Key Depositfiles for 24hs

 

 

How to activate pass-Gold:
Once registered go to
https://depositfiles.org/gold/points.php
At the bottom of the web page it states:
“If you have (purchased) a Gold key and wish to activate it, enter it here and click Activate”.

Please, if you already have a DepositFiles pass, refrain from participating to give other blog visitors the opportunity to benefit. 

It is important, and I would appreciate it if whoever is fortunate enough to achieve this would comment that they have done so.

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Cómo activar pass-Gold:
Una vez registrado ira a
https://depositfiles.org/gold/points.php
Al pie de la página web se indica:
"Si usted tiene (ha comprado) una clave Gold y desea activarla, introdúzcala aquí y haga clic en Activar"

Por favor, si ya cuentas con un pase para DepositFiles, abstente de participar para dar oportunidad a otros visitantes del blog de beneficiarse. 

Es importante y agradecería que quien sea el afortunado, que comente que ya lo ha logrado.

 

Jerry Murad's Harmonicats • Harmonica Rhapsody

Jerry Murad's Harmonicats were an American harmonica-based group. The band was founded in 1947; by 2009, they were no longer performing. Originally they were named The Harmonica Madcaps and the group consisted of Jerry Murad (chromatic lead harmonica), Bob Hadamik (bass harmonica), Pete Pedersen (chromatic harmonica), and Al Fiore, (chord harmonica). They reformed later as a trio with Murad, Fiore, and bass harmonica player Don Les.

Pedersen and Gail Wallace remained contributors to the group throughout its existence, working on arrangements and occasionally recording.

During 1949 when Don Les' father died, the band called upon Johnny Thompson to fill in for Les on bass harmonica for a couple of weeks. Thompson went on to play with them at their residency gig at the Frontier Hotel in Las Vegas in the early 1950s. In the mid-1950s, Les suffered from a detached retina, and Thompson once again took his place until Les was able to return full time later in the decade.

Members

Jerry Murad

Jerry Murad (chromatic harmonica), was an Armenian born in Istanbul, Turkey who moved to America at the age of 2. He played diatonic harmonicas at first, and took up chromatic soon after. Murad played Hohner 270s and 64s, as well as the Musette, a harmonica made especially for him that replicates the sound qualities of a French accordion. It is featured on their 1960s recording of "Parisienne Fantasy". Murad also played the Hohner Polyphonia (a type of orchestral melodic harmonica).

Don Les

Don Les (Dominic Leshinski) (1914–1994) (bass harmonica) was born in Lorain, Ohio, with congenital cataracts. He was able to see again at the age of twelve after a "couple of operations," but even as an adult his vision was only about 30% of normal. At one point, he formed his own version of the Harmonicats. The Don Les Harmonicats, which featured Mildred Mulcay (of the harmonica duo the Mulcays) and Lenny Leavitt. They released a Christmas album entitled Christmas with the Don Les Harmonicats.

Al Fiore

Al Fiore (chord harmonica), was born in Chicago and started experimenting with chord harmonicas at the age of 13. Fiore played the rare pre-war Hohner Chord harmonica. He recorded the band's No. 1 hit, Peg o' My Heart on this harmonica.

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Los Harmonicats de Jerry Murad eran un grupo basado en la armónica americana. La banda fue fundada en 1947; en 2009, ya no estaban actuando. Originalmente se llamaban The Harmonica Madcaps y el grupo estaba formado por Jerry Murad (armónica principal cromática), Bob Hadamik (armónica para el bajo), Pete Pedersen (armónica cromática) y Al Fiore, (armónica de acordes). Se reformaron más tarde como trío con Murad, Fiore, y el bajista Don Les.

Pedersen y Gail Wallace siguieron contribuyendo al grupo a lo largo de su existencia, trabajando en los arreglos y ocasionalmente grabando.

Durante 1949, cuando el padre de Don Les murió, la banda llamó a Johnny Thompson para que sustituyera a Les en la armónica del bajo durante un par de semanas. Thompson tocó con ellos en su concierto de residencia en el Hotel Frontier de Las Vegas a principios de los años 50. A mediados de los 50, Les sufrió un desprendimiento de retina, y Thompson volvió a ocupar su lugar hasta que Les pudo volver a tiempo completo más adelante en la década.

Miembros

Jerry Murad

Jerry Murad (armónica cromática), fue un armenio nacido en Estambul, Turquía, que se trasladó a América a la edad de 2 años. Tocó armónicas diatónicas al principio, y se dedicó a la cromática poco después. Murad tocó Hohner 270 y 64, así como la Musette, una armónica hecha especialmente para él que replica las cualidades de sonido de un acordeón francés. Está presente en su grabación de los años 60 de la "Fantasía Parisina". Murad también tocó la Polifonía Hohner (un tipo de armónica melódica de orquesta).

