Hot New Releases - Rock/Hardcore/Electronica/Metal

Band: Amon Amarth
Album: Surtur Rising
Year: 2011
Genre: Viking Metal / Death Metal
Country: Sweden
Myspace: Link
Filesize: 98 MB
Bitrate: V0

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Band: Vintersorg

Album: Jordpuls

Year: 2011

Genre: Folk Metal / Black Metal

Country: Sweden
Myspace: Link

Filesize: 98 MB

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Band: Burzum

Album: Fallen

Year: 2011

Genre: Black Metal / Atmospheric Black Metal

Country: Norway

Filesize: 99 MB
Bitrate: 320 kbps

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Band: The Haunted

Album: Unseen

Year: 2011

Genre: Groove Metal / Alternative Metal

Country: Sweden

Myspace: Link

Filesize: 61 MB

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Band: Burial & Four Tet / Thom Yorke

Album: Ego / Mirror

Year: 2011

Genre: Electronica / Experimental

Country: England

Filesize: 62 MB

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Band: Moonsorrow

Album: Varjoina Kuljemme Kuolleiden Maassa

Year: 2011

Genre: Folk Metal / Viking Metal

Country: Finland

Myspace: Link

Filesize: 133 MB

Bitrate: 320kbps

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Band: James Blake
Album: Self Titled
Year: 2011
Genre: Electronic / Dubstep
Country: United Kingdom
Myspace: Link
Filesize: 85 MB
Bitrate: 320kbps

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Band: Arbouretum
Album: The Gathering
Year: 2011
Genre: Stoner Rock / Psychedelic Rock
Country: United States
Myspace: Link
Filesize: 87 MB
Bitrate: VBR kbps

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All the shit was originally posted on B-Media V2, check it!

Lee Morgan - Delightfulee

Blue Note's continuing re-release of its Lee Morgan catalogue has produced a major find. Four of the tracks, recorded at the later May 27th session, had the following line up: Lee Morgan (trumpet) Joe Henderson (tenor sax) McCoy Tyner (piano) Bob Cranshaw (bass), Billy Higgins (drums). That's the line up for "The Sidewinder" "– with McCoy Tyner replacing Barry Harris on piano. Those four tracks ("Nite-Flite", "Zambia", "The Delightful Deggie" and "Ca-Lee-So", all Lee Morgan compositions) are every bit as strong as the playing on "The Sidewinder". The inventive partnership with Joe Henderson is really firing, resulting in great music to stand alongside their collaboration on "The Sidewinder" and "Mode For Joe". It is also revealing to hear more of the Joe Henderson/McCoy Tyner/Bob Cranshaw collaboration that graced "Inner Urge". Strong, approachable hard bop and very highly recommended.

The remainder of the album features a 10 man ensemble (Lee Morgan, Ernie Royal (trumpets) Tom McIntosh (trombone) Jim Buffington (french horn) Don Butterfield (tuba) Phil Woods (alto sax, flute) Wayne Shorter (tenor sax) Danny Bank (baritone sax , bass clarinet, flute) McCoy Tyner (piano) Bob Cranshaw (bass) Philly Joe Jones (drums). This ambitious music, with arrangements by Oliver Nelson, was recorded at the earlier April 8th session. "Sunrise, Sunset" features important solos by Wayne Shorter and Lee Morgan, both full of invention and surprise. McCoy Tyner is characteristically fluent throughout. There are further versions of "Zambia" and "The Delightful Deggie" but with the setting now expanded to take in the increased tonal range of the larger ensemble, there is no hint of repetition with Oliver Nelson delivering "Blues and The Abstract Truth" – like dynamics. The only disappointing track is "Yesterday" (a seemingly hastily conceived take on the Lennon / McCartney tune). The larger ensemble has less immediate impact than the Joe Henderson/McCoy Tyner sessions but becomes more involving on closer listening.

Overall, a major re-discovery that benefits from the excellently judged remastering of Rudy Van Gelder. Review from http://100greatestjazzalbums.blogspot.com/

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Pharoah Sanders - Karma

Although introduced as a protégé of John Coltrane and touted by many as his heir apparent, reedman Pharoah Sanders quickly proved his own man. His shared interest in the "cosmic" music of Coltrane's final period belies the fact that Sanders frequently plays with an unhurried sense of peace and satisfaction rarely found in his mentor's music. His use of space, African and Asian motifs and instruments, and simple, repetitive melodies also pointed the way for jazz, rock, and new age musicians in the '70s and '80s, while his sometimes raucous use of harsh, shrieking runs influenced many of jazz's most adventurous saxophonists.

