Miles Davis - Ongoing Discography All @ 320

Miles Davis @ 320.  The year is the year released not the year recorded.

More will be added as I get them uploaded.  To start:

1955 - The New Miles Davis Quintet @ 320

1957 - Miles Ahead @ 320

1957 - Round About Midnight @ 320

1957 - The Birth of the Cool @ 320

1958 - Ascenseur pour l’‘Echafaud @ 320

1958 - Miles Davis at Newport @ 320

1958 - Milestones @ 320

1958 - Porgy and Bess @ 320

1959 - Kind of Blue @ 320

1960 - Olympia @ 320

1960 - Sketches of Spain @ 320

1961 - Miles Davis at Carnegie Hall @ 320

1963 - Miles In Europe @ 320

1963 - Seven Steps To Heaven

1964 - Miles In Berlin

1964 - Miles In Tokyo - Japanese Import @ 320

1964 - My Funny Valentine @ 320

1967 - Nefertiti @ 320

1968 - Miles In The Sky @ 320

1970 - Bitches Brew @ 320

1971 - Live Evil @ 320

1974 - Big Fun @ 320

1974 - Dark Magus @ 320

1974 - Get Up With It @ 320

1975 - Agharta @ 320

1975 - Pangaea @ 320

1983 - Star People @ 320

1985 - You’‘re Under Arrest @ 320

1986 - Tutu @ 320

Enjoy - More to come!!

STAN GETZ
1.jazz giants-1958/getz/mulligan/edison/bellson/peterson trio
2.stan getz and joao gilberto/featuring AC.Jobim_2002
3.S.getz/quartet in poland _1960(live version)

3 albums in one rar!download now!
www.uploadbox.com/files/fbc1fd95a8

MILES DAVIS - SKETCHES OF SPAIN_2009
50 TH ANNIVERSARY ENHANCED LEGACY EDITION(2CDS)
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MILES DAVIS_LIVE AT DE DOELEN,ROTTERDAM_09/11/1969
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MILES DAVIS_LIVE IN PALAIS DE SPORTS,PARIS,RECORDED LIVE ON 15/11/1973
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MILES DAVIS
MILES FROM INDIA_2008(2 CDS)
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During the second half of “Miles From India,” a boldly expansive concert at Town Hall on Friday night, the percussionist Badal Roy ventured a tabla solo, the sort of heroic exhibition that can end only in generous applause. He was annotating a composition called “Ife,” which he originally recorded with the trumpeter Miles Davis in 1972.
From left, Pete Cosey, Wallace Roney and Badal Roy were among the dozen or so players in a tribute to Miles Davis.
Mr. Roy was the linchpin but not always the focal point of “Miles From India,” which generally featured about a dozen other musicians onstage. The concert grew out of an ambitious new double album of the same name on Times Square Records, conceived as a cross-cultural experiment by the producer Bob Belden. On the album assorted Miles Davis alumni appear along with acclaimed Indian musicians — Mr. Roy hails from both camps of course — to play music spanning several periods of Davis’s chameleonic career.
