Merry Xmas WP Motherfuckers!

That was ridicolous....

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From Mark - WordPress.com

1.Hi,
Your disclaimer has no legal basis and your blog is breaking the law.
It has to leave.
-
Mark

2.Hi,
There is only one way - remove every download link, to not offer music for free that is not yours to give away.
-
Mark

3.Hi,
The blog is open but Private.
You can edit / export as needed.
But please do not make the blog public - that would mean suspension.
-
Mark

4.Hi,
As the blog is Private no-one can see it so there are no worries about the comments.
-
Mark

After this, the MFS blog was definitively blocked,
within any announcement....

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This was the ''Word Press'' novela (soap opera)
It is gourgeous that, after this, he never respond to me.
I think that WP is a fascist site- i mean the intimate ''But please do not make the blog public - that would mean suspension'' and said ''please'' to me was very funny.
So, adeus to that enormous shit and to all that had contributed for the WP shuting off (i know all of you)
Merry Xmas, WP motherfuckers!

PS: noto che ci sono innumerevoli blog su Word Press che postano a più non posso cose anche più nuove di quelle postate da noi, e che vanno avanti spediti e tranquilli.
Spero solo che un giorno ci sia più giustizia, meno invidia e meno delatori in Web.
Certe persone dovrebbero vergognarsi....chi vuol intendere intenda....

Martha Reeves & The Vandellas "Riding High"

Martha Reeves & The Vandellas

"Riding High"
( LP Gordy Records, 1968 )
Catalog # GLPS 926

Tracklisting:
1 "I Promise to Wait My Love"
2 "Honey Chile
3 "(There's) Always Something There to Remind Me"
4 "Leave It in the Hands of Love"
5 "Love Bug Leave My Heart Alone"
6 "I'm In Love (And I Know It)"
7 "To Sir With Love"
8 "Forget Me Not"
9 "(We've Got) Honey Love"
10 "I Say a Little Prayer"
11 "Show Me the Way"

Review:
"Ridin' High" is a soul album released by Motown girl group Martha and the Vandellas on the Gordy (Motown) label in 1968. This album featured the last Top 40 pop hits scored by the group during their recording tenure, "Love Bug Leave My Heart Alone" and "Honey Chile". It was a series of firsts for the group: it was the first album without the help of since departed producers William "Mickey" Stevenson and Holland-Dozier-Holland, however, Motown included one HDH track on the album, "Leave It In The Hands Of Love." Bringing in Richard Morris and songwriter Sylvia Moy, the group managed to release two hit singles though this was the beginning of the end for the group as hitmakers on the pop charts as like their label mates The Supremes and The Four Tops stalled without the team of Holland-Dozier-Holland though they continued to chart well on the R&B charts and in England until their 1972 disbanding. This was also the first album to include lead singer Martha Reeves's sister Lois Reeves, who was replacing Betty Kelly after Kelly was fired from the group in 1967 and also the first album where they were credited as Martha Reeves and the Vandellas. It was also the last album to feature original member Rosalind Ashford, who would exit out of the group shortly a year after this album came out.
From Wikipedia

By Celo

Martha & The Vandellas "Dance Party"

Martha & The Vandellas

"Dance Party"
( LP Gordy Records, 1965)
Catalog # G 915

Tracklisting:
A1 Dancing In The Street
Written By - Stevenson-Gaye
Written-By - Gaye, Stevenson
A2 Dancing Slow
Written By - Stevenson-Hunter-Weatherspoon
Written-By - Stevenson-Hunter , Weatherspoon
A3 Wild One
Written-By - Stevenson-Hunter
A4 Nowhere To Run
Written-By - Holland-Dozier-Holland
A5 Nobody'll Care
Written By - Stevenson-Hunter-Wonder
Written-By - Stevenson-Hunter , Wonder
A6 There He Is (At My Door)
Written By - Holland-Gorman-Dozier
Written-By - Holland , Gorman , Dozier
B1 Mobile Lil The Dancing Witch
Written-By - Stevenson-Hunter
B2 Dance Party
Written-By - Stevenson-Hunter
B3 Motoring
Written-By - Stevenson
B4 The Jerk
Written-By - Stevenson-Hunter
B5 Mickey's Monkey
Written-By - Holland-Dozier-Holland
B6 Hitch Hike
Written By - Stevenson-Gaye-Paul
Written-By - Paul , Gaye , Stevenson

Review:
One of the great party albums of the 1960s, Dance Party was, oddly enough, the work of a Motown act that wasn't known for delivering great albums. Martha & the Vandellas had enjoyed some serious hits from 1964 onward, but hadn't quite measured up in the LP department until the release of Dance Party in the spring of 1965. Made up of material from singles that went back to the previous summer, the album benefited from the presence of the group's biggest single, "Dancing in the Street," its follow-up, the hypnotically pounding, driving, soaring "Wild One," and the classic "Nowhere to Run," surrounded by a trio of well-above-average B-sides and covers of such Motown dance standards as "Mickey's Monkey" and "Hitch Hike." Even the rest was hardly filler, however, with Martha Reeves turning in a gloriously impassioned performance on the ballad "There He Is (At My Door)" and the group acquitting itself beautifully on "Motoring." Each side was always good for at least two plays at any self-respecting teen party of the '60s, and it all still holds up today.
By Bruce Eder (AMG)

Covers here.

