MP3 Djerdan vol.6

[zach]

victory hvala na mirroru Altsa za gorillaz

da niste slucajno negdje naletili na kompletan novi album Nine Inch Nailsa - With Teeth? ja sam dosad nasao samo semplove...

[vedderedi]

Thievery Corporation - The Cosmic Game

[victory]

Bobby McFerrin & Chick Corea - The Mozart Sessions (1996) zip, 88 MB

The informal title says a great deal about the contents of The Mozart Sessions,
which could have been called Concerti for Piano and Orchestra, Nos. 23 and 20,
since that is, for the most part, what it is. But of course the conductors,
vocalist Bobby McFerrin and jazz keyboard player Chick Corea, are not your
average classical musicians. Nor is there any doubt about the non-traditional
nature of the recording, when it starts with McFerrin's patented improvisational
vocals followed by Corea's piano inventions under the title "Prelude." So, for a
start, purists should be warned away. On the other hand, the more adventurous
may be slightly disappointed, since after they get the preliminaries out of the
way, McFerrin and Corea, aided and abetted by the St. Paul Chamber Orchestra,
turn in pleasant but unexceptional readings of the concerti, with Corea
especially eschewing any attempt at dazzle in what are usually showcase pieces.
The piano work is fluid and the orchestral accompaniment delicate, but the
principals seem sufficiently concerned about getting anything wrong not to
really take off. At the end, as Corea once again improvises in tandem with
McFerrin's voice, one longs for more of their interaction, perhaps in a less
restrictive context.

---
Bobby McFerrin's signature falsetto envelops a poignant, wordless melody, embellished by piano flourishes that uncomfortably tow the line between classical decorum and Chick Corea's airy, modal jazz style. Suddenly the music segues into the opening of Mozart's D Minor Concerto. The A Major Concerto (K. 488) is similarly introduced. While the smooth, thick orchestral fabric suggests forces larger than a chamber aggregation, McFerrin clarifies important woodwind details (the elusive bassoon, for instance, in K. 488's slow movement) and infuses the outer movements with controlled brio. By contrast, Corea's Latin-tinged, improvised cadenzas (and overeager embellishments during solos and tuttis) lose their novelty over repeated hearings. Elsewhere, Corea's literal, dutiful phrasing smacks more of a talented student than a daring and vibrant pianist whose impact on jazz is unassailable.

1 Prelude/Concerto for Piano and Orchestra No. 23 in a Major, K. 488: A Corea,
McFerrin, Mozart 14:14
Composed by: Corea, McFerrin, Mozart
Performed by: McFerrin, Chick Corea


2 Concerto for Piano and Orchestra No. 23 in a Major, K. 488: Adagio Mozart 7:14
Composed by: Mozart
Performed by: McFerrin, Chick Corea


3 Concerto for Piano and Orchestra No. 23 in a Major, K. 488: Allegro a Mozart
8:23
Composed by: Mozart
Performed by: McFerrin, Chick Corea


4 Prelude/Concerto for Piano and Orchestra No. 20 in D Minor, K. 466: A Corea,
McFerrin, Mozart 16:22
Composed by: Corea, McFerrin, Mozart
Performed by: McFerrin, Chick Corea


5 Concerto for Piano and Orchestra No. 20 in D Minor, K. 466: Romance Mozart
9:00
Composed by: Mozart
Performed by: McFerrin, Chick Corea


6 Concerto for Piano and Orchestra No. 20 in D Minor, K. 466: Rondo (Al) Mozart
8:52
Composed by: Mozart
Performed by: McFerrin, Chick Corea


7 Song for Amadeus Mozart 2:28
Composed by: Mozart
Performed by: McFerrin, Chick Corea

[victory]

------------

[7putnik]

majstore fala ti za thievery dje cuo i ne cuo. rodila ti shenica bjelica i dabogda ti se krava otelila. de vidi imal jos sta vako...sto b' rekli ljudi daun tempo shita

[victory]

Elizabeth Anka Vajagic - Stand with the Stillness of this Day (2004)

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ELIZABETH ANKA VAJAGIC is a singer and guitarist writing raw, uncompromising gothic folk/blues music with modern dissonances and timeless catharses.  Vajagic was born in Montreal and has been unleashing her devastating voice in chillingly controlled doses around town for a few years now.

