ANNA MARIA JOPEK_DISCOGRAPHY 1 (JAZZ/VOCAL/FUSION/SMOOTH/NEW AGE/ETNO JAZZ/)
1.BOSA_2000
2.UPOJENIE(RELEASE 2002/2008)
3.SINGLE:ARE YOU GOING WITH ME?(UPOJENIE) LIVE VIDEO/AVI/
4.JO&CO;/2008
5.NIEBO/2005
6.SKLAMALABYM/CDM/2007
7.SEPHORA/2003
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GINO VANELLI /DISCOGRAPHY_14 ALBUMS_DOWNLOAD IN ONE FILE!
1973/1974/1975/1976/1977/1978/1981/1985/1987/1990/1995/2003/2006/2009/
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BIOGRAPHY:
The 1970s was a decade dominated by glam, punk, heavy metal, new wave, disco and funk. It was a decade where notions of pop and rock authenticity and hipness were constantly being contested and redefined. In the midst of such a heady maelstrom, a handful of artists such as Gino Vannelli and Steely Dan opted to buck all the trends, writing and producing sophisticated jazz-inflected pop. In Vannelli’‘’‘’‘’‘s case, such decade defining hits as “People Gotta Move” and “I Just Wanna Stop” came wrapped in elaborate arrangements dominated by multiple synthesizers while being totally bereft of guitars. While Vannelli wasn’‘’‘’‘’‘t a favourite with the Rolling Stone wing of rock critics, he managed to rack up ten Billboard pop chart hits, seven of which also charted Adult Contemporary, three of which crossed over to the R&B;charts. Seven of those timeless classics are included on his new album, These Are The Days, alongside seven new pop hits in the making. In 2005 Gino Vannelli remains one of the most distinctive voices in contemporary pop music. Born in Montreal in the summer of 1952, Vannelli grew up in a family headed by a jazz singing father and a keen eared mother. Enamored with a bevy of jazz drummers such as Joe Morello, Gene Krupa, Ed Thigpen and Elvin Jones, as a child Vannelli studied drums and music theory for five years. By the age of 12 he had formed a rock band dubbed the Cobras and a year later, with his brother Joe holding down the keyboard chair, Vannelli headed up the Motown-influenced Jacksonville 5 (note this is five years before the Jackson 5 recorded their first record). Along the way he picked up guitar and piano and began to sing. By age fourteen he had fallen in love with classical music, attending concerts by the Montreal Symphony every last Thursday of the month. “I had a double standard,” reflects Vannelli. “I used to defend Charlie Watts and Ringo Starr, thinking they were part of something new and exciting. Yet, when I’‘’‘’‘’‘d listen to Dave Brubeck Live at Newport, my standards would be totally different. I also fell in love with the French Impressionists. I remember hearing the Montreal Symphony playing “Daphne and Chloe” and walking away saying, ‘’‘’‘’‘'What was that? I felt altered. What it really was all about was finding the magic in the down and dirty and the celestial.”
Before his seventeenth birthday, Vannelli had signed with RCA Records in Canada, releasing a single under the pseudonym Van Elli, “Gina Bold” b/w “Never Cry Again.” Bitten by the music industry bug, Gino and his brother Joe headed for New York and then later Los Angeles, pounding the pavement looking for an American record deal. While lots of record execs were suitably impressed by Vannelli’‘’‘’‘’‘s songwriting abilities and his near three octave vocal range, no one was willing to take a chance on an artist who so clearly was working with music outside of the mainstream tastes of the day. Discouraged to the point of giving up, the Vannelli brothers were ready to head back to Montreal to find work outside of music. In an oft repeated story, Gino decided make one last desperate effort to get signed. Early one morning he headed out to the offices of A&am;M Records where he waited outside the gates for any sign of company co-owner Herb Alpert. When Alpert appeared in the parking lot many hours later, Vannelli ran through the gates past a startled security guard and begged a slightly apprehensive Alpert for a chance to audition. Acting on a hunch, Alpert acceded to his request and Vannelli proceeded to play on acoustic guitar some of the songs he had recently written including “People Gotta Move,” “Crazy Life,” “Mama Coco,” “Powerful People” and “Lady.” All five songs would end up on the six albums Vannelli would record for A&M;between 1974 and 1978. Five of those six albums made the Billboard album charts, culminating with Brother to Brother which achieved a coveted Top 20 position in the fall of 1978. A classy, elegant and impassioned artist, on Vannelli’‘’‘’‘’‘s A&M;albums he recorded contemporary songs inspired by R&B;and Jazz and developed a significant cross over audience. With his records climbing the charts, Vannelli toured as the opening act for Stevie Wonder, was the first white artist to appear on Soul Train, was nominated for a handful of Grammy Awards and soon headlined his own concerts at major venues in key US cities. In