Tammy’s Song (Her Evils) 06. No Makeup (Her Vice) (feat. Kendrick Lamar Section 80 Tracklist. Check out the Kendrick Lamar Section80 Tracklist after the jump. Tracklist and official cover.
Section.80 Album Full Music AlbumThat’s inevitable, but it hurts to think of the musicians who didn’t make the cut. There are countless music websites on the internet which offer full music album download but when visiting the websites, what we see is completely different from what they claimed.What’s more, this list of “essentials” is missing dozens of groundbreaking players. After all, how can you select just one album by Sonny Rollins? Sometimes you just have to go with the one you love the most.Here is a list of top 12 best sites to download full albums free in 2021. But here and there, the list has tipped toward personal favorites. I’ve tried to include “essential” recordings, ones that anyone interested in jazz should hear. Good luck, right? What you are about to read covers about 80 years of jazz history.Listen to his sound, brawny and ripe, as he moves through chorus after chorus, decorating his phrases with florid touches, letting notes trail, then heading back toward the mountaintop. Like his hero Louis Armstrong, Hawkins’s conception was commanding and brilliantly clear. This track showed the way. His playing is an essence – floating, silky, swinging. There are never too many notes with Young. What’s next, you wonder? Where is Lester taking me? Like Miles Davis, one of his heirs, Young is taking you toward a bright beauty, hiding inside a hazy, bluesy swirl. More basically, he was teaching them to build an improvised solo on the instrument that would come to define the very sound of jazz.Indiana (Aladdin, 1942, available on The Complete Aladdin Recordings of Lester Young, on Blue Note)When does breath become sound? That’s the mystery with Lester Young, who begins his final round of choruses on this track with a barely murmured phrase – just the trace of an idea, though it immediately catches the attention. Hawkins was not only showing his peers how to play a ballad magnificently. He set down some gorgeous ballad performances, too, including “Bird of Paradise” (based on the chord changes to “All the Things You Are”), from his 1946-47 recordings for the Dial label. Bach? Parker’s language, like Bach’s, might have emerged from some universal source, given its internal logic and utter beauty – not to mention its blues essence, crazy-ass melodies and tempos that careen like the subways that sped Parker from Harlem to 52nd Street after his move to New York. What happened next, and why? Well, how do you explain J.S. His voice shaped a generation of players and continues to inspire.Bird of Paradise (Dial, 1947, anthologized on The Complete Savoy & Dial Master Takes, Savoy Jazz)Like a radio receiver, young Charlie Parker – “Bird” – dialed in Hawkins and Young, along with Chu Berry, Ben Webster and other genius saxophonists working in Kansas City, Parker’s hometown, during the 1930s. Is Lester laughing? Is he crying? Inside of a short phrase, he can do both. Yet it feels so relaxed that you don’t know whether to dance or simply listen in on the conversation. Yet track after track, the saxophonist commands the date. They play like soul mates, the empathy heightened by the fact that this is a working band: It’s actually the Clifford Brown-Max Roach Quintet, of which Rollins was a member. Doubly good, in that the album pairs him with the great trumpeter Clifford Brown. This album features two of his best compositions – “Valse Hot” and “Pent-Up House” – and finds him in such ebullient spirits that you can’t help but feel good while listening. All those tunes, by the way, feature his working band of the period with trumpeter Miles Davis and drummer Max Roach.The exuberance, the endless spinning out of ideas: Rollins is like no other improviser. Dolphy was equal parts intellect, heart and imagination – and obsession, for he was always obsessively chasing his truth, the sound he dreamed inside his head. His “It’s Magic” (on bass clarinet) has got to be one of the most soulful things you ever will hear, even though he squeaks in the middle of his performance. His “Tenderly” (solo, on alto sax) will reduce you to a puddle. And could Dolphy ever play a melody: His “Left Alone” (on flute) brings chills. After more than half a century, the album is still breathtaking. It crystalizes the Coltrane sound, that of his supernova saxophone and of his classic quartet with pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones. “A Love Supreme” is a suite that builds like a religious service, and was described by the saxophonist in the LP’s liner notes as an offering to God. But this is from an earlier time, when Shorter – under the spell of his friend Coltrane – was seeking a kind of raging beauty within the forms of his amazing compositions. It doesn’t happen every day.”Now 85 years old, Shorter is the Yoda of jazz, a master of secret harmonic motion and a player whose soloing style has grown increasingly economical and cryptic. “It’s like when planets align. His tenor sound is startlingly pure and flute-like, light as a feather. But Getz’s temperament creates a very different mood. It never gets old.This exquisite album finds Getz – like Shorter on JuJu – under Coltrane’s sway. This is one of the best records of the 1960s – hell, of any era. Neo geo emulator on macThe performances are massive, overwhelming, and, yes, joyously blaring, led by the imploring saxophonist and the trumpeter Donald Ayler, the leader’s brother. This album assembles a bunch of the tenor saxophonist’s ecstatic anthems: “Change Has Come,” “Truth is Marching In,” “Our Prayer.” Each is part parade ground music, part folk song, and part Pentecostal tumult. Each tune is like a white-hot coal.At the opposite end of the spectrum from Mr. Track by track, the performances merge clarity and restraint with barely concealed intensity. As is the song selection, which ranges from Antonio Carlos Jobim’s “O Grande Amor” to Corea’s “Litha” and “Windows” and Dizzy Gillespie’s “Con Alma.” On the latter, Getz’s solo takes on gradual heat his coda then moves from a whisper to a wail in a matter of seconds. The band – with pianist Chick Corea, bassist Ron Carter and drummer Grady Tate – is perfect. But the truth is, every note he played drew from the same streams as jazz, and particularly from the African-American church. Ayler was labeled a heretic.
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