Thursday, June 23, 2011

Game of Thrones - S01

I know that tv shows aren't Jizzrelics proper business, but this one caught me so violently that I've to spread it to as many as possible. I'm huge fan of George R.R. Martins' fantasy saga and this tv script revamped a youth passion for this kind of products. You will like it, believe me. Is exactly the yin and yang compared to The Lord of the Rings or any other attempt in the genre. Is full of blood, sex, intrigues and violence. It's the black side of fantasy narration.
So here you have the ten episodes of the first serie. Quality is quite good and files are easily exportable to your mobile devices.

File name: GOT0101.rar
File size:178.24 MB

File name: GOT0102.rar
File size:159.51 MB

File name: GOT0103.rar
File size:165.46 MB

File name: GOT0104.rar
File size:160.58 MB

File name: GOT0105.rar
File size:157.49 MB

File name: GOT0106.rar
File size:151.85 MB

File name: GOT0107.rar
File size:171.83 MB

File name: GOT0108.rar
File size:169.32 MB

File name: GOT0109.rar
File size:164.84 MB

File name: GOT0110.TG.rar
File size:153.80 MB


Wednesday, June 22, 2011

Eric Dolphy - Far Cry

Charlie Parker's influence permeates this 1960 session. Beyond the obvious acknowledgment on song titles ("Mrs. Parker of K.C. ['Bird's Mother']" and "Ode to Charlie Parker"), his restless spirit is utilized as a guiding light for breaking bebop molds. Far Cry finds multi-reedist Eric Dolphy in a transitional phase, relinquishing Parker's governing universal impact and diving into the next controversial phase that critics began calling "anti-jazz." On this date Booker Little's lyrical trumpet and Jackie Byard's confident grasp of multiple piano styles (though both steeped in hard bop) were sympathetic to the burgeoning "avant-garde" approach that Dolphy displays, albeit sparingly, on this session. Far Cry contains the initial performance of Dolphy's future jazz classic "Miss Ann," along with his first recorded solo alto sax performance on "Tenderly," in which Dolphy bridges the gap between the solo saxophone performances of Coleman Hawkins and Anthony Braxton.


Tuesday, June 14, 2011

Pharoah Sanders - Izipho Zam

Two years after the death of his mentor and boss, John Coltrane, and just before signing his own contract with Impulse!, Pharoah Sanders finally got around to releasing an album as a leader apart from the Impulse! family. Enlisting a cast of characters no less than 13 in number, Sanders proved that his time with Coltrane and his Impulse! debut, Tauhid, was not a fluke. Though hated by many of the jazz musicians at the time -- and more jazz critics who felt Coltrane had lost his way musically the minute he put together the final quintet -- Sanders followed his own muse to the edges of Eastern music and sometimes completely outside the borderlines of what could be called jazz. That said, Izipho Zam is a wonderful recording, full of the depth of vision and heartfelt soul that has informed every recording of Sanders since. Guests include Sonny Sharrock, Lonnie Liston Smith, Chief Bey, Cecil McBee, Sirone, Sonny Fortune, Billy Hart, Howard Johnson, and others. The set begins with a gorgeous soul tune in "Prince of Peace," with Leon Thomas doing his trademark yodel, croon, and wail as Smith, McBee, and Hart back him and Sanders fills the gaps. Next is "Balance," the first blowing tune on the set, with the African drums, the modal horns, and Sanders' microtonal investigations of sonic polarity contrasted with Johnson's tuba, leaving the rhythm section to join him as Sharrock and Smith trade drone lines and Sanders turns it into a Latin dance from outer space about halfway through to the end -- it's astonishing. Finally, on the 28-minute title track, the band members -- all of them -- begin a slow tonal inquiry, a textured traipse into the abyss of dissonance and harmonic integration, with Thomas as the bridge through which all sounds must travel on their way to the ensemble. From here, percussion, bells, whistles, Sharrock's heavily chorded guitar -- all provide rhythm upon interval upon tonal figure until the horns enter at about 12 minutes. They move slowly at first and gather force until they blast it right open at 20 minutes and the last eight are all free blowing and an endurance ride for the listener because, with four minutes left, Sanders leads the band in a gorgeous lyric ride that brings together all disparate elements in his world and ours, making this track -- and album -- an exhilarating, indispensable out jazz experience.