his native Canada, his talents were recognized with a plethora of Juno Awards. With Herb Alpert and Jerry Moss getting ready to sell A&M;, and a new CEO at the company informing him that he should follow Rod Stewart’‘’‘’‘’‘s lead and record a disco album, in 1980 Vannelli elected to sign with Arista Records. His sole Arista album, Nightwalker, provided him with a #6 pop hit in “Living Inside Myself.” When Vannelli opted to follow it up with a stripped down edgier album called Twisted Heart, the powers at be at Arista refused to release it. For the next three years, in a move reminiscent of similar episodes in the careers of George Michael and Prince, Vannelli and his record company engaged in all-out war. After a four year hiatus, Vannelli was finally released from his Arista contract and in 1985 he released the successful Black Cars album and single on HME. Two years later, he recorded Big Dreamers Never Sleep for CBS, whose single, “Wild Horses,” stormed its way to the Top 10 in several countries. Black Cars and Big Dreamers Never Sleep proved to be big sellers in continental Europe and Vannelli spent much of the latter part of the decade touring overseas. To this day, he continues to have a large European following, usually mounting at least one major tour of the continent every year. By 1990, Vannelli had grown weary of the music industry and Los Angeles and decided to move his family to the quieter environs of Portland, Oregon. He built his own studio, started his own label, on which he released the live Inconsolable Man in 1990, and spent a number of years studying a profusion of world religions and philosophers. “I decided to pull myself out of the mainstream,” he explains, “and take the side streets.” Signing with Verve, Vannelli’‘’‘’‘’‘s commercial output took a radical left turn with the largely acoustic jazz albums Yonder Tree and Slow Love, released in 1995 and 1997 respectively. By the end of the decade his muse was taking him still further afield, toward one of his earliest loves, classical music. To prepare himself, he took voice lessons for a couple of years and began working on the material that would appear on Canto, released by BMG Canada in 2003. Featuring songs sung in English, Italian, Spanish and French, Canto was warmly received in Europe while also being purchased by a core of his faithful North American fans. Satisfied with his forays into jazz and classical, Vannelli felt that it was time to return to pop and in 2005 signed a new deal with Universal Music. These Are The Days is the first CD to be issued in this new phase of Vannelli’‘’‘’‘’‘s continually fascinating career. The initial idea was to simply issue a greatest hits album of his A&mmp;M material as Universal owns the A&M;catalogue but the concept gradually morphed into combining seven of his earlier hits with seven new songs freshly written and recorded in 2005. While the new songs represent a return to pop, they do not merely mimic Vannelli’‘’‘’‘’‘s prior efforts in this genre. “I really consciously wanted to make it different. I didn’‘’‘’‘’‘t want to resort to old tricks. I decided to change my vocabulary. Also, I have new thoughts. I felt I could recreate myself without having to gild myself!” Gone are the synth dominated arrangements of old. In their place, Vannelli uses primary instruments such as piano, organ, upright bass, drums and a little bit of acoustic guitar; all in a way that remains incredibly groove-oriented and funky. The grooves themselves are tinged with a wide selection of influences, including those of the Caribbean influences (dig the marimba on “Venus Envy”) and, of course, there are more than a few hints of jazz (the scat singing on “It’‘’‘’‘’‘s Only Love” is delectable). Vannelli’‘’‘’‘’‘s voice has also matured over the years. He delivers the infectiously catchy tunes with a confidence and authority that draws the listener in without being bombastic. This is modern pop music for the twenty-first century. These Are The Days will be followed with a new album featuring a dozen or more of the nearly thirty songs that Vannelli has recently written. As These Are The Days makes eminently plain, some thirty years after his first major label release, Vannelli is at the peak of his game, making mature pop music for this brave new world
INCOGNITO BAND/JAZZ/ACID/FUNK/FUSION/SOUL/
INCOGNITO BAND/DISCOGRAPHY 1(13)
13 albums in one part!
www.uploadbox.com/files/471ed18b1f
1.INSIDE LIFE_1991
2.TRIBES,VIBES+SCRIBES_1992
3.POSITIVITY_1993
4.100 & RISING_1995
5.BENEATH THE SURFACE_1997
6.LAST NIGHT IN TOKYO(JAPAN RELEASE)_1997
7.NO TIME LIKE THE FUTURE_1999
8.LIFE,STRANGER THAN FICTION_2001
9.WHO NEEDS LOVE_2002
10.ADVENTURES IN BLACK SUNSHINE_2004
11.ELEVEN_2005
12.TALES FROM THE BEACH_2008
13.BEES+FLOWERS+THINGS_2006
ssilka zhivaia,proverial,i na bloge i v uploadbox,ne ponimau v chem delo ,poka nikto ne zhalovalsea?
