Joe Beck, Attila Zoller – Beck & Zoller (1979/2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:32:57 minutes | 1,53 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Progressive
Attila Zoller, a leading Hungarian guitarist and mentor of Pat Metheny, and Joe Beck, a guitarist who is said to have been the first guitarist Miles Davis used.
This album is a guitar duo album by Attila Zoller and Joe Beck. Recorded on 23 January 1979 for Progressive Records.
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Joe Beck and Ali Ryerson – Alto (1997) [Reissue 1999]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 51:52 minutes | Scans included | 2,08 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 997 MB
The renowned guitarist Joe Beck together with premier jazz flutist Ali Ryerson have teamed to create a remarkably accessible new sound by pairing alto flute & a unique new guitar approach with compelling arrangements that emphasize beauty & melody. Percussionist Steve Davis joins Beck & Ryerson on half of the pop, jazz, & folk standards. Alto is the 1st commercial recording captured with Sony & Philip’s Direct Stream Digital (DSD) technology…
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Joe Beck Trio – Girl Talk (2003) [Japan 2017]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 57:55 minutes | Front/Rear Covers | 2,36 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Front/Rear Covers | 1,18 GB
Joe Beck was an American jazz guitarist who played in a variety of jazz styles, including jazz fusion, post bop, mainstream jazz and soul jazz. On this album Joe Beck joined with Joey DeFrancesco and Idris Muhammad. As result the trio plays subtle, tastefully rendered versions of jazz standards. Beck’s guitar takes inspiration from the Jim Hall and Pat Metheny, featuring gentle bent notes, muted strumming, wandering melodic lines, and a smooth, rounded tone.
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Joe Beck Trio – Brazilian Dreamin’ (2006) [Japan 2016]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 64:52 minutes | Front/Rear Covers | 2,64 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Front/Rear Covers | 1,33 GB
Joe Beck began his career as a highly sought-after studio guitarist in the early 70s. His clean jazz playing on electric guitar was his hallmark. His discography is well-worthy searching for. He was well-respected and played with artists such as John Abercrombie, Jimmy Bruno, Gill Evans, Don Sebesky, Bobby TImmons, and Paul Simon. This recording was made for Japanese Venus label. Relaxed samba/bossa nova is the emphasis here, with selections from Antonio Carlos Jobim, primarily.
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Joe Beck & Ali Ryerson – Django (2001)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 55:36 minutes | Scans included | 3,42 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,01 GB
Features Stereo & Multichannel Surround Sound
Joe Beck and Ali Ryerson have been working as a team for more than four years, playing concerts and other gigs under the name Duo. This is their second album, and, with the name Django, one would assume it is in honor of guitarist Django Reinhardt. Instead, the set is dedicated to the members of the Modern Jazz Quartet, who pioneered chamber jazz, the style that dominates this session with flautist Ryerson. John Lewis’ “Django” is one of the tunes on the agenda that they play within the chamber style. Ryerson’s passion for Brazilian music is documented on her six albums for Concord Jazz. She gets to show her mastery of this tempo on “Carioca Blue” and “O Barquinho.” Jazz veteran Joe Beck, one of the first to mix jazz and rock guitar, uses an alto guitar which he invented. It provides a strong harmonically mellow and rhythmic cushion upon which Ryerson carries the melody line with her expressive, buoyant flute. Their mutual comfort is evident on such tunes as the medley “Come Together”/”Alone Together” and expresses itself on a haunting rendition of “Tenderly.” If anything, this album is epitomized by some striking improvising. The two generally take one chorus, stating the melody, and then let their collective imagination take over. That they play together rather than separately when they extemporize makes this album distinctive. And they do it successfully whether the tune be one by Miles Davis or Johnny Mercer. With just the two instruments, their inventive way of collaborating makes sure that the listener’s attention will not drift away. Recommended.
Read more![Joe Beck, Red Mitchell - Empathy (1980/2018) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2023/03/22/nexnsdn6bfswa_600.jpg?resize=500%2C500&ssl=1)
Joe Beck, Red Mitchell – Empathy (1980/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:28:36 minutes | 1,44 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Gryphon Records
This nearly 90-minute set featuring Joe Beck and Red Mitchell comes from a 1980 performance at the legendary New York nightclub Bradley’s. Without rehearsal or anything in the way of preplanning, the guitarist and the bassist intuitively work their way through a mixture of time-tested standards and jazz classics, coming as close to musical perfection as is possible. Carl Perkins’ “Grooveyard” is played softly rather than in its typical hard bop setting, while the swing classic “Soft Winds” retains only a hint of the original chord changes, taking on a more bluesy flavor in their adventurous take. Johnny Mandel’s lovely ballad “Emily” seems forever associated with Bill Evans, though this compelling take makes its own mark. Three gems by Jimmy Van Heusen are included, including a lyrical “Polka Dots and Moonbeams,” a fluid “Like Someone in Love,” and an intricate “Darn That Dream.”