By Celo

The Duke Pearson Nonet ''Honeybuns''

The Duke Pearson Nonet

''Honeybuns''
( LP Atlantic Records, 1965 )
Catalog # LP 3002

Tracklisting:
Honeybuns
New Girl
You Know I Care
Is That So?
Our Love
Heavy Legs

Personnel & Notes:
Johnny Coles (tp)
Garnett Brown (tb)
Les Spann (fl)
James Spaulding (as)
George Coleman (ts)
Pepper Adams (bars, cl)
Duke Pearson (p, arr)
Bob Cranshaw (b)
Mickey Roker (d)
Recorded in NYC, May 25 & 26, 1965
** Also issued on Atlantic SD 3002

Review:
This reissue of a Duke Pearson LP from 1966, containing music from the previous year. Other than "Our Love" (a familiar classical theme adapted to American pop music by Larry Clinton), all six selections are originals by the pianist. Utilizing a nonet that includes trumpeter Johnny Coles (who does his best to be soulful on "Honeybuns"), trombonist Garnett Brown, flutist Les Spann, altoist James Spaulding, tenor saxophonist George Coleman, baritonist Pepper Adams, bassist Bob Cranshaw, and drummer Mickey Roker, Pearson performs music in a style that would have fit in quite well on Blue Note. Most memorable among his originals is "Is That So." This is not an essential date, but it is nice to have this rarity back in print again.
By Scott Yanow (AMG)

By Pier

Lee Morgan "Volume 2 : Sextet"

Lee Morgan

"Volume 2 : Sextet"

( LP Blue Note Records, 1956 )

Catalog # BLP 1541

Personnel & Tracklisting :
Lee Morgan - Trumpet
Kenny Rodgers - Alto Sax
Hank Mobley - Tenor Sax
Horace Silver - Piano
Paul Chambers - Bass
Charlie Persip - Drums
Benny Golson, Owen Marshall - Arrangements

Rudy Van Gelder Studio, Hackensack, NJ, December 2, 1956

tk.2 Latin Hangover
tk.5 Whisper Not
tk.8 His Sister
tk.9 D's Fink
tk.11 Slightly Hep
tk.13 Where Am I?

* Lee Morgan, Vol. 2 (Blue Note BLP 1541, BST 81541 (pseudo stereo))
= The Complete Blue Note Lee Morgan Fifties Sessions (Mosaic MR6-162, MD4-162)

Review :

Trumpeter Lee Morgan's second recording as a leader (which has been reissued in his four-set "complete on Blue Note" Mosaic box set) is as notable for the writing of Benny Golson (who composed and arranged four of the six selections) as for the solos of the leader. The set is highlighted by the debut version of "Whisper Not." Actually Morgan, tenor-saxophonist Hank Mobley, pianist Horace Silver, bassist Paul Chambers, drummer Charlie Persip and the obscure altoist Kenny Rodgers all play quite well. Morgan was just 18 and starting to come out of the shadow of his early influence Clifford Brown. An above-average hard bop set.

By Scott Yanow [AMG]

By Rob

Paul Chambers Quartet ''Chamber's Music''

Paul Chambers Quartet

''Chamber's Music''
( LP Blue Note Records, 1956 )
Catalog # BN-LA 451-H2

Tracklisting:
1. Dexterity
2. Stablemates
3. Easy to Love
4. Visitation
5. John Paul Jones
6. Eastbound
**(That's What I've Been Thru - unissued)

Personnel & Notes:
John Coltrane (ts -1,2,5/7)
Kenny Drew (p)
Paul Chambers (b)
Philly Joe Jones (d)
Recorded at Western Recorders,
Los Angeles, CA, March 1 or 2, 1956
* Paul Chambers - Chambers' Music (Jazz West JWLP 7; Score SLP 4033; Imperial LP 9182-A, LP 12182-A)
* Paul Chambers/John Coltrane - High Step (Blue Note BN-LA 451-H2)
* Various Artists - Just Jazz! (Imperial LP 9246)