ANNA MARIA JOPEK
DISCOGRAPHY 1
www.uploadbox.com/files/fd5fb01fac
1.BOSA/2000
2.UPOJENIE(WITH PAT METHENY)/2002
3.UPOJENIE/2008
4.VIDEO SINGLE(ARE YOU GOING WITH ME?_UPOJENIE)
5.JO&CO;/2008
6.NIEBO/2006
7.SKLAMALABYM(CDM)/2007
8.SEPHORA/2001
proveril esche raz ssilku,klianus ,poniatia ne imeu v chem problema,po uploadbox vse tochno i rabotaet,s bloga kachai ne hochu,polozha ruku na serdtse -NE PONIMAU!
proveril esche raz ssilku,klianus ,poniatia ne imeu v chem problema,po uploadbox vse tochno i rabotaet,s bloga kachai ne hochu,polozha ruku na serdtse -NE PONIMAU!
наверное в опере баг какой-то...
качаю IE :-) надеюсь, все получится...
спасибо, извините за беспокойство!
1.FUSION/1977/2.SOFT SPACE/1978/3.WATER SIGN/1979/4.WIZARD ISLAND/1980/5.GALAXIAN/1981/6.ITS A FACT/1982/7.THE HEAT OF THE NIGHT/1984/8.STEP BY STEP/1985/9.LIFT OFF/1985/10.PRIVATPASSION/1986/11.WORTH WAITING FOR/1993/12.WEST SIDE STORIES/1994/13.STATE OF GRACE/1996/14.MIDNIGHT/1998/15.THE DEFINITIVE COLLECTION/2000/16.KICKIN IT/2001/17.THE VERY BEST OF JEFF LORBER/2002/18.PHILLYSTYLE/2003/19.SHADES OF SOUL/2004/20.FLIPSIDE/ 2005/21.HE HAD A HAT/2007/22.HEARD THAT/2008.
Over three decades after breaking ground as leader of the pioneering Jeff Lorber Fusion, the Philly-born and bred composer, producer and keyboard legend is still keeping the vibes fresh and the grooves funky, inspiring contemporary jazz fans everywhere to exclaim with each new musical excursion: Heard That. On his highly anticipated Peak Records debut, Lorber keeps the soulful momentum going, collaborating brilliantly on pop, jazz, R&B;and blues-influenced tracks—and even harkening back a bit to his early 80s Fusion heyday—with one of urban jazz’‘’‘’‘’‘s top hit makers and sonic architects, Rex Rideout.
Highlighted by a swinging, bluesy-brass twist on Amy Winehouse’‘’‘’‘’‘s Grammy winning “Rehab,” (the first single,) Heard That features a typically vibrant Lorber all-star guest list, including trumpet great Rick Braun, guitarist Paul Jackson, Jr., bassist Alex Al, and Peak labelmate, saxman Gerald Albright. Lorber has been touring all throughout 2008 as part of Guitars & Saxes with Albright, Jessy J, Jeff Golub and Peter White.
As high charting, pop-jazz oriented releases like West Side Stories (1994), State of Grace (1996) and Midnight (1998) were establishing him as one of the genre’‘’‘’‘’‘s top artists, Lorber also became an in demand producer; every artist looking for a hit melody and groove, from Albright to Eric Marienthal, Richard Elliot and David Benoit, tapped his behind the board talents. But on his later projects, Lorber sought new inspiration himself by collaborating with other producers. On his first three Narada Jazz sessions, including Kickin’‘’‘’‘’’ It (2001), Philly Style (2003) and 2005’‘’‘’‘’‘s Grammy nominated Flipside, the keyboardist partnered with producer Steven Dubin. Leaning more jazzy on his eclectic 2007 date He Had A Hat, he worked with legendary Blood, Sweat & Tears drummer and Chris Botti producer Bobby Colomby.