The centerpiece of Karma is the marathon half-hour octet recording "The Creator Has a Master Plan." Although the track features a warm vocal by Leon Thomas, its true feature artist for almost the entire length is Sanders, who carries the melody, feel, and improvisation firmly on his shoulders. All of Sanders's key elements--Afro-centric spiritualism, sweeping use of mood from long, relaxed intervals to frenetic cacophony, and a deep sense of melody and rhythm--are in evidence. The album's religious feeling is cemented by the album's closer, "Colors," which serves as a deeply felt invocation. --Fred Goodman

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Ornette Coleman - Love Call

I believe the main lesson being taught by Ornette to the world has nothing to do with his "Harmolodic approach". The thing we learn from Coleman is to be ourselves. Here he uses Coltrane's rhythm section, but does not even remotely sound like anything but himself - starting a tune with a short riff, in unison with the tenor of Dewey Redman, then diving into an extended improvisation - playing with few limitations but with pefect control.
The two versions of "Check out time" are an example to Coleman's truly free approach. The opening riff is basically identical, but where on the first version Coleman enters with bursting energy, on the second version the opening is followed by a Redman's long notes over a slowing rhythm. This gives the rest of the piece a whole different feel.
On the Love Call versions Ornette plays trumpet and violin. While I prefer his alto playing, it is good to hear him explore the different sounds and possibilities.
That's Ornette. His mind is always working, unbound by anything other than his own musical sensibilities. He knows his African American tradition - but is not limited by it or any other tradition. It is not easy for a musician to stray from a tradition - it is much easier to stay in the cozy confinements of an existing style/tradition. But the strong survive - as Coleman has. Amazon User

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Lucky Thompson - Lucky Strikes

Few musicians are so misnamed as Lucky Thompson, a brilliant tenor and soprano saxophonist who ranked second only to Dexter Gordon as the greatest tenorist to come out of bop before the '50s. Yet Dexter's style was heavily imitated by later generations, making his music much less startling. Lucky sounds like no other player in the music's history. On this album he weaves shimmering, cascading lines on his tenor and soprano over a rhythm section made extraordinarily graceful by the presence of Hank Jones on piano. Richard Davis is good (though he would be better in his modal years on Blue Note) and drummer Connie Kay gives the proceedings an airy athleticism. Thompson's tone on tenor has lightened somewhat since his bebop days (no longer sound indebted to Don Byas) and he was perhaps the first true master of the soprano, playing it with a light yet forceful, vibrato-less tone. His improvisations are remarkably modern. His ideas threaten to fly right off the changes during his wonderfully constructed runs, and his vocabulary studiously omits blues and bop cliches. Those who know his music say he's one of the greatest sax players ever. If you buy this album you'll agree. Amazon User.

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Philly Joe Jones - Showcase

This is a particularly interesting hard bop-oriented set led by drummer Philly Joe Jones. Most unusual is "Gwen," a Jones ballad that has the leader on both piano and (via overdubbing) drums in a trio with bassist Jimmy Garrison. Otherwise, trumpeter Blue Mitchell, trombonist Julian Priester, tenor saxophonist Bill Barron, either Dolo Coker or Sonny Clark on piano, Garrison, and Jones form a sextet that performs modern tunes by Barron, Priester, and Jones, in addition to "I'll Never Be the Same" and Philly Joe's feature on "Gone" (based on the Miles Davis/Gil Evans interpretation of "Porgy and Bess").

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The Beatles

"The most devastating male quartet since the Four Horsemen of the Apocalypse."

• Donald Zec, Daily Mirror

• Please Please Me (1963)
• With The Beatles (1963)
• A Hard Day's Night (1964)
• Beatles for Sale (1964)
• Help! (1965)
• Rubber Soul (1965)
• Revolver (1966)
• Sgt. Pepper's Lonely Hearts Club Band (1967)
• The Beatles (aka the White Album) (1968)
• Yellow Submarine (1969)
• Abbey Road (1969)
• Let It Be (1970)