Don Les

Don Les (Dominic Leshinski) (1914-1994) (bajo armónica) nació en Lorain, Ohio, con cataratas congénitas. Pudo volver a ver a la edad de doce años después de un "par de operaciones", pero incluso de adulto su visión era sólo un 30% de lo normal. En un momento dado, formó su propia versión de los Harmonicats. El Don Les Harmonicats, en el que participaron Mildred Mulcay (del dúo de armónicas los Mulcays) y Lenny Leavitt. Lanzaron un álbum de Navidad titulado Christmas with the Don Les Harmonicats.

Al Fiore

Al Fiore (armónica de acordes), nació en Chicago y comenzó a experimentar con armónicas de acordes a la edad de 13 años. Fiore tocaba la rara armónica de Hohner antes de la guerra. Grabó el éxito número uno de la banda, Peg o' My Heart en esta armónica.

Lee Rocker • Hot N' Greasy Vol. 1 y 2

 

leerocker.com ...

 

Chuck Redd • Remembers Barney Kessel - Happy All The Time

 

Chuck Redd is an internationally well-known performer on both drums and vibraphone. He began his career when he joined the Charlie Byrd Trio at the age of 21. He also became a member of the Great Guitars (Barney Kessel, Byrd, and Herb Ellis.) To his credit are 25 European tours and six tours of Japan, with the Barney Kessel Trio, Ken Peplowski and the Benny Goodman Tribute Orchestra, Terry Gibbs and Conte Candoli.

Redd was featured vibraphonist with the Mel Torme All-Star Jazz Quintet from 1991 until 1996. While appearing in New York with Torme, Ira Gitler of Jazz Times said: “Redd's vibes were equally notable for vigor and melodiousness.”

He served as Artist-In-Residence at The Smithsonian Jazz Café in Washington, DC from 2004-2008. Redd frequently appears leading groups at The Oregon Coast Jazz Party and has been a featured musician at The Oregon Festival Of American Music every year since 2007. In 2007, Redd was featured with the prestigious “Milt Jackson Tribute Band.” Other engagements have included jazz cruises, stints with Bucky Pizzarelli and Ken Peplowski at Jazz at Lincoln Center, headlining at Smalls and at The Kitano in New York City and at jazz festivals around the US. He has toured and performed with Dizzy Gillespie, Mel Torme, Tommy Flanagan, Bill Mays, Ray Brown, Monty Alexander, Laurindo Almeida, Tal Farlow, Rebecca Kilgore, Scott Hamilton, Mickey Roker and Houston Person. Jazz Times has praised Redd's playing, describing his vibes work as, “Exquisite! “ The Washington Post admired his “melodic sparkle.” He was awarded “Best Vibist” in New York’s Hot House Jazz Magazine 2015 Fans Decision award.

Redd is featured on over 80 recordings. Releases include his Arbors CD, All This and Heaven Too, featuring Gene Bertoncini and George Mraz; Chopin Jazz with Rossano Sportiello; You’re My Everything with Dick Hyman and Jay Leonhart; and Nice N’ Easy with Houston Person. He can also be heard on the soundtrack to the popular television series, The Great Chefs, and the NPR broadcast Jazz Smithsonian.

Redd's career highlights include a concert with the Dizzy Gillespie Quintet in Africa for the Namibian Independence Celebration, a recital at the White House with the Barney Kessel Trio, two concerts at Carnegie Hall with the Mel Torme Quintet, and The Tonight Show. In 2008, he was a featured soloist in the finale concert at The Lionel Hampton International Jazz festival with The Lionel Hampton Big Band and the Clayton/Hamilton Jazz Orchestra. In February 2013, Chuck performed with the Dream Band co-leading with drummer Jeff Hamilton in a salute to vibes legend Terry Gibbs. Most recently, he was the 2014 honoree at The Roswell Jazz Festival. In addition to leading his own groups, Redd was a member of the Smithsonian Jazz Masterworks Orchestra for 15 years. He frequently performs in New York City and continues to tour nationally, performing at festivals and clubs. He is on the faculty at The University of Maryland School of Music and presents master classes, workshops and lectures around the country.

His Arbors CD, Happy All The Time, is a critically acclaimed tribute to his mentor, Barney Kessel, and features Monty Alexander and Jeff Hamilton, and his Noteworthy CD, When Redd is Blue, is a collaboration with his brother, pianist Robert Redd, and features saxophonist Harry Allen. Another Arbors release, The Common Thread, features Mickey Roker, Bob Cranshaw,Houston Person and Rossano Sportiello. Redd produced and is featured on For George, Cole and Duke, lead by Harry Allen for Blue Heron Records.
https://www.allaboutjazz.com/musicians/chuck-redd

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Chuck Redd es un intérprete internacionalmente conocido tanto en la batería como en el vibráfono. Comenzó su carrera cuando se unió al Charlie Byrd Trio a la edad de 21 años. También fue miembro de los Great Guitars (Barney Kessel, Byrd y Herb Ellis). En su haber hay 25 giras europeas y seis giras por Japón, con el Barney Kessel Trio, Ken Peplowski y la Benny Goodman Tribute Orchestra, Terry Gibbs y Conte Candoli.