Eager to return to his trademark R&B;sound when he signed with Peak, Lorber immediately sought out Rideout, who has lent his Midas touch over the past ten years to a virtual who’‘’‘’‘’‘s who of contemporary jazz and soul instrumentalists and vocalists: Albright, Elliot,,Boney James, Paul Taylor, Kirk Whalum, Maysa, Will Downing, Lalah Hathaway and Ledisi.
“I have been a fan of all of the records he’‘’‘’‘’‘d been doing in the urban jazz realm for years,” the keyboardist says. “My last album He Had A Hat was more of a serious jazz exploration, and I wanted to record a more funky, R+B approach that would be modern, yet also have some of the funky sound and jazzy chord changes like the music from 1979’‘’‘’‘’‘s ‘’‘’‘’‘'Water Sign’‘’‘’‘’’ which is one of my favorite albums. Songs on Heard That like ‘’‘’‘’‘'The Bomb’‘’‘’‘’‘, ‘’‘’‘’‘'Night Sky’‘’‘’‘’’ and ‘’‘’‘’‘'Gamma Rays’‘’‘’‘’’ have these influences. There’‘’‘’‘’‘s also a strong blues influence, especially on ‘’‘’‘’‘'Don’‘’‘’‘’‘t Stop and the title track.”
That exciting blues twist is also a prominent element in Lorber’‘’‘’‘’‘s instantly infectious romp through “Rehab,” which was actually added to the set list of Heard That at the last minute “I was just messing around at the piano,” he says, “and realized it would be a good instrumental song, based on a Wurlitzer piano figure, which I included in my version, of course. The whole thing came down very quickly and spontaneously. Tony Moore, a good friend who just happened to be coming over, played the drum part on Bobby Colomby’‘’‘’‘’‘s 30 year old Slingerland drum set that he used to play with Blood Sweat and Tears. We got into a groove reminiscent of Ramsey Lewis’‘’‘’‘’’ ‘’‘’‘’‘'In Crowd’‘’‘’‘’’ immediately. Rex suggested a Motown style back beat guitar part which I recorded with plenty of spring reverb, like a record from the 60’‘’‘’‘’‘s. Gary Meek and Rick Braun laid down their horn parts a few days later and everything just clicked.”
While most of Lorber’‘’‘’‘’‘s previous recordings exclusively feature him on piano, Wurlitzer, Hammond B-3, Fender Rhodes and synthesizers, the playful spirit of the sessions for Heard That allowed for him to share the keys with Rideout, most notably on the old school soul-jazz jam opener “Come On Up” (highlighted by a swirl of Rhodes and piano with the Ron King/Gary Meek horn section and a crackling Paul Jackson, Jr. guitar solo); the cool, slow jam soul ballad “You Got Something” (which they wrote with featured vocalist Phillip “Taj” Jackson); the wild and soaring, brassy funk/fusion explosion not called “The Bomb” for nothing!; and the sensual vocal track “Take Control,” which blends a thick funk ballad rhythm and dark keyboard chordings with co-writer Lauren Evans’‘’‘’‘’’ dreamy vocals.
“Rex and I were surrounded by tons of keyboards in my studio,” Lorber says, “and every time we came up with a new idea, whoever was closest to the one that would have the right sound would play it. It was great to have his flavor as a complement to my style.” The rest of the tracks, include the guitar and bass driven “Don’‘’‘’‘’‘t Hold Back”; the percussive and whimsical, fusion-influenced “Gamma Rays” (with Rick Braun on trumpet and Gary Meek on tenor sax and flute); the sly and sensual, bubbling bass and horn accented “Don’‘’‘’‘’‘t Stop”; the vibrant up-tempo “Night Sky,” featuring Lorber’‘’‘’‘’‘s bright piano melody and retro wah-wah guitar ; and the high energy, swinging funk/jazz title track closer which Lorber wrote with rising urban jazz star Eric Darius, with whom Lorber toured Indonesia and Japan in early 2008.
Since the late 80s advent of the New Adult Contemporary format, Jeff Lorber has found himself filling a unique dual role. Having played a significant role in developing the late 70’‘’‘’‘’‘s, early 80s R&B;-jazz hybrid sound that later evolved into today’‘’‘’‘’‘s smooth jazz, the keyboardist is a true elder statesman of the genre and mentor to many of this generation’‘’‘’‘’‘s top artists. Philly raised and Berklee educated, Jeff Lorber recorded his first two albums for Inner City records: The Jeff Lorber Fusion (1977) and Soft Space (1978)-both of which have been recently re-issued.