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Joe Beck, Ali Ryerson – Django (Remastered) (2001/2020)
FLAC (tracks) 24 bit/88,2 kHz | Time – 55:33 minutes | 956 MB | Genre: Contemporary Jazz, Jazz
Studio Masters, Official Digital Download | Front Cover | © DMP
Joe Beck and Ali Ryerson have been working as a team for more than four years, playing concerts and other gigs under the name Duo. This is their second album, and, with the name Django, one would assume it is in honor of guitarist Django Reinhardt. Instead, the set is dedicated to the members of the Modern Jazz Quartet, who pioneered chamber jazz, the style that dominates this session with flautist Ryerson. John Lewis’ “Django” is one of the tunes on the agenda that they play within the chamber style. Ryerson’s passion for Brazilian music is documented on her six albums for Concord Jazz. She gets to show her mastery of this tempo on “Carioca Blue” and “O Barquinho.” Jazz veteran Joe Beck, one of the first to mix jazz and rock guitar, uses an alto guitar which he invented. It provides a strong harmonically mellow and rhythmic cushion upon which Ryerson carries the melody line with her expressive, buoyant flute. Their mutual comfort is evident on such tunes as the medley “Come Together”/”Alone Together” and expresses itself on a haunting rendition of “Tenderly.” If anything, this album is epitomized by some striking improvising. The two generally take one chorus, stating the melody, and then let their collective imagination take over. That they play together rather than separately when they extemporize makes this album distinctive. And they do it successfully whether the tune be one by Miles Davis or Johnny Mercer. With just the two instruments, their inventive way of collaborating makes sure that the listener’s attention will not drift away. Recommended. – Dave Nathan
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Esther Phillips with Joe Beck – What A Diff’rence A Day Makes (1975/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 34:54 minutes | 1,30 GB | Genre: R&B, Blues, Jazz
Studio Masters, Official Digital Download | Front Cover | © CTI Records
Reading the credits of What a Diff’rence a Day Makes, one could easily assume that it is a jazz album. This 1975 LP was produced by Creed Taylor and arranged by guitarist Joe Beck; the other participants range from Michael Brecker on tenor sax, David Sanborn on alto sax, and Randy Brecker on trumpet to Steve Khan on guitar and Don Grolnick on keyboards. With that lineup, Esther Phillips could have easily delivered a first-class jazz album. But What a Diff’rence a Day Makes doesn’t contain any jazz — not even jazz-funk or soul-jazz. It is, however, an excellent soul/disco outing. This LP is best known for its hit title song, an inspired disco version of a standard that has usually been heard in jazz and pre-rock pop settings. But the song works surprisingly well as disco, and the other tracks are equally impressive. Phillips is as soulful and convincing on the bluesy “I Can Stand a Little Rain” as she is on Gamble & Huff’s “One Night Affair” (a Philadelphia soul classic that was recorded by Jerry Butler in 1972 and the O’Jays in 1969) and Ralph MacDonald’s “Mister Magic.”The latter is the gem that Grover Washington, Jr. is best remembered for; while his famous version was instrumental jazz-funk, Phillips’ is vocal-oriented soul. It should be noted that most of the jazz musicians who back Phillips on What a Diff’rence a Day Makes are not jazz snobs. The Brecker Brothers and Sanborn, for example, have done their share of R&B sessions, and they would probably be the first to tell you that this LP needs to be judged by R&B standards instead of jazz standards. And when R&B standards are applied, it is easy to conclude that What a Diff’rence a Day Makes is among Phillips’ finest releases.
Read moreEsther Phillips with Joe Beck – For All We Know (1976/2016) [Official Digital Download 24bit/192kHz]
Esther Phillips with Joe Beck – For All We Know (1976/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 34:21 minutes | 1,27 GB | Genre: R&B, Blues, Jazz
Studio Masters, Official Digital Download | Front Cover | © CTI Records
This 1976 Kudu date under Esther Phillips’ name is notable for two major reasons, and both of them are Joe Beck. While Creed Taylor produced the date, all of the sets arrangements were done by Beck, who wove an entire band’s sound around the smoking, soulful grooves of his guitar. His playing is the other reason this set is so memorable: Beck is at his most inspired and fluidly funky; he is present everywhere in the mix but nonetheless crafts the strengths of the ensemble around Phillips’ unusual voice. Other players include the Brecker Brothers, Don Grolnick, Fred Wesley, Will Lee, Bobby Lyle, Steve Khan, and many others. The band winds around Phillips, setting her up as “Soul Sister Number One,” hitting the funky grooves and elongating her clipped trademark delivery. Highlights include the title track — one of the greatest disco tunes never played in a disco — her up-tempo rave-up of “Unforgettable,” with killer breaks by Beck and Michael Brecker, the dirtiest, funkiest version ever of Jackie DeShannon’s “Pure Natural Love,” and a Latin-tinged read of “Goin’ Out of My Head.”
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Joe Beck & Ali Ryerson – Django (Remastered) (2001/2020)
FLAC (tracks) 24 bit/88,2 kHz | Time – 55:27 minutes | 956 MB | Genre: Alternative, Indie
Studio Masters, Official Digital Download | Front Cover | © DMP
With the name Django, one would assume this album is in honor of guitarist Django Reinhardt. Instead, the set is dedicated to the members of the Modern Jazz Quartet, who pioneered chamber jazz, the style that dominates this session with flautist Ryerson. Ryerson’s passion for Brazilian music is well known. Jazz veteran Joe Beck, one of the first to mix jazz and rock guitar, uses an alto guitar which he invented. It provides a strong harmonically mellow and rhythmic cushion upon which Ryerson carries the melody line with her expressive, buoyant flute. If anything, this album is epitomized by some striking improvising. The two generally take one chorus, stating the melody, and then let their collective imagination take over. That they play together rather than separately when they extemporize makes this album distinctive. And they do it successfully whether the tune be one by Miles Davis or Johnny Mercer. With just the two instruments, their inventive way of collaborating makes sure that the listener’s attention will not drift away.
Read more