segunda-feira, 30 de janeiro de 2012

MELISA ALDANA ENCERRA PRINCIPAL FESTIVAL DE JAZZ CHILENO

MELISA ALDANA CIERRA PRINCIPAL FESTIVAL DE JAZZ CHILENO.Anoche finalizó el V Festival Internacional de Jazz de Las Condes, en Santiago de Chile, evento que se extendió durante cinco intensos días de música por los cuales desfilaron músicos de estatura internacional. La principal atracción de la noche de cierre fue la aclamada saxofonista radicada en Nueva York, Melissa Aldana quien tocó con su trío neoyorquino y, en un tema standard (Bye Bye Blackbird), con dos invitados: la guitarrista Camila Meza (también proveniente de Nueva York) y el destacado saxofonista chileno Agustín Moya. Antes impresionó al público que llenaba el anfiteatro natural del Parque Padre Hurtado, el pianista danés Carl Winther y su trío, de generoso virtuosismo, creatividad y excelente jazz. La noche terminó con una "descarga" chileno cubana, en homenaje a Dizzy Gillespie, liderada por el trompetista Cristián Cuturrufo (orgulloso organizador del festival), con una larga versión de Manteca, en la que los numerosos solistas puedieron dar rienda suelta a su expresividad musical. En los días anteriores tomaron parte el estadounidense Carl Hammond y un grupo de Cuturrufo en homenaje a Duke Ellington; Camila Meza y su grupo; el quinteto de Nicolás Vera; Maxi Funk Jazz; Natalia Corvetto y su grupo; en Trío Altazor (quinteto de Cuturrufo); el depurado quinteto de Agustín Moya, y el popular y poderoso grupo de blues del neozelandés-británico Warwick Murray.con JC Blues y el guitarrista Federico Danemann como invitado. Este festival, que sólo tiene cinco años de existencia, se ha transformado rápidamente en el principal evento del género del país y, según datos policiales, ayer asistieron más de seis mil personas al evento, en uno de los anfiteatros naturales más hermosos de la capital chilena.



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domingo, 29 de janeiro de 2012

MORRE AOS 83 ANOS O COMPOSITOR CLARE FISCHER

Muere Clare Fischer.Clare Fischer, uno de los grandes compositores del Siglo XX que trabajó con Dizzy Gillespie entre muchos, falleció en Burbank, Estados Unidos, a los 83 años de edad. Era también pianista y arreglista. Algunas de sus piezas fueron inmortalizadas en el jazz por músicos de la talla de Bill Evans y Gil Evans. También hizo arreglos para Michael Jackson, Prince, Paul McCartney y Branford Marsalis. Pero en el mundo de la música en general se le recordará como compositor de música para películas y series de televisión. Fue nominado 11 veces a los premios Grammy, ganando dos de ellos por sus álbumes Salsa Picanta Plus (1981) y Free Fall (1986). Con Dizzy Gillespie trabajó en el Jazz Portrait of Duke Ellinghton. Muy vinculado al jazz latino, dos de sus más famosas composiciones fueron Morning y Pensativa. Fischer grabó 51 álbumes bajo su nombre.

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sexta-feira, 27 de janeiro de 2012

DONALD HARRISON, RON CARTER ,BILLY COBHAM THIS IS JAZZ

12/18/11

Donald Harrison, Ron Carter, Billy Cobham
This Is Jazz

This Is Jazz is the most consistently enjoyable of the three albums Donald Harrison has recorded with bassist Ron Carter and drummer Billy Cobham. Alto saxophonist Harrison, a standout player in settings ranging from the Jazz Messengers to his own neo-bop outfits to his Mardi Gras Indian bands, has rarely sounded as free and forceful and charismatic as he does sailing through the open spaces here.
Recorded at the Blue Note, the album opens with two compositions by Carter and a solo rendition of “You Are My Sunshine” by the bassist. Though he and Cobham are both in fine form, it’s Harrison’s unflagging performance that carries the day—and might leave less-than-hardcore Carter fans wishing for another band effort in place of “Sunshine.”
At 51, Harrison has so much character in his playing, and personalizes bop tradition in such a fully formed, unshowy manner, he seems on the road to becoming the Von Freeman of his generation. His take on “I Can’t Get Started” peels off layer after layer of bop expression, embodying both Bird and Prez. And it’s hard to recall anyone making more of Ornette Coleman’s insistent, self-sustaining melodicism than Harrison does on an infectious reading of Miles Davis’ “Seven Steps to Heaven.”
Originally published in December 2011
BUY THIS ALBUM from Amazon.com
STREAM THIS CD from Rhapsody.com

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LEE KONITZ: SINGING & PLAYING IT

Lee Konitz: Singing & Playing It

Video excerpt of sax icon demonstrating Sing & Play Exercise, accompanied by Dan Tepfer

In this excerpt from sax icon Lee Konitz' Talking & Playing instructional video, available from JazzHeaven, Lee, together with frequent collaborator, pianist Dan Tepfer, shares a great Jazz Improvisation Exercise: singing 4 bars, followed by playing 4 bars.
Lee-konitz_span9
Falk Willis
Lee Konitz
Your playing can "echo & develop" what you sang before.
This can be done over any chord structure, but works well over a blues, for example.
A very helpful exercise for "keeping the mechanics away", as Lee puts it.
In the rest of the Talking & Playing video, part documentary, part musical master class, Lee openly and candidly discusses his unique approach to music making and the improvisational process. He also shares countless fascinating anecdotes, reaching as far back as the 1940s, covering encounters with Lennie Tristano, Warne Marsh, Miles Davis, Charlie Parker, and many more. It also includes a truly classic 60-minute Interview.
The video was recorded on 4/22/2010 at JazzHeaven Studios, NYC. To check out more instructional jazz videos, go to the JazzHeaven website.

jazztimes.com

FIM DE SEMANA NO SANTO SCENÁRIO 27/28/2012

Sexta-feira, dia 27 às 20h30
RICARDO SERPA
Ricardo Serpa (saxes e flautas), Arimatéia (trompete), Tomás Improta (piano), Jefferson Lescowich (baixo) e Pascoal Meirelles (bateria). Part. especiais: Rudi Berger (violino), Lena Pablo (voz), Lena Horta (flauta) e Yuri Popoff (baixo).