With this debut recording, Elizabeth Anka Vajagic sets her vocals against a backdrop led by ragged guitars, moving from harrowing, dry-as-a-bone intimacy ("With Hopes Lost", "Iceland") to reverb-soaked torch-song balladry ("Around Here", "Sleep With Dried Up Tears"), and the odd explosive noise freak-out along the way ("Where You Wonder"). Vajagic's voice and lyrics are uniquely powerful, with points of comparison ranging from Patti Smith, Diamanda Galas and Siouxsie Sioux to Hope Sandoval and Lisa Germano. Through much cross-pollination with the local noise/improv scene, Elizabeth has assembled a fine cast of players to add focused textures and arrangements to the seven tracks on this debut.... Guest players include Beckie Foon (Silver Mt. Zion) on cello, Michel Langevin (Voivod) on drums, Fluffy Erskine (Molasses, Hrsta) on musical saw, Sam Shalabi (The Shalabi Effect) on oud and Efrim (gybe, Silver Mt. Zion) on piano, harmonium, guitar and backing vocals.
-----------------------------------------------------
That Elizabeth Anka Vajagic’s worn voice on ‘Stand with the Stillness of this Day’ is mixed so high and so clear seems a bold move. Bold because her sentiments are those one tends to play down and conceal: her debut album (as its title suggests) has all the soaring common to a funeral.
Its opener ‘With Hopes Lost’ sets the tone in an urbane manner, a self-pitying moan rolling over a measured cello burr to a piano line that - I believe - might emanate from the shadows of a bar strewn with the butts of cigarettes and lit with their coals. The images this album conjures are all as trite. As affected as Vajagic’s voice (reminiscent of a more melodramatic 'Rid of Me'-era PJ Harvey) and her storming accompaniments (reminiscent of Constellation – from the squalling rock band deconstruction of the latter half of 'Where You Wonder' to the ‘thunder noises’ accredited in the liner notes of the record). Clichéd and affected it is. But the album does circumvent such criticism - it has a neat line in 'numbing everything else'.

And it does so via sheer weight of feeling, which finds its rationale in the words preceding the quote above; 'I saw your face when you killed yourself'. It is at this point it becomes clear what the record is documenting and this point that Vajagic’s (otherwise... rather damn mundane) vocal desire to visit Iceland and revelation that she 'sleeps alone' make a stirring, human sense that sometimes words alone whether fact or fiction (and even at their most simple) can express.

And yet the presence of such more obvious elements as Beckie Foon’s cello and Efrim Menuck’s harmonium – even Vajagic’s voice as an emotive instrument rather than a medium of communication - cause the record’s personal subject matter to be concealed and the album to be universalized into something which on casual listening is little more illuminating than Yanqui U.X.O (the bombs! turmoil!). Still, the arrangements are vital for while the record’s themes of alienation and loss benefit from closer 'Sleep with Dried Up Tears' consisting of just vocals and blunt guitar, the song is too direct to convince that stripped of all its instrumentation 'Stand with this…' would have been arresting as it is - rather 'excruciating'. You do the math.

Thing is, see, is if the effect of the density of the album is to make it oblique and guarded these are the facets it requires - the reasons it is quite so beautiful. It is because the music holds the listener at arms length that the words Vajagic mumbles are as important as the ones she enunciates with a tortured clarity as, desirous to find the record’s heart and message, those are the words which draw us back. Back to a bold album with a heart and soul which and which and which and which (and this is vital!) are there, and are worth looking for.

