dancers Listen
4. Trio And Group Dancers

Download http://www.badongo.com/file/316766

Infomation ​

Some Mingus albums are like a tremendous three-ring circus. Yoụll laugh, yoụll cry, yoụll be struck with awe and delight. The music is absorbing, intense, harrowing, beautiful. Drop everything and run to the show, and don�t expect to get anything else done at the same time: this is about as far from background music as it gets. A great Mingus album is a totally involving experience. This is especially true of one of the only jazz albums to have liner notes written by a clinical psychologist: The Black Saint and the Sinner Lady. Mingus chimes in with a peroration of his own, too, including, ?oI feel no need to explain any further the music herewith other than to say throw all other records of mine away except maybe one other [unnamed].? Anyone tempted to take this advice should be committed to the observation ward at Bellevue Mingus graced with his presence not long before making this record, but the music itself deservedly holds its creator�s high estimation.
The Black Saint and the Sinner Lady is a six-part suite (four CD tracks) recorded in 1963. Impulse has given it the 20-bit treatment; few recordings have been more deserving. This suite is a feast of virtuoso performances, shifting moods and textures, and detailed background work by Mingus� eleven-piece band. Jerome Richardson is heard to great effect on baritone sax near the beginning of the work; he contributes some beautifully supportive flute (with Dick Hafer) and soprano elsewhere. Quentin Jackson�s trombone work is arresting, and the other hornmen (Rolf Ericson and Richard Williams on trumpets, Don Butterfield on tuba, Hafer on tenor sax as well as flute) are excellent. But the pervasive voice of the entire piece is Charlie Mariano on alto sax. Marianọs playing is wrenchingly emotional and evocative, conveying pathos, fervor, and undying conviction. But as wonderful as Marianọs work is here, this is very much a group effort. Especially in the last three sections (CD track four) of the piece, this is music of group interaction. Solo voices emerge from the welter and are drawn back into it. Occasionally the ferocity of each voice clamoring with the others reaches such a furious intensity that it would take just one more step for it to reach the world of the medium-sized group free jazz that would be recorded not long after this album: Albert Ayler�s New York Eye and Ear Control, Coltranẹs Ascension, etc. Then in an instant the ensemble stops on a dime with a unison statement executed with high-energy precision. It is an extraordinary thing to hear.
The rest of the ensemble includes Mingus on bass and, briefly, piano; Jaki Byard on piano; Jay Berliner with a marvelous flamenco guitar bit; and the incomparable Dannie Richmond on drums. This is a masterwork that should be part of any jazz collection, except perhaps of those listeners who prefer that music not challenge, inspire, and move them.

Mingus, Charles (1922?"1979) ​

Biography​

Jazz bassist, composer, and bandleader, born in Nogales, Arizona, USA. He played the cello with the Los Angeles Junior Philharmonic Orchestra before becoming a bassist with tra***ional-style bands. As a child, he had sung Gospel music, and his later work as a leader and composer brought elements of this background together with modern and avant-garde ideas. During the 1940s, he worked with big bands, and from 1953 led groups called the ?~Jazz Workshop?T, which experimented with atonality and other devices of European symphonic music. His most powerful and individualistic music came later, such as Wednesday Night Prayer Meeting (1959) and Fables of Faubus (1960).

Related Works

Albums
1957
The Clown
East Coasting
Scenes In the City
Tijuana Moods
1958
Blues & Roots
1959
Wonderland
Mingus Ah-Um
Mingus Dynasty
1960
Charlie Mingus Live
1961
Oh Yeah
Tonight At Noon
Money Jungle
1963
Mingus Mingus Mingus Mingus Mingus
1963
The Black Saint And The Sinner Lady
1963
Mingus Plays Piano
1964
The Great Concert Of Charles Mingus
Live At The Jazz Work-Shop
Mingus At Monterey
1965
Monterey
1966
Music Written For (And Not Heard At)
1970
Blue Bird
Pithecanthropus
1971
Let My Children Hear Music
1973 & 1974
Mingus Moves
Mingus At Carnegie Hall
Changes One
Changes Two
1977
Cumbia & Jazz Fusion
Three Or Four Shades Of Blues
1978
Me Myself An Eye​