Serpa tem dois bons motivos para estar feliz: além de comemorar seu aniversário, o saxofonista também celebra a concepção de seu segundo CD solo “ALMA (Made With Soul)”. Na JAM com seus amigos de palco ele apresenta músicas do novo álbum, além dos temas de seu primeiro CD “Aquariando”. Complementa o repertório John Coltrane, Chick Corea, Milton Nascimento, Nivaldo Ornelas,Toninho Horta e Marcio Hallack.
Couvert Artístico R$ 10


________________________________________________________________


Sábado, dia 28 às 21h30
QUINTETO NUCLEAR

Dan Sebastian (trompete), 
Marcelo Santos (sax)

Thiago Amorim (piano), 
Miguel Couto (bateria) e 
Pablo Arruda (baixo)
Esses talentosos jovens têm ganhado grande destaque na cena do jazz carioca. Transbordando musicalidade eles se destacam por deixar claro que não são uma simples reunião de instrumentistas. O show é laboriosamente lapidado e a                  inventividade da criação espontânea que permeia o jazz moderno é apresentada dentro de temas com influências funk de grandes nomes como John Coltrane, Clifford Brown, Steve Coleman, Hermeto Paschoal, Lee Morgan e Moacyr Santos. Foto: Thiago Espósito
Couvert Artístico R$ 10

WYNTON MARSARLIS E PAUL SIMON/ HOMENAGEM DOS CORREIOS A MILES DAVIS

BREVES:
Miles Davis en el correo postal.Después de dos décadas de su muerte, el legendario trompetista de jazz Miles Davis será honrado por el servicio de correos de su país y de Francia, y su imagen aparecerá en una nueva serie de sellos postales. Lo mismo sucederá con la cantante Edith Piaf en un proyecto postal común entre los correos de Francia y Estados Unidos. Miles Davis murió en 1991 y sus álbumes siguen siendo adquiridos en grandes cantidades por nuevas generaciones de músicos y de amantes del jazz que descubren la genialidad de uno de los músicos más creativos e influyentes del Siglo XX.

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Wynton Marsalis arreglará a Paul Simon.
Una elegante presentación de gala y dos conciertos para el público en general, con Wynton Marsalis y el cantante y compositor Paul Simon, han sido anunciados para el 18, 19 y 20 de abril, respectivamente. El evento en su conjunto se llamará "The Paul Simon Songbook", abarcando composiciones de este cantante con arreglos hechos por Wynton Marsalis y miembros de la Jazz At Lincoln Center Orchestra que él dirige. A esta famosa agrupación se agregará la propia orquesta de Paul Simon. En el pasado, Marsalis ha tenido colaboraciones musicales con otros músicos/cantantes de diversos géneros, como ha sido el caso de Willie Nelson, Norah Jones y Eric Clapton. entre otros.

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Mejor solista, Gonzalo Palma.
El pianista y compositor chileno Gonzalo Palma fue elegido "mejor solista" por un jurado internacional, anoche, en el Festival de Jazz de Pitrufquén, en el sur de Chile (ver noticia de ayer en este blog). Las menciones honrosas recayeron sobre Gabriel Puentes y Rodrigo Álvarez Vidal.

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noticiasjazz.blogspot.com

quarta-feira, 25 de janeiro de 2012

COMEÇA O FESTIVAL DE JAZZ DE LAS CONDES NO CHILE

Festival austral en Chile.
A la vez que se da comienzo al Festival de jazz de Las Condes en Santiago de Chile (ver información de ayer), en la austral localidad de Pitrufquén, provincia de Cautín, se realiza hoy el III Festival Internacional de jazz de Pitrufquén, en el que un jurado internacional eligirá al mejor solista del evento. Participan Nicolás vera Trío, Gonzalo Palma y Triángulo de las Bermudas, y el cuarteto de Marcelo Moncada. Un jurado integrado por el cineasta belga Andrés Lubbert, la pianista mexicana Luisa Hernández y el profesor y guitarrista clásico chileno Ariel Rubilar eligirán al final de la jornada al mejor solista del festival.

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PROGRAMAÇÃO DE FIM DE SEMANA 26/28 TRIBOZ

QUINTA, 26 DE JANEIRO

Happy Hour
Experimente um happy hour diferenciado, em um ambiente de informalidade e sofisticação. No telão, vídeos de jazz e bossa nova. O cardápio tem comidinhas originais, vinhos australianos e deliciosos drinks - dose dupla de caipirinha das 18h às 20h! Uma excelente opção para o fim de tarde.
Horário: 18h às 20h30
Entrada franca


Jazz é improvisação mesmo!
Formado especialmente para essa noite, o grupo propõe um desafio entre os próprios músicos: alta improvisação é a palavra-chave para interpretações lúdicas de standards de jazz e bossa nova, como Cantaloupe Island, Stolen moments, Night in Tunisia e Insensatez.

Cliff Korman - piano, Julio Merlino - sax, Mike Ryan - trompete e flugel, Rodrigo Ferreira - contrabaixo, Lucio Vieira - bateria.

Apresentação: 21h à 1h
Couvert artístico: R$ 15,00



SEXTA, 27 DE JANEIRO

Happy Hour
Experimente um happy hour diferenciado, em um ambiente de informalidade e sofisticação. No telão, vídeos de jazz e bossa nova. O cardápio tem comidinhas originais, vinhos australianos e deliciosos drinks - dose dupla de caipirinha das 18h às 20h! Uma excelente opção para o fim de tarde.
Horário: 18h às 20h30
Entrada franca


Atelier Jazz
Formado por grandes músicos, o quarteto traz um repertório fortemente influenciado pelo jazz, com Aquelas coisas todas (Toninho Horta), Song for Bilbao (Pat Metheny), e composições próprias, como Trane (André Rodrigues) e Fake Melon (AC).

AC - sax e EWI, Marco Tommaso - piano e teclados, André Rodrigues - contrabaixo acústico e elétrico, Kiko Freitas - bateria.

Apresentação: 21h à 1h
Couvert artístico: R$ 20,00



SÁBADO, 28 DE JANEIRO

Ricardo Serpa
O saxofonista Ricardo Serpa vem acompanhado por músicos consagrados, e apresenta no repertório pérolas da MPB, como Milagre dos Peixes e Vera Cruz (Milton Nascimento) e Dina, cadê você (Nivaldo Ornelas), e ainda clássicos do jazz, como Spain (Chick Corea). A apresentação conta com as participações especiais do violinista austríaco Rudi Berger e da cantora Lena Pablo.

Ricardo Serpa - saxes e flautas, Arimatéia - trompete, Tomás Improta - piano, Jefferson Lescowich - contrabaixo, Pascoal Meirelles - bateria. Participações especiais: Rudi Berger - violino, Lena Pablo - voz.