1. With Hopes Lost
2. Around Here
3. Where You Wonder
4. Iceland
5. Why
6. And The Sky Lay Still
7. Sleep With Dried Up Tears

zip>mp3

[victory]

The Matthew Herbert Big Band - Goodbye Swingtime (2003)

The follow-up to Herbert’s highly acclaimed Bodily Functions album is his highly-anticipated big band project combining the cream of the UK jazz scene with Herbert’s electronic production. A 16-piece big band was recorded at London’s Abbey Road Studios and then deconstructed and reconstructed at Herbert’s Magic and Accident studio.

Goodbye Swingtime features vocal performances from Arto Lindsay, Jamie Lidell (Super Collider / Warp), Dani Siciliano (Herbert), Mara Carlyle (Plaid) and Shingai Shoniwa (‘Bodily Functions’) alongside premier musicians from the UK jazz scene including Dave O’Higgins (saxophone), Dave Green (bass), Stuart Brooks (trumpet), and Phil Parnell (piano). Mouse on Mars and Plaid also contributed additional production to the album.

1. Turning Pages
2. Everything’s Changed
3. Fiction
4. The Three W’s
5. Chromoshop
6. The Battle
7. Misprints
8. The Many And The Few
9. Simple Mind
10. Stationary

[zensko]

Victory,

ako ti ne bude mrsko da ovo, nekim tebi poznatim cudom, pronadjes...
bila bi ti zahvalanaaaa

Oi Va Voi - Laughter Through Tears





a svima vama preporucujem pjesmu

Refugee

[konyan]

Ja bih bio zahvalan ako neko ima iskopano sta od King Crimson-a.

[black]

Oi Va Voi - Laughter Through Tears

eo zensko..imas ovde...nadam se da se snadzes..i nadam se da se nece ugasiti link..dok neispadne sta bolje ili sjor pobida nadze bolje

..i dobar izbor..

[black]

konyan..ja sam od Crimsona postavio jednu pjesmu za download na temi sta trenutno slusate..stvarka " Epitaph " a mozemo srediti ako zelis cd u mp3 formatu i ja ih volim..i preporucio bih ti i " Sweet smoke "

[victory]

@ Zensko, nadam se da si zadovoljna s ovim linkom sto ga je Black postavio

@Konyan, svojevremeno je na ovom threadu bilo KC linkova koji su se, nazalost, zagubili u medjuvremenskom medjuprostoru

evo ipak najvaznijeg KC albuma sa ovog black-zvuk servera

King Crimson - In the Court of the Crimson King



1 - 21st Century Schizoid Man (Including Mirrors)
2 - I Talk To The Wind
3 - Epitaph (Including March For No Reason And Tomorrow)
4 - Moonchild (Including The Dream And The Illusion)
5 - The Court Of The Crimson King (Including The Return Of The Fire
Witch And The Dan)

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http://dl.zvuki.ru/3110/mp3/1.mp3
http://dl.zvuki.ru/3110/mp3/2.mp3
http://dl.zvuki.ru/3110/mp3/3.mp3
http://dl.zvuki.ru/3110/mp3/4.mp3
http://dl.zvuki.ru/3110/mp3/5.mp3

[victory]

victory hvala na mirroru Altsa za gorillaz

da niste slucajno negdje naletili na kompletan novi album Nine Inch Nailsa - With Teeth? ja sam dosad nasao samo semplove...

Nine Inch Nails - With Teeth ([2005) rar, 75 mb

01.All the Love in the World
02.You Know What You Are?
03.The Collector
04.The Hand That Feeds
05.Love is Not Enough
06.Every Day is Exactly the Same
07.With Teeth
08.Only
09.Getting Smaller
10.Sunspots
11.The LIne Begins to Blur
12.Beside You in Time
13.Right Where It Belongs

[Altsa]

NIN

rikno link daj ako moze neki drugi

[victory]

NIN

rikno link daj ako moze neki drugi

probaj ovo

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http://rapidshare.de/files/1271641/hteet.rar.html
http://rapidshare.de/files/1271693/htiw.rar.html
http://rapidshare.de/files/1271767/laniftw.rar.html 

password je rya

[Altsa]