Review:
This reissue bassist Paul Chambers' first sessions as a leader, recorded while he was a member of the Miles Davis Quintet. The first six selections feature Chambers with pianist Kenny Drew, drummer Philly Joe Jones and (on four numbers) the immortal tenor saxophonist John Coltrane. This somewhat obscure date includes such jazz standards as "Dexterity" and "Stablemates" along with "Easy to Love" and three straightahead group originals. Coltrane dominates the numbers he is on although his sound was not quite mature yet. The final three numbers (not on the original LP) are listed on the set as being from April 20, 1955 but logic says that it must be exactly a year later. Chambers, Jones and Coltrane welcome two young musicians recently transplanted from Detroit: baritonist Pepper Adams and trombonist Curtis Fuller. In addition, pianist Roland Alexander is on the lengthy "Trane's Strain." Although none of this music (even the oddly titled "Nixon, Dixon and Yates Blues") is classic, it does give listeners a valuable early look at these important jazzmen.
By Scott Yanow (AMG)

By Pier

James Brown Tribute (1933-2006)

James Brown Tribute

(1933-2006)

DL/Listen here.

Roland Kirk ''We Free Kings''

Roland Kirk

''We Free Kings''
( LP Mercury Records, 1961 )
Catalog # 826 455-2
* Also Reissued on Verve Records

Tracklisting:
1. Three for the Festival (3:07)
2. Moon Song (4:20)
3. A Sack Full of Soul (4:37)
4. The Haunted Melody (3:37)
5. Blues for Alice [Alternate Take][*] (5:11)
6. Blues for Alice [Master Take] (4:0
7. We Free Kings (4:44)
8. You Did It, You Did It (2:27)
9. Some Kind of Love (6:09)
10. My Delight (4:28)

Personnel & Notes:
Rahsaan Roland Kirk (flute)
Hank Jones (piano)
Wendell Marshall (bass)
Charlie Persip (drums).
Recorded: New York, August 17, 1961
Tracks 3-6, 10
Roland Kirk - tenor sax, flute, stritch, manzello, siren
Richard Wyands - piano
Art Davis - Bass
Charlie Percip - drums
Tracks 1, 2, 7-9
Hank Jones replaces Wyands on piano
Wendell Marshall replaces Davis on bass

Review:
We Free Kings, Roland Kirk's third long-player, is among the most consistent of his early efforts. The assembled quartet provides an ample balance of bop and soul compliments to Kirk's decidedly individual polyphonic performance style. His inimitable writing and arranging techniques develop into some great originals, as well as personalize the chosen cover tunes. With a nod to the contemporary performance style of John Coltrane, as well as a measure of his influences -- most notably Clifford Brown and Sidney Bechet -- Kirk maneuvers into and out of some inspiring situations. His decidedly 'Trane-esque solos on "My Delight" are supported with a high degree of flexibility by one-time Charles Mingus' pianist Richard Wyands and Dizzy Gillespie percussionist Charlie Persip. The album's title track is a Kirk original, based on the melody of the Christmas hymn "We Three Kings." Incorporating recognizable melodies into Kirk's oft times unorthodox musical settings would prove to be a motif throughout his career. An example is the highly touted cover of Charlie Parker's "Blues for Alice." This is an ideal avenue for the quartet to explore one of Kirk's specialties -- the blues. The almost irreverent manner in which he fuses blues and soul music into the otherwise bop-driven arrangements is striking. "A Sack Full of Soul" is a funky number with a walking-blues backbeat that perfectly supports Kirk's swinging solos. The stop time syncopation is reminiscent of Ray Charles' "What'd I Say." The 1987 set version also includes an alternate take of "Blues for Alice." One additional track -- a cover of the Frank Loesser standard "Spring Will Be a Little Late This Year" -- was also recorded at these sessions and remained unissued until its inclusion on the ten-disc Rahsaan: The Complete Mercury Recordings of Roland Kirk box set.
By Lindsay Planer (AMG)

By Pier

Freddie Redd "Shades Of Redd"

Freddie Redd

"Shades Of Redd"

( LP Blue Note Records, 1960 )

Catalog # BLP 4045

** Also issued on Blue Note BST 84045, CDP 7243 8 21738-2.

** Part of Mosaic MR3-124, MD2-124.

Personnel & Tracklisting :
Jackie McLean - Alto Sax
Tina Brooks - Tenor Sax
Freddie Redd - Piano
Paul Chambers - Bass
Louis Hayes - Drums

Rudy Van Gelder Studio, Englewood Cliffs, NJ, August 13, 1960

tk.1 Thespian
tk.4 Blues-Blues-Blues
tk.5 Shadows
tk.6 Swift
tk.9 Ole!
tk.11 Just A Ballad For My Baby
tk.16 Melanie