It’s not such a stretch to seek affinities between Miles and India: as one of the chief proponents of modal improvisation in jazz, he occasionally reached in that direction himself. And a handful of his former sidemen, notably the guitarist John McLaughlin, went on to explore Indian music more deeply and directly.
Mr. McLaughlin contributed the title track and lone original on “Miles From India,” but he wasn’t on the bill Friday. Not that there was much occasion to miss him. The concert, organized by Mr. Belden and the Indian jazz pianist Louiz Banks, heeded the same ethos of crowded collaboration that guided Davis during his first fusion epoch, in the late 1960s and early to mid-’70s. There were organizing principles to the program (a set list, even) but the prevailing spirit was free form, seemingly open to chance.
On “Spanish Key,” which opened the second half, that method paid off handsomely. The trumpeter Wallace Roney, a leading disciple of the Davis sound and style, played with exacting purpose and unrepressed enthusiasm, carving up the song. And the melody, with its upward-tumbling arpeggio, suited the vocalist Shounak Abhisheki perfectly.
“Miles Runs the Voodoo Down,” another track from the post-Woodstock album “Bitches Brew,” played to the strengths of both Mr. Roney and the guitarist Pete Cosey, who soloed in serpentine tandem. (It also provoked plaintive commentary from the violinist Kala Ramnath, who held her instrument in the Carnatic style, with its neck sloping to the floor.)
Just as potent was “It’s About That Time,” which felt right from the moment the bassist Benny Rietveld began the song’s signature vamp. At its peak the tune had Lenny White flailing at his drums as the alto saxophonist Rudresh Mahanthappa sparred with Adam Holzman, on Fender Rhodes piano. Whatever fusion this implied, it was effective.
The concert’s first half was less so, despite the stalwart contributions of the bassist Ron Carter and, on one song, the pianist Vijay Iyer. With a set drawn strictly from the album “Kind of Blue,” which uses modal concepts but predates “Bitches Brew” by a crucially important decade, the musicians had to work a lot harder at translation. It never quite came together, though their effort was worth hearing.