Hart evo ovo za tebe, valjda je to sto si trazio

Antony & the Johnsons - - I Am A Bird Now

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Part 1 of 2:
http://rapidshare.de/files/1270467/antony.rar.html

Code: Select all

Part 2 of 2:
http://rapidshare.de/files/1270406/johnsons.rar.html

[victory]

NIN

rikno link daj ako moze neki drugi

probaj ovo

Code: Select all

http://rapidshare.de/files/1271641/hteet.rar.html
http://rapidshare.de/files/1271693/htiw.rar.html
http://rapidshare.de/files/1271767/laniftw.rar.html 

password je rya

jos jedan link za novi NIN album

http://ps2.libero.it/ps2/ps/RMS/downloa ... 3535940702
tar, 76,9 MB

[irfan2]

Hart evo ovo za tebe, valjda je to sto si trazio

Antony & the Johnsons - - I Am A Bird Now

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Part 1 of 2:
http://rapidshare.de/files/1270467/antony.rar.html

Code: Select all

Part 2 of 2:
http://rapidshare.de/files/1270406/johnsons.rar.html

ma snasao se on vec

Antony and the Johnsons - I am A Bird Now

Odlican album!!! toplo preporucujem svim ljubiteljima Devendre Banharta, Bright Eyes, Elliot Smith, Tindersticks....

[Altsa]

GALAXIE 500 - On Fire (1989)

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http://rapidshare.de/files/1273187/On_Fire__Bonus_Tracks_.zip.html
http://rapidshare.de/files/1273273/Galaxie.zip.html

GALAXIE 500 - This is Our Music (1990)

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http://rapidshare.de/files/1261460/ThisIsOurMusic1.rar.html
http://rapidshare.de/files/1261466/ThisIsOurMusic2.rar.html 

[goldietrickz]

Now comes Armand’s latest assault o­n our senses, ‘NYMPHO’. Already spawning 2 hits in ‘Hear My Name’ and the classic ‘My My My’. ‘NYMPHO’ is 15 tracks of pure energy, as the next single ‘Into Your Eyes’ will confirm. ‘Into Your Eyes’ will be released early May 2005.


ako netko nabasa na Nympho...

[silence_is_sexy]

skinuh ovaj NIN al' mi trazi password...
moze li kvisko??

hvala unaprijed....

victory hvala na mirroru Altsa za gorillaz

da niste slucajno negdje naletili na kompletan novi album Nine Inch Nailsa - With Teeth? ja sam dosad nasao samo semplove...

Nine Inch Nails - With Teeth ([2005) rar, 75 mb

01.All the Love in the World
02.You Know What You Are?
03.The Collector
04.The Hand That Feeds
05.Love is Not Enough
06.Every Day is Exactly the Same
07.With Teeth
08.Only
09.Getting Smaller
10.Sunspots
11.The LIne Begins to Blur
12.Beside You in Time
13.Right Where It Belongs

[victory]

skinuh ovaj NIN al' mi trazi password...
moze li kvisko??

hvala unaprijed....

victory hvala na mirroru Altsa za gorillaz

da niste slucajno negdje naletili na kompletan novi album Nine Inch Nailsa - With Teeth? ja sam dosad nasao samo semplove...

Nine Inch Nails - With Teeth ([2005) rar, 75 mb

01.All the Love in the World
02.You Know What You Are?
03.The Collector
04.The Hand That Feeds
05.Love is Not Enough
06.Every Day is Exactly the Same
07.With Teeth
08.Only
09.Getting Smaller
10.Sunspots
11.The LIne Begins to Blur
12.Beside You in Time
13.Right Where It Belongs

Password: FunkySouls.com

[victory]

Bobby McFerrin - Beyond Words (2002)