Review :
In an all too small discography, Freddie Redd's Shades of Redd is without a doubt his crowning achievement. Completed after a successful stint composing music for the stage play The Connection, Redd wrote music specifically geared for his two formidable front line saxophonists -- emerging alto giant Jackie McLean and the unsung hero of the tenor, Tina Brooks. Redd, bassist Paul Chambers, and drummer Louis Hayes, fresh out of the Detroit scene, took New York City by storm playing clubs and working with Redd when he was not doing production music. All of these tracks, originals by Redd, are brimming with the hope, optimism, and fresh ideas of the early '60s, music perfectly rendered and representative of the time period. The darting, daring, tart sweet alto of McLean and the robust, lean, protein enriched tenor of Brooks fit beautifully together when they play in unison, and they do that a lot. The calm, lovely, then bursting into bop piece "The Thespian" sets the tone, followed by the swinging, head nodding "Blues-Blues-Blues," and the happy, hip, swing/shuffle "Melanie" brings the cream to the top. The teamwork displayed here rivals any seasoned veteran band of the era. Redd's piano playing, never spectacular or boisterous, is instead literate and street smart, and comes to the forefront in any tempo, whether the fleet hard bopper to Latin tinged near-show tune "Swift" and the spicy calypso to swing strutter "Ole," where Brooks steps up and takes a marvelous John Coltrane cum Hank Mobley solo. McLean's feature on "Just a Ballad for My Baby" illustrates his unique style, slightly but purposefully using microtones that might seem somewhat off-putting to the non-cognoscenti, but is remarkable upon closer inspection. Considering this is 1960, and Ornette Coleman was also making his way beyond conventional means, McLean is innovating just as much. Stretched out alternate takes of "Melanie" and "Ole" are included on this single set, and are also available on Redd's 1988 Mosaic label reissue of his complete Blue Note efforts. Redd is still alive as of this writing, performing occasionally in his Los Angeles area home and in New York in 2007 for a revisited production of The Connection. Shades of Redd, his zenith as a jazz musician, would be a wonderful addition to any collection, and shows that the lesser known musicians have plenty of music to play, in addition to a unique perspective aside from the giants of this music.
By Michael G. Nastos [AMG]

By Rob

Sam Jones ''The Soul Society''

Sam Jones

''The Soul Society''
( LP Riverside Records, 1960 )
Catalog # RLP 12-324
** Also issued on Riverside RLP 1172; Fantasy OJCCD 1789-2.

Tracklisting:
1 Some Kinda Mean Betts 5:49
2 All Members Heath 4:11
3 The Old Country Adderley 6:05
4 Just Friends Klenner, Lewis 4:13
5 Home Adderley 5:13
6 Deep Blue Cello Jones 4:57
7 There Is No Greater Love Jones, Symes 3:41
8 So Tired Timmons 6:17

Personnel & Credits:
Cannonball Adderley Liner Notes
Nat Adderley Cornet
Keter Betts Bass
Charles Davis Sax (Baritone)
Louis Hayes Drums
Jimmy Heath Arranger, Saxophone, Sax (Tenor)
Jack Higgins Engineer
Sam Jones Bass, Cello
Orrin Keepnews Producer
Blue Mitchell Trumpet
Bobby Timmons Piano

Review:
Bassist Sam Jones' debut as a leader resulted in one of his finest recordings. On four of the eight selections on the reissue of his Riverside set, Jones is well featured on bass while the other four numbers find him playing very effective cello. The uncredited arrangements for the groups are uniformly excellent and there is solo space for cornetist Nat Adderley, trumpeter Blue Mitchell, Jimmy Heath on tenor, baritonist Charles Davis, and pianist Bobby Timmons. The repertoire is superior, too, with highlights including the debut of Adderley's "The Old Country," a fine jam on "Just Friends," Keter Betts' "Some Kinda Mean," Jones' bowing on "Home," and Bobby Timmons' "So Tired." Actually all eight selections are memorable on this highly recommended disc.
By Scott Yanow (AMG)

Biography:
Samuel Jones (12 November 1924–15 December 1981) was a jazz bassist, cellist, and composer.
Jones played with Bobby Timmons, Tiny Bradshaw, Les Jazz Modes, Kenny Dorham, Illinois Jacquet, Freddie Hubbard, Dizzy Gillespie (1958-59) and Thelonious Monk. He is likely best known for his work with Cannonball Adderley (1959-65), but also spent several years working with Oscar Peterson and Cedar Walton and recorded with Bill Evans in the 1950s. His career primarily revolved around the New York City jazz scene.[1] Jones wrote the jazz standard "Del Sasser", among other tunes.
From Wikipedia

By Pier