Sunday, June 12, 2011

Freddie Hubbard - Red Clay

This was recorded in January of 1970. Many jazz musicians had been feeling the pressures of rock's popularity. Freddie Hubbard had occasionally experimented as early as 1966 with rock (or soul) rhythms. "Red Clay" was his first album for CTI, but it's not like his other, rock-oriented output for the label. The title cut is the only original-album tune with a rock beat. But even then, Lenny White contributes interesting stuff with quality, real-jazz interaction. Other than the organ on "Delphia," a 6/8-swing tune, Herbie Hancock plays electric piano throughout. Joe Henderson stays more in the background on those first two cuts, but the band stretches out and swings wonderfully on "Suite Sioux" and "The Intrepid Fox." Joe's solos--as usual--balance perfectly between "in" and "out." Freddie soars in typical fashion; often, it's of the can't-believe-yer-ears nature.This music--largely because of Herbie's light touch--has an airy lilt to it: a fresh, liberated feel. The electric piano (that classic Rhodes sound) is part of it, as is Ron Carter's heady, understated bass. "Cold Turkey" (a bonus cut) gets an imaginative, and yes, groovy treatment. It's hard to sit still to it. Another bonus cut, an alternate take of "Red Clay," is added this time around, but if you already own the previous CD incarnation, I don't think you need to buy this--unless you strive for completeness. Great music, folks. This wonderful album gets my unqualified recommendation, and should please both hard-core jazz fans and those who just dabble in it.


Friday, June 10, 2011

Hot New Releases - Rock/Hardcore/Metal

Band: Kampfar
Album: Mare
Year: 2011
Genre: Black Metal
Country: Norway
Myspace: Link

Band: Dropkick Murphys
Album: Going Out In Style
Year: 2011
Genre: Celtic Punk / Hardcore-Punk
Country: United States
Myspace: Link
Filesize: 78 MB

Band: Ulcerate
Album: The Destroyers Of All
Year: 2011
Genre: Technical Death Metal / Atmospheric Sludge Metal
Country: New Zealand
Myspace: Link
Filesize: 92 MB
Bitrate: VBR

Band: Wormrot
Album: Dirge
Year: 2011
Genre: Grindcore
Country: Singapore
Filesize: 39 MB
Bitrate: 320 Kbps

Band: Ulver
Album: Wars of The Roses
Year: 2011
Genre: Ambient / Electronica / Rock / "Once Black Metal"
Country: Norway
Myspace: Link
Filesize: 91 MB
Bitrate: VBR V0

Band: Maruta
Album: Forward Into Regression
Year: 2011
Genre: Grindcore / Death Metal
Country: USA
Myspace: Link
Filesize: 66 MB

Band: Iskald
Album: The Sun I Carried Alone
Year: 2011
Genre: Melodic Black Metal
Country: Norway
Myspace: Link
Filesize: 104 MB

Band: Cave In
Album: White Silence
Year: 2011
Genre: Post-Hardcore / Sludge Metal
Country: United States
Myspace: Link
Filesize: 75 MB
Bitrate: 320kbps

Wednesday, June 8, 2011

Bill Evans Trio

A small selection of Bill Evans Trio. All in super high mp3 quality rip.

At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to become one of the most acclaimed piano trios — and jazz bands in general — of all time. With this group, Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation, blurring the line between soloist and accompanist. The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings from the same recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were collected on the three-CD set The Complete Village Vanguard Recordings, 1961. There is also a lesser-known recording of this trio, Live at Birdland, taken from radio broadcasts in early 1960, though the sound quality is poor.