Creative vocalist Bobby McFerrin's return to Blue Note after a nearly ten-year absence indicates a possible desire for a return to improvised jazz, and in a way distancing himself from the classical works he had become increasingly associated with. Working again with pianist Chick Corea and producer Linda Goldstein, his 2002 album, Beyond Words, is reminiscent of the other McFerrin/Corea collaborations (Play, The Mozart Sessions), but somehow these mostly improvised works lack the spark that their previous partnerships have created. Ably backed by Corea's bright piano, Omar Hakim on drums, and Richard Bona on bass, the songs feel to be all the same texture for the most part, never reaching any kind of a peak throughout the album. Beyond Words is a moody and dark affair, with subtle layers of McFerrin's undulating vocals weaving in and out of the musical bed, but instead of sounding earthy and natural, the album is punctuated by synthesized instruments that pull the recordings dangerously close to smooth jazz territory. Unfortunately, by taking one of the most articulate players of man's earliest instrument and layering it in slick, fretless bass lines and synthetic Roland XP-80 chords, it almost defeats the purpose of hearing his voice altogether. Still, it is an excellently performed and cleanly produced document of both McFerrin and Corea's abilities, ideal for gentle background textures on a night in alone.

1. Invocation
2. Kalimba Suite
3. A Silken Road
4. Fertile Field
5. Dervishes
6. Ziggurat
7. Sisters
8. Circlings
9. Chanson
10. Windows
11. Marlowe
12. Mass
13. Pat & Joe
14. Taylor Made Liste
15. A Piece, A Chord Lis
16. Monks/The Shepherd

[zensko]

hvala vam dobrii ljudi za linkove

black hvala za oi va voi

[victory]

Skatalites - Ball of Fire (1998) rar, 107 MB

The Skatalites' return to a major label was long overdue. For a band whose original incarnation had only lasted 14 months in the '60s, their influence had been tremendous. Resurrected in 1983, they were definitely jazzers with a ska beat these days. Ball of Fire was made up of old Skatalites material, all reinterpeted by a band that included four founder members, and it taught a lesson in sophistication and swing to all aspiring ska instrumentalists. Everything had a groove; the solos were fluent and never self-indulgent. In other words, it was everything they ever aspired to be, and glorious fun, too.

More than a band, the Skatalites were and are an institution, an aggregation of top-notch musicians who didn't merely define the sound of Jamaica, they were the sound of Jamaica across the '50s and '60s. Although the group existed in its original incarnation for less than 18 months, members brought their signature styles to hundreds upon hundreds of the island's releases. The Skatalites officially lined up as guitarist Jerome "Jah Jerry" Hinds, bassist Lloyd Brevett, teenaged pianist Donat Roy "Jackie" Mittoo, drummer Lloyd Knibbs, trumpeter Johnnie "Dizzie" Moore, Cuban-born tenor saxophonist Tommy McCook, alto saxophonists Lester Sterling and Cuban born Roland Alphonso, and trombonist Don Drummond. Moore, McCook, Sterling, and Drummond were all alumni of the Alpha Cottage School for Boys, an educational institution for troubled and troublesome boys in Kingston, run by the Catholic diocese. Besides the regular lashings of studies, the school was renowned for its music program, and over the years turned hundreds of wayward boys into performers of note. All four ended up playing the hotel circuit, churning out R&B and jazz covers for the tourists.

Previous to the late '50s, this was Jamaica's only real music industry outside the mento scene, and as there were no local record labels, resorts were the only way for musicians to seriously ply their trade. The hotel bands were an ever-shifting conglomerate of players, but over time, they would crisscross each other's paths so often, that all became familiar with everyone else's style. Knibbs and Drummond, for example, had both once played with Eric Dean's Band. When Knibbs departed for the Sheiks, he joined a lineup that included Mittoo and Moore. However, new career opportunities presented themselves when local businessmen Duke Reid and Clement "Coxsonne" Dodd both launched record labels and the era of the sessionmen arrived in Jamaica.