21. Albert Ayler - Vibrations (Debut, 1964)​

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Reviewer ​

One of the great albums in the free jazz movement, Albert Ayler''''''''s "Vibrations" finds Ayler finally reaching a pinnacle expression of his ideas. While earlier in the year, he put together two superb albums displaying his vision clearly-- "Spirits" and "Spiritual Unity", "Vibrations" is the first one where it really all comes together. Certainly sympathetic support helps the cause-- Ayler''''''''s rhythm section of mid-1964 of bassist Gary Pea**** and drummer Sunny Murray was augmented by trumpeter Don Cherry.
Albert Ayler is a difficult player to for anyone to work with, simply because the force of his character is so strong-- his technique resulted in a deep, fat tone with a wide vibrato and humanistic expression. He feared no technique and was often inclined to perform in extreme upper and lower registers, harmonics, overblowing, etc. Add to that the rather insistent nature of his performance, and it was often difficult for others to stand next to him. And yet in Sunny Murray he had a drummer whose force of personality was a match for his-- Murray eschewed standard timekeeping in favor of implied rhythms (as strongly as presenting at times the feeling of a march beat without ever stating it) and providing a platform from which the other musicians could launch. For his part, Gary Pea**** provided a unique voice in that he somehow struck a balance between foiling Ayler''''''''s playing and setting up a rhythmic foundation to work with. But the key to the success of this group lied in trumpeter Don Cherry.
With the other horn players Ayler worked with, regardless of instrument, including to at least some extent his brother Don, Ayler''''''''s personality established itself on their playing *****ch a level that their personality as a musician was often lost, or at least subsumed in part, but Cherry was a different story. Having played alongside the other incredibly strong personality in free jazz (Ornette Coleman), co-led a date with John Coltrane, and worked as a sideman with Sonny Rollins and Archie Shepp, Cherry presented with a confidence and uniqueness of personality that made him the perfect frontline partner for Ayler. When Ayler became insistent and overbearing, Cherry didn''''''''t follow suit-- he became sympathetic. When Ayler cried and yearned, Cherry gently prodded and explored his upper register with accents. And when Ayler stopped soloing and Cherry started, there was no drop in the intensity of the performance. Certianly the rest of the group noticed this as well-- Pea**** plays beautifully under Cherry''''''''s solos, sometimes better than he does under Ayler, and Murray was positively inspired on these sets.
The pieces on the album are the stuff Ayler''''''''s legacy is built off of-- marches, ballads, simple structures to serve as springboards for improvisation. The album opens with a patient and bubbling theme statement of "Ghosts" (Ayler''''''''s most famous piece) and never looks back, moving through moody ruminations ("Children", "Mothers"), aggressive themes ("Vibrations") and a positively ecstatic reading of "Ghosts". Start to finish, the album is breathtaking, powerful and overwhelming. Essential listening for free jazz fans. Curious parties on Ayler should start here as well.