Abertura da casa: 20h
Apresentação: 21h à 1h
Couvert artístico: R$ 20,00



TribOz - Centro Cultural Brasil-Austrália
http://www.triboz-rio.com/
Rua Conde de Lages, 19 - Off-Lapa
Estacionamento rotativo na Rua Conde de Lages, 44 (R$ 5,00)
Informações e reservas: (21) 2210 0366 - 9291 5942

segunda-feira, 23 de janeiro de 2012

UNITY BAND NOVO GRUPO DE PAT MATHENY

METHENY, NUEVA BANDA PARA LONDRESEl Centro para las Artes Barbican, de Londres, anunción que el guitarrista de jazz Pat Metheny llevará a esa capital un nuevo conjunto llamado Unity Band, con los gigantes del jazz Robert Glasper en piano, Chris Potter en saxos, Ben Williams en contrabajo y Antonio Sánchez en batería. Esta presentación, única en la capital británica, será una de las más destacadas del verano inglés por la estatura musical de cada uno de los integrantes de este quinteto. Pat Metheny, ganador de 18 premios Grammy, es uno de los músicos más influyentes y creativos de hoy y después de su innovativo "Orchestrion" y otros experimentos, ahora vuelve con una banda relativamente convencional con estrellas del jazz. Chris Potter es uno de los mas importantes saxofonistas actuales, habiéndose destacado con sus propios conjuntos y los de Dave Holland, entre otros. Lo mismo se puede decir de Williams y Sánchez ("con Antonio, cualquier cosa es posible" ha dicho Metheny). Pero la inclusión de Robert Glasper es la más interesante debido a la inmensa creatividad e inventiva de este pianista grandemente influido por Herbie Hancock, pero que ha abierto nuevos senderos en el jazz. El producto der la combinación de estos cinco músicos puede dar mucho de qué hablar. Glasper acaba de declarar a la publicación británica Jazzwise, "Mucha gente tiene una mentalidad muy estrecha sobre qué es lo que debe ser el jazz y cómo debe sonar. Para mí el jazz es el presente, todo el tiempo. Por eso llevo elementos actuales a la música, porque estoy conectado a todo eso". La presentación en Londres está programada para julio.


noticiasjazz>blogspot.com

domingo, 22 de janeiro de 2012

LANÇAMENTO CLAUDIO RODITI BONS AMIGOS

Claudio Roditi
Bons Amigos
Resonance Records

Ken Franckling reviews the latest from the Brazilian trumpeter

Claudio Roditi is a solid trumpeter, able to meld into any situation without artifice or flash. These traits have served him well throughout his 40-plus years in jazz, and they serve him well on this latest project, a salute to some of the great music and songwriters of his native Brazil.
Egberto Gismonti’s “O Sonho” is an ideal opener for the project, with its breezy hooks and personal history for the trumpeter: Roditi played on the original recording of the tune in Brazil in the 1960s as a member of Gismonti’s horn section. The pop tune’s producers had no interest in leaving space for jazz solos then; but 45 years later, Roditi gets a chance to fully explore and stretch its beautiful melodic line on this version, performed with a baião rhythm.
One of the highlights of this quintet session is Roditi’s memorable double-time take on “Ceu e Mar” (“Sea and Sky”) by Johnny Alf, a composer whose early 1950s works paved the way for the bossa-nova movement. Pianist Donald Vega also contributes some fine solo lines to the piece. Guitarist Romero Lubambo’s soloing and unison lines with the trumpeter—particularly on the title track, a beautiful ballad written by Toninho Horta—contain rare grace. The quintet also includes bassist Marco Panascia and drummer Mauricio Zottarelli. Tamir Hendelman contributes five of the arrangements, including the Gismonti and Horta tunes and two breezy Eliane Elias ballads, “Para Nada” and “Amandamada,” on which the band retains the composer’s musical flavorings.
Roditi penned three originals for this project, including “Bossa de Mank,” the straight-ahead jazz burner “Levitation” and “Piccolo Samba,” which features him on a higher-pitched piccolo trumpet that is overdubbed to create a one-man horn chorus. He also offers his laidback vocals, with a Brazilian lilt, on Jobim’s “Ligia.” This is a terrific listen all around. JAZZTIMES.COM

MONTY ALEXANDER COMEMORA 50 ANOS DE CARREIRA

BREVES:

Monty Alexander celebrará durante dos semanas
.
El aclamado pianista de jazz Monty Alexander y el club de jazz Blue Note de Nueva York anunciaron que entre el 20 de febrero y 4 de marzo próximos este músico estará celebrando 50 años de su carrera musical con una presentación de dos semanas en ese lugar. Estará tocando con su trío y una serie de músicos invitados en diversos días, entre ellos Russell Malone, Christian McBride, Dr. Lonnie Smith, Pat Martino, Freddie Cole, Dee Dee Bridgewater, John Clayton, Jeff Hamilton y otros. Alexander, de origen jamaiquino, se ha destacado por su virtuosismo en el teclado y por incorprar elementos raggae a sus interpretaciones de jazz. En su repertorio para el Blue Note incorporará temas que van desde los comienzos de su carrera hasta su más reciente álbum Harlem-Kingston Express.

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GENE AMMONS ALL STARS SESSIONS

Friday, April 22, 2011

Gene Ammons All Star Sessions

Gene Ammons
Gene Ammons All Star Sessions
PRLP 7050

NYC, March 5, 1950
Personnel:
Gene Ammons (ts) Sonny Stitt (ts, bars) Duke Jordan (p) Tommy Potter (b) Jo Jones (d)

BL1222-1 Blues Up And Down
BL1222-2 Blues Up And Down take 2
BL1222-3 Blues Up And Down take 3
BL1223-1 You Can Depend On Me
BL1223-2 You Can Depend On Me take 2

NYC, October 28, 1950
Personnel:
Gene Ammons, Sonny Stitt (ts) Junior Mance (p) Gene Wright (b) Wes Landers (d)

116 Stringin' The Jug, Pt. 1
117 Stringin' The Jug, Pt. 2

NYC, January 31, 1951
Personnel:
Billy Massey (tp) Chippy Outcalt (tb) Sonny Stitt (ts) Gene Ammons (bars) Charlie Bateman (p) Gene Wright (b) Art Blakey (d) Larry Townsend (vo)

136A New Blues Up And Down, Pt. 1
137A New Blues Up And Down, Pt. 2

Rudy Van Gelder Studio, Hackensack, NJ, June 15, 1955
Personnel:
Art Farmer (tp) Lou Donaldson (as) Gene Ammons (ts) Freddie Redd (p) Addison Farmer (b) Kenny Clarke (d)