Although both McCook and Alphonso had previously cut acetates, this was the first time any of the future Skatalites would appear on vinyl. Between 1959, when Reid released his first vinyl single, and 1962, most of the band's future members worked regularly at Reid's Treasure Isle studio, playing on a swathe of R&B, boogie, and ballad releases. The Heartbeat label's Ska After Ska After Ska bundles up an album's worth of this early material, as does the Dutch label Jamaica Gold, on Shuffle'n'Ska Time. In 1962, Dodd opened his own Studio One recording studio, and the future Skatalites now quickly gravitated in his direction as well. Joining them was McCook, who'd missed all the previous action, having left Jamaica in 1954 to join the house band at the Zanzibar Club in Nassau. The studio was inaugurated with the release of the album Jazz Jamaica From the Workshop, which featured McCook, Alphonso, Drummond, and guitarist Ernest Ranglin, amongst others.

The Skatalites came to fruition in June 1964, according to the members' own reckoning, although they have given conflicting stories about just how it happened. Ranglin credits Moore, Knibbs credits himself, but there's no doubt who came up with the name -- that honor goes to McCook. Drafting in vocalists Jackie Opel, Tony DaCosta, Doreen Schaeffer, and calypso star Joseph "Lord Tanamo" Gordon, the group debuted live on June 27, 1964, at the Hi- Hat club in Rae Town. It didn't take long for the Skatalites to grab a residency at the Bournemouth Beach Club in Eastern Kingston, where they performed three nights a week, as well as a Sunday residency at the Orange Bowl on Orange Street.

With the growth of Dodd's Studio One label, the group soon found themselves with almost more gigs than they could handle, touring the island as the backing band for most of the label's artists, whilst also performing on-stage themselves. It must have been grueling, the constant driving to and from venues and playing a minimum of two sets a night, but in truth, the Skatalites were having a whale of a time. And in between the gigs, the band seems to have spent virtually all their waking hours recording. Besides working for Dodd and Reid, the group also played on a multitude of records for Prince Buster and Duke and Justin Yap. The klix number of recordings they performed on is anyone's guess, an approximation made more difficult by the fact that the musicians normally went uncredited on the singles themselves. To add to the confusion, the Skatalites in the studio could be any of a number of musicians, not just the aforementioned lineup. Guitarist Ranglin, pianist Gladstone Anderson, trombonist Rico Rodriguez, and trumpeter Baba Brooks are just a few of the many men who took part in the Skatalites recording sessions.

And what actually defines a Skatalites record? Many of their recordings were understandably released under the vocalist's name, not theirs. But what of Prince Buster's U.K. smash "Al Capone"? Buster may have intoned the title across the track, but wasn't it the Skatalites who truly made the song? Even amongst the group's own repertoire, the records were credited to the composer, not the band. Thus, the seminal "Guns of Navarone" was originally released under Roland Alphonso's name, not the Skatalites'. Modern archivists have attempted to address these injustices with compilations featuring the band, regardless of original accreditation. The West Side label's Skaravan -- Top Sounds From Top Deck, for example, is currently into the eighth CD of their Skatalites' compilations, all taken from their sessions for the Yap brothers, while Heartbeat's Foundation Ska bundles up a batch of Studio One cuts. Thankfully, the members' styles are so unique, as to be instantly recognizable within a few notes. In truth, most ska compilations are awash in the members' music, credited or not. That bouncy swing tempo, the jazzy brass, and the steady, skanking beat, all shout the Skatalites louder than any written credit, as easily heard on the vocal releases as on their own instrumentals.

But the instrumentals were the group's glory. Songs like "Guns of Navarone," "Phoenix City," "Addis Ababa," "Silver Dollar," "Corner Stone," and "Blackberry Brandy," to name just a small handful of their most seminal cuts, not only defined the island's sound, but created a whole new genre of music -- ska. The group have ofttimes been quoted as saying their invention of ska was never intentional, but merely the byproduct of their flawed attempts at American R&B. But this self-deprecating explanation neglects the jazz and big band swing sound that was also crucial to ska in its original form. And anyone good enough to play in those styles would have little problem mastering R&B. What the Skatalites actually did was drag these older styles into the contemporary scene, merge it with modern R&B, and propel it into the mainstream via a faster syncopated island beat. And with it, the group's musical legacy spread around the world and across generations.