CINDY BRADLEY_BLOOM_2009/TRUMPET SOLIST/FUSION/SMOOTH/
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BIOGRAPHY:
When Cindy Bradley, in a last minute rush to choose an instrument to play in her 4th grade elementary school band program, chose the trumpet, little did she know it would someday put her on a collision course with Trippin ‘n’ Rhythm Records and her opportunity to record the record of a lifetime in “Bloom”, her major label debut.
Born and raised in Buffalo, NY, Cindy enjoyed a varied career in music starting from a very young age. Although her first instrument of choice was the piano, which she began playing at the age of 6, she made the fateful choice to pick up the trumpet in her 4th grade band program. At the tender age of 12 she began performing professionally with a Buffalo area jazz band that consisted of all promising young musicians called “Sugar and Jazz.” The group consisted of kids from ages 12-17 and stressed the importance of professionalism and emulating the big band sounds of the 1940s. Although she continued to perform in various jazz groups as she grew up, it was with this group that Cindy fell in love with performance, jazz music, and especially the trumpet.
Cindy went on to earn a bachelors degree in jazz studies from Ithaca College, and a masters degree in jazz trumpet performance from the New England Conservatory. It was there that she studied with and was influenced by many jazz greats including John McNeil, Bob Brookmeyer, Jerry Bergonzi, George Russell and Steve Lacy. After earning her degrees she immediately moved to the New York City area to begin to cut her musical teeth, playing and performing with her own unique sound. As a sideman Cindy has toured and recorded extensively with various funk, top 40, R&B;, jazz-fusion, and straight ahead jazz groups performing everywhere from Emmy Awards parties to the Superbowl.
Cindy is a believer in giving back and has long continued to share her musical knowledge with others. As a jazz educator she regularly conducts jazz workshops all over the country.
As a smooth jazz soloist Cindy recently had the privilege of touring with legendary jazz group Pieces of a Dream, currently performs in the New York City area with the Sly Geralds Band (bassist to Maceo Parker) and is in the process of reforming her own band that will soon set to the road in support of the new record, with a dynamic new show.
The word has found its way to the streets and the early accolades are already beginning to ramp up as she has been recently heralded as “one of the best young players I have heard in some time” by city sound radio’‘’‘s Dick Fairchild, and that she “may pave the way for future female trumpet players” by Akbar-Nour (smoothjazznow.com).
Now the newest addition to the Trippin’‘’’ N’‘’’ Rhythm family, Cindy’‘’‘s label debut, entitled “Bloom,” draws upon all aspects of her musicianship. In the making of this album, Cindy had the privilege of writing with and being produced by Grammy award winning producer Michael Broening (George Benson). The tracks boast of some of the industry’s funkiest and most gifted sidemen and soloists including bassists Mel Brown and Mario Mendivil, drummers Tony Morra, John Herrera and Mike White, guitarists Freddie Fox, Thano Sahnas, and Jay Soto, saxophonists Dominic Amato and Marion Meadows, and producer Michael Broening on keys. Cindy is also joined on the album by Trippin’‘’’ N’‘’’ Rhythm label mates Jaared on saxophone and Tim Bowman on guitar.
“Bloom” is a rich and vibrant showcase of everything that is Cindy Bradley - passion, optimism and a rich command and feel for her instrument. From smooth and sultry flugelhorn tracks like ‘Before I Go”, the ultra funky set “Brooklyn Bounce,” to the irresistibly soulful title track, “Bloom” is self fulfilling in that Cindy, after much effort and desire, is finally ready to establish her place among the new guard in smooth jazz. She brings with her a renewed sense of excitement to a format that is hungry for fresh new talent. Says label VP Jeff Lunt “I honestly can’‘’‘t recall a time in my 26 plus years in the business that I have been this excited about a new artist. Cindy’‘’‘s openness, honesty and the sheer volume of talent that she brings to the table is absolutely infectious and refreshing and should do well to launch her into the smooth jazz stratosphere. She is an absolute one of a kind and this record combined with the brilliant touch of the great Michael B will set smooth jazz right on it’‘’‘s collective ear”.
Given her good seed stock, the fertile soil (Trippin ‘N’ Rhythm), and the careful nurturing (Michael Broening), Cindy’s time has come and she is ready to “Bloom” as one of smooth jazz’s brightest new stars. Not Just another pretty face…… this girl is for real!