755 Juggernaut
756 Woofin' And Tweetin'
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Tracks
1. Woofin' And Tweetin' [Ammons] 15:05
2. Juggernaut [Ammons] 10:28
3. Blues Up And Down [Take 3] [Ammons/Stitt] 2:39
4. Blues Up And Down [Take 1] [Ammons/Stitt] 1:28
5. Blues Up And Down [Take 2] [Ammons/Stitt] 2:23
6. You Can Depend On Me [Take 1] [Carpenter/Carpenter/Dunlap/Hines] 2:50
7. You Can Depend On Me [Take 2] [Carpenter/Carpenter/Dunlap/Hines] 2:50
8. Stringin' The Jug [Ammons/Carpenter/Stitt] 5:05
9. New Blues Up And Down [Ammons/Stitt] 5:07

Review by Robert Taylor
This is an excellent recording that pieces together three separate sessions. The first, with Art Farmer and Lou Donaldson marked Ammons' return to jazz after exploring R&B for a period of time. The second and third sessions find "Jug" teaming up with his musical soulmate Sonny Stitt for two separate dates. Their interplay over the years produced some of jazz's most stimulating moments and they don't disappoint here. The songs are short, but the addition of numerous outtakes make for a long, satisfying listen. Essential.
http://www.mediafire.com/?5jzd3h0udhdjpz0

sexta-feira, 20 de janeiro de 2012

SHELLY MANNE 234

Shelly Manne - 2-3-4

Shelly Manne
2-3-4
ABC/Impulse! 9000 Series/A 20

Fine Recording Ballroom Studio A, NYC, February 5, 1962
Personnel:
Coleman Hawkins (ts)
Hank Jones (p)
George Duvivier (b)
Shelly Manne (d)

Take The "A" Train
Slowly
Cherokee
Me And Some Drums

Fine Recording Ballroom Studio A, NYC, February 8, 1962
Personnel:
Eddie Costa (vib, p)
George Duvivier (b)
Shelly Manne (d)

Sicks Of Us
Lean On Me
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Tracks
1. Take the "A" Train [Strayhorn] 7:34
2. The Sicks of Us [Costa/Duvivier/Manne] 6:00
3. Slowly [Goell/Raksin] 5:34
4. Avalon [DeSylva/Jolson/Rose/Rose] 6:34
5. Cherokee [Noble] 3:29
6. Me and Some Drums [Hawkins/Manne] 5:59
7. Lean on Me [Greene/Waldman] 6:24

Another gem of an album from the Impulse jazz catalog.Shelly Manne (on loan to Impulse from Contemporary) is featured as leader here in three different lineups: duo, trio and quartet. The quartet features Coleman Hawkins on sax and Hank Jones on piano. The trios utilize the magnificent playing of Eddie Costa on keyboards and vibes. Costa's work of the vibes on "The Sicks Of Us" is brilliant. George Duvivier is on bass throughout.

Review by Scott Yanow
This 1962 recording features five selections from a date featuring the great tenor Coleman Hawkins, pianist Hank Jones, bassist George Duvivier and drummer Shelly Manne. Both "Take the 'A' Train" and "Cherokee" find the group at times playing two tempos at once (Manne sticks to doubletime throughout "Cherokee") and showing that they had heard some of the avant-garde players. The most swinging piece, "Avalon," was previously available only on a sampler while "Me and Some Drums" features Hawkins and Manne in a very effective duet with the veteran tenor making his only recorded appearance on piano during the first half. This LP is rounded off by a pair of trio features for Eddie Costa (with Duvivier and Manne); one song apiece on vibes and drums. A very interesting set with more than its share of surprises.
http://www.mediafire.com/?nq5r9d9vfzavpt6

HAMPTON HAWES IN EUROPE

Tuesday, November 8, 2011

Hampton Hawes In Europe

Hampton Hawes
Hampton Hawes In Europe
PR 7695 [reissue of Saba/MPS (G) 15149 "Hamp's Piano"]

Hans Georg Brunner-Schwer Studio
Villingen, West Germany, November 8, 1967
Personnel:
Hampton Hawes (p)
Eberhard Weber (b)
Klaus Weiss (d)

Hamp's Blues (Villingen Blues)
Rhythm
Black Forest Blues
Autumn Leaves
What Is This Thing Called Love?
Sonora
I'm All Smiles
My Foolish Heart
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Tracks
1. Hamp's Blues (Villingen Blues) [Hawes] 4:46
2. Rhythm [Hawes] 2:21
3. Black Forest Blues [Hawes] 4:19
4. Autumn Leaves [Kosma] 8:56
5. What Is This Thing Called Love? [Porter] 5:12
6. Sonora [Hawes] 5:00
7. I'm All Smiles [Leonard] 5:11
8. My Foolish Heart [Ned Washington] 5:23

Entirely self-taught, by his teens Hawes was playing with the leading jazz musicians on the West Coast, including Dexter Gordon, Wardell Gray, Art Pepper, Shorty Rogers, and Teddy Edwards. His second professional job, at 19, was playing for eight months with the Howard McGhee Quintet at the Hi De Ho Club, in a group that included Charlie Parker.
After serving in the U.S. army in Japan from 1952–1954, Hawes formed his own trio, with the bassist Red Mitchell and drummer Chuck Thompson. The three-record Trio sessions made by this group in 1955 on Contemporary Records were considered some of the finest records to come out of the West Coast at the time. The next year, Hawes added guitarist Jim Hall for the All Night Sessions - three records made during a non-stop recording session at the Contemporary Studios in Los Angeles.
After a six-month national tour in 1956, Hawes won the 'New Star of the Year' award in Down Beat magazine, and 'Arrival of the Year' in Metronome magazine. The following year, Hawes recorded in New York City with Charles Mingus on the album "Mingus Three" (Jubilee JLP 1054, 1957).
Struggling for many years with a heroin addiction, Hawes became the target of a federal undercover operation in Los Angeles in 1958. The Drug Enforcement Agency bargained that Hawes would inform on suppliers in L.A. rather than risk a successful music career. Hawes was arrested on heroin charges on his 30th birthday, but refused to cooperate, and as a result was sentenced to ten years in a federal prison hospital - twice the mandatory minimum. In the weeks between his trial and sentencing, Hawes recorded an album of spirituals and gospel songs, The Sermon, for Contemporary Records.
After serving three years at Fort Worth Federal Medical Facility in Texas, in 1961 Hawes was watching President Kennedy's inaugural speech on television, when he became convinced that Kennedy would pardon him. In an almost miraculous turn, President Kennedy granted Hawes Executive Clemency in 1963, the 42nd of only 43 such pardons given in the final year of Kennedy's presidency.
After his release from prison, Hawes resumed playing and recording. During a world tour in 1967-68, the pianist was surprised to discover that he had become a legend among jazz listeners overseas. During a ten-month tour of Europe, Asia and the Middle East, Hawes recorded nine albums, played sold out shows and concert halls in ten countries, and was covered widely in the press, appearing on European television and radio. it was during this period that Hawes cut this 1967 session at Hans Georg Brunner-Schwer Studio. As a pianist Hawes' style is instantly recognizable - for its almost unparalleled swing, unique approach to time and harmony, and its depth of emotional expression, particularly in a blues context. Hawes influenced a great number of other pianists including André Previn, Oscar Peterson, Horace Silver, Claude Williamson, Pete Jolly, Toshiko Akiyoshi and others. Hawes' own influences came from a number of sources, including the gospel music and spirituals he heard in his father's church as a child, and the boogie-woogie piano of Earl Hines. He also learned much from pianists Bud Powell and Nat King Cole among others. By Hawes' own account, however, his principal source of influence was his friend Charlie Parker.
Hampton Hawes died suddenly of a brain hemorrhage in 1977, at only 48 years old. He is buried next to his father, Hampton Hawes, Sr., who had passed away five months earlier, at Lincoln Memorial Cemetery. In 2004, the City Council of Los Angeles passed a resolution declaring November 13 'Hampton Hawes Day' throughout the City of Los Angeles.
http://www.mediafire.com/?leaqg6zxckrw96i