Redd fue vibrafonista principal del Mel Torme All-Star Jazz Quintet desde 1991 hasta 1996. Mientras aparecía en Nueva York con Torme, Ira Gitler de Jazz Times dijo: "Los vibráfonos de Redd eran igualmente notables por su vigor y melodía".

Fue artista residente en el Smithsonian Jazz Café de Washington, DC, entre 2004 y 2008. Redd aparece con frecuencia dirigiendo grupos en la Fiesta del Jazz de la Costa de Oregón y ha sido un músico destacado en el Festival de Música Americana de Oregón todos los años desde 2007. En 2007, Redd se presentó con la prestigiosa "Milt Jackson Tribute Band". Otros compromisos han sido los cruceros de jazz, las actuaciones con Bucky Pizzarelli y Ken Peplowski en el Jazz at Lincoln Center, la actuación como cabeza de cartel en Smalls y en The Kitano en la ciudad de Nueva York y en festivales de jazz de todo Estados Unidos. Ha realizado giras y actuaciones con Dizzy Gillespie, Mel Torme, Tommy Flanagan, Bill Mays, Ray Brown, Monty Alexander, Laurindo Almeida, Tal Farlow, Rebecca Kilgore, Scott Hamilton, Mickey Roker y Houston Person. El Jazz Times ha elogiado la forma de tocar de Redd, describiendo su trabajo con el vibráfono como "¡Exquisito! " El Washington Post admiró su "chispa melódica". Fue galardonado como "Mejor Vibista" en el premio Fans Decision 2015 de la revista Hot House Jazz de Nueva York.

Redd aparece en más de 80 grabaciones. Los lanzamientos incluyen su CD Arbors, All This and Heaven Too, con Gene Bertoncini y George Mraz; Chopin Jazz con Rossano Sportiello; You're My Everything con Dick Hyman y Jay Leonhart; y Nice N' Easy con Houston Person. También se le puede escuchar en la banda sonora de la popular serie de televisión The Great Chefs y en la emisión de NPR Jazz Smithsonian.

Los momentos más destacados de la carrera de Redd incluyen un concierto con el Dizzy Gillespie Quintet en África para la celebración de la independencia de Namibia, un recital en la Casa Blanca con el Barney Kessel Trio, dos conciertos en el Carnegie Hall con el Mel Torme Quintet, y The Tonight Show. En 2008, fue un solista destacado en el concierto final de The Lionel Hampton International Jazz festival con The Lionel Hampton Big Band y la Clayton/Hamilton Jazz Orchestra. En febrero de 2013, Chuck actuó con la Dream Band codirigiendo con el baterista Jeff Hamilton en un saludo a la leyenda del vibráfono Terry Gibbs. Más recientemente, fue el homenajeado de 2014 en The Roswell Jazz Festival. Además de liderar sus propios grupos, Redd fue miembro de la Smithsonian Jazz Masterworks Orchestra durante 15 años. Actúa con frecuencia en la ciudad de Nueva York y sigue de gira por todo el país, actuando en festivales y clubes. Forma parte del profesorado de la Escuela de Música de la Universidad de Maryland y da clases magistrales, talleres y conferencias por todo el país.

Su CD Arbors, Happy All The Time, es un homenaje aclamado por la crítica a su mentor, Barney Kessel, y cuenta con Monty Alexander y Jeff Hamilton, y su CD Noteworthy, When Redd is Blue, es una colaboración con su hermano, el pianista Robert Redd, y cuenta con el saxofonista Harry Allen. Otro lanzamiento de Arbors, The Common Thread, cuenta con Mickey Roker, Bob Cranshaw, Houston Person y Rossano Sportiello. Redd produjo y aparece en For George, Cole and Duke, dirigido por Harry Allen para Blue Heron Records.
https://www.allaboutjazz.com/musicians/chuck-redd


chuckredd.com ...

Warne Marsh • Jazz of Two Cities

  

With Ted Brown (ts), Ronnie Ball (p), Ben Tucker (b) & Jeff Morton, plus special guest Art Pepper (as).
29 tracks recorded on October 1956-March 1957 recorded at Radio Recorders, Hollwood, CA + unreleased session for "Stars of Jazz".