About albertayler ​

Albert Ayler was born in Cleveland, Ohio on July 13th, 1936. His father, Edward, encouraged an early interest in music and taught Albert to play the alto sax. His musical training continued at the local academy of music and John Adams High School, where he also played the oboe. In 1951, at the age of 15, Albert joined his first group, Lloyd Pearson and his Counts of Rhythm, which led to a job with Little Walter Jacobs. He spent the following two summer vacations on the road with the R&B band. In 1954, Albert graduated high school and went to a local college but in 1956, due to lack of money, he left college and joined the army. His musical education continued, playing in the military band for seven hours a day, then practicing with his fellow musicians. In 1959 he was transferred to France for two years. In 1961 he left the army and after a short time in California, returned to Cleveland.
By now Albert was developing his own ?~free jazz?T style, so inevitably there was no work. In early 1962, he returned to Europe, settling in Sweden. He made his first recordings at a private session and these were not widely released until a few years later. Later in ?~62 he met up with Don Cherry (who was touring with Sonny Rollins), and with whom he would later record four albums. Then in December he saw the Cecil Taylor group in Stockholm and asked if he could join them. He travelled with Taylor to Denmark and made his official debut album, ?oMy Name Is Albert Ayler? in January 1963, with a pick-up group of local musicians.
He returned to America, settled in New York and continued to play with Cecil Taylor until the work (and the money) ran out. He then returned to Cleveland for a while (a regular pattern in his life, money was always a problem and he received economic support from his parents, and later from John Coltrane) before moving back to New York. He played at a few jam sessions at Ornette Coleman''''''''s house around December 1963. On January 14th, 1964, Albert married Arlene Benton.
In February 1964 there was a recording session organised in New York by the Danish label, Debut Records. This resulted in the "Witches and Devils" LP (aka "Spirits"), and the set of spirituals and other tra***ional material which was released posthumously. Albert then formed a trio with Gary Pea**** on bass and Sunny Murray on drums. As well as a live LP (again released posthumously), this is the unit which produced the universally acknowledged classic jazz album, "Spiritual Unity", which was recorded in July 1964 and released on the new ESP label. Albert`s second LP for ESP was the soundtrack album, "New York Eye And Ear Control", which featured a larger group, including Don Cherry. The Cafe Montmartre in Copenhagen then invited Albert to return to Europe. Don Cherry was added to the regular trio and the group made the outstanding record, "Ghosts" (aka "Vibrations", "Mothers and Children") in September 1964. Don Cherry had decided to remain in Europe, so when Albert returned to New York, he asked his brother, Donald, to join his band.
With the ad***ion of Donald Ayler, Albert`s music changed yet again, at times sounding like a New Orleans marching band, which gave the regular jazz critics even more problems, wondering whether it was meant to be taken seriously or as a parody. When ESP issued "Bells", recorded in 1965 and released as a one-sided, see-through disc, the name of Albert Ayler became even more notorious. Although the "Free Jazz" movement was at its height in the mid-Sixties (Albert even made the cover of Downbeat), it was never a popular form of music. Albert Ayler was working, but he still relied on his parents and John Coltrane for financial support. He''''''''d also left his wife around the beginning of 1966, after he met Mary Parks.
There was another European tour in November 1966. On November 15th he played at the London School of Economics. This concert was recorded for the BBC2 "Jazz Goes To College" series, but it was never broadcast and the tape was later destroyed. (I should add a note here because the Jeff Schwartz biography implies that the BBC executives were so shocked by Ayler''''''''s music that they ordered the immediate destruction of the tapes. It is true that `jazz experts` were consulted and they advised the BBC not to broadcast the programme, but the tapes were destroyed as part of a general space-saving exercise which resulted in the loss of a number of classic drama and comedy programmes as well as the odd concert. As far as I know all the tapes of the "Jazz Goes To College" series, which included performances by Sonny Rollins and Max Roach, were wiped after they''''''''d been shown. However, to give the BBC their due, they did manage to conserve every TV recording of the annual "Trooping The Colour" ceremony - a pointless 2 hour ritual where the Queen sits on a horse and salutes a load of men in silly hats.)
On his return from Europe, Albert embarked on his first major recording contract, since John Coltrane had finally persuaded Bob Thiele at Impulse Records to sign him to the label. It is difficult to overestimate the influence of Coltrane on Ayler, not musically, but in terms of support and encouragement. Coltrane was constantly "cleaning the mirror", his music becoming more and more uncompromising. Perhaps it`s wrong to speculate, but one can''''''''t help but wonder whether Albert''''''''s music would have changed so radically during the Impulse years if he''''''''d had his friend there to guide him. John Coltrane died on July 17th 1967.
After the magnificence of "In Greenwich Village" and "Love Cry", came the selling-out of "New Grass" and the banality of "Music Is The Healing Force Of The Universe". Whether this was a genuine attempt to make his music more accessible and spread his spiritual message further, or whether he just did it for the money, either way it didn''''''''t work. The contract with Impulse was terminated. The problems with the music were reflected in Albert''''''''s private life. In the summer of 1968 he stopped working with his brother. According to Donald this was because of the influence of Mary Parks, but he also had his own problems and ended up having a nervous breakdown and was institutionalised for a time. In July 1970, Albert played his last concerts in France.
On November 25, 1970, Albert Ayler''''''''s body was found floating in the East River, at the foot of Congress Street Pier, in Brooklyn.
Albert Ayler''''''''s Friend Space
Albert Ayler has 1387 friends.
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Được bluebeach sửa chữa / chuyển vào 02:32 ngày 14/04/2006

Album số 7
Download 07 - Miles Davis - Kind Of Blue
 
1. So What2. Freddie Freeloader3. Blue In Green4. All Blues5. Flamenco Sketches6. Flamenco Sketches (Alternate Take)
@ tdev: bác update số thứ tự album để mọi người tiện theo dõi nhé.
Được CuGoiLa sửa chữa / chuyển vào 14:20 ngày 25/04/2006

132. Miles Davis - In a silent way

1. Shhh/Peaceful
2. In A Silent Way
Link down

Album số 19
Download Thelonious Monk - Brilliant Corners

1. Brilliant Corners          2. Ba-Lue Bolivar Ba-Lues-Are          3. Pannonica          4. I Surrender, Dear          5. Bemsha Swing

32. Sonny Rollins: Saxophone Colossus (Prestige, 1956)

1. St. Thomas
2. You Don''t Know What Love Is
3. Strode Rode
4. Moritat
5. Blue 7
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Nội dung của số 11 (mặc dù rất hay) không phải là album của Charlie Haden. Làm ơn post lại