RED GARLAND - ITS A BLUE WORD

Wednesday, January 4, 2012

Red Garland - It's A Blue World



Red Garland
It's A Blue World
PR 7838

Rudy Van Gelder Studio, Hackensack, NJ, February 7, 1958
Personnel:
Red Garland (p)
Paul Chambers (b)
Art Taylor (d)

1454 Since I Fell For You
1455 It's A Blue World
1456 Teach Me Tonight
1457 Crazy Rhythm
1458 This Can't Be Love
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Tracks
1. This Can't Be Love [Hart/Rodgers] 8:30
2. Since I Fell for You [Johnson] 12:43
3. Crazy Rhythm [Caesar/Kahn/Meyer] 3:27
4. Teach Me Tonight [Cahn/DePaul] 9:03
5. It's A Blue World [Forrest/Wright] 5:34

Review by Richard S. Ginell
Of the miles of Red Garland sessions recorded in the late '50s, some of the tapes didn't see the light of day until many years later. This session, except for "Crazy Rhythm," first appeared in the early '70s, and is typical of Garland's trio work of the '50s, evoking a mid-century nightclub atmosphere from Rudy Van Gelder's studio with the perfectly gauged help of bassist Paul Chambers and drummer Art Taylor. "Since I Fell for You" and "Teach Me Tonight" are taken at relaxed tempos, and after Garland's trademark block chords in the left hand and octaves in the right hand take care of the themes, they ride easily and winningly. "Crazy Rhythm" zips along at the usual steeplechase pace, with a fluid bebop solo from Garland and some agile bowing from Chambers (Chambers also gets an unusually lengthy bowed solo on "This Can't Be Love"), and the title track closes the LP on a jaunty note. Garland fans -- and for that matter, fans of Vince Guaraldi, whose chord voicings very much resemble those of Garland -- need not hesitate.
http://www.mediafire.com/download.php?tqhi37j48lntd8e

A BOA MUSICA DO NOSSO GRANDE GUITARRISTA PEDRO ARAUJO NO SANTO SCENARIUM EM 19/01/2012

CHUCHO VALDES NO CARNEGIE HALL

Chucho Valdés en el Carnegie Hall.
El pianista de jazz cubano Chucho Valdés se presenta el sábado en el prestigioso Carnegie Hall de Nueva York, con sus Afro-Cuban Messengers y la cantante española Buika, como invitada. Esta vocalista, nominada al Latin Grammy, ha tenido una asociación esporádica con Valdés y su música mezcla flamenco con soul y jazz. Chucho Valdés ganó el premio Grammy al "mejor álbum latino" con este grupo (Chucho´s Steps) y esta presentación se realiza al comienzo de una intensa gira de conciertos por los EEUU.

noticiasjazz.blogspot.com

MORRE AOS 73ANOS A DIVA DO SOUL ETTA JAMES

Diva do soul tinha leucemia, hepatite C e demência

Publicado:
Atualizado:

A cantora Etta James, em Los Angeles, em 2004
Foto: AP
A cantora Etta James, em Los Angeles, em 2004 AP
RIO - Etta James, de 73 anos, morreu nesta sexta-feira no hospital Riverside na Califórnia, segundo a CNN. A diva do soul sofria de leucemia - diagnosticada em 2010 -, hepatite C e demência. A morte foi confirmada por seu amigo de longa data e empresário, Lupe De Leon.
“É uma grande perda para a família, os amigos e todos os fãs pelo mundo. Ela era original, capaz de cantar tudo. Trabalhei com ela por 30 anos e vou sempre sentir sua falta”, disse De Leon, acrescentando que ela estava acompanhada do marido e de seus filhos.
A diva do soul ficou conhecida em 1950 por seu álbum “Good Rockin’ Daddy” e seus trabalhos a fizeram ingressar na Rock and Roll Hall of Fame e na Blues Hall of Fame, além de ter conquistado quatro Grammys.
Etta James teve uma carreira de altos e baixos por causa do envolvimento com drogas. Nos anos 1960, ela desenvolveu um vício por heroína e nos anos 1970 começou a usar cocaína. Seu problema com drogas e as inúmeras passagens por clínicas de reabilitação foram relatados com detalhes na autobiografia “Rage to survive”, de 1995.


Leia mais sobre esse assunto em http://oglobo.globo.com/cultura/aos-73-anos-morre-cantora-etta-james-3724192#ixzz1k1K86eTM
© 1996 - 2012. Todos direitos reservados a Infoglobo Comunicação e Participações S.A. Este material não pode ser publicado, transmitido por broadcast, reescrito ou redistribuído sem autorização.

quarta-feira, 18 de janeiro de 2012

APETITE SAMBA JAZZ TRIBO NESTA QUARTA 18/01/2012

OS DOZES MELHORES CDS PELA JAZZWEEK

17 ENERO) VUELVE CHRISTIAN McBRIDE
Christian McBride Big Band y su álbum The Good Feeling han vuelto al primer lugar de la cartelera de jazz publicada por JazzWeek después de haber sido desplazados por el saxofonista Houston Person, el que ahora baja al tercer lugar. Lo más destacado es el ascenso al segundo lugar de James Carter, desde el puesto número 13. La nueva entrada a la primera docena es la del trompetista, compositor y arreglista Jimmy Owens, con su álbum The Monk Project. Estos son los 12 primeros lugares de la cartelera de jazz, esta semana:

01 Chistian McBride BIg Band, The Good Feeling
02 James Carter, At The Crossroads
03 Houston Person, So Nice
04 George Benson, Guitar Man
05 Pat Martino, Undeniable
06 Poncho Sánchez & Terence Blanchard, Chano Y Dizzy
07 Joey DeFrancesco, 40
08 Christian McBride, Conversations With Christian McBride
09 Hendrick Meurkens, Live At Bird´s Eye
10 Stanley Jordan, Friends
11 Jimmy Owens, The Monk Project
12 Warren Wolf, Warren Wolf

(Estos CDs, u otros, así como sus tracks individuales en MP3, se pueden obtener buscando en este enlace): BUSCAR CDs o MP3


noticiasjazz.blogspot.com

PROGRAMAÇÃO DA TRIBOZ DE 19A21/01/2012

QUINTA, 19 DE JANEIRO

Happy Hour
Experimente um happy hour diferenciado, em um ambiente de informalidade e sofisticação. No telão, vídeos de jazz e bossa nova. O cardápio tem comidinhas originais, vinhos australianos e deliciosos drinks - dose dupla de caipirinha das 18h às 20h! Uma excelente opção para o fim de tarde.
Horário: 18h às 20h30
Entrada franca


TribOz World Mix
Esse novo projeto une um grupo bem heterogêneo de músicos e amigos, oriundos de Austrália, EUA, e Brasil. A ideia é valorizar a descendência e diversidade de cada integrante, e mergulhar nas linhas principais do jazz tradicional e contemporâneo, como blues, gospel, standards, pop, latin, além de composições e arranjos originais, num formato de alta interação e diálogo entre os músicos. No repertório, standards de jazz e músicas próprias.

Alma Thomas - voz, Cliff Korman - piano, Mike Ryan - trompete e flugel, Rodrigo Ferreira - contrabaixo.

Apresentação: 21h à 1h
Couvert artístico: R$ 15,00



SEXTA, 20 DE JANEIRO

Happy Hour
Experimente um happy hour diferenciado, em um ambiente de informalidade e sofisticação. No telão, vídeos de jazz e bossa nova. O cardápio tem comidinhas originais, vinhos australianos e deliciosos drinks - dose dupla de caipirinha das 18h às 20h! Uma excelente opção para o fim de tarde.
Horário: 18h às 20h30
Entrada franca


Gabriela Bergallo & Latin Jazz Ensemble
A cantora argentina Gabriela Bergallo interpreta o jazz e o tango com a mesma qualidade e desenvoltura. Radicada na Suíça, ela já participou de festivais de jazz na Europa, e apresentou na Rússia a Ópera "Maria de Buenos Aires", de Piazzolla, interprtando o papel principal. Ela vem acompanhada pelo Latin Jazz Ensemble, formado por grandes músicos e dedicado ao repertório latino. Juntos, apresentam pérolas do Latin Jazz, como Night in Tunisia, Amazonas, Mambo inn.

Gabriela Bergallo - voz, Tomás Improta - piano, Fernando Trocado - sax, Bruce Henri - contrabaixo, Roberto Rutigliano - bateria.

Apresentação: 21h à 1h
Couvert artístico: R$ 20,00



SÁBADO, 21 DE JANEIRO

Scott Feiner & Pandeiro Jazz -  convidado especial: Mark Lambert
O músico norteamericano Scott Finer é conhecido por seu projeto Pandeiro Jazz, em que criou uma inusitada mistura do jazz com o pandeiro brasileiro. O repertório da noite traz temas de seus três CDs, além de várias composições inéditas e algumas surpresas. Nessa apresentação Scott Feiner convida seu conterrâneo, o guitarrista, cantor e compositor, Mark Lambert.

Scott Feiner - pandeiro, Rafael Vernet - piano, Guto Wirtti - contrabaixo. Convidado especial: Mark Lambert - guitarra e voz.

Abertura da casa: 20h
Apresentação: 21h à 1h
Couvert artístico: R$ 20,00



TribOz - Centro Cultural Brasil-Austrália
http://www.triboz-rio.com/
Rua Conde de Lages, 19 - Off-Lapa
Estacionamento rotativo na Rua Conde de Lages, 44 (R$ 5,00)
Informações e reservas: (21) 2210 0366 - 9291 5942

terça-feira, 17 de janeiro de 2012

A BOA PROGRAMAÇÃO DO SANTO SCENARIUM DE 19A21/01/2012

Quinta - feira, dia 19 às 18h30
PEDRO ARAÚJO QUARTETO
Leo de Freitas (piano), Pedro Aune (contrabaixo), Renato Endrigo (bateria) Participação Especial: Diogo Gomes (trompete)

Pedro é guitarrista do grupo Gafieira na Surdina e expressa muito bem suas influências de Pat Metheny, Toninho Horta e Egberto Gismonti. No Santo ele encabeça seu quarteto instrumental com o qual gravou o seu primeiro CD Buraco do Tatu.

“Fiquei muito impressionado com sua performance na guitarra, principalmente pela pouca idade. Pedro é talentoso e determinado, ingredientes fundamentais na personalidade de grande músico. Hoje, Pedro Araujo já maduro, contribui com sua música para enriquecer o cenário da música instrumental brasileira”. (Nelson Faria - guitarrista e professor).
Couvert Artístico R$ 10

________________________________________________________________

Sexta-feira, dia 20 às 20h30
PAULO MATTAR
Paulo Mattar (piano), Jefferson lescowich (baixo) e Pascoal Meirelles (bateria)
O pianista apresenta um repertório de standards de jazz e música instrumental brasileira que inclui Chick Corea, Herbie Hancock, Ivan Lins, Tom Jobim e outros. Mattar foi aluno dos consagrados Walter Bishop Jr. e Luiz Eça. Com 5 cd´s lançados, contou com a presença de Nico Assunção, Carlos Bala e Márcio Montarroyos em um de seu quartetos. Em 2008 o pianista lançou o livro “Piano Performance” pela renomada editora Irmãos Vitale. Durante os anos que residiu em NY pode se apresentar nos melhores jazzclubs daquela cidade acompanhando Don Um Romão e o lendário baterista Edson Machado.
Couvert Artístico R$ 10

________________________________________________________________


Sábado, dia 21às 21h30
LATIN JAZZ ENSEMBLE
Tomás Improta (piano), Roberto Rutigliano (bateria), Bruce Henri (baixo acústico) e Fernando Trocado (saxofones).