Thank you for the extraordinary Cindy Bradley album, it is hard to find it elsewhere, and the feeling is divine. Everyone who listens to smoothjazz.com radio knows what I’m talking about…

Thank you for extraordinary Cindy Bradley album, it is hard to find it elsewhere, and the feeling is divine. Everyone who lsitens to smoothjazz.com radio knows what I’m talking about…

CINDY BRADLEY
JUST A LITTLE BIT_2007
www.uploadbox.com/files/045583e935
TRACKLIST:
01 - Pay Day 6:1202 - Afternoon Awakening 4:0603 - For Him 4:0404 - Just a Little Bit 5:0305 - You Know What’s Next 3:5506 - Manhattan Rain 5:4007 - Out of Service 3.3708 - Mr. Magic 5:09
Her bio says she was born in Buffalo, New York and started in with her music at a very early age. She sure did because by the age of 12 she was already touring with a jazz group of young musicians. In later years, she broadened her scope to take in latin, funk, rock and R&B;. She achieved a Masters Degree in jazz performance from the New England Conservatory in Boston and a Bachelors degree in jazz studies from Ithica College. She has worked with some of the best jazz players in the area and toured with Pieces Of A Dream. Very impressive background. While doing some research, I read a short review about her in which the reviewer stated they were huge jazz fans but had never heard a female trumpter. Well in this male dominated field it’s actually not as rare as one would think. Starting from pre-1920’s jazz on through the years, there have been many female trumpeters. Although most never reach notoriety one such player (around 1940) made the boys take notice. That was Clora Bryant who used to sit in at the jazz jam sessions in the Downbeat Club in Los Angeles. Believe it or not, LA was a haven for jazz musicians from the 20’s through the 50’s. In this day and age, though, there are no famous female jazz trumpet players to speak of and just when we were kicked back and very comfortable in the zone, along comes Cindy Bradley. This young lady is really in somewhat the same postition that jazz sax players Candi Dulfer and Mindi Abair found themselves in some time back. She has the opportunity and the ability to create a path for future female horn players while solidifying a spot for herself.The proof lies in the product though and how does that stack up for Cindy Bradley? Well she’s one of the best young players I have heard in some time. Her new cd, Just A Little Bit, is composed of eight tracks and of the eight tracks, 5 are written by Cindy, 2 are written by trumpeter/composer John McNeil and 1 is a cover of Grover Washington Jr.‘s hit , Mr. Magic.The set opens with Pay Day, a nice little groove that blends the trumpet with Dave Lawrence’s fine guitar work. Midway into the tune they break apart for a brief exchange between keyboard, trumpet and guitar…..then back together and out the other end. Nice track. Dave Lawrence, along with Cindy, arranged most of the tracks on the cd and it’s definately demonstrated by the tightness between them.Afternoon Awakening is the next offering and is a much softer track with Cindy on muted trumpet. It may be a softer track but she gets her point across while at the same time allowing you to remain in that lull of the moment. Once again Dave backs her up with some very fine yet unobtrusive guitar work.Track 3, For Him, is the only track not list as being arranged by Lawrence. It too is a softer track featuring Cindy on flugelhorn and basically is the first track I’ve heard that doesn’t have any push from Lawrence or the other musicians. This track features Cindy all the way and shows her ability to carry the show. The title track, Just a Little Bit, picks the tempo back up and adds some vocal backing by Letrice Cherry. Nice catchy track with a mixture of guitar, trumpet and vocals. Cindy stretches out a bit on this one with a solo in the latter part of the track and then puts a fine finish to the tune.We’re back to muted trumpet on You Know What’s Next and of course it’s a much softer track again. Don’t let that fool you though. Cindy manages to leave her mark on this track with solid solo work and a wrapup somewhat in the familiar style of Chris Botti.The next two tracks, Manhattan Rain and Out Of Service, are penned by John McNeil, and have a bit of a different flavor than the prior tracks written by Cindy. They tend to be more jazz oriented which makes her reach out more than on the first part of the cd. If you are a fan of jazz trumpet, these two tracks are probably the best on the album.The closing track is Grover Washington Jr.‘s Mr. Magic and Cindy has taken this tune to the trumpet in great fashion. At first blush the playing seems very light in it’s interpretation of the tune, however, as it unfolds we find Cindy doing some very dynamic solo work. To sum up this album…..... the overall cd is a listening experience you’ll enjoy. I’d say the arrangements were a little too guarded and structured, although, in every instance where Cindy was asked to step up to the plate, she delivered. I’d definately like to hear her perform untethered to the level of her capabilties. Maybe on the next cd. If so, it ought to be dynamite.