But that must have seemed ridiculous at the very end of 1964. The Skatalites were playing at the La Parisienne club in Harbour View for New Year's Eve, a show that went on without Drummond. The trombonist had a history of mental illness and late that night, in a fit of rage, he stabbed his common-law wife and band vocalist, Marguerita, to death. Drummond was arrested and sent to Bellevue Sanitarium; he died there in 1969. The Skatalites continued on for six more months after this tragedy, but the spark was dying with it, and finally in July 1965, the members called it quits. Several from the group did continue playing together. Alphonso, Moore, Mittoo, and Brevett eventually formed the Soul Brothers, which later become the Soul Vendors. McCook formed the Supersonics, which was virtually Reid's house band at Treasure Isle Studio, and Sterling went off to work with producer "Sir" Clancy Collins. As their session work continued apace, inevitably many of the former members found themselves back working together. Then in 1975, most of the Skatalites reunited to record Brevett's solo album, African Roots. McCook, Alphonso, Sterling, Ranglin, Mittoo, and Knibbs all took part in the proceedings. Two years later, the Hot Lava album appeared, credited to Tommy McCook & the Skatalites, but in contrast to Brevett's "solo" album, this really was one. 1978's Jackie Mittoo may sound like a solo outing by the pianist, but actually features a clutch of former Skatalites. That same year, Island head Chris Blackwell convinced the members to reconvene again and recorded the Big Guns album. However, due to discord between the label man and McCook, the record sat on the shelf until 1984, when it was finally released as Return of the Big Guns. The previous year, the group had again reunited under the aegis of producer Bunny Lee for the Skatalites With Sly & Robbie & the Taxi Gang.

It took a few more years for the members to finally agree they were a band again; in 1986 they made it official and began gigging regularly. In 1989, they toured the world as Bunny Wailer's backing band, and the next year performed the same service for Prince Buster. In 1993, an album of new material, Skavoovee, finally appeared. Now boasting a core lineup of McCook, Brevett, Sterling, and Knibbs, the album was highly acclaimed. Their timing was perfect as the U.S. was in the grips of ska fever, and the band's constant touring abroad had cemented a worldwide following. Over the intervening years, the Skatalites had returned to their jazz roots with a vengeance, but ska fans didn't mind one bit. Alphonso now permanently rejoined the Skatalites for 1994's Hi-Bop Ska: The 30th Anniversary Recording, which also featured such illustrious guests as former vocalist Doreen Schaeffer, Prince Buster, and Toots Hibbert, and an all-star gathering of jazz musicians. The album deservedly earned the band their first Grammy nomination. Even McCook's heart attack in 1995 barely slowed the group down. The band continued their hectic touring schedule without him until the tenor saxophonist rejoined them early the next year.

However, even though he was forced off the road for good due to health problems a few weeks later, he was still able to record, and 1996's excellent Greetings From Skamania remains a tribute to his determination, and earned the group a second Grammy nomination. On May 5, 1998, the legendary saxophonist passed away; he was 71. Later that year, the Skatalites released Balls of Fire, on which the band re-created many of their old ska hits in their newer jazz style. That autumn, Alphonso collapsed on-stage at Hollywood's Key Club. He slipped into a coma soon after, and on November 20, he, too, died. But no matter how great the contributions of individual members, the Skatalites were always greater than the sum of their parts, and thus the band carried on. In 2000, they released Bashaka and their touring schedule continues unabated. While touring Europe in late2001, they reocrded yet again, resulting in the 2003 release of From Paris With Love. Each year brings another slew of compilations of their recordings from labels around the world. Decades on, their music remains timeless. ~ Jo-Ann Greene, All Music Guide

1. James Bond Theme
2. Latin Goes Ska
3. Confucius
4. Occupation
5. Rock Fort Rock Lis
6. Eastern Standard Time
7. Ball of Fire
8. Swing Easy Lis
9. Ringo
10. Freedom Sounds