Os grandes instrumentistas trarão ao Santo uma bela homenagem à versão do jazz que flerta com a salsa, merengue, songo, son, mambo e outros ritmos populares da America Latina e Caribe. O Latin Jazz tem uma forte pegada percussiva, e portanto dançante. Popularizado nos Estados Unidos da década de 1940, foi muito explorado pelos grupos de Dizzy Gillespie e Machito. Nos anos 90 voltou novamente a voga pela lenda de Porto Rico Tito Puentes. Hoje, sem abandonar o vigor do estilo, virtuoses como Gonzalo Rubalcaba, Chucho Valdés, Paquito D'Rivera e Arturo Sandoval elevaram o latin jazz ao mesmostatus das correntes mais avançadas e contemporâneas do jazz atual. No repertório Night in Tunisia, Amazonas e Mambo Inn.
Couvert Artístico R$ 10

________________________________________________________________

BOBBY WATSON - POST MOTOWN 1990

Monday, January 3, 2011

Bobby Watson - Post Motown Bop (1990)




Review by Ken Dryden (A.M.G.):

"After dropping the synthesizers and reformatting his group Horizon in 1990, alto saxophonist Bobby Watson recorded one of the most memorable CDs of his career. His opener "The Punjab of Java Po'" is a powerful hard bop number with elements of East Indian and Brazilian influences, while its catchy bass vamp supports strong solos by pianist Ed Simon, trumpeter Melton Mustafa, and the leader. Drummer Victor Lewis proves to be as gifted a composer as Watson. He wrote two vehicles for Watson's soprano sax: "Big Girls" and the tense uptempo "7th Avenue." The arrangement of standards such as "Falling in Love With Love" and "In a Sentimental Mood" are also worth noting. A very commendable, but now out-of-print release".


YOUR FEEDBACK IS VALUABLE, PLEASE MAKE AN EFFORT AND POST COMMENTS!
http://www.mediafire.com/?v6k9ak079bc6h4x

QUINCY JONES THE QUINTESSENCE

Saturday, December 3, 2011

Quincy Jones - The Quintessence

Quincy Jones
The Quintessence
ABC/Impulse! 9000 series/A 11

Capitol Studios, NYC, November 29, 1961
Personnel:
Jerry Kail, Joe Newman, Clyde Reasinger, Clark Terry (tp)
Billy Byers, Paul Faulise, Melba Liston (tb)
Julius Watkins (frh)
Phil Woods (as)
Eric Dixon (ts)
Jerome Richardson (bars, fl)
Bobby Scott (p)
Buddy Catlett (b)
Stu Martin (d)
Quincy Jones (arr, cond)

10604 The Twitch
10605 For Lena And Lennie

Capitol Studios, NYC, December 18, 1961
Personnel:
Al DeRisi, Freddie Hubbard, Thad Jones, Snooky Young (tp)
Billy Byers, Paul Faulise, Rod Levitt, Melba Liston (tb)
Julius Watkins (frh)
Frank Wess, Phil Woods (as)
Oliver Nelson (ts)
Eric Dixon (ts, cl)
Jerome Richardson (bars)
Patti Bown (p)
Milt Hinton (b)
Bill English (d)
Quincy Jones (arr, cond)

10665 Hard Sock Dance
10666 Little Karen
10667 Robot Portrait

Capitol Studios, NYC, December 22, 1961
Personnel:
Thad Jones, Joe Newman, Ernie Royal, Snooky Young (tp)
Billy Byers, Paul Faulise, Curtis Fuller, Melba Liston, Tom Mitchell (tb)
Ray Alonge, Jim Buffington, Earl Chapin, Julius Watkins (frh) Harvey Phillips (tu)
Phil Woods (as)
Oliver Nelson (ts)
Jerome Richardson (bars, afl)
Gloria Agostini (harp)
Patti Bown (p)
MiltHinton (b)
Jimmy Johnson (d)
Quincy Jones (arr, cond)

10671 Invitation
10672 Straight, No Chaser
10673 The Quintessence
---------------------------------------------------
Tracks
1. Quintessence [Jones] 4:24
2. Robot Portrait [Byers/Jones] 5:28
3. Little Karen [Golson] 3:47
4. Straight, No Chaser [Monk] 2:28
5. For Lena and Lennie [Jones] 4:20
6. Hard Sock Dance [Jones] 3:23
7. Invitation [Kaper/Webster] 3:37
8. The Twitch [Byers] 3:49

Review by Thom Jurek
The Quintessence is perhaps the most accurate title ever given to a Quincy Jones & His Orchestra recording. Issued in 1961 for Impulse!, this is the sound of the modern, progressive big band at its pinnacle. Recorded in three sessions, the core of the band consists of Melba Liston, Phil Woods, Julius Watkins, and bassist Milt Hinton and pianist Patricia Brown on two sessions, with bassist Buddy Catlett and pianist Bobby Scott on another. The trumpet chairs are held alternately by players like Freddie Hubbard, Clark Terry, Thad Jones, and Snooky Young, to name a few. Oliver Nelson is here, as are Frank Wess and Curtis Fuller. Despite its brevity -- a scant 31 minutes -- The Quintessence is essential to any appreciation of Jones and his artistry. The deep swing and blues in his originals such as the title track, "Robot Portrait," and "For Lena and Lennie" create staggering blends. They are beautifully warm, with edges rounded, but the brass section is still taut and punchy. The reeds cool the heat enough to give the rhythmic dialogue in these tunes its inherent strolling swing. Elsewhere, on Thelonious Monk's "Straight, No Chaser," the time is speeded up to nearly dizzying intensity, and it's played like a big band popping bebop with incredible counterpointed double solos happening between trombone, muted trumpet, and Brown's piano. Though only 2:27 in length, the piece packs an entire harmonic universe into its furious pace. Benny Golson's "Little Karen," is, by contrast, held in character: lithe, limpid, and fluid, it's the ultimate laid-back, midtempo ballad. That said, with the brass charts being notched up just enough, it's got the kind of finger-popping groove that makes it irresistible. The solo spot taken by Nelson is pure knotty bop. What is beautiful about this recording -- and every second of the music -- is that because of its brevity, there isn't a wasted moment. It's all taut, packed with creativity and joy, and without excess or unnecessary decorative arrangement. It doesn't get much better than this.