Warne Marsh (October 26, 1927 - Decemeber 17. 1987) became one of the pre-eminent saxophonists of the Tristano-inspired Cool School, along with Lee Konitz. He was often recorded in the company of other Cool School musicians, and remained one of the most faithful to the Tristano philosophy of improvisation. His distinctively sombre, grainy tone (which set Marsh apart from other Lester Young-influenced saxophonists); uncannily fluent use of the high register; and rhythmically subtle lines are immediately recognizable. He has been called by Anthony Braxton "the greatest vertical improviser" and described by the British critic Alun Morgan as "one of the greatest improvisers our music has ever known". He famously died onstage at the Los Angeles club Donte's in 1987, in the middle of playing "Out of Nowhere". Though he remains something of a cult figure among jazz fans and musicians, his influence has grown since his death; younger players such as Mark Turner have increasingly been borrowing from his music as a way of counterbalancing the pervasive influence of John Coltrane. Marsh's discography remains somewhat scattered and elusive, as much of it was done for small labels, but more and more of his work has been issued on compact disc in recent years...
https://www.jazzmessengers.com/en/1018/warne-marsh/jazz-of-two-cities


"These tracks date from the time Marsh spent back in his hometown - well, Los Angeles - from February 1956 to November 1957, leading a quintet that was something of a Tristano student reunion.

Disc one reprises the material that once appeared on the Imperial and Kapp labels, and there are some very familiar characteristics: improbably tricky themes deriving from familiar harmonic territory - Ball, Brown and Marsh all contribute - propelling the improvisation into fascinating demonstrations of agility. Marsh and Brown are never exactly competitive, but clearly stimulate each other intensely; at times they wrap around themselves almost organically, prodded on by Ball's perfectly-judged piano work.

Yet there's also a wider aspect to it; the two tenors give the front line a somewhat heavier character than you might expect from the experience of Marsh and Konitz: bassist Tucker gets to feature on his own "Ben Blew" and Jeff Morton gets to play with the sticks, which he never did with Lennie. By the time "I Never Knew" comes along, with its drum-breaks, stop-time bounces and Condon Gang coda, there's a distinct feeling that school's out.

Disc two introduces Art Pepper into the mix: nine tracks - "Aretha" through "Arrival" - feature him. Originally on a Vanguard LP, it was in fact Brown's date, came out under his name, Marsh no more than a bystander and adviver. A further move away from Tritano's influence, less convolution, though the two noted above, by Ball, and Marsh's "Long Gone", set up more thematic obstacle-courses. Pepper copes well, sometimes superbly, and also makes you realise why Konitz fitted so easily into his chair in the Kenton band.

The final 15 minutes is back into the Marsh-Brown configuration, and is taken from a TV show of the period. Bobby Troup does the talking, and shows an understanding of the music. A good, though inevitably brief, version of "Background Music", plus two minutes of improvising on "Pop Goes The Weasel". Really.

These sessions mark the start of Marsh's career as leader and organiser, and as such fill an important gap in his history."
Jack Cooke -Jazz Review

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Con Ted Brown (ts), Ronnie Ball (p), Ben Tucker (b) y Jeff Morton, más el invitado especial Art Pepper (as).
29 temas grabados en octubre de 1956-marzo de 1957 grabados en Radio Recorders, Hollwood , CA + sesión inédita para "Stars of Jazz".

Warne Marsh (26 de octubre de 1927 - 17 de diciembre de 1927). 1987) se convirtió en uno de los saxofonistas preeminentes de la Cool School inspirada en Tristano, junto con Lee Konitz. A menudo se grababa en compañía de otros músicos geniales de la Escuela, y seguía siendo uno de los más fieles a la filosofía Tristano de la improvisación. Su tono distintivamente sombrío y granulado( que distingue a Marsh de otros saxofonistas influenciados por Lester Young); uso asombrosamente fluido del registro agudo; y líneas rítmicamente sutiles son inmediatamente reconocibles. Anthony Braxton lo ha llamado "el mejor improvisador vertical" y el crítico británico Alun Morgan lo describió como "uno de los mejores improvisadores que nuestra música haya conocido". Murió en el escenario del club Donte's de Los Ángeles en 1987, en medio de tocar "Out of Nowhere". Aunque sigue siendo una figura de culto entre los fanáticos y músicos del jazz, su influencia ha crecido desde su muerte; músicos más jóvenes como Mark Turner han tomado prestado cada vez más de su música como una forma de contrarrestar la influencia generalizada de John Coltrane. La discografía de Marsh sigue siendo algo dispersa y esquiva, ya que gran parte de ella se hizo para sellos pequeños, pero cada vez más de su trabajo se ha publicado en disco compacto en los últimos años...
https://www.jazzmessengers.com/en/1018/warne-marsh/jazz-of-two-cities