In addition to introducing a new freedom of interplay within the piano trio, Evans began (in performances such as "My Foolish Heart" from the Vanguard sessions) to explore extremely slow ballad tempos and quiet volume levels, which had been virtually unknown in jazz. His chordal voicings became more impressionistic, reminiscent of classical composers such as Debussy, Ravel, Scriabin, and Satie, and he moved away from the thick block chords he had often used with Davis. His sparse left-hand voicings supported his lyrical right-hand lines, reflecting the influence of jazz pianist Bud Powell.

Like Davis, Evans was a pioneer of modal jazz, favoring harmonies that helped avoid some of the idioms of bebop and other earlier jazz. In tunes like Time Remembered, the chord changes more or less absorbed the derivative styles of bebop and instead relied on unexpected shifts in color. It was still possible (and desirable) to make these changes swing, and a certain spontaneity appeared in expert solos that were played over the new sound. Most composers refer to the style of Time Remembered as "plateau modal," because of its frequent juxtaposition of harmony.

Tuesday, June 7, 2011

Joe McPhee & Chris Corsano - Under a Double Moon

With a career now spanning over 40 years and more than 100 recordings, Joe McPhee has shown that emotional content and theoretical underpinnings are thoroughly compatible — and in fact, a critically important pairing — in the world of creative improvised music. Since recording The Hated Music with Paul Flaherty in 2000, Chris Corsano has been hyper-active in far-reaching corners of the free improvised world. Under A Double Moon, recorded live in Paris during a spring 2010 tour of Europe, is their first album together (and, given how phenomenally simpatico a partnership they’ve forged, we hope it’s not the last). With cover artwork by Judith Lindbloom and liner notes by John Szwed.


Thursday, June 2, 2011

Start your mp3-blog and earn something in the process

1. Open an account with google Here. If you already have one, go to point 2

2. Create your free blog with blogger. Choose from several layouts and styles. All the pages are deeply editable through a really quick and simple editor that offers thousands of different solutions.

3. Start uplaoding your albums. I've found through the years that best results in terms of download speed, free storage and earnings comes from these three:
  • Uploadstation: no way this is the most rewarding site for file hosting. You get an average of 15$ every 1000 downloads of a 100 mb file. With files over 450mb earnings go to 32$/1000 downloads. Add also an 8% of account sellings through your links and 20% through the referral system.
  • Filesonic: a lot of people already has a premium account that allows them to multiple-downloads without speed limits. Most of the earnings will come from account sellings that can make you a fix of 5$/10$ based on what earning plan you choose. You get also something for single download but is not even comaparable to what you get from Uploadstation.
  • Fileserve: It's the perfect mix of the two systems above: you get a good 12$/1000 downloads of a 100 mb file and a 25% of referrals earnings. Account selling is payed 5%. A lot of people also use this.
All of them allows also to REMOTE UPLOAD and FTP upload: give 'em a mediafire link and it will pop up in your files folder within seconds. This means that you can upload once to mediafire and then remote upload to all of them using the mediafire link.
My suggestion is to try all of them and find which is the most rewarding for you.

Have good bloggin' times!

Wednesday, June 1, 2011

Oliver Nelson - The Blues and The Abstract Truth

Oliver Nelson had recorded several sessions for Prestige when the fledgling Impulse! label gave him the opportunity to make this septet date in 1961. The result was a rare marriage between an arranger-composer's conception and the ideal collection of musicians to execute it. The material is all based somehow on the blues, but Nelson's structural and harmonic extensions make it highly varied, suggesting ballads, hoedowns, and swing. The band is one of those groupings that seem only to have been possible around 1960, a roster so strong that the leader's name was actually listed fourth on the cover. Nelson shares the solo space with trumpeter Freddie Hubbard, alto saxophonist and flutist Eric Dolphy, and pianist Bill Evans, while bassist Paul Chambers and drummer Roy Haynes contribute support and baritone saxophonist George Barrow adds depth. In stark contrast to Dolphy's brilliant, convulsive explosions, Nelson's tenor solos are intriguingly minimalist, emphasizing a tight vibrato and unusual note choices. It's not quite Kind of Blue (nothing is), but Blues and the Abstract Truth is an essential recording, one that helped define the shape of jazz in the '60s. --Stuart Broomer