Lorber fondly refers to the wealth of music he created on his six popular Arista albums from 1979-1985 (which led to his first Grammy nomination for Best R&B;instrumental for “Pacific Coast Highway” in 1985) as “second generation fusion.” In 2000, Arista Records released The Definitive Collection, which gathered the best material from these classic recordings. After the heyday of Jeff Lorber Fusion-a band which featured a then little known sax player named Kenny G, whose first album Lorber produced-the keyboardist produced R&B;artists like Karyn White (including her Top Ten hit “Facts of Love”) and entered his remixing phase. Getting back into the instrumental groove in the 90s, he produced tracks on Dave Koz’‘’‘’‘’‘s first two albums and many other artists including Art Porter and Michael Franks.
Throughout 2004 and 2005, Lorber anchored the immensely popular tribute tour Groovin’‘’‘’‘’’ For Grover, which featured Gerald Albright throughout its run in addition to stints by Richard Elliot, Paul Taylor and Kirk Whalum. In November, 2004, the keyboardist had a kidney transplant surgery (his wife Mink was a perfect match) after experiencing end stage renal failure due to the genetic condition Polycystic Kidney Disease; he is currently a spokesman for the PKD Foundation. True to his hardworking form, Lorber was back in action within a few weeks, performing gigs and getting back to his popular, weekly three hour radio show Lorber’‘’‘’‘’‘s Place Sunday nights on Sirius’‘’‘’‘’’ Satellite Radio’‘’‘’‘’‘s Jazz Café Channel.
“I’‘’‘’‘’‘m very grateful to be healthy and having the opportunity to do what I love to do, which is making music,” says Lorber. “I think the key to my success and longevity is my work ethic and the time I spend focusing on writing . Some artists only compose songs when it’‘’‘’‘’‘s time for the next album, but I’‘’‘’‘’‘m open to inspiration and ideas 24 hours a day, always thinking about harmony, melodies and chords. The best part of recording Heard That was having the chance to work with and become friends with Rex, who generously brought his talent and perspective to the project. Jazz thrives on being a collaborative medium and working with Rex was for me was a great opportunity to learn and bring in new ideas”
So as you’‘’‘’‘’‘re grooving along to Jeff Lorber’‘’‘’‘’‘s Peak Records debut, shout it out as loud as you can: I Heard That!
PAT METHENY/DISCOGRAPHY 2 PART
www.uploadbox.com/files/109e0c0592
1.OFFRAMP/1982
2.NEW CHAUTAUQUA/1979
3.PAT METHENY GROUP/1978
4.PAT METHENY&JACO;PASTORIUS/BRIGHT SIZE LIFE/1974
5.TOKYO DAYTRIP/LIVE EP/2008
6.LETTER FROM HOME/1989
7.ONE QUIET NIGHT/2003
8.PAT METHENY&T;.WILLIAMS/WILDERNESS/1996
9.PAT METHENY&J;.SCOFIELD/I CAN SEE YOUR HOUSE FROM HERE/1994
10.PAT METHENY GROUP/WE LIVE HERE/1995
PAT METHENY/DISCOGRAPHY 1 PART
www.uploadbox.com/files/30bb327c1a
1.TRIO DAY TRIP/2008
2.WATERCOLORS/1977
3.PAT METHENY & BRAD MEHLAU/2007
4.SPEAK OF NOW/2002
5.A MAP OF THE WORLD/1999
6.PAT METHENY & D.BRUBECK,BB KING/MOVE TO THE GROOVE/1999
7.PAT METHENY &D;.HOLLAND,R.HAYNES/
QUESTION&ANSWER;/1989
8.TRAVELS/1983
9.PAT METHENY/CREATIVE MUSIC STUDIO/WOODSTOCK JAZZ FESTIVAL
C.COREA,JD.JOHNETTE,A.BRAXTON,
M.VITOUS/1997
TO BE CONTINUED…
Victor Wooten/BASS DAY/1998/AVI/DVD-RIP/1:20/690MB/
Стиль: Jazz / Funk / instrumental bass/funk/
www.uploadbox.com/files/e6c842ec8a /download to one part!!!
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_________________
“All you need is love
All you need is love
All you need is love, love
Love is all you need ...”
MACEO PARKER_FUNKOVERLOAD_1998
MADE BY MACEO_2003
2 ALBUMS IN ONE RAR!BEST FUNK FROM MACEO!!!
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