SEAN JONES _THE SEARCH WITHING_2009   /trumpet solist/jazz /smooth/
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Tracklist:01. The Search Within (interlude) - 1:1102. Transition - 5:2003. The Ambitious Violet - 6:3904. Life Cycles - 6:2805. The Storm - 5:3206. Letter of Resignation - 4:2807. The Search Within (for less) - 1:5108. Summer’‘s Spring - 7:1309. Sunday Reflections - 5:5510. Sean’‘s Jones Comes Down - 4:5911. Love’‘s Lullaby - 6:4412. The Search Within (postlude) - 1:35
Sean Jones (b. May 29, 1978 in Warren, Ohio) is an American trumpeter and composer featured on the 2007 Grammy Award-winning Turned to Blue from Nancy Wilson. As a bandleader, Jones has released five albums under the Mack Avenue Records label. He performs with his own groups both nationally and internationally, in addition to being a lead trumpeter for the Jazz at Lincoln Center Orchestra (which also features Wynton Marsalis). Jones often plays at music venues and jazz festivals such as the Monterey Jazz Festival, Detroit International Jazz Festival and Montreal International Jazz Festival.Among Jones’’ first musical experiences were the gospel music he heard while attending Saint James’’ Church of God in Christ in Warren, Ohio, where he sang and performed with the choir. As a beginning musician, Jones started on the drums and switched to trumpet in the fifth grade after his grandmother told him about his grandfather playing that instrument during World War II. Jones developed an interest in jazz music around the same time, after receiving two Miles Davis albums from his band instructor, namely Kind of Blue and Tutu.
By the time he entered Warren G. Harding High School, Jones had decided to pursue a career as a professional musician, and studied classical trumpet as well as jazz. In 2000, Jones obtained an undergraduate degree in classical trumpet performance from Youngstown State University and later a master’‘s degree from Rutgers University, where he studied under Professor William Fielder, who had also taught Wynton Marsalis, among others. As a session musician, Jones has performed with several notable ensembles and musicians, including Tia Fuller, Gerald Wilson, Joe Lovano, Tom Harrell, Jon Faddis, Jimmy Heath and Frank Foster.
In 2004, Jones had a six-month stint with the Lincoln Center Jazz Orchestra, after which Marsalis offered him a position with the ensemble as lead trumpeter. Around the same time, he became a music professor at Duquesne University. He currently lives in the Pittsburgh area. Jones has recently been selected as the Interim Artistic Director for the Cleveland Jazz Orchestra.
Jones is currently represented by Addeo Music International (AMI).
Discography:
2009: The Search Within (Mack Avenue)
2007: Kaleidoscope (Mack Avenue)
2006: Roots (Mack Avenue)
2005: Gemini (Mack Avenue)
2004: Eternal Journey (Mack Avenue)
As sideman/contributor
2007: Healing Space, Tia Fuller (Mack Avenue)
2006:Turned to Blue, Nancy Wilson (MCG Jazz)
2005: Sonic Tonic, Ron Blake (Mack Avenue)
2005: In My Time, Gerald Wilson Orchestra (Mack Avenue)
2003: New York, New Sound Gerald Wilson Orchestra (Mack Avenue)
2002: Live @ Zanzibar Blue, Charles Famborough
Compilations
2007: Compilations (Tri-Valley YMCA)
2006: Legends & Lions:Swingin’’ (Mack Avenue)
2006: Legends & Lions: Swoonin’’ (Mack Avenue)
2006: Legends & Lions: Blues (Mack Avenue)
Awards and nominations
2006: Downbeat Magazine Rising Star
2007: Downbeat Magazine Rising Star
2007: JazzTimes Magazine Reader’‘s Poll Best New Artist
2007: Jazz Journalists Association Trumpeter of the Year (Nominated)

SEAN JONES_ROOTS_2006
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The third release of Sean Jones with compositions that embrace Hard-bop, Gospel, and R&B;traditions. He is joined by Mulgrew Miller,Tia Fuller (Alto, Flute) and Orrin Evans (piano) from his first album (Eternal Journey). The session also includes veterans Ron Blake, Walter Smith III on saxes, E.J. Strickland and Corey Rawls on drums and Andre Hayward on Bone.

TRACKLIST:
1. Children’s Hymn
2. Roots
3. Divine Inspiration
4. God’s Gift
5. Come Sunday
6. Lift Every Voice
7. Offering Time
8. Conversations
9. Soul
10. Puddin’ Time
11. What We Have
12. John 3:16
13. I Need Thee