Review by By Martin Gladu
Recorded in late 1961 as an offshoot of the Free and Easy Broadway show, the band features roughly the same big band personnel Jones had assembled in New York for the show's initial European dates. Following the show's unfortunate demise in Paris, he attempted to coordinate a pan-European tour of this group of "vagabonds," as he amicably refers the disparaging bunch in his autobiography Q (Harlem Moon, 2001), "just gigging on pure ass" and grappling financial assistance from label head and future boss Irving Green, the founder of Mercury Records.
In the end, he was forced to sell his music publishing to pay lenders and band mates, fly them back to the States and come to terms with the Internal Revenue Service. From the original Free and Easy lineup, saxophonists Phil Woods and Jerome Richardson, bassist Buddy Catlett, pianist Patricia Bown, trombonists Melba Liston and Billy Byers, hornist Julius Watkins and trumpeter Clark Terry stayed on board upon the group's return to New York and are featured herein.
On "The Quintessence," a Grammy Award-nominated chart and composition, one is greeted with pads of lush French horns and trombones voicings, which provide silvery accompaniment to Phil Woods' pungent sound as he toys with the ballad melody. "Robot Portrait," an angular theme penned by Byers, closely resembles John Coltrane's "Blue Train," but diverges to a backbeat-driven, shuffle blues during the solos.
Following Jones' Basie-esque arrangement of Benny Golson's "Little Karen," the band launches into a hard-swinging version of "Straight No Chaser," with its gripping, ending shout chorus. It is undoubtedly the most exciting track of the album. Then, he reverts to his Basie roots with his own "Hard Sock Dance" and "The Twitch," a cool and easygoing tune penned by Byers that ends the 31-minute program.
Should there be people out there still accusing Jones of "selling out," this album, as well as others recorded with this same ensemble, will most probably change their opinion, reminding them of this American popular culture icon's deep jazz roots and all he did for the genre artistically and entrepreneurially.
http://www.mediafire.com/?8fwu60u8gwit0k2

SONNY ROLLINS - JAZZ CLASSICS

Saturday, May 21, 2011

Sonny Rollins - Jazz Classics

Sonny Rollins
Jazz Classics
PR 7433 [reissue of PRLP 7058 "Moving Out"]

Rudy Van Gelder Studio, Hackensack, NJ, August 18, 1954
Personnel:
Kenny Dorham (tp) Sonny Rollins (ts) Elmo Hope (p) Percy Heath (b) Art Blakey (d)

606 Movin' Out
607 Swinging For Bumsy
608 Silk 'N' Satin
609 Solid

Rudy Van Gelder Studio, Hackensack, NJ, October 25, 1954
Personnel:
Sonny Rollins (ts) Thelonious Monk (p) Tommy Potter (b) Art Taylor (d)

632 More Than You Know
------------------------------------------------------------------------------
Tracks
1. Moving Out [Rollins] 4:31
2. Swingin' for Bumsy [Rollins] 5:48
3. Silk 'n' Satin [Rollins] 4:03
4. Solid [Rollins] 6:27
5. More Than You Know [Eliscu/Rose/Youmans] 10:48

Review by Michael G. Nastos
The collaborations between Sonny Rollins and any given trumpet player were few and far between, but they did include such notables as Miles Davis, Don Cherry, Clifford Brown, and in this case, his first tandem partnership with Kenny Dorham. At the time, both of them were also members of the Max Roach Quintet, and thus quite familiar with each other's strengths. Add drummer Art Blakey, bassist Percy Heath, and emerging modern jazz pianist Elmo Hope to the mix, making this one of the more potent combos of 1954. It's pretty straightforward music featuring Rollins, with little involvement from Dorham except solos. The fast title track, based on the changes of "Donna Lee" or "Indiana," has the briefest melody line before Rollins leaps into eighth-note madness, while the very fleet "Swingin' for Bumsy" does the same, repeating the slimmest phrase three times. An all-time classic, "Solid" does have the two horns together, playing an established, bluesy unison thought, a beauty in economy, while the obligatory ballad "Silk 'n' Satin" is all Rollins wrapped in a fabric of sheen and softness. There's one track that features an entirely different band for some reason, as "More Than You Know" encompasses a full 11 minutes of this program, which in total is just shy of 32 minutes. This unmistakable melody is enveloped by Rollins and Thelonious Monk, with bassist Tommy Potter and drummer Art Taylor in support for a tune that is unlike the others in style and texture.
http://www.mediafire.com/?i0h443u8o38d0o9

BARRY HARRIS - BULL´S EYE

Friday, September 2, 2011

Barry Harris - Bull's Eye!

Barry Harris
Bull's Eye!
PR 7600

NYC, June 4, 1968
Personnel:
Kenny Dorham (tp)
Charles McPherson (as)
Pepper Adams (bars)
Barry Harris (p)
Paul Chambers (b)
Billy Higgins (d)

Bull's Eye!
Clockwise
Off Monk
Barengo
Off Minor
Oh, So Basal
----------------------------
Tracks
1. Bull's Eye [Harris] 7:08
2. Clockwise [Harris] 4:46
3. Off Monk [Harris] 9:52
4. Barengo [Harris] 7:10
5. Off Minor [Monk] 4:40
6. Oh So Basal [Harris] 8:51

Review by Alex Henderson
In the liner notes that he wrote for Bull's Eye in 1968, Mark Gardner quotes pianist Walter Bishop as calling Barry Harris "one of the very last of the bebop purists that we have on the piano." Bishop knew what he was talking about; back in 1968, many acoustic pianists were choosing modal post-bop or avant-garde jazz over bop -- and some were taking up electric keyboards and starting to explore a fascinating new jazz-rock-funk amalgam that came to be called fusion. But Harris, who was 38 when he recorded Bull's Eye, was still a hardcore bebopper along the lines of Bud Powell and Thelonious Monk. On this 1968 session, the Detroit native offers no acknowledgment of '60s trends in jazz piano -- he doesn't acknowledge McCoy Tyner's modal post-bop any more than he acknowledges Cecil Taylor's free jazz. And that's just as well, because Harris is great at what he does. Unlike Tyner, Taylor, Bill Evans, Chick Corea, or Andrew Hill, Harris was always a follower rather than a leader. But again, he's great at what he does, and on Bull's Eye, Harris excels whether he is embracing Monk's "Off Minor" or providing original tunes that range from the exhilarating title song to the Latin-tinged "Barengo." By 1968 standards, Bull's Eye is hardly groundbreaking; Harris' solos sound like they could have been recorded ten or 20 years earlier. But in terms of quality and skillful musicianship, he doesn't let his followers down. Nor do Harris' sidemen, who include trumpeter Kenny Dorham, saxman Charles McPherson (who is heard on tenor instead of his usual alto), baritone saxophonist Pepper Adams, bassist Paul Chambers, and drummer Billy Higgins. Die-hard bop enthusiasts can't go wrong with Bull's Eye.
http://www.mediafire.com/?21af5xue8ydiflp