JON FADDIS
HORNUCOPIA_1991
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TRACKLIST:
High Five
Reckless Blues [F. Longshaw]
Ahbeedunseedja
Forevermore
Rapartee [Charlie Parker/Jon Faddis]
Dewey’s Dance [Jon Faddis, Renee Rosnes, James Genus, Billy Drummond]
Squeezin’
March That Thang
Dizzy Atmosphere [Dizzy Gillespie]
I Surrender All [Andrae Crouch]
Jon Faddis,Dizzy Gillespie,Peter Gordon, Jerry Peel, John Clark, Fred Griffen,Renee Rosnes,James Williams,James Genus,Lewis Nash,Buddy Williams,Billy Drummond,Bernard Purdie.
Edison Recording
StudioNYC
DISCOGRAPHY:
Youngblood (1976)
Good and Plenty (1978)
Legacy (1985, Concord Jazz)
Into the Faddisphere (1989)
Hornucopia (1991, Epic Records)
Jon & Billy (1993, Storyville Records)
The Carnegie Hall Jazz Band (1995, Blue Note)
The Dizzy Gillespie Alumni All-Stars: Dizzy’s 80th Birthday Party (1997, Shanachie 5040)
Swing Summit: Passing On The Torch (1997, Blue Chip Jazz 4003-2)
Remembrances (1998)
The Dizzy Gillespie Alumni All-Stars: Dizzy’s World (1999, Shanachie)
The Dizzy Gillespie Alumni All-Star Bigband: Things to Come (2000, Jazz Mcg Telarc Jazz MCGJ1009)
Teranga (2006)
Biography:
Jon Faddis (born July 24, 1953 in Oakland, California), is an American jazz trumpet player, conductor, composer, and educator renowned for both his highly virtuosic command of the instrument and for his expertise in the field of music education. Upon his first appearance on the scene, he became known for his ability to closely mirror the sound of trumpet icon Dizzy Gillespie, who was his mentor along with Stan Kenton trumpeter Bill Catalano.
At 18, Faddis joined Lionel Hampton’s big band before joining the Thad Jones/Mel Lewis Orchestra as lead trumpet.
After playing with Charles Mingus, Jon Faddis became a noted studio musician in New York, appearing on many pop recordings in the late 1970s and early 1980s. In the mid-eighties, he left the studios to continue to pursue his solo career, which resulted in albums like Legacy, Into The Faddisphere and Hornucopia. As a result of his growth as a musician and individual artist, he became the director and main trumpet soloist of the Dizzy Gillespie 70th Birthday Big Band and Dizzy’s United Nation Orchestra; from 1992 to 2002, Faddis led the Carnegie Hall Jazz Band at Carnegie Hall, conducting over 40 concerts in ten years, during which time the CHJB presented over 135 musicians, featured over 70 guest artists, and premiered works by over 35 composers and arrangers at Carnegie Hall.
Faddis also led the Dizzy Gillespie Alumni All-Stars and the Dizzy Gillespie Alumni All-Stars Big Band from their inception through 2004, when he was appointed artistic director of the Chicago Jazz Ensemble, based at Columbia College Chicago in Illinois. Faddis currently (2004 forward) leads both the Chicago Jazz Ensemble, primarily in the Midwest, and the Jon Faddis Jazz Orchestra of New York (the successor to the Carnegie Hall Jazz Band), primarily on the East Coast (with performances at the Kimmel Center in Philadelphia, the Performing Arts Center in Westchester, New York, the Newport Jazz Festival and other venues). In 1999, Faddis released the Grammy-nominated Remembrances (Chesky Records) which was composed almost entirely of ballads and featured work from Argentinian composer/arranger Carlos Franzetti.
In 1997, Faddis composed the Jazz opera Lulu Noire. Faddis appeared in the 1998 movie, Blues Brothers 2000. In the film, he plays trumpet with The Louisiana Gator Boys.
Faddis in concert in 2007
In 2006, the Jon Faddis Quartet released the CD Teranga (Koch Records), featuring guests including Clark Terry. Faddis is a first call lead player in New York City and has an international reputation for his playing ability in the full range, particularly the highest registers, of the trumpet.
Alongside his playing career, Faddis is a noted educator for jazz and the trumpet as well as a performing artist/clinican for Schilke Trumpets, manufactured in Melrose Park, Illinois. Faddis performs on a Schilke S-42L trumpet in gold-plate with slight modifications of his own design; prior to that he played a gold-plated B6L with the beryllium bell. His mouthpieces are custom made by Scott Laskey out of Lombard, Illinois.
Jon Faddis currently teaches at The Conservatory of Music at Purchase College-SUNY, in Westchester, New York; he is also a guest lecturer at Columbia College Chicago where he serves as the Artistic Director for the Chicago Jazz Ensemble. Remaining true to the tradition of honoring mentors, he also leads master classes, clinics and workshops around the world; he often will bring students along to his gigs and allow the